| Abstract | Katalonija je autonomna regija u Španjolskoj koja već stoljećima ima naklonost prema osamostaljenju. Na tom području obitavali su brojni narodi: Rimljani, Vizigoti, Mauri, Franci. Nakon prekida veza s Francima, samostalne katalonske grofovije su jačale, međutim ubrzo je došlo do ujedinjenja s krunom Aragona, a nešto kasnije i s Kastiljom, kada su više-manje stvorene granice današnje Španjolske. Katalonski je narod već od tzv. Rata žetelaca u 17. stoljeću težio odcjepljenju, a u 19. stoljeću ta se želja počela još više isticati, pa je započela renesansa katalonske kulture i potraga za vlastitim nacionalnim identitetom.
U tom je kontekstu romanička umjetnost imala vrlo važnu ulogu s obzirom da je Katalonija jedna od najbogatijih regija u svijetu što se tiče romaničkih spomenika. Danas je sačuvano preko 2 500 romaničkih crkvi te brojni fragmenti freski, antependija i skulpture. Unutar tog ogromnoga umjetničkog bogatstva, ovaj se rad uže bavi s Vall de Boíom, malom dolinom bogatom kulturnom baštinom. Donosi se pregled crkvi, slikarstva i skulpture u toj dolini, a obrađuju se i prvi posjeti tom području koju su ipak prvenstveno bili koncentrirani na prirodna bogatstva. Gradnja željeznice u 19. stoljeću u ovu je, prije praktički nedostupnu dolinu dovela veći broj posjetitelja koji su se počeli zanimati i za umjetničku baštinu Vall de Boía, ali tek početkom 20. stoljeća dolazi do potpunog otkrića katalonske romanike, zahvaljujući arheološko-pravnoj misiji koju je organizirao Institut za katalonske studije s ciljem izrade inventara svih kulturnih dobara te gradnje katalonske države i nacionalnog identiteta. Cilj je uspješno ostvaren, međutim zanimanje kolekcionara dovelo je u opasnost taj novootkriveni simbol katalonske nacije, zbog čega je uslijedio dugotrajan proces skidanja freski iz crkvi te njihovo prenošenje u Barcelonu, u današnji Nacionalni muzej katalonske umjetnosti (katalonski: Museu Nacional d'Art de Catalunya; skraćeno: MNAC). Na kraju, ovaj rad ima za cilj odgovoriti na pitanje zašto u Kataloniji postoji tako velika emocionalna naklonost baš romaničkoj umjetnosti koja u usporedbi s kasnijim stilskim razdobljima ipak nije donijela toliko značajne stilske inovacije. |
| Abstract (english) | Catalonia is an autonomous region in Spain, which has had a penchant for independence for centuries. Many different nations lived in its territory: Romans, Visigoths, Moors, Franks. After the end of relations with Franks, the independent Catalan counties were becoming stronger, but soon they became unified with the Crown of Aragon and later with Castile, when the borders of today’s Spain were more or less established. Since the Reapers’ war in the 17th century, the Catalan people have aspired to the separation, and in the 19th century that desire became even stronger, so the renaissance of Catalan culture and pursuit of national identity started. In that context, Catalan Romanesque art had a very important role, since Catalonia is one of the richest regions in the world when we talk about Romanesque monuments. Today there are 2500 churches, numerous fragments of frescoes, antependiums, and sculptures saved. Among that huge artistic wealth, this paper deals with Vall de Boí, a small valley rich in cultural heritage. This paper puts forward reviews of churches, paintings, and sculptures in the valley, and it also deals with first visits to that territory, which in the first place were concentrated on natural wealth. The railway construction in the 19th century is the reason why, in this previously practically unapproachable valley, more visitors interested in the artistic heritage of Vall de Boí came, but it was just at the beginning of the 20th century when Catalan Romanesque art was fully discovered, thanks to the archeological-juridical mission, organized by the Institute for Catalan Studies, whose aim was to create a complete cultural heritage inventory and to create a Catalan country and national identity. The aim was successfully achieved, but the collectors’ interest put this newly discovered symbol of the Catalan nation in danger, and that is why the long-lasting process of removing frescoes from the churches and transferring them to Barcelona to today’s National Art Museum of Catalonia (Catalan: Museu Nacional d’Art de Catalunya; abbreviated: MNAC) started. Finally, the aim of this paper is to answer the question of why Catalonia has a big emotional preference for the Romanesque art, although, in comparison with later stylistic periods, it did not bring some important innovations. |
