Search

Nakon što se u prošlom broju Priloga pozabavio “Kamenom iz Belca”, rijetkim primjerom fi guralne srednjovjekovne skulpture iz kontinentalne Hrvatske (vjerojatno 12. stoljeće), autor ovdje obrađuje “Kamen iz Križovljana”, sedmoglavi reljef (sve glave su izgleda muške) visoko na fasadi crkve Sv. Križa u Križovljanu između Ludbrega i Varaždina (12. ili 13. stoljeće). Znanstvenici su “kamen” dosada smatrali rimskim provincijalnim radom (Gorenc-Vikić), rimskom spolijom “resemantiziranom” u kršćanskom kontekstu (Stošić), ili romaničkim prikazom donatora (A. Horvat). Pažljivom analizom djela, posebice njegove kompozicije, zaključuje se da je rad najvjerojatnije romanički reljef pod utjecajem rimske provincijalne plastike, te nekih zasad ne sasvim jasnih keltskih izvora inspiracije. Kao i onaj iz Belca, “Kamen iz Križovljana” je bez konteksta bilo u hrvatskom dijelu Panonije, bilo u ostatku Karpatskog bazena. Izražava se nada da bi se strpljivim radom na drugim fragmentima “bez konteksta” (Arača, Somogyvár, itd.) takav kontekst mogao pojaviti. Pri tome dobro razumijevanje rimskog i pred-rimskog konteksta Panonije može igrati veliku ulogu. Reljef iz Križovljan, čak ako i “resemantiziran”, predstavlja vjerojatno braću templarske (kasnije ivanovačke) “kuće”, koja je možda postojala u Križovljanu, iako oko toga postoje velika razmimoilaženja u znanosti., Having introduced in the latest issue of the Prilozi, “The Stone from Belec,” a rare example of figured medieval sculpture from Continental Croatia (probably 12th century), the author deals here with “The Stone of Križovljan,” a relief bearing seven heads (all apparently male) high on the facade of the 12th-13th century church of the Holy Cross at Križovljan (between Ludbreg and Varaždin). The scholars have so far seen the stone as a provincial Roman work (Gorenc-Vikić), as a Roman spolium reused and “resematicised” within a Christian context (Stošić), or as a Romanesque representation of donors (A. Horvat). By a careful analysis of the piece, especially its composition, the author concludes that the relief is a Romanesque work based on a Roman provincial model, and also, possibly, on some at this point still difficult to identify Celtic sources of inspiration. Just like the “Stone from Belec” that of Križovljan is “out of context” be it in Croatian Pannonia, or in the entire Carpathian basin, but there is a hope that by future careful scholarship of all available “out of context” pieces (Aracs, Somogyvár, etc.), such a context would emerge. In achieving this, pre-Slavic, Roman, and pre-Roman contexts of Pannonia, and their proper understanding, may play in important role. The relief from Križovljan, even if “resemanticised” probably represents members of a Templar (later Hospitaler) “domus”, which may have existed at Križovljan, although on this point there is a considerable degree of disagreement among scholars.