{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-LKRD59W7/059b-0d19-0f51e4ad9e4-8bb2b85f7-0c4c/PDF","dcterms:extent":"29409 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-LKRD59W7/afe9101a-3175-4f50-ac9d-57230ff0218c/TEXT","dcterms:extent":"918 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:DOC-LKRD59W7/62b4118a-01cd-430c-a366-dcb9f0b95eab/WEB","dcterms:extent":"0 KB"}],"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:DOC-LKRD59W7","dcterms:issued":"2021","dc:creator":"Roškar, Boštjan","dc:contributor":"Vidmar, Polona","dc:format":{"@xml:lang":"sl","#text":"XIV, 543 str., 30 cm"},"dc:identifier":["COBISSID:82025731","URN:URN:NBN:SI:doc-LKRD59W7"],"dc:language":"sl","dc:publisher":{"@xml:lang":"sl","#text":"B. Roškar"},"dc:source":{"@xml:lang":"sl","#text":"visokošolska dela"},"dc:subject":[{"@xml:lang":"sl","#text":"18.st."},{"@xml:lang":"en","#text":"18th century"},{"@xml:lang":"en","#text":"altar architecture"},{"@xml:lang":"sl","#text":"baročno kiparstvo"},{"@xml:lang":"en","#text":"Classicism"},{"@xml:lang":"en","#text":"dissertations"},{"@xml:lang":"en","#text":"gliding"},{"@xml:lang":"sl","#text":"Holzinger, Jožef"},{"@xml:lang":"sl","#text":"klasicizem"},{"@xml:lang":"en","#text":"Late Baroque"},{"@xml:lang":"sl","#text":"oltarna arhitektura"},{"@xml:lang":"en","#text":"ornamentation"},{"@xml:lang":"sl","#text":"ornamentika"},{"@xml:lang":"en","#text":"painting"},{"@xml:lang":"sl","#text":"poslikava"},{"@xml:lang":"sl","#text":"pozlata"},{"@xml:lang":"sl","#text":"pozni barok"},{"@xml:lang":"en","#text":"Rococo"},{"@xml:lang":"sl","#text":"rokoko"},{"@xml:lang":"sl","#text":"slovenski kiparji"},{"@xml:lang":"sl","#text":"slovensko kiparstvo"},{"@xml:lang":"en","#text":"Styria"},{"@xml:lang":"sl","#text":"Štajerska"}],"dc:title":{"@xml:lang":"sl","#text":"Figura, ornamentika in oltarna arhitektura v kiparstvu Jožefa Holzingerja (1735-1797)| doktorska disertacija|"},"dc:description":[{"@xml:lang":"sl","#text":"The aim of this doctoral thesis titled Statues, Ornaments and Altar Architecture in the Oeuvre of Jožef Holzinger (1735-1797) is to emphasize the importance of a comprehensive analysis of 18th century religious sculpture. In their work, the researchers of Baroque sculpture in Slovenia have previously focused almost solely on figural works, even though the majority of the discussed material is of religious nature, characteristic of which is close connection or intertwinement of figures, ornamentation, and altar architecture. The ornamentation completes the figure, while the architecture represents its background. A partial discussion of altar wholes or only figural works contributed to a small collection of data obtained on authorship, the time of origin, and provenance. An extensive discussion of artworks and the consideration of a wider context are namely a prerequisite for appropriate dating and attribution, especially considering the fact that for a large part of Baroque sculpture in Slovenian Styria archival sources are either not preserved or are unprocessed or unorganized. The study of the defined topic was most cogent precisely on the example of Jožef Holzinger's sculpture since his almost 40 years long continuous sculptural work encompassed three style periods: Late Baroque, Rococo, and Classicism. Numerous preserved works from all three style periods represented a collection so large that it allowed for the research to comprehensively encompass the issues. Moreover, the research has given results that are widely applicable and transferrable to the study of other sculptors, while some findings can also be used in studying painted works. Holzinger dedicated himself with equal care to sculptural and figural works, ornamentation, and altar and pulpit architecture, even though the latter was not in his domain in regard to the execution, however, he undoubtedly planned it. The review of the state of research shows that the researchers of 18th century sculpture in Slovenia and Central Europe analysed the topic partially. The majority of researchers dedicated themselves only to figural works, some only to ornamentation, while the research of altar and pulpit architecture is very rare. The main objective of this thesis is a systematic and an in-depth study of Baroque sculpture on the example of Jožef Holzinger's oeuvre. An extensive catalogue of Holzinger's works with comprehensive content and supported by photographic material was the basis for the subject areas of the analytical part of the thesis. Holzinger's oeuvre is discussed for the first time from the point of view of the relationship between figural works, ornamentation, and altar and pulpit wholes, with which the thesis fundamentally complements the existing research of Baroque sculpture in Styria and Slovenia. Since a large part of the research was dedicated to stylistic changes of Holzinger's figural works and ornamentation as well as the intertwinement of style guidelines, the thesis deepens the knowledge of why the intertwinement of styles came about in the chosen period. Among the main objectives of the thesis was to thoroughly research and present ornamentation, its origin, models, and graphic prints that were used in sculptural and carving workshops on the example of an oeuvre of one sculptor, which also highlighted the work of other sculptors in the selected area. Another important objective of the thesis was a classification of the types of altar architecture or a systematic determination of the typology of an important part of altar wholes, which have been mostly neglected in the existing research on Baroque sculpture. The thesis also shed light on the previously completely overlooked aspect of polychromes. The part that the painters, who gave the finished look to the altar and pulpit wholes, played in the finalization of church furnishings, is highlighted. The commissioners and their role in the design of iconographic programs of church furnishings"},{"@xml:lang":"sl","#text":"Namen doktorske disertacije z naslovom Figura, ornamentika in oltarna arhitektura v kiparstvu Jožefa Holzingerja (1735-1797) je izpostaviti pomen celovite obravnave sakralnega kiparstva 18. stoletja. Raziskovalci baročnega kiparstva na Slovenskem so se v svojih raziskavah doslej skoraj brez izjeme posvečali zgolj figuraliki, čeprav je večina obravnavanega gradiva sakralnega značaja, zanj pa sta značilna tesna povezanost oziroma prepletanje med figuro, ornamentiko in oltarno arhitekturo; ornamentika figuro dopolnjuje, arhitektura pa predstavlja njeno ozadje. Parcialno obravnavanje oltarnih celot oziroma zgolj figuralike je doprineslo k manjšemu naboru pridobljenih podatkov o avtorstvu, času nastanka ali provenienci. Celostna obravnava umetnin in upoštevanje širšega konteksta sta namreč predpogoja za ustrezne datacije in atribucije, zlasti ob upoštevanju dejstva, da arhivsko gradivo za velik del baročnega kiparstva na slovenskem Štajerskem bodisi ni ohranjeno bodisi ni v razvidu, oziroma je še neobdelano ali neurejeno. Preučevanje opredeljene tematike je bilo najtehtnejše prav na primeru kiparstva Jožefa Holzingerja, saj je njegovo skoraj štiridesetletno kontinuirano kiparsko delovanje zajelo tri slogovna obdobja: pozni barok, rokoko in klasicizem. Številna ohranjena dela iz vseh treh slogovnih obdobij so predstavljala dovolj velik nabor, ki je omogočil, da je študija celostno zajela problematiko in dala rezultate, ki so širše uporabni in prenosljivi na preučevanje drugih kiparjev, nekatere izsledke pa je mogoče uporabiti tudi pri proučevanju slikarskih del. Holzinger se je enako skrbno posvečal kiparsko-figuralnemu delu, ornamentiki in oltarnim ter arhitekturam prižnic, čeprav slednje niso bile v njegovi domeni v izvedbenem smislu, jih je pa gotovo načrtoval. Iz pregleda stanja raziskav je razvidno, da so se raziskovalci kiparstva 18. stoletja na Slovenskem in v srednjeevropskem prostoru s tematiko ukvarjali delno. Večina raziskovalcev se je posvečala samo figuraliki, nekateri samo ornamentiki, zelo redke pa so raziskave oltarnih in kulis prižnic. Glavni cilj disertacije je sistematična in poglobljena študija baročnega kiparstva na primeru opusa Jožefa Holzingerja. Obsežen, vsebinsko izčrpen in s fotografskim gradivom podprt katalog Holzingerjevih del je osnova za vsebinske sklope analitičnega dela disertacije. Holzingerjev opus je prvič obravnavan z vidika odnosa med figuraliko, ornamentiko in oltarnimi oziroma celotami prižnic, s čimer je disertacija bistveno dopolnila dosedanje obravnave baročnega kiparstva v štajerskem in slovenskem prostoru. Ker je velik del raziskav namenjen stilnim spremembam Holzingerjeve figuralike in ornamentike ter prepletanju stilnih smernic, je disertacija poglobila vedenje, zakaj je v izbranem časovnem obdobju prihajalo do prepletanja stilov. Med bistvenimi cilji disertacije je na primeru opusa enega kiparja poglobljeno raziskati in predstaviti ornamentiko, njen izvor, zglede in grafične predloge, ki so jih uporabljali v kiparskih in rezbarskih delavnicah, s čimer je osvetljeno tudi delo drugih kiparjev obravnavanega območja. Pomemben cilj disertacije je klasifikacija tipov oltarnih kulis oziroma sistematična opredelitev tipologije pomembnega dela oltarnih celot, ki so bile v dosedanjih raziskavah baročnega kiparstva večinoma zapostavljene. Disertacija je osvetlila tudi doslej povsem prezrt vidik pol ikromacij. Izpostavljen je delež, ki so ga pri finalizaciji cerkvene opreme imeli slikarji, ki so dali končni videz oltarnim in celotam prižnic. Obravnavani so tudi naročniki in njihova vloga pri oblikovanju ikonografskih programov cerkvene opreme in njihovi morebitni vplivi na izbor stilnih elementov. Z obravnavo naročnikov kiparskih del Jožefa Holzingerja je osvetljen pomen Maribora kot regionalnega kiparskega središča druge polovice 18. stoletja. Prikazano je tudi, kako daleč na območje historične Štajerske in Hrvaške so segla dela mariborskih ustvarjalcev"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"visokošolska dela"},{"@xml:lang":"en","#text":"theses and dissertations"},{"@rdf:resource":"http://www.wikidata.org/entity/Q1266946"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:DOC-LKRD59W7","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:DOC-LKRD59W7"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:DOC-LKRD59W7/059b-0d19-0f51e4ad9e4-8bb2b85f7-0c4c/PDF"},"edm:rights":{"@rdf:resource":"http://rightsstatements.org/vocab/InC/1.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Univerza v Mariboru, Filozofska fakulteta"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:DOC-LKRD59W7/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:DOC-LKRD59W7"}}}}