DOI Artikel:
Bajcurová, Katarína: K problematike česko-slovenských vztʹahov v sochárstve na Slovensku medzi dvoma vojnami
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51759#0238
42
K npoßjieMaTMKe Hexo-cjiosaijKMx othoihchmm b CKyjibirrype b CiouaKiin
b MOKBoeHHMM nepuop;
BOJiee MHTCHCMBHOC paBBMTMe CJIOBaiJKOM CKyjIMITypbl
Hanajioct jimuib nocue oSpaaoBaHwa caMOCTOBTCJibHoro
qexocJiOBaip<oro rocyflapcTBa b 1918 ro/iy. y nee, o/(iia-
KO, He ÖBIJI0 CTOJIb CMJIbHOM flOMaUIHCM Tpa^MIJMM, K3K
y Sojiee pasBMTon neincKoil CKyjibnrypM m OHa 3HaHH-
TeJibHO OTCTaßajia ot >kmbohmcm. nocjie 1918 rofla b Cjio-
BaKMH HacTynaer pa3BMTne oöniecTiici-rnoro aaxasa naivMT-
HMKOB, KOTOpOe «JIMTCJIBHOe Bpeiwa TOPMO3MJIO pa3BMTMC
KawepHOM CKyjibnTypM. CnoBapKaa CKyannTypa necjia Ha
ceSe b Hanajie cue/iw neKOTOpoň h3mbhoctm m hc ohchb
BbICOKOrO TeXHMHeCKOrO ypOBHB. EflMHCTBCHHOM CKyjIbll-
TypHOM JIMMHOCTBK) B CJI0B3KMM nOCJie nepBOM MMPOBOÜ
BOMHBI ÖblJI 51H KOHHapeK, KOTOpbIM ßO 3T0F0 >KMJI M p3-
öoTaii b CepÖMM. B Cjiob3kmm CHanana sannmau moho-
noiibHoe nojio>KeHMe OpaHTMineK ynpxa, TBopnecTBO ko-
Toporo, oflHaKO, c tohkm apenna co^epiKaHMa m cjiopMbi
öbijio y>i<e anaxpoHMSMOM, CBoeo6pa3HBiM KoppenaTOM
onncaTeabHO-cliojiKJiopMCTMHecKoro TBopuecTBa ero CTap-
raero Spaia — xyao/KHiiKa fioaecjia ynpxM.
B paiviKax MH<t>jiapMM naiviHTHMKOB Haxo^MjiM b Cjiobs-
kmm npMMCHeHMe TaioKe hchickmc CKyjibnTopbi. KpynHeü-
uieň aananeň TaKoro po/ia Sbiji fp3h«m03hbim hbmbthmk
M. P. IIlTecjiaHMKy Ha HaßepexcHOM Jlyrrasi b BpaTi-icjiaBe.
Ero c03naHMe nopyuMjiM HemcKOiviy CKyjibrrropy Bory-
MMJiy KacJjKe, kotopbim cosuaji Tpa^nnMOiiHbiM eipe na-
M8THMK, He yMMTblBSlOIHMÜ CBOK) CpCJiy, JIMIHB B 1938
ro;iy. M3 HMCJia paßoT hcihckmx CKyjibnTopoB b CaoBa-
kmm b MeiKBOeHHMM nepnofl cnenyeT ynoManyTb SpaTM-
caaBCKnn naiviaTHUK 51. A. KoMCHCKOMy paSoTBi OpaHTM-
meKa BnjiKa 1928 ro/ia, naMimtyio «oci<y n. M. IHadia-
pMKa na ero poæhom flOMe b ccjic KoGeanapoßO, paßoTBi
Hua HlTypcM 1922 ro^a m Taxace paßOTbi JlaflMcaasa Ula-
aoyna b BpaTMCJiase.
nocae 1918 roßa b npare oSynaancb mhofmc caoßap-
KHe CKyabnTopbi, mx xy^oxcecTBeHHoe pa3BiiTne npeiK^e-
BpeMCHHO npMTopMO3nao c03flaHiie naMmMKOB. 3to ot-
HOCMTca raaBHMM o6pa3OM k Mnpocaasy MOTOUiKe, koto-
pwM hc ocTaßMa nocae ceöa hm ojihofo 6oaee 3HaHHTeab-
HOro npoM3Bej(eHMa. Mosecji nocnnniMa npeB3omea ero
npejK/ic Bcero b khmcphom naacTMKe, b 'ihcthoctii gepe-
BÍIHHOM, M TaKJKC B 3KT3X. 3flCCb OH XCTSI 6bl BCK0JI3B
BiïMTaa CTHMyabi CBoero ynurean Hna Ulrypcbi. PaHHee
TBopnecTBO BoMiexa Mfpmckofo i-iecer na ceöe caejiM
MeniCKOro copMaabHCro 6biT0BM3Ma, kotopmm eiviy y«a-
aocb npeofloaeTB ropsKoň copwaabHOM kpmtmkom. Bxaan
JIaflMcaaBa MaňepcKoro, yneHMKa UlnaHneaa, cocToaa
b peabe<t>HOM TBopnecTBe, raaBHbiM o6pa3OM, o/piaKO,
b co3flaHMii Me^ancM, b to BpeMa KaK ero KaMepnue pa-
ÖOTbl ÖbiaM C T0HKM BbipaiKCHMa HeyCTOMHMBbie.
B KOHije TprißpaTbix ronOB npMxoflMT HOBoe nOKoaeHMe
caoBaijKMx cKyawiTOpoB, kotopmc oSynaancb b HemcxMX
nixoaax. 3to noxoaenne ya<e hc Haxonnaocb non Bana-
HM6M KOMMepiinOHaabHoro cosnaHMa na.MaTHMKOB, a na-
oßopoT, oho xynojKecTBCHHO co3peBaao b nepnon Bean-
Koro xo38MCTBeHHOro i<pM3Mca m non naBaeHMCM <t>amw3-
Ma m bomhbi. Ero CTpeMaenna nocTMran cbomx BepruMH
b paHHeM TBopiecTBe ííosecjja Koctkm m Pynoahcfia ripn-
Snma, KOTopbie no ypoBHK) cbomx paöOT SHannTeaBHO
npeB3omaM npenbinymee nOKoaeHMe CKyasnTopoB. O5a
ohm ynMBMCB b npare m b Hanaae mx tbophbctbo 0Biao
non BananneM npaiKCKOM cpenbi. y Koctkm sto öbiao
nemcKoe SapoxKO, c tohkm spshmh conepiKanna — noa-
tm3m m nepea npary onocpeflCTBOBaHHoe 3HaHne cjipaH-
nyscKOM CKyabnTypbi; y ripMßMina — KaaccnnecKne Tpa-
ßMLjHM, rayÖOKO saKopeHMBiuneca b nemcKoň naacTMKe,
ho ocoSchho BaManne OraKapa UlnaHMeaa. Tbophbctbom
Koctkm m Ilpnónina, HanpasaeHHBiM npoTMB <t>aniM3Ma
m bomhbi, caoBapKaa CKyabnTypa aMKBMnMposaaa CBOe
OTCTaßaHne no othouichmio hc tohbko k neuiCKOMy,
a TaKJKe k esponeMCKOMy pa3BMTMio.
On the Problems of Czech and Slovák Relations in Sculpture in Slovakia
in the Period between the Two World Wars
Slovák sculpture began to develop on a more in-
tensive scale only after the constitution of an inde-
pendent Czechoslovak State in 1918. However, it could
not take support in so strong a home tradition as
the more advanced Czech sculpture and lagged con-
siderably behind in painting. After 1918, Slovakia en-
joyed a boom in public Orders for monuments, which
for long proved to hâve been a brake on chamber
sculpture. Initially, Slovák sculpture bore traces of
a certain naiveness and its technical standard was
not particularly high. The only sculptural personality
in Slovakia after World War I was Ján Koniiarek, who
had previously been active in Serbia. Initially Franti-
šek Üprka enjoyed a somewhat privileged position,
although his work, as regards content and the formal
aspect, was already an anachronism, some sort of a
pendent of the descriptive-folkloristic idealizing work
of his elder brother, the painter Joža Üprka.
Czech sculptors, too, profited by the monument in-
flation in Slovakia. The most important task of this
type was the gigantic monument to M. R. Štefánik an
the Danube Quay in Bratislava. The realization was
K npoßjieMaTMKe Hexo-cjiosaijKMx othoihchmm b CKyjibirrype b CiouaKiin
b MOKBoeHHMM nepuop;
BOJiee MHTCHCMBHOC paBBMTMe CJIOBaiJKOM CKyjIMITypbl
Hanajioct jimuib nocue oSpaaoBaHwa caMOCTOBTCJibHoro
qexocJiOBaip<oro rocyflapcTBa b 1918 ro/iy. y nee, o/(iia-
KO, He ÖBIJI0 CTOJIb CMJIbHOM flOMaUIHCM Tpa^MIJMM, K3K
y Sojiee pasBMTon neincKoil CKyjibnrypM m OHa 3HaHH-
TeJibHO OTCTaßajia ot >kmbohmcm. nocjie 1918 rofla b Cjio-
BaKMH HacTynaer pa3BMTne oöniecTiici-rnoro aaxasa naivMT-
HMKOB, KOTOpOe «JIMTCJIBHOe Bpeiwa TOPMO3MJIO pa3BMTMC
KawepHOM CKyjibnTypM. CnoBapKaa CKyannTypa necjia Ha
ceSe b Hanajie cue/iw neKOTOpoň h3mbhoctm m hc ohchb
BbICOKOrO TeXHMHeCKOrO ypOBHB. EflMHCTBCHHOM CKyjIbll-
TypHOM JIMMHOCTBK) B CJI0B3KMM nOCJie nepBOM MMPOBOÜ
BOMHBI ÖblJI 51H KOHHapeK, KOTOpbIM ßO 3T0F0 >KMJI M p3-
öoTaii b CepÖMM. B Cjiob3kmm CHanana sannmau moho-
noiibHoe nojio>KeHMe OpaHTMineK ynpxa, TBopnecTBO ko-
Toporo, oflHaKO, c tohkm apenna co^epiKaHMa m cjiopMbi
öbijio y>i<e anaxpoHMSMOM, CBoeo6pa3HBiM KoppenaTOM
onncaTeabHO-cliojiKJiopMCTMHecKoro TBopuecTBa ero CTap-
raero Spaia — xyao/KHiiKa fioaecjia ynpxM.
B paiviKax MH<t>jiapMM naiviHTHMKOB Haxo^MjiM b Cjiobs-
kmm npMMCHeHMe TaioKe hchickmc CKyjibnTopbi. KpynHeü-
uieň aananeň TaKoro po/ia Sbiji fp3h«m03hbim hbmbthmk
M. P. IIlTecjiaHMKy Ha HaßepexcHOM Jlyrrasi b BpaTi-icjiaBe.
Ero c03naHMe nopyuMjiM HemcKOiviy CKyjibrrropy Bory-
MMJiy KacJjKe, kotopbim cosuaji Tpa^nnMOiiHbiM eipe na-
M8THMK, He yMMTblBSlOIHMÜ CBOK) CpCJiy, JIMIHB B 1938
ro;iy. M3 HMCJia paßoT hcihckmx CKyjibnTopoB b CaoBa-
kmm b MeiKBOeHHMM nepnofl cnenyeT ynoManyTb SpaTM-
caaBCKnn naiviaTHUK 51. A. KoMCHCKOMy paSoTBi OpaHTM-
meKa BnjiKa 1928 ro/ia, naMimtyio «oci<y n. M. IHadia-
pMKa na ero poæhom flOMe b ccjic KoGeanapoßO, paßoTBi
Hua HlTypcM 1922 ro^a m Taxace paßOTbi JlaflMcaasa Ula-
aoyna b BpaTMCJiase.
nocae 1918 roßa b npare oSynaancb mhofmc caoßap-
KHe CKyabnTopbi, mx xy^oxcecTBeHHoe pa3BiiTne npeiK^e-
BpeMCHHO npMTopMO3nao c03flaHiie naMmMKOB. 3to ot-
HOCMTca raaBHMM o6pa3OM k Mnpocaasy MOTOUiKe, koto-
pwM hc ocTaßMa nocae ceöa hm ojihofo 6oaee 3HaHHTeab-
HOro npoM3Bej(eHMa. Mosecji nocnnniMa npeB3omea ero
npejK/ic Bcero b khmcphom naacTMKe, b 'ihcthoctii gepe-
BÍIHHOM, M TaKJKC B 3KT3X. 3flCCb OH XCTSI 6bl BCK0JI3B
BiïMTaa CTHMyabi CBoero ynurean Hna Ulrypcbi. PaHHee
TBopnecTBO BoMiexa Mfpmckofo i-iecer na ceöe caejiM
MeniCKOro copMaabHCro 6biT0BM3Ma, kotopmm eiviy y«a-
aocb npeofloaeTB ropsKoň copwaabHOM kpmtmkom. Bxaan
JIaflMcaaBa MaňepcKoro, yneHMKa UlnaHneaa, cocToaa
b peabe<t>HOM TBopnecTBe, raaBHbiM o6pa3OM, o/piaKO,
b co3flaHMii Me^ancM, b to BpeMa KaK ero KaMepnue pa-
ÖOTbl ÖbiaM C T0HKM BbipaiKCHMa HeyCTOMHMBbie.
B KOHije TprißpaTbix ronOB npMxoflMT HOBoe nOKoaeHMe
caoBaijKMx cKyawiTOpoB, kotopmc oSynaancb b HemcxMX
nixoaax. 3to noxoaenne ya<e hc Haxonnaocb non Bana-
HM6M KOMMepiinOHaabHoro cosnaHMa na.MaTHMKOB, a na-
oßopoT, oho xynojKecTBCHHO co3peBaao b nepnon Bean-
Koro xo38MCTBeHHOro i<pM3Mca m non naBaeHMCM <t>amw3-
Ma m bomhbi. Ero CTpeMaenna nocTMran cbomx BepruMH
b paHHeM TBopiecTBe ííosecjja Koctkm m Pynoahcfia ripn-
Snma, KOTopbie no ypoBHK) cbomx paöOT SHannTeaBHO
npeB3omaM npenbinymee nOKoaeHMe CKyasnTopoB. O5a
ohm ynMBMCB b npare m b Hanaae mx tbophbctbo 0Biao
non BananneM npaiKCKOM cpenbi. y Koctkm sto öbiao
nemcKoe SapoxKO, c tohkm spshmh conepiKanna — noa-
tm3m m nepea npary onocpeflCTBOBaHHoe 3HaHne cjipaH-
nyscKOM CKyabnTypbi; y ripMßMina — KaaccnnecKne Tpa-
ßMLjHM, rayÖOKO saKopeHMBiuneca b nemcKoň naacTMKe,
ho ocoSchho BaManne OraKapa UlnaHMeaa. Tbophbctbom
Koctkm m Ilpnónina, HanpasaeHHBiM npoTMB <t>aniM3Ma
m bomhbi, caoBapKaa CKyabnTypa aMKBMnMposaaa CBOe
OTCTaßaHne no othouichmio hc tohbko k neuiCKOMy,
a TaKJKe k esponeMCKOMy pa3BMTMio.
On the Problems of Czech and Slovák Relations in Sculpture in Slovakia
in the Period between the Two World Wars
Slovák sculpture began to develop on a more in-
tensive scale only after the constitution of an inde-
pendent Czechoslovak State in 1918. However, it could
not take support in so strong a home tradition as
the more advanced Czech sculpture and lagged con-
siderably behind in painting. After 1918, Slovakia en-
joyed a boom in public Orders for monuments, which
for long proved to hâve been a brake on chamber
sculpture. Initially, Slovák sculpture bore traces of
a certain naiveness and its technical standard was
not particularly high. The only sculptural personality
in Slovakia after World War I was Ján Koniiarek, who
had previously been active in Serbia. Initially Franti-
šek Üprka enjoyed a somewhat privileged position,
although his work, as regards content and the formal
aspect, was already an anachronism, some sort of a
pendent of the descriptive-folkloristic idealizing work
of his elder brother, the painter Joža Üprka.
Czech sculptors, too, profited by the monument in-
flation in Slovakia. The most important task of this
type was the gigantic monument to M. R. Štefánik an
the Danube Quay in Bratislava. The realization was