ࡱ> dfcq`HwbjbjqPqP 8::B2J ( ( ( 8`  ,4 4 4 4 4    $Gh   4 4 ^^^f4 4 ^^^^4 ( 0;( B^0^  ^^ np h^ T]   X   d( (  Ivana Mance Ivan Kukuljevi Sakcinski: Art History and Politics in Croatia (Second Half of the 19th Century) Ivan Kukuljevi Sakcinski, born in 1816, was one of the most prominent public figures in the Croatian 19th century. Until his death in 1889, he actively participated in public life as a writer and historian, bibliophile and bibliographer, editor and publisher, biographer and lexicographer, archivist and conservator, collector of art works, as well as other objects of cultural and historical interest. His work covered fields that have since become autonomous scholarly disciplines. Kukuljevi understood culture and scholarship in their enlightenment role of awakening national awareness as a precondition for social development. Consequently, he employed his own organizational and scholarly efforts in order to set the foundations for a number of historical disciplines, including a field that would correspond to the modern discipline of art history. That part of cultural history which had, owing to Romanticism, become an indispensable element in historicizing national communities, fine and applied arts, architecture, and music, was identified by Kukuljevi as a separate domain of scholarly research and museological practice. Accordingly, he asserted his own efforts in the field by publishing a biographical lexicon of artists, entitled Slovnik umjetnikah jugoslavenskih (Lexicon of South Slavic Artists) an inauguration work of our national art history, published in the year 1858. This paper focuses on a specific moment in which, following the breakdown of political expectations of Croatian and other Slavic peoples under the Austro-Hungarian rule after the Revolution of 1848 and the establishment of a neo-absolutist regime, the newly created circumstances favoured the institutionalization of historical disciplines, including art history, making them the most important alternative for building up national integrity. The movement of linguistic emancipation and cultural consolidation of Slavic peoples within the Austro-Hungarian Monarchy, which had set on rather intensely in the 18th century, acquired an outspokenly political character and programme immediately before and during the revolutionary events of 1848. In the spirit of the so-called Austro-Slavic policy (its eventual and certainly utterly idealistic goal being to transform the Monarchy into a federal state), and following the tradition of the existing ideology of Illyrism as the ideal common identity of all South Slavic peoples, Croatian social elites tried to achieve political integration of all South Slavic lands, yet primarily of the Croatian territories, allowing for the option of a closer alliance with Slovenia and Serbian Voivodina. Even though Croatian politicians at first did not exclude the possibility of preserving good relations with Hungary, as the revolution evolved, they opted for a direct participation of Croatian territories in the reformed all-Austrian parliament, that is, for closer ties to the monarchy. As the revolution failed and the reaction was getting stronger, those efforts were punished by decisive counter-revolutionary measures dissolution of the Croatian parliament, an octroyed constitution, and the establishment of a neo-absolutist regime on the entire territory of the monarchy. Thus 1849 was a year that marked the beginning of a decade in which the Croatian lands would be subjected to the so called Bachs absolutism a politically devastating period in which all hitherto existing forms of autonomous political decision making and action were abolished. A direct consequence of these circumstances was the sublimation of national emancipation through cultural and scholarly activity. As one of the most prominent figures in these political events, Ivan Kukuljevi became the leading figure in organizing and promoting historical disciplines. Dru~tvo za jugoslavensku povestnicu i starine (The Society for South Slavic History and Antiquities), founded in 1851 at his initiative, was the first public organization licensed for doing research in historiography. Even though it had been planned earlier, in the historical moment when the political circumstances were evolving in the direction of rigid restrictions of freedom of public action, the foundation of the Society had a manifestly political character. That is evident, among other things, in the fact that the word South Slavic was retained in its name, whereby the Society remained the only public institution bearing this title. Founded in accordance with the new legal regulations on public association, the Society would function in the neo-absolutist regime as a safe ground that allowed for a nationally biased activity, albeit in controlled conditions which guaranteed that the politically drawn line would not be overstepped. But then again, it was a context in which historiography, that is, historical knowledge, was seen as an essential factor in future political development. The speech held by Ivan Kukuljevi Sakcinski at the foundation meeting of the Society includes a few lines that indicate the symptomatic link between the decisive, critical historical moment and the institutionalization of national history.  Owing to the recent unfavourable events, the major part of the South Slavic people living in the Austrian Empire have ended up in a truly sad condition, as foreigners have cut off violently the living line of our history, determined to undermine cunningly all foundations of our ancient free homeland, on which the dear house of our grandfathers was once built; and in all South Slavic lands a voice of displeasure can be heard and everyone says: What do they want with us, these unknown and unwanted people? What they are doing is against our Slavic nature; it is against our rights, which were obtained and confirmed by law and in blood; it is against the course and the meaning of our history. Thus, it is precisely the need of re-establishing the continuity between the past and the present that was stated as an immediate motive for establishing the Society the continuity that was experienced as violently interrupted by the new political circumstances. In a situation that devalued the idea of a historically continued political sovereignty of the Croatian people, the Society was created as a substitute political space in which the course of history was to be brought back metaphorically speaking to the right track. The basic activities and goals of the Society, as defined in its Book of Regulations, were to research, collect, and preserve antiquities and things related to the life and history of our people, emphasizing that the Society would try with all its might to preserve from perdition all sources of South Slavic history and lay the foundations for a critical assessment of our national history in the future. Once again, in the post-revolutionary moment of the 19th century, it was actually the same figure of thought, repeated again and again from the times of ancient philosophy the mythical transfer from the immediately present collective memory to history writing or historiography; a moment in which precisely the creation of a category of written and material historical sources was understood as a pharmakon, an aid for establishing canonical national history, or rather a historical narrative with a happy ending. However, since happy ending was not politically probable in those circumstances, historiography consisted in a preliminary state of collecting the sources as an ontological precondition for an understanding of history that was, in fact, romanticist and idealist. The historiographic activity of the newly established Society was thus defined primarily in terms of collecting and presupposed the category of historical source as a necessary methodological investment. Since any subject of historical interest could also become a traditional object worthy of collection, the collectors activity as a field of reference was very heterogeneous. According to the Book of Regulations, it ranged from manuscripts and printed materials through material cultural and artistic heritage in the widest sense, including folk culture and oral poetry or tradition, to popular culture, forms of everyday life, and agriculture. The concept of gathering, however, can by no means be reduced to a description of historiographic practice; instead, it represents a basic epistemological paradigm for establishing historiographic knowledge, including that in the field of art history. In that sense, the discipline of art history is not about the material gathering of monuments, but rather about collecting information about them, which can also be discerned from the excerpt from the Book of Regulations, in which various forms of art historical knowledge are listed as collection items, including individual artistic biography as well as monographic presentation or description of a monument. It is precisely the individual artists biography as given in a classical Vita and the description of a particular monument as rendered by a classical Guida that were the two basic forms of art historical knowledge that could be organized according to the collection paradigm. And it was precisely these two forms that the pioneering enterprise of Ivan Kukuljevi in the field of art history would be articulated in. In the preface to his capital work, the Slovnik umjetnikah jugoslavenskih (Lexicon of South Slavic Artists), he emphasized that he considered collecting artists biographies as a precondition for writing a national art history, but that he did not think himself competent for accomplishing that task, which he therefore wanted to leave for the future generations. To be sure, Kukuljevi had worked on his Lexicon from his youth and the work he had done was overwhelming; by going through most of the existing art historical literature and archival collections, where he searched for artists whom he presumed to be of Slavic origin or active in the South Slavic region, Kukuljevi produced a basic capital of artists names that have remained in the national art history to the present day. Most of them were, of course, taken from contemporary scholarly works such as the so-called Schiavoni (Andrea Meldola, Federico Benkovich, Giulio Clovio, and others) since those artists were already documented as a part of Italian art history but by including them in his  0 2 4 ƷƤƘzn_nzPAPnh2]jhIOJQJmH sH h2]jhRmAOJQJmH sH h2]jhOJQJmH sH hOJQJmH sH h2]jhOJQJmH sH h2]jhOJQJmH sH hROJQJmH sH %hKh5H*OJQJ]mH sH hK5OJQJ]mH sH "hKh5OJQJ]mH sH hKOJQJ]mH sH hRhKOJQJmH sH hKOJQJmH sH V(Z-/kqqqqqhs,uvvvw*wgd2]j $dha$gdK$a$gdK$a$gdKv,wFw    + 1    " 3 ; T $ , . & N tuŶԶԧԘԘԶԧԧԶznԘ_h2]jh!6OJQJmH sH hOJQJmH sH h2]jh^OJQJmH sH h2]jhOJQJmH sH h2]jhiEOJQJmH sH h2]jht6OJQJmH sH h2]jhIOJQJmH sH h2]jh~MOJQJmH sH h2]jhRmAOJQJmH sH hOJQJmH sH hhH*OJQJmH sH  uy+lt| 7SUĦӖ{l{]Nh2]jhcOJQJmH sH h2]jhOJQJmH sH hRh3OJQJmH sH hROJQJmH sH hRhROJQJmH sH hRhR6OJQJmH sH h2]jhpOJQJmH sH h2]jht6OJQJmH sH h2]jh!6OJQJmH sH h2]jhIOJQJmH sH h2]jh9jOJQJmH sH h2]jh}{OJQJmH sH UVfh56;ELNⵦyj[Lyh2]jhpOJQJmH sH h2]jht6OJQJmH sH h2]jhUdOJQJmH sH h2]jh:OJQJmH sH h2]jhOJQJmH sH h2]jhi&OJQJmH sH h2]jh]SOJQJmH sH h2]jhefiOJQJmH sH h2]jh'SOJQJmH sH h2]jhkOJQJmH sH h2]jh}{OJQJmH sH h2]jh~OJQJmH sH sw>CDKĵym]mN?h2]jhoOJQJmH sH h2]jhDiOJQJmH sH hhH*OJQJmH sH hOJQJmH sH h2]jhi&OJQJmH sH h2]jhJmOJQJmH sH h2]jhIOJQJmH sH h2]jh'SOJQJmH sH h2]jh:OJQJmH sH h2]jh$OJQJmH sH h2]jhOJQJmH sH h2]jh|'OJQJmH sH h2]jhDOJQJmH sH KQcpqwy#\^ghm24⨙{l]N]hd-hAOJQJmH sH h2]jhJOJQJmH sH h2]jhxOJQJmH sH h2]jhIOJQJmH sH h2]jhEOJQJmH sH h2]jhDiOJQJmH sH hAOJQJmH sH h2]jhiqOJQJmH sH h2]jh'S6OJQJmH sH hRh'SOJQJmH sH h2]jh'SOJQJmH sH h2]jhOJQJmH sH SUX^xz~⦗|m^Oh2]jhqf]OJQJmH sH hd-h|OJQJmHsHhd-h|OJQJmH sH h|OJQJmH sH h2]jhOJQJmH sH h2]jhMOJQJmH sH h2]jhIOJQJmH sH h2]jhTI>OJQJmH sH h2]jhoOJQJmH sH hd-hAOJQJmH sH h2]jhJOJQJmH sH h2]jh*WOJQJmH sH  #)$3T 6FRTXh⦈yj^yyNh2]jhR6OJQJmH sH h|OJQJmH sH hd-h|OJQJmH sH h2]jhwYOJQJmH sH h2]jhTdOJQJmH sH h2]jhTI>OJQJmH sH h2]jhEOJQJmH sH h2]jh;OJQJmH sH h2]jhOndOJQJmH sH h2]jhIOJQJmH sH h2]jhJOJQJmH sH h2]jh?OJQJmH sH <T%)789EQָ֚֚|m^OCh|OJQJmH sH h2]jhVOJQJmH sH h2]jh2OJQJmH sH h2]jhIOJQJmH sH h2]jhTdOJQJmH sH h2]jhWOJQJmH sH h2]jhOJQJmH sH h2]jhwOJQJmH sH h2]jh2]jOJQJmH sH h2]jhj1OJQJmH sH h2]jhwYOJQJmH sH hROJQJmH sH h2]jhROJQJmH sH  02 1 3 E p { !!!!!*"""#ĵĦyyj[Lyh2]jhpOJQJmH sH h2]jh2OJQJmH sH h2]jhAOJQJmH sH h2]jh17OJQJmH sH h2]jh%OJQJmH sH h2]jhB3OJQJmH sH h2]jhjlROJQJmH sH h2]jhROJQJmH sH h2]jhj1OJQJmH sH h2]jh}8OJQJmH sH h2]jhwYOJQJmH sH hd-h|OJQJmH sH ##$M$R$`$f$s$w$$$$6%>%F%I%|%~%%%%%% & &#&%&+&/&Z&\&y&}&&&&&&&&' '>'A''ĵӦsh2]jhOJQJmH sH h2]jh^,OJQJmH sH )jh2]jh$0JOJQJUmH sH h2]jh|UOJQJmH sH h2]jh"((OJQJmH sH h2]jh%KOJQJmH sH h2]jh%OJQJmH sH h2]jh17OJQJmH sH h2]jh2]jOJQJmH sH ,'''(((W(X(i(j(k(((((((()) ) )))W)u)v))))))) *I*J*ӵӵӦӦӗӈyyjyyy[h2]jh&OJQJmH sH hRhnOJQJmH sH h2]jh1OJQJmH sH h2]jh{6FOJQJmH sH )jh2]jh0JOJQJUmH sH h2]jhnOJQJmH sH h2]jhOJQJmH sH !\:r:x:::::::::::::::::::;;;;n;<dZd\dĵĆwhhYWhUh2]jh{6FOJQJmH sH h2]jhsOJQJmH sH h2]jhjOJQJmH sH h2]jhuuOJQJmH sH h2]jh 6OJQJmH sH h2]jh6OJQJmH sH h2]jhOJQJmH sH h2]jhOJQJmH sH h2]jhTI>OJQJmH sH h2]jhOJQJmH sH h2]jh OJQJmH sH  lexicon of South Slavic artists, Kukuljevi appropriated them as a part of Croatian artistic legacy. In his archival research, he naturally dealt with a great number of other names, many of which enjoyed good fortuna critica in the national history to come. Within the individual biographies, information was likewise articulated according to the principle of collection: Kukuljevi s knowledge in art history, as I have already mentioned, was primarily scholarly, gathered from library research. Though biographical narrative served as a framework for presenting knowledge, the chief treasure in all items was actually their bibliography. By retelling or quoting what some famous author had written on a particular artist, and by listing his sources in bibliographic references, Kukuljevi scrupulously presented the acquired knowledge as a cluster of information gathered in the widest possible realm of referential publications and historical sources. Beside representing the epistemological paradigm of the time, art historical knowledge based on the concept of collection also fulfilled its ideological function in the context of historical circumstances in which it was generated. At the time when the course of political events directly devalued the project of national emancipation, national art history organized itself through the metaphor of quest for lost traces and testimonies of what was to be established only later as national art history in its totality. Through the category of historical source material, art-historical knowledge was organized on the level of pharmakon that would help the collective to recall its own national history and to re-appropriate its existing cultural heritage as a stronghold of its national identity. Bibiliography Kukuljevi, 1851 a = Kukuljevi Sakcinski, Ivan:  Predgovor (Foreward), Kukuljevi Sakcinski, Ivan (ed.): Arkiv za povestnicu jugoslavensku (Archive for South Slavic History) 1 (1851), Zagreb, 1851 Kukuljevi, 1851 b =  Pravila dru~tva za Jugoslavensku povestnicu i starine (Book of Regulations), Kukuljevi Sakcinski, Ivan (ed.): Arkiv za povestnicu jugoslavensku (Archive for South Slavic History) 1 (1851), Zagreb, 1851 Kukuljevi, 1858 = Kukuljevi Sakcinski, Ivan:  Predgovor (Foreward), Kukuljevi Sakcinski, Ivan: Slovnik umjetnikah jugoslavenskih (Slovnik of South Slavic Artists), Zagreb, 1858  Kukuljevi (1851 a)  Kukuljevi (1851 b: 237-240)  Kukuljevi (1858)     \d^drdddddeeeefff&fhflf|ffff4g8ggggggghĵxiiiZiZiKiih2]jhEEOJQJmH sH h2]jhuuOJQJmH sH h2]jh4\OJQJmH sH h2]jh OJQJmH sH h2]jh:@OJQJmH sH h h*h,h|hhhhhhihiiij0jkk.kHktk~kkkkkkllLmPmn noooⵦӦyy񵦵jh2]jhX^OJQJmH sH h2]jhZ]OJQJmH sH h2]jhTI>OJQJmH sH h2]jh="OJQJmH sH h2]jh w@wFwHwۿ۰ۿۥyumumumumujhnUhnhhAmHsHh$hAmHsHhAmHsHhAjhA0JUhO=hO=mH sH h2]jh2]jOJQJmH sH h7gOJQJmH sH h2]jhO=6OJQJmH sH h2]jhO=OJQJmH sH h2]jh2]jOJQJh2]jhO=OJQJ%*w,w0w2w6w8wwBwDwFwHw $dha$gdK dgd 61hP:p<. 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