VELIČANSTVENO SLIKARSTVO KAO ČIN PREDSTAVLJANJA UNUTAR OBLASTI RITUALNOG
Ključne reči:
monumental painting, performativity, religion, ritual, symbolismApstrakt
In this essay, the author uses an interdisciplinary approach to analyze the place and role of monumental painting as a form of artistic expression both in historical context and in the context of modern social trends. The basic research problem in this essay is the question of the existence of a performative aspects of monumental painting placed in the context of ritual acts in contemporary society. To respond to this problem, the author believes that it is necessary to make deconstruction of the relation between monumental painting and these performative acts of religion. Also, according to the author these performativity of monumental painting must be understood on three levels of performativity - Performativity of a painter, Performativity of a painting, Performativity of an observer. The essey is structured acording to these tree levels.
The author argues that there are two planes of monumental painting, which are not excluding one another. Therefore, there is no separation of these two levels - physical determinants of monumental painting and cognitive contexts. In addition, the performativity of monumental painting is also considered from the aspect of semiotics. Starting from that, the very importatnt fact is the exsistence of significant connection and unity between symbols and paint, words and paint, as well as the important role and symbolism of space and symbolism of colors in the monumental painting. The essay points out that art is not merely imitation of external form but its goal is also the inner form, inner spirituality.
According to the above, the author argues and concludes that contemporary monumental painting which is deprived of religious spiritual aspect should be marked as performative one.
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