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PASIONSKA BAŠTINA
Vladimir Blažanović
TEME VELIKOG TJEDNA
Themes of the Holy Week
Muzej Mimara Zagreb 21.3.-4.4. 2015.
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Vladimir Blažanović has dedicated a significant proportion of his oeuvre to biblically inspired themes, quite dominant in certain periods, painting them with conviction, making them more profound with indisputable talent. In creative intervals marked with continuously high level of achievement, without completely forgoing his pictorial tradition, he has constructed his own language of artistic authenticity. He is espe-
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genuine sacral art in the aesthetics of classical artistic expression, as well as in various forms of contemporary artistic discourse has to be based on the artist’s inner urge for a meaningful dialogue with biblical themes, with his comprehension of the Gospel, and with the totality of the texts of the Old and New Testament. Without that prerequisite one inevitable finds himself confined to mere illustrativeness, a witty pun, a narrative, or a combination of shapes. The laboriousness of the theme in question brings forth an artistic and humane responsibility, bestowing nevertheless a certain joy to painters and sculptors, along the lines of an astounding sentence uttered by His Holiness, Pope John Paul II: “Artists are co-creators of the world.”
cially concerned with the iconographic sequence and theological dimensions of Christ’s Road to Calvary, along with all the themes of the Paschal Triduum. Stations of the Cross and particular scenes of the martyrdom at Calvary are deeply perceived and vigorously visually interpreted in an evenly concave-convex rhythmization of shapes and animated expressionistic forms. Blažanović has interpreted the complex scenario of the Way of the Cross, albeit with certain changes in his expression, on several occasions, tracing all of its Stations with stylistic consistency, even on the example of a sequence of black and white images by reducing them to their respective achromatic values. In tempestuous extremes between the fullness of blacks and glimmers of whites contained in the confluence of lines, by the use of strong refractive graphisms Blažanović has elevated the degree of figurativeness while expressing shapes and directly articulating his emotional range. Broaching the passion of the Way of the Cross for Blažanović does not only signify a painterly representation of the Evangelists’ accounts, purely clinging on to historical portrayals, but rather a personal renewal, a mystical movement
towards Good Friday. Accumulated whiteness is not only a visual necessity, but indeed a real and symbolic luminance, a spark of salvation in moments of utter anxiety. Blažanović does not intensify the narrative by means of zoomed in framing, but quite to the contrary, he places emphasis on the refuge of elusive spirituality, perceivable by heart and soul from the events occurring at every Station, as well as throughout that drama in its entirety. Blažanović consigns the crosses of human life to the divine redemptive act, so that Christ, by the very nature of his persona, suffers both as God and as man. This contentual stratification of the ambience of the Passion’s timelessness and the transcendentality of the resurrection has rapidly matured within Blažanović’s art. It is constantly present and steadily deepened. It would truly be impossible to empathize as a human and an artist with the theme of the Calvary and yet remain superficial. The “Black” Way of the Cross certainly counts among Blažanović’s finest sacral works, probably painted in a relatively short time, due to his artistic experience, but even more to a deep connection with the message of the entire Lent. The Twelfth Station, the
scene of the Crucifixion, the motifs of the Veil of Veronica – the Indicator of God (Ivan Golub), (and) Pietà, separated from the totality of dramaturgy and the structure of the Way of the Cross can often be found in Blažanović’s pictorial repertoire, induced by contrition and artistic temperament. His inspiration extends to the dedication of the scene depicting Mary with her deceased Son in an artful visuality brought closer by suggested volume, masterful drawing and overall tension of almost achromatic shapes. The motif of the Crucifixion, the hallmark of Christianity, was summed up by Blažanović (by no means accidentally) in an unusual format of pronouncedly Gothic verticality (65 x 12 cm), managing to achieve, by elongating the corpus, a plastic refinement and tension contained within the gift of comprehension. Blažanović expresses the divine through the immediacy of visual notes, unrestrained line flow and smudginess of colours, setting the poles (citations) rhythmically in the iconography of the Passion, hence encompassing the INRI inscription on the cross, the halo around Christ’s head and loincloth around his waist. Blažanović stresses Christ’s dignity even in death, approaching
his incorporeality by personifying in his character a sacrifice made out of love. By variations on the theme and introducing small changes Blažanović surprises with a vast array of creative solutions in a cycle painterly attractive to an educated theologian as much as to a layman. Other sacral motifs crafted by Blažanović reveal a clear pictorial rendering of a factual, enlightened palette of intense sonority, embedded into compositions of classical organization, marked with different perspectives and corridors of vision toward the climax of the scene. Thus within the theme of the Last Supper Blažanović departs from a conventional layout, set by masterpieces of world art (Leonardo, Tintoretto) and by utilizing his own conception, he casts a glance from above, both artistically and thematically, to the table surface, a sacred space where of the the establishing Eucharist took place. The apostles are shown predominantly with only their heads in view, their bodies barely visible, surrounding the primary altar of the Church of Christ, a symbolic plane filled with tangible and spiritual plants whilst they partake in the Lord’s Supper. Stanko Špoljarić
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Vladimir Blažanović veliki dio svoga opusa, u pojedinom periodu i dominantan, posvetio je temama biblijske inspiracije, slikajući ih uvjerenjem, produbljujući
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stinska sakralna umjetnost i u estetici klasičnog likovnog izričaja i u raznovrsnim formama suvremenog umjetničkog govora mora se bazirati na unutrašnjoj potrebi umjetnika za smislenim dijalogom s biblijskim temama, s razumijevanjem Evanđelja, i ukupnosti tekstova Starog i Novog Zavjeta. Izvan toga ostaje se na ilustrativnosti, ili pak na dosjetci, priči ili kombinatorici oblika. Iz zahtjevnosti teme proizlazi umjetnička i ljudska odgovornost, a i radost slikara i kipara, na tragu divne rečenice svetog pape Ivana Pavla II, „Umjetnici su sustvaratelji svijeta.“
ih neospornim talentom. U stvaralačkim dionicama kontinuirano visokog vrijednosnog dosega, ne odričući se u potpunosti i likovne tradicije, izgradio je vlastiti jezik umjetničke autentičnosti. Posebno ga zaokuplja ikonografski slijed i teološka dimenzija Kristovog kalvarijskog hoda, ali i sve teme Svetog Trodnevlja. Postaje Križnog puta i pojedini prizori golgotskog martirija duboko su doživljene i snažno likovno interpretirane u konkavno konveksnoj odmjerenoj ritmizaciji oblika i ekspresionističkoj pokrenutosti forme. Blažanović je složeni scenarij Križnog puta s određenim mijenama u izrazu interpretirao više puta, prateći sve korake stilskom dosljednošću, pa i u primjeru slijeda crno bijelih slika, redukcijom na akromatske vrijednosti. U vrtlozima krajnostima pu-
Vladimir Blažanović
nine crnila, i bijelog u koncentratu linija, jakim lomnim grafizmima Blažanović je stupanj figurativnog podigao ekspresijom oblika i direktnom razgovornošću raspona emotivnog. Ulaženje u patnju križnog puta za Blažanovića nije samo slikarsko prikazivanje opisa evanđelista, dakle onog povijesnog, već je to osobno obnavljanje, mistično kretanje ususret Velikom Petku. Kumulirana bjelina nije tek likovna nužnost već je stvarno i simbolično svjetlo, iskra spasiteljskog u trenucima posvemašne tjeskobe. Blažanović kadriranjem svojevrsnog zumiranja ne potencira narativno, već suprotno, osluškuje okrilje neuhvatljivosti duhovnog, vidljivog srcem i dušom u zbivanju svake postaje, ali i cjelovitosti drame. Blažanović i ljudske životne križeve predaje božanskom otkupi-
TEME VELIKOG TJEDNA
Themes of the Holy Week
teljskom činu tako da Krist, i po naravi svoje osobe, trpi i kao Bog i kao čovjek. Ova sadržajna slojevitost ozračja svevremenosti muke i transcedentalnosti Uskrsnuća kod Blažanovića je brzo sazrjela. U njegovoj umjetnosti postojano je prisutna i konstantno produbljivana. Istinski bilo bi i nemoguće ljudski i umjetnički živjeti golgotske teme i ostati na površini. „Crni“ križni put zasigurno pripada vrhuncima Blažanovićevog sakralnog opusa, vjerojatno slikan u relativno kratkom vremenu, zahvaljujući umjetničkom iskustvu, ali još više, dubokoj povezanosti s porukom čitave Korizme. Dvanaesta postaja, scena Raspeća, odnosno motivi Veronikinog rupca - Pokaznica Boga (Ivan Golub), Pieta izdvojene od ukupnosti dramaturgije i strukture križnog puta često su na Blažanovićevom slikarskom repertoaru, potaknute skrušenošću i umjetničkim temperamentom. Nadahnuće se prostire i u posveti scene Marije s mrtvim sinom, u likovnoj optici približenoj sugeriranim volumenom, snažnim crtežom i sveukupnom napetošću gotovo akromatskih oblika. Motiv Raspeća, putokaz kršćanstva, Blažanović je sažeo (nikako slučajno) u neobični format izrazitog gotizirajućeg vertikaliteta (65x12 cm) čime je izduženošću corpusa postigao likovnu tankoćutnost i
tenzije u daru spoznavanja. Blažanović božansko izražava neposrednošću likovne bilješke, nesputanim tijekom linija i mrljolikošću boje, s ritmičnim postavljanjem polova (citata) u ikonografiji muke, od natpisa INRI na križu, aureole oko glave i perizome oko struka. Blažanović je istaknuo Kristovu dostojanstvenost i u smrti, približavajući se bestjelesnom, personificirajući u njegovom liku žrtvovanje iz ljubavi. U varijacijama na temu i malim pomacima Blažanović kreativnošću iznenađuje rješenjima, u ciklusu slikarski privlačnom učenom teologu i laiku. I drugi sakralni motivi kod Blažanovića jasne su slikarske razrade činjeničnog, prosvijetljene palete intenzivne zvučnosti, u kompozicijama klasične organiziranosti, ali i rakursima drugačijih koridora pogleda ka klimaksu prikaza. Tako kod teme Posljednje večere Blažanović napušta konvencije rasporeda, započete u remek djelima svjetske umjetnosti ( Leonardo, Tintoretto) i svojom koncepcijom, s vizurom odozgo upućuje pogled, likovno i sadržajno, na plohu stola, sveti prostor ustanovljenja Euharistije. Apostoli prikazani pretežno tek glavama, donekle tijelom, okružuju prvi oltar Kristove crkve, simboličnu plohu ispunjenu opipljivim i duhovnim sadnicama pri blagovanju na Večeri Gospodnjoj. Stanko Špoljarić
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Crveni Krist, 2012. tempera na papiru 61x12 cm
Raspelo, 2007. tempera na papiru 65x12 cm
Raspelo, 2007. tempera na papiru 65x13 cm
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Ovaj zaista bijaše sin Božji, 2003. tempera na papiru 64x50 cm
Golgota, 2012. tempera na papiru 75x52 cm
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Raspelo, 2008. tempera na papiru 65x50 cm
Podijeliše njegove haljine, 2008. tempera na papiru 65x50 cm
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Scena Golgote, 2004. tempera na papiru 7ox54 cm
Skidanje s kri탑a, 2012. tempera na papiru 75x52 cm
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Susret s majkom, Isus susreće jeruzalemske žene, Veronikin rubac (Križni put /I-XIV/), 2013. akril na platnu 41x33 cm
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Pad, 2012. tempera na papiru 50x64 cm
탑ene, Pieta, 2001. ulje na platnu 85x108 cm
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Misterij Euharistije, 2012. tempera na papiru 75x52 cm
Skidanje s kri탑a, 2000. ulje na platnu 125x90 cm
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Raspeti, 2002. ulje na platnu 116x90 cm
Magdalena na grobu, 2013. tempera na papiru 7ox5o cm
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Vladimir Blažanović (Donji Hasnić beside Bosanski Šamac, 1953) completed the Franciscan classical gymnasium in Visoko. He obtained a degree in painting at the Academy of Fine Arts in Zagreb in 1981 under professor V. Jordan. He has been a member of the CONTRA group since 1998. In addition, Blaženović has taken part in numerous projects of religious thematics. His monograph, penned by Margarita Sveštarov Šimat, was published by Art Magazin Kontura.
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Vladimir Blažanović (Donji Hasnić kod Bosanskog Šamca,1953.) završio je Franjevačku klasičnu gimnaziju u Visokom. Diplomirao je slikarstvo na ALU u Zagrebu 1981. u klasi profesora V. Jordana. Član je grupe CONTRA od 1998. Sudjeluje na brojnim slikarskim projektima religiozne tematike.U izdanju art magazina KONTURA izašla mu je monografija iz pera Margarite Sveštarov Šimat.
Kruno Bošnjak rođen je 1936. u Lovreću kraj Imotskog. Školu primjenjene umjetnosti završio je u Zagrebu, a potom,1964. diplomirao kiparstvo na ALU u Zagrebu. Nakon studija slijedeće četiri godine suradnik je majstorske radionice F.Kršinića. Kao redoviti profesor ALU umirovljen je 2000. Autor je velikog broja spomenika postavljenih u Hrvatskoj i Bosni i Hercegovini. Kruno Bošnjak was born in 1936 in Lovreć near Imotski. He finished the School of Applied Arts in Zagreb, and then, in 1964 received a degree in sculpting at the Academy of Fine Arts in Zagreb. Having completed his studies, for the next four years he was an associate of F. Kršinić master workshop. As a full professor of the Academy of Fine Arts, Bošnjak retired in 2000. He has authored a large number of monuments erected in Croatia and Bosnia and Herzegovina.
PASIONSKA BAŠTINA
IMP R E SU M Izdavač: PASIONSKA BAŠTINA Suorganizator: Založba kralja Tomislava – Čapljina Postav: Bruno Šeper Stanko Špoljarić Fotografije: Ante Topić (Bošnjak) Vedran Metelko (Blažanović) Prijevod: Ivan Missoni Grafičko oblikovanje: Gordan Karabogdan Za izdavača: mr. Jozo Čikeš Tisak: INTER NOS - Zagreb Naklada: 200
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igurativni izraz Krune Bošnjaka razvijao se po mirazu klasične estetike, poštivanja umjetničke tradicije unutar koje je osvojio prostor za osobnu poetiku. Osjećajem za modeliranje volumena Bošnjak je komornom skulpturom, i onom monumentalnog (spomeničkog) karaktera izgradio respektabilni opus u kojem su djela sakralne tematike važna sastavnica. Taktilnim utkanim u tvarno Bošnjak oblikuje i utrobu površine njegujući vlastitu mjeru realistične opisnosti. Slična načela vrijede za skulpture pune plastičnosti i reljefe. Slijed postaja Križnog puta koje će biti postavljene u crkvi Uznesenja Blažene Djevice Marije u Nevesinju. Crkva je u fazi obnove pa je publika Bošnjakov Križni put imala prilike vidjeti prije
definitivnog smještaja u sakralni prostor na izložbi u Umjetničkoj galeriji Hrvatskog kulturnog središta, Založbe kralja Tomislava u Čapljini 2014.godine, a sada i u Zagrebu. Izveden je u tehnici plitkog reljefa, svojevrsnom slikoreljefu, s užljebljenjima na potki crteža, produbljenim osnovnim silhuetama likova i razradom figurativnih detalja na plohi lica i krivuljama draperije. Većina scena horizontalne je kompozicije, tek tri imaju vertikalno usmjerenje (Isusa osuđuju na smrt, Raspeće, Skidanje s križa) i osim prve i četrnaeste postaje imaju u križu dominantu prikaza. Križ je smisleni orijentir čitavog križnog puta no i gradivna forma u povezivanju likova, odrednica u ravnoteži ritma reljefa. Bošnjak Križni put osmišljava na dvije likov-
Kruno Bošnjak
ne razine, na konkretnu figurativnu scenu i okolni (djelomično) i unutrašnji prostor s neprimjetnom vibrantnošću u plohama identične boje. Fond slike nije samo neutralni okvir zbivanja,potrebit u isticanju čitkosti, već i površina koja jednolikošću tona s blistavošću nematerijalnosti svjetla proširuje sadržajni krik pojedine scene. Prostor dokidanja asocijativnosti predmetnog (ako ga ne shvatimo kao krajnje pročišćeni krajolik) postaje pojas meditativnog, gdje fizička praznina prerasta u pojmovnost duhovnog. U organizaciji scene Bošnjak, izvan svake sheme, zanimljivom napetošću forme uprizoruje motive s fundusom izražajnih lica, Krista, Marije, Veronike, Ivana, Nikodema, pa i jeruzalemskih žena. Izbalansirao je finese i fokuse masa
KRIŽNI PUT Way of the Cross
(ploha) dajući položajem likova akcente i smjer kretanja, opterećenja, dodire, i što je najvažnije emocije. Na osnovi kiparske adrese akteri u velikoj temi Via crucis likovno su dorađeni, ali i slobodnijim pristupom zahvaćeni ogrebotinama ekspresivnog, s izrazima bola, brige, suosjećanja, ali i hladnog promatranja događaja. Bošnjak također postavom figura njihovom zgrčenošću, sagnutošću, s izduženošću izvan proporcijskih zakonitosti stvara likovne karike, ali i sinonime sadržaja. I izdanke ugođaja, u mislima i stvarnosti. A likovnost se rezimira i majstorskim oblikovanjem draperije, (ponekad vrlo sretnom primjenom ornamentalnog), s padom nabora, kanelirama tkanine s sugeriranjem pokrivenog tijela, ali i ogoljelog, izranjenog Kristovog. A mali i veliki svjetlosni ponori (a time adekvatno i sjene), potaknuti reljefnom putenošću integrirani su u tkivo površine, i kao likovna čipka i kao energija, svjetlo na putu Spasenja. Bošnjakov Križni put primarno izveden u gipsu omogućava slikarski tretman površine. Sukladno tome kromatika figurativnog djela poliptiha smeđih je datosti, s prosijavanjem zlaćanog tona, dok se prostor osluškuje u varijantama narančastog. Radi se o logičnom i jednostavnom kolorističkom dijalogu skladne zvučnosti, baziranog i na kontrastu vrijednosti, a i na mogućoj
simboličnosti isčitavanja, odnosa kala zemnog i beskraja nebeskog. Bojom se i relativiziraju objektivne veličine reljefa. Dramatika zbilje Križnoga puta zbijena je u sintezu obrisa grupa, odnosno likova, a teritorij tonski oplemenjene ravnice, ili uzdignuća tla pulsira doživljajnošću i izvan dimenzijskih polazišta. Razlog za to leži i u karakteru djela sakralne tematike, vjere opredmećene u umjetničkom činu. Konačno Bošnjak je Križnom putu dao podnaslov „Slijediti Njega“ . I opravdao ga uvjerljivošću izraza, nagovještavajući svoj simbolični otisak obličju kalvarijskog Krista. S likovne pak strane Bošnjak je pošao od realistične marnosti, čak i portretne preciznosti likova, tipova, karaktera, dobi. Dakako ne postoji saznanja o konkretnom izgledu osoba, ali ipak i dva protekla tisućljeća nisu prepreka za uživljavanje u vrijeme i prostor. Drugim riječima Bošnjak spaja deskriptivnost događaja i vlastite bore intimnog. Izvornošću kazivanja Križnog puta i sam postaje suvremeni Simon Cirenac, svjedok koji se umjetničkim zanosom uključuje u pobožnost započetu još u XV.stoljeću. Tada ju je u Europu donio dominikanac Alvaro u Cordobi, a u XVII. stoljeću starim kontinentom proširili franjevci. A i danas je tako aktualna i bliska vjernicima, potrebita u nemirima života. Stanko Špoljarić
Sve postaje Križnoga puta (od I-XIV) originalni su reljefi u gipsu, 81x101x5 cm All Stations of the Cross (I–XIV) are original reliefs made in plaster, with their dimensions measuring 81x101x5 cm Katalog-Mimara.indd 3
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he figurative expression of Kruno Bošnjak developed along the lines of classical aesthetics, paying homage to an artistic tradition within which he carved out a niche for his personal poetics. By utilizing his aptitude for volume modelling, Bošnjak has by means of chamber sculpture, along with that of a monumental (memorial) character, built a respectable body of work among which religiously inspired pieces constitute an important component. By interweaving tactual with substance, Bošnjak shapes and bends the surface while cultivating his own measure of realistic descriptiveness. Similar principles apply to sculptures of full plasticity as well as reliefs. His sequence of the Stations of the Cross was supposed to be exhibited in the Church of the Assumption of the Blessed Virgin Mary in Nevesinje. However, since the church is currently being renovated, before Bošnjak’s Way of the Cross gets permanently housed the audience has received two opportunities to see it, firstly on the occasion of an exhibition held in the Art Gallery of the Croatian Cultural Centre established by King Tomislav Publishing House in Čapljina in 2014, and secondly – now in Zagreb.
The aforementioned showpiece was cast in low relief technique, as a sort of relief-painting, with grooves cut into the framework of the drawing, by deepening the basic silhouettes of the characters and by elaborating on figurative details on their faces and the curvature of the drapery. Most of the scenes are set in a horizontal composition, whereas only three have a vertical orientation (Jesus is condemned to death, Crucifixion, Descent from the Cross) and all the Stations except for the First and the Fourteenth have the cross as a dominant layout. The cross is not only a meaningful landmark integral to the Way of the Cross, but also functions as a structural form in connecting characters, and as a reference point when balancing out of the relief’s rhythm. Bošnjak conceives the Way of the Cross on two distinct visual levels: the concrete figurative scene and its surroundings (partially), and interior space with imperceptible vibrancy in the surfaces of identical colour. Images assembled together do not only present a neutral frame of events, in order to make them more conceivable, they also form a surface which, by the uniformity of tone coupled with the brilliant immateriality of light, augments the contentual shriek of each par-
ticular scene. The space of the abolition of objective associativity (if it is to be understood as an ultimately purified landscape) becomes a meditative belt, where a physical void grows into the conception of the spiritual. In the process of organizing his scene Bošnjak, devoid of any scheme, by means of an intriguing tension of the form depicts an array of expressive countenances of Christ, Mary, Veronica, John, Nicodemus, and even the women of Jerusalem. He has brought into balance the nuances and focuses of the masses (surfaces) accentuating by the position of characters the direction of their movement, encumbrance, tactility, and most importantly – their emotions. Based on a sculptural approach, the protagonists in the great theme of the Via Crucis are rendered rather plastically, although by Bošnjak’s applying of a more liberal treatment they also get affected by striking lacerations, accompanied by expressions of pain, care, compassion, and yet of cold and detached observation. By aligning the figures in view of their contortedness and hunchedness, with an elongation beyond proportional legitimacy, Bošnjak moreover creates visual bonds synonymous with their content stemming from the atmosphere, both in thought and reality.
His visual artisanship is underscored by means of masterfully designed drapery (sometimes by a quite fortunate use of the ornamental), with sloping creases, cannelures of fabric suggestively covering the bodies, but also when depicting a bare, bruised Christ. Small and large luminous abysses (thus adequately encompassing the shadows too), incited by the sensuality of the relief are integrated into the tissue of the surface, and as an art and visual adornment, they represent the Light on the Way of Salvation. Bošnjak’s Way of the Cross primarily cast in plaster enables a painterly treatment of the surface. Consequentially, the chromaticism of the figurative sections of the polyptych is distinctively brown, with gilded sifting undertones, while the space itself resonates in orange variants. This is a logical and simple coloristic dialogue of harmonious sonority, based not only on the contrast value, but also on the possible symbolism of interpretation, pertaining to the earthly clay and infinite heaven. Colour relativizes the objective size of the relief. The dramatics of the reality of the Cross is compressed into the synthesis of the group’s outline, namely the characters’, as the territory of tonally enriched plains, or mounds on the ground pulsates
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with vividness extending well beyond dimensional landmarks. The reason for this lies in the nature of religious thematics, faith embodied in the artistic act. Ultimately Bošnjak’s subtitled his Way of the Cross as “Follow Him”. He justified it with convincing expression, heralding his symbolic imprint on the effigy of Christ on the Calvary. From a pictorial vantage point, Bošnjak sets out with realistic diligence, even portraitistic precision of characters, types, countenance, and age. There is of course no direct knowledge about their real appearance, but the past two millennia pose no obstacle when it comes to immersing oneself in time and space. In other words Bošnjak combines the descriptiveness of events with his own intimate struggles. By sheer originality of his portrayal of the Way the Cross he transforms himself into a modern Simon of Cyrene, a witness who in an artistic ardour conjoins this type of devotion commenced back in the 15th century. It was then brought to Europe by a Dominican friar Álvaro of Córdoba, where it was spread throughout the Old Continent by Franciscans in the 17th century. Even today it proves to be quite current and close to the faithful, indeed much sought after in the turmoils of everyday life. Stanko Špoljarić
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PASIONSKA BAŠTINA
Kruno Bošnjak
KRIŽNI PUT Way of the Cross
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Muzej Mimara Zagreb 21.3.-4.4. 2015.
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