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Konne figury władzy

100%

Laberschek M.

Stan Rzeczy

2020

issue 2(19) Pomniki

39-72

Tradycja pomników konnych liczy sobie ponad 2500 lat. Początki sięgają starożytnej Grecji i Rzymu, natomiast z jej licznymi przejawami można spotkać się również i współcześnie; zresztą nie tylko w Europie, ale w zasadzie na wszystkich kontynentach. Monumenty te nie są przypadkowe – mają pełnić określoną funkcję społeczną. Świadczy o tym zarówno symbolika wierzchowca wraz z jeźdźcem, jak i postać samego jeźdźca. Poprzez analizę pomników konnych autor pracy podjął się próby odpowiedzi na pytanie: jakie są funkcja i znaczenie społeczne pomników konnych jako figur władzy i jak to znaczenie zmieniało się w czasie? Dzięki analizie udało się wyodrębnić cztery główne okresy władzy manifestowanej za pomocą pomników konnych: 1) starożytny okres władzy absolutnej, 2) średniowieczny okres władzy boskiej, 3) nowożytny okres władzy absolutnej, 4) współczesny okres władzy demokratycznej.

The tradition of equestrian monuments is over 2,500 years old. The origins of such monuments date back to ancient Greece and Rome, and their numerous manifestations can be found today not only in Europe but on all continents. These monuments are not accidental – they perform a specific social function which is indicated both by the symbolism of a horse and rider, as well as by the figure of the rider himself. By analysing equestrian statues, the author of the paper attempts to answer the question: What is the function and social significance of equestrian statues as figures of power and how has this significance changed over time? Four main periods of power, manifested in equestrian statues, have been distinguished: 1) the ancient period of absolute power, 2) the medieval period of divine power, 3) the modern period of absolute power, 4) the modern period of democratic power.

Bartolomeo Colleoni: un condottiero a cavallo di due lagune

100%

Mazzini M.

Italica Wratislaviensia

2021

issue 12.1

197-214

This article begins by broadly examining the history of the emergence and subsequent evolution of equestrian monuments, in both their commemorative and celebratory functions. Then, the article seeks to reconstruct the events leading to the construction of the mounted monument of Bartolomeo Colleoni, designed by Andrea del Verrocchio, and of the creation of its replica, still present in Szczecin, ordered in the early years of the 20th century for the inauguration of the City Museum. The aim of the article is to present certain parallels in the destinies of the two artworks, both of which have fallen victim to politically motivated manipulations that result from efforts to “domesticate” the monument and erase traces of foreign influence upon the city. The origins of the very concept of equestrian monuments reach as far back as ancient times, while their sculptural typology encompasses art from geographically distant cultures, ranging from Europe to the Far East. In the Medieval period, the function of such monuments began to gradually shift, evolving from a commemorative and mnemonic one—related to funeral ceremonies and located in the burial places of the person immortalised in the sculpture itself—towards a more celebratory one, thus concluding a cycle that had begun in Antiquity. Throughout the Modern period, the monuments represented personas of the past characterised by particularly outstanding charisma and surrounded by an aura of virtue—personas that would embody the values propagated by the mercantile-focused bourgeoisie, as was the case with Szczecin’s statue of Colleoni.

Dopo aver ripercorso a grandi linee le vicende della nascita e dello sviluppo del monumento equestre, nelle sue funzioni commemorativa e celebrativa, l’articolo ricostruisce le fasi che portarono alla realizzazione della statua a cavallo veneziana dedicata a Bartolomeo Colleoni, su progetto di Andrea del Verrocchio, e della sua copia tuttora esistente a Stettino, ordinata nei primi del Novecento per l’inaugurazione del Museo Civico. Lo scopo è quello di dimostrare l’esistenza di un certo parallelo nel destino delle due opere, entrambe vittima di manipolazioni di tipo politico, incentrate sulla volontà di “addomesticare” l’opera d’arte e cancellare le tracce dell’influsso straniero sulla città. Le origini del monumento equestre sono antichissime e tale tipologia scultorea contraddistingue culture anche geograficamente lontane, dall’Europa all’estremo oriente. Nel Medioevo la sua funzione cambia progressivamente, evolvendosi da quella commemorativa, legata alla cerimonia funebre e al luogo di eterno riposo della figura rappresentata verso quella celebrativa, chiudendo così quel ciclo che si era aperto nell’Antichità. In epoca moderna, personaggi del passato, dotati di particolare carisma e avvolti da un’aura di virtù, potevano incarnare i valori propugnati dalla borghesia mercantile, come nel caso del Colleoni stettinese.

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Konne figury władzy

Bartolomeo Colleoni: un condottiero a cavallo di due lagune