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ПАПСКИ ПОРТРЕТИ У РИМУ ОД КРАЈА 6. ДО ПОЧЕТКА 9. ВЕКА: КА РАЗУМЕВАЊУ РАЗВОЈА ВИЗУЕЛНОГ ИДЕНТИТЕТА ПАПА У РАНОМ СРЕДЊЕМ ВЕКУ
DOI: 10.34298/IC2372011Т
УДК: 7.041.5:272-732.2:929“05/08“
стр. 11–42
језик: српски
Aпстракт:
Рад је посвећен разматрању папских портрета насталих у Риму, у временском распону омеђеном понтификатима папа Гргура I Великог (590–604) и Лава III (795–816). Како је овај период протекао у знаку систематске изградње ауторитета Рима као централног топоса читаве хришћанске икумене, града цркве и папског града, у ком је, као и на читавом Западу, моћ папа неприкосновена, сачувани папски портрети представљају значајну трасу ка разумевању изградње идентитета и ауторитета поглавара римске цркве, а последично и њиховог визуелног идентитета и (само)репрезентације, као последице бурних друштвено-политичких и културно-историјских промена. Сходно томе, посебна пажња ће бити посвећена различитим типологијама папских портрета, ктиторским, репрезентативним, комеморативним и др., с циљем извођења закључака о генези imago papae, те развоју и променама у иконографији папског портрета у уметности и визуелној култури раносредњовековног Рима.
Кључне речи:
Папе, Рим, портрет, рани средњи век
Ognjen Tutić
PORTRAITS OF POPES IN ROME FROM THE LATE 6TH TO EARLY 9TH CENTURY: TOWARDS THE UNDERSTANDING OF THE DEVELOPMENT OF THE VISUAL IDENTITY OF POPES IN THE EARLY MIDDLE AGES
DOI: 10.34298/IC2372011Т
UDC: 7.041.5:272-732.2:929“05/08“
pp. 11–42
language: serbian
Abstract:
The paper examines the papal portraits created in Rome, from the time of Pope Gregory I the Great (590–604) until the pontificate of Leo III (795–816). As this period was marked by the systematic construction of the authority of Rome as the central topos of the entire Christian ecumene, the city church and the papal city, in which, as in the entire West, the power of popes was inviolable, the preserved papal portraits help understand the construction of identity and authority of the head of the Roman Church, and thus of their visual identity and (self)representation, as a consequence of turbulent socio-political and cultural-historical changes. Therefore, a particular focus will be placed on different typologies of papal portraits –ktetor, representative, commemorative, etc., with the aim of drawing conclusions about the genesis of the imago papae, and the development and changes in the iconography of the papal portrait in the art and visual culture of early medieval Rome
Keywords:
Popes, Rome, portrait, early Middle Ages
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