| Abstract | Atika desnog boĉnog oltara sv. Ane pripada nekada bogatom baroknom inventaru kapele sv. Jakova na Oĉuri. Desni boĉni oltar sv. Ane datira iz 18. stoljeća, toĉnije 1754. godine, kako je navedeno u Kanonskim vizitacijama.1 Povijest prema kapeli nije bila nimalo blaga, a danas, nekada opseţan inventar, broji oko dvadesetak skulptura, nekoliko dijelova oltarne arhitekture i ornamenata, kao i dva medaljona - slike na platnu, od kojih jedan pripada atici boĉnog oltara sv. Ane. Odsjek za konzerviranje i restauriranje umjetnina Akademije likovnih umjetnosti u Zagrebu još od 2011. godine aktivno suraĊuje s Konzervatorskim odjelom u Krapini i od tada se u okviru nastave, diplomskih radova i restauratorske prakse odvijaju konzervatorsko-restauratorski radovi na preostalom drvenom invetnaru kapele sv. Jakova. Konzervatorsko-restauratorski radovi na atici oltara sv. Ane izvoditi će se sukladno svim prijašnjim radovima u kapeli, kako bi se rezultati mogli skladno prezentirati i zaokruţiti u cjelinu.
Na atici su jasno vidljivi tragovi vremena, zbog teške sudbine kapele, ali i nemara, ĉestih premještanja i pohrane u neadekvatnim uvjetima, što materijal poput drva teško moţe preţivjeti bez (ne)vidljivih posljedica. I Gjuro Szabo napominje:
“Krivnja za propast jamačno dobrih djela leži donekle već u materijalu samom. Redovito su oltari građeni od drveta, koje u vlažnim crkvama lako propada. No to nije jedini uzrok: imademo drugdje iz gotičkoga, naročito iz kasnogotičkoga doba vrlo doro sačuvanih oltara, od kojih se nije izgubio ni najmanji komadić, i nije kroz stoljeća trebalo restauratora. Mnogo je više krivnje za propadanje naših oltara u zakonima mode. Poznato je, da svako doba, koje misli, da ima neki novi ukus, novi “stil”, drži, da je sve, što je od prošloga doba ostalo, barbarsko i neukusno, pa da to treba odstraniti. Rijetki su, koji su umjetninu cijenili po umjetničkoj vrijednosti ne osvrćući se na često sasvim neopravdane zahtjeve svoga vremena.”2
Atika je dopremljena na Akademiju likovnih umjetnosti u Zagreb iz improvizirane ĉuvaonice u Mariji Bistrici u studenom 2018. godine na inicijativu izv. prof. mr. art. Zvjezdane Jembrih i studenta 5. godine Ivana Goldina, kako bi se na objektu proveli konzeravorsko-restauratorski radovi i adekvatna istraţivanja. Djelatnici Hrvatskog restauratorskog zavoda obavili su na atici djelomiĉnu preventivnu zaštitu 2009. godine kako bi zaustavili daljnje opadanje polikromije te je od tada napokon doĉekala red za provedbu nuţnih konzervatorsko-restauratorskih postupaka. Već pri prvom pogledu na atiku smještenu u improviziranoj ĉuvaonici jasno su bila vidljiva brojna mehaniĉka oštećenja, mali postotak oĉuvane polikromije (kojoj je prijetilo opadanje), prljava površina nosioca i preostalog slikanog sloja, crvotoĉina i devastirana struktura drva s nedostajećim (ili djelomice oĉuvanim) dekorativnim elementima. Pristup atici biti će primijenjen kao i kod svih ostalih skulptura iz kapele sv. Jakova, kako bi se dosljedno i etiĉki izveli konzervatorsko-restauratorski radovi na svim preostalim dijelovima inventara. Uz konzervatorske postupke: dezinsekciju, ĉišćenje nosioca i polikromije, podljepljivanje polikromije i konsolidaciju nosioca, biti će i manjih restauratorskih zahvata: minimalne nadoknade nedostajućih dijelova nosioca arhitekture atike (koji su djelomiĉno postojali i na fotografijama iz 2009. godine te na arhivskim fotografijama), te spajanje svih preostalih dijelova atike u cjelinu. Glavni cilj konzervatorsko-restauratorskih radova na inventaru kapele sv. Jakova na Oĉuri jest sprijeĉiti daljnje propadanje preostalog invetntara, dokumentirati sve dijelove, uspostaviti cjelinu te postići ĉitljivost svih dijelova i cjeline. U tom smislu planira se povratak preostalog inventara u kapelu, koja je danas bez inventara i u kojoj se dovršavaju dugogodišnji radovi obnove. Svi dosadašnji radovi na kapeli sv. Jakova te oni koji će tek uslijediti primjer su i nada u spas preostalog inventara i drugih, mnogih crkava i kapela koje dijele sliĉnu sudbinu. Misao vodilja ovog diplomskog rada inspirirana je osvrtom Gjure Szabe, s nadom da će je i budući naraštaji naše profesije slijediti:
“Ljepota tih predmeta preživjela je i preživjet će i one teške epohe, u kojima se gubi smisao ljepote pred užasom borbe za opstanak. Ta i svi ovi predmeti, bili drevne kule, gradovi, dvorci, crkve ili crkvice, proživjeli su ne jedared ovakva vremena. Ljudi, koji su ih stvorili i voljeli, odavna su iščeznuli, drugi su se rodovi njima veselili, a opet iščezli, dok oni spomenici stoje nepromenjenji u vremenu (...) I ova će oluja proći - ljudi će ponestati, a predmeti će ostati lijepi u ljepoti, za koju nema vremena.”3
1 Miletić, Drago; Valjato Fabris, Marija; Kapela sv. Jakova na Oĉuri, Stanje i razvoj i prezentacija, Godišnjak zaštite spomenika skulptura Hrvatske, 20/ 1994. – 21/ 1995., Zagreb, str. 21
2 Szabo, Gjuro, Umjetnost u našim ladanjskim crkvama, Narodne starine, Zagreb, 1929., str. 27
3 Szabo, Gjuro, Umjetnost u našim ladanjskim crkvama, Narodne starine, Zagreb, 1929., str. 3. |
| Abstract (english) | The attic of the right side altar of St. Anne belongs to the once rich baroque inventory of the Chapel of St. Jacob on Oĉura. The altar dates back to the 18th century, more precisely to the year 1754, as stated in Canonical visitations.
History did not spare the chapel in any way and the once voluminous inventory currently contains around twenty sculptures, together with a few examples of altar architecture and ornaments, as well as two medallions - pictures on canvas, one of which belongs to the attic of the side altar of St. Anne.
The Department for Conservation and Restoration of Works of Art, Academy of Fine Arts in Zagreb, has been actively cooperating with the Conservation Department in Krapina since 2011. Since then, conservation and restoration works on the Chapel of St. James are being performed within classes, master’s projects and restoration praxes. Conservation and restoration works on the altar of St. Anne will be performed in accordance with all the previous chapel works, in order for the results to be fully rounded and presented in a harmonious way.
There are clearly visible traces of time on the attic due to the cruel destiny of the chapel, but also due to negligence, frequent relocations and storage in inadequate conditions, which a material such as wood can hardly survive without any visible consequences. Gjuro Szabo also says:
"The guilt for the deterioration of great works of art lies somewhat in the material itself. The altars are usually made of wood, which easily deteriorates in humid churches. However, this is not the only cause: we have truly well preserved altars elsewhere, in Gothic art, especially in Late Gothic art, none of which have lost even the smallest of pieces and for centuries there was no need for art restorers. A lot more guilt for the deterioration of our altars lies in the laws of fashion. It is well known that every era that considers itself having a new taste, a new "style", sees everything from the past as barbaric and tasteless, and thereby in need of removal. There were only a few who appreciated a work of art for its artistic value, ignoring the often unjustified demands of their time. "
The attic was delivered to the Academy of Fine Arts in Zagreb from an improvised storeroom in Marija Bistrica in November 2018 under the initiative of Assoc. prof. Zvjezdana Jembrih and a 5th year student, Ivan Goldin, in order to carry out conservation and restoration works and adequate research on the object. Employees of the Croatian Conservation Institute carried out a partial preventive protection procedure on the attic in 2009 to stop further flaking of the polychromy. The attic has finally waited its turn for the necessary conservation and restoration works.
At first glance at the attic placed in the storeroom one could already clearly see the numerous mechanical defects, the small percentage of preserved polychromy (which was threatening to fall off), the dirty surface of the wood and the remaining painted layer, the wormholes and the ruined wood structure with missing (or partially preserved) decorative elements.
The approach will be as with all other sculptures from the Chapel of St. James, in order to congruously and ethically carry out conservation and restoration works on all the remaining parts of the inventory.
In addition to conservation procedures (disinsection, cleaning of the wood and the polychromy, fixing of the polychromy and the consolidation of the wood) there will also be minor restoration interventions: minimal restoration of the missing parts (which partly existed in the photographs from 2009 and in archive photographs). The main goal of the conservation and restoration works in the chapel of St. Jacob on Oĉura is preventing further deterioration of the remaining inventory, documenting all parts, establishing a whole, and achieving the legibility of all parts and of the whole. In that regard, the return of the remaining inventory to the chapel is planned. There is currently no inventory in the chapel and the long-lasting renovation works are being completed.
All of the work on the chapel of St. James and the one that is going to follow are an example of and the hope of saving the remaining inventory and the inventory of many other churches and chapels that share the same destiny.
The guiding principle of this master’s project is inspired by the words of Gjuro Szabo, in the hope that future generations of our profession will follow them:
"The beauty of these objects has survived and will survive even the most difficult of times, in which the sense of beauty is being lost before the horror of the struggle for survival. For all these objects, whether they are ancient towers, cities, castles, churches or chapels, have more than once survived such times. The people who created them and loved them have long since disappeared, others have rejoiced in them, and yet again perished, while the monuments stand, unchanged by time (...) This storm will also pass, and the objects will remain beautiful in their beauty, for which there is no time.” |
