DOI issue:
Nr. 1
DOI article:Bakoš, Ján: Paths and strategies in the historiography of art in Central Europe
DOI Page / Citation link:https://doi.org/10.11588/diglit.31178#0120
participation in European artistic communication''"
and accentuâtes the yf yAw/An*" and the
Thus, internationaüy postulated historiés of art
in Germany and Austria háve opened the dooř to a
more extensive, not only Central European but trans-
national pan-European art historical approach.
"Kulturtransfer'' and East-Central Europe
Another important initiative introduced as a
deliberate contribution to the process of uniting
Europe and overcoming nationalism in Central
European art history was the so-called Jagiellonian
project. It was started with the Conference
A7//7A 7/777/ RA/Ar <?7Ar Dy77z?AA 7777 ITAAí'
held in Nuremberg in 1999A" The theo-
retical foundations of the project were laid by Robert
Suckale. He revived the rhetorical understanding of
^ Dzb JzzgzbAzz^zz 2002 (see in note 100). The project was sup-
portée! by the Geisteswissenschaftliches Zentrum Geschichte
und Kultur Ostmitteleuropas in Leipzig (GWZO). Political
intention of the project was explicitly articulated by R. Suckale
as follows: "T/bzwA/z yzz EzwAřrzzzz^ IPbi/řzzryzzzi yzzzzzyzzzzy^zz
Eozz/z'zzgzz/, yzz Ez'zzJA zzzzz/ y^zziAzg^/zz LAi/zzzzz/zzzi JřAzzgřZzP
— Ibidem, p. 15.
Suckale remtroduced the rhetorical approach to style be
means of the notion "^zz^rzz Afř/zA" or "Az//zzgř/z". See
SUCIkALE, R.: Peter Parier und das Problem der Stillagen.
In: Dzb PzzrA zzzzz/ Ar AAA Ai/ (see in note 158), Vol. 4, pp.
173-184; SUCKALE, R.: Stilbegriffe und Stil um 1330. Ver-
such einer Grundlegung. In: SUCKALE, R.: Dzb Ny/GTZi/
KAi<?z-*E//z/%ýy Ai München 1993, pp. 48-70. Suckale
could rely on BIALOSTOCKI, J.: Das Modusproblem in
den bildenden Künsten. In: ZAi/b/b/Z Ar JOzzi/^iA/bAř, 24,
1961, reprinted in BIALOSTOCKI, ].: Ai/ zzzzz/ J^ozzogrzz-
plzb. h/zzA^zz yzzrEzzzzi/AiiřzzvJzyb. Dresden 1966, pp. 9-35;
BIALOSTOCKI, J.: Zeit, Stil und Aufgaben. In: Dzb Ezzzzi/Ai
A/zïEzzAri JJ. Jbü/wz'AAAr zzzzz/ Ayzzzz^/zA AAzyA(=Propyläen
Kunstgeschichte, 7). Berlin 1972, pp. 21-23.
"6 HOŘEJŠÍ, J. - VACKOVÁ, J.: Die Hofkunst zur Zeit der
Jagiellonen-Herrschaft in Böhmen. In: Dzb Ezzzzi/ Ar EzzzAi-
izzzzz*^ zzzzz/ Ai AzzAAizzzzzi/zzPAzzzřzz. Hanau 1979; SCHWARZ,
M.-V: Dy/üA JG^/zzz*z'zzz /4. /zzbrlzzzzAr/. EzzAzbCzhzzgipJzziřzz
zzzzz/ I brzzzAAzzgiz^řgg z'zzz Idy/b/z/ Ar zrAAzz A/A. Worms 1986;
MAROSI, E.: Mitteleuropäische Herrscherhäuser des 13.
Jahrhunderts und die Kunst. In: TG'zzrAzirAfirHzzrAzzrA/Hr-
/z'i/zbExAzzzzgz' (see in note 35), Vol. 2, pp. 15-25; KUTHAN,
style and connected it with Biaiostocki's dynastie
conception of the histoty of artT^
At the same time as Suckale, a number of Central
European art historians made an effort to launch a
conception of the history of art in Central Europe
based on the dynastie principle, on the idea of the
history of art considered as the history of royal
courts or dynasties A*" The intention of this trend was
especially to overcome narrow nationalst accounts.
The ruling dynasties and their courts were no longer
seen as représentatives or agents of their nations,'"
but as cosmopolitan patrons, mediating international
relations and contacts.''^ The theoretical basis of
this cultural historical approach is to promote the
functional and instrumental understanding of the
style of art. It entails a définitive departure from the
formalist idea of the autonomy of art A"
However, apart from historiographie and meth-
odological components, there is a third idea that
the authors, sympathizers, and adhérents of this
J.: Pzbzzzyi/O/zAzzzTI. VA/ yAyzzy ^ AA 'Gzz/pzÀAAzAzz /wz^zzzzi
[Přemysl Otakar II. King Iron and Golden, King Founder
and Patron]. Vimperk 1993; German édition P/bzzzyi/ O/zzÁzzr
JI. /Ozz/g, BzzzzArrzzzzz/Afzzyy/z. Hÿ/itA JAzzE zbz /d. Jzz^GzzzzAE
Wien - Köln — Weimar 1996. According to Kuthan: "Dzb
CAzrzzÁzbzyizbr/zzzg Azyy/Az" EpcAřZZ 7/zzA PJ^rzf z'J^zy^rA'zzAJAzAzz
oArD^^břzAtzzzzi/zbzz... Jzz/zzzzA /zz z/TZiřfřfDZiyýAz/ Ař Azzgř Azz-
A/zbzZ... AřDřZTvAAyb /A^zz/ 77zbJz'ZZZZf Jři/zAzZZ/řh^b/yřZZ/fřZZ,
izzzzArzz zzz/A Zgzzzb&yAb üzb AJyyzz/Tg A/J^/zbAřr AoAA... Uzzz/iP
zzzzzrAzz Az/y<?zz7 zzzzz/ HybrzzggSřr ^Az/v yzzzzz GřgřzzAďzzz/ ^/zzziAE-
vJ^EzzwJzzzzggzz... z/zzi Azzyy/zzzAzbzzzz/ JřAzz/ĚZzArMzzgřAzbgřzz WTZ
AřrmAřrJzžAřfzz cAz^yzzzzyřzz Jdtwzzi/zbzz /zz/^z^zŘ ř/zz^zz JřizzzzAfřzz
PA/y řizz." — Ibidem, p. 363-364.
''' Royal dynasties were regarded as embodiment of the nation
by nadonalist art historians like Pmder or Jantzen. On this, see
HELD 2003 (see in note 105), p. 27. W Schenkluhn clearly
differendates between Pinders ethno-nacionalist and Jantzen's
b/zz/z'izb-nadonal nodon of royal dynasdes. - SCHENKLUHN
1990 (see in note 21), pp. 158-162.
E. Marosi underlines the leadingrole of "/zz/Aar/zzzz/r" (men of
letters) in internadonl cultural communicadon. - MAROSI
1992 (see in note 36), pp. 64-65.
See on that SUCKALE, R.: Sdlgeschichte zu Beginn des 21.
Jahrhunderts. Probleme und Möglichkeiten. In: A/JCzzg^zz yzzz*
Ezzzzi/Ai AzAAAzif (see in note 106), pp. 271-281.
InWinfried Eberharďs words: "... řiyGz'wfzzA/zz/zwPz^yřiií'
Ai Ezzz/zzr/ztzzzybzii yy/vAzz Azzz A'Azz zzzzz/IV^rAzz, Oi/<?zz zzzzz/ lEbi/<?zz
114
and accentuâtes the yf yAw/An*" and the
Thus, internationaüy postulated historiés of art
in Germany and Austria háve opened the dooř to a
more extensive, not only Central European but trans-
national pan-European art historical approach.
"Kulturtransfer'' and East-Central Europe
Another important initiative introduced as a
deliberate contribution to the process of uniting
Europe and overcoming nationalism in Central
European art history was the so-called Jagiellonian
project. It was started with the Conference
A7//7A 7/777/ RA/Ar <?7Ar Dy77z?AA 7777 ITAAí'
held in Nuremberg in 1999A" The theo-
retical foundations of the project were laid by Robert
Suckale. He revived the rhetorical understanding of
^ Dzb JzzgzbAzz^zz 2002 (see in note 100). The project was sup-
portée! by the Geisteswissenschaftliches Zentrum Geschichte
und Kultur Ostmitteleuropas in Leipzig (GWZO). Political
intention of the project was explicitly articulated by R. Suckale
as follows: "T/bzwA/z yzz EzwAřrzzzz^ IPbi/řzzryzzzi yzzzzzyzzzzy^zz
Eozz/z'zzgzz/, yzz Ez'zzJA zzzzz/ y^zziAzg^/zz LAi/zzzzz/zzzi JřAzzgřZzP
— Ibidem, p. 15.
Suckale remtroduced the rhetorical approach to style be
means of the notion "^zz^rzz Afř/zA" or "Az//zzgř/z". See
SUCIkALE, R.: Peter Parier und das Problem der Stillagen.
In: Dzb PzzrA zzzzz/ Ar AAA Ai/ (see in note 158), Vol. 4, pp.
173-184; SUCKALE, R.: Stilbegriffe und Stil um 1330. Ver-
such einer Grundlegung. In: SUCKALE, R.: Dzb Ny/GTZi/
KAi<?z-*E//z/%ýy Ai München 1993, pp. 48-70. Suckale
could rely on BIALOSTOCKI, J.: Das Modusproblem in
den bildenden Künsten. In: ZAi/b/b/Z Ar JOzzi/^iA/bAř, 24,
1961, reprinted in BIALOSTOCKI, ].: Ai/ zzzzz/ J^ozzogrzz-
plzb. h/zzA^zz yzzrEzzzzi/AiiřzzvJzyb. Dresden 1966, pp. 9-35;
BIALOSTOCKI, J.: Zeit, Stil und Aufgaben. In: Dzb Ezzzzi/Ai
A/zïEzzAri JJ. Jbü/wz'AAAr zzzzz/ Ayzzzz^/zA AAzyA(=Propyläen
Kunstgeschichte, 7). Berlin 1972, pp. 21-23.
"6 HOŘEJŠÍ, J. - VACKOVÁ, J.: Die Hofkunst zur Zeit der
Jagiellonen-Herrschaft in Böhmen. In: Dzb Ezzzzi/ Ar EzzzAi-
izzzzz*^ zzzzz/ Ai AzzAAizzzzzi/zzPAzzzřzz. Hanau 1979; SCHWARZ,
M.-V: Dy/üA JG^/zzz*z'zzz /4. /zzbrlzzzzAr/. EzzAzbCzhzzgipJzziřzz
zzzzz/ I brzzzAAzzgiz^řgg z'zzz Idy/b/z/ Ar zrAAzz A/A. Worms 1986;
MAROSI, E.: Mitteleuropäische Herrscherhäuser des 13.
Jahrhunderts und die Kunst. In: TG'zzrAzirAfirHzzrAzzrA/Hr-
/z'i/zbExAzzzzgz' (see in note 35), Vol. 2, pp. 15-25; KUTHAN,
style and connected it with Biaiostocki's dynastie
conception of the histoty of artT^
At the same time as Suckale, a number of Central
European art historians made an effort to launch a
conception of the history of art in Central Europe
based on the dynastie principle, on the idea of the
history of art considered as the history of royal
courts or dynasties A*" The intention of this trend was
especially to overcome narrow nationalst accounts.
The ruling dynasties and their courts were no longer
seen as représentatives or agents of their nations,'"
but as cosmopolitan patrons, mediating international
relations and contacts.''^ The theoretical basis of
this cultural historical approach is to promote the
functional and instrumental understanding of the
style of art. It entails a définitive departure from the
formalist idea of the autonomy of art A"
However, apart from historiographie and meth-
odological components, there is a third idea that
the authors, sympathizers, and adhérents of this
J.: Pzbzzzyi/O/zAzzzTI. VA/ yAyzzy ^ AA 'Gzz/pzÀAAzAzz /wz^zzzzi
[Přemysl Otakar II. King Iron and Golden, King Founder
and Patron]. Vimperk 1993; German édition P/bzzzyi/ O/zzÁzzr
JI. /Ozz/g, BzzzzArrzzzzz/Afzzyy/z. Hÿ/itA JAzzE zbz /d. Jzz^GzzzzAE
Wien - Köln — Weimar 1996. According to Kuthan: "Dzb
CAzrzzÁzbzyizbr/zzzg Azyy/Az" EpcAřZZ 7/zzA PJ^rzf z'J^zy^rA'zzAJAzAzz
oArD^^břzAtzzzzi/zbzz... Jzz/zzzzA /zz z/TZiřfřfDZiyýAz/ Ař Azzgř Azz-
A/zbzZ... AřDřZTvAAyb /A^zz/ 77zbJz'ZZZZf Jři/zAzZZ/řh^b/yřZZ/fřZZ,
izzzzArzz zzz/A Zgzzzb&yAb üzb AJyyzz/Tg A/J^/zbAřr AoAA... Uzzz/iP
zzzzzrAzz Az/y<?zz7 zzzzz/ HybrzzggSřr ^Az/v yzzzzz GřgřzzAďzzz/ ^/zzziAE-
vJ^EzzwJzzzzggzz... z/zzi Azzyy/zzzAzbzzzz/ JřAzz/ĚZzArMzzgřAzbgřzz WTZ
AřrmAřrJzžAřfzz cAz^yzzzzyřzz Jdtwzzi/zbzz /zz/^z^zŘ ř/zz^zz JřizzzzAfřzz
PA/y řizz." — Ibidem, p. 363-364.
''' Royal dynasties were regarded as embodiment of the nation
by nadonalist art historians like Pmder or Jantzen. On this, see
HELD 2003 (see in note 105), p. 27. W Schenkluhn clearly
differendates between Pinders ethno-nacionalist and Jantzen's
b/zz/z'izb-nadonal nodon of royal dynasdes. - SCHENKLUHN
1990 (see in note 21), pp. 158-162.
E. Marosi underlines the leadingrole of "/zz/Aar/zzzz/r" (men of
letters) in internadonl cultural communicadon. - MAROSI
1992 (see in note 36), pp. 64-65.
See on that SUCKALE, R.: Sdlgeschichte zu Beginn des 21.
Jahrhunderts. Probleme und Möglichkeiten. In: A/JCzzg^zz yzzz*
Ezzzzi/Ai AzAAAzif (see in note 106), pp. 271-281.
InWinfried Eberharďs words: "... řiyGz'wfzzA/zz/zwPz^yřiií'
Ai Ezzz/zzr/ztzzzybzii yy/vAzz Azzz A'Azz zzzzz/IV^rAzz, Oi/<?zz zzzzz/ lEbi/<?zz
114