<\/p>\n\n\n\n
\u201ePozorujete-li bedliv\u011bji [toto] kr\u00e1sn\u00e9 d\u00edlo, nach\u00e1z\u00edte v n\u011bm jak\u00e9si z\u00e1kladn\u00ed hmoty, vz\u00e1jemn\u011b propojen\u00e9 \u0161ikm\u00fdmi liniemi a k\u0159ivkami rukou a \u0159as, jimi\u017e do zd\u00e1nliv\u011b nepravideln\u00e9ho celku dost\u00e1v\u00e1 se jak\u00fdsi vn\u011bj\u0161\u00ed \u0159\u00e1d. Tyto \u0161ikmice, diagon\u00e1ly a esovit\u00e9 k\u0159ivky jsou skryty povrchn\u00edmu pozorovateli pod mno\u017estv\u00edm podrobnost\u00ed, jimi\u017e je cel\u00fd balvan prom\u011bn\u011bn v mal\u00e9 i v\u011bt\u0161\u00ed plo\u0161ky a obliny, kter\u00e9 vyjad\u0159uj\u00ed m\u011bkkost l\u00e1tek, svaly a k\u016f\u017ei t\u011bl, drsn\u00fd povrch d\u0159eva i vzdu\u0161nou hmotnost oblak.<\/em>\u201c[1]<\/a><\/p>\n\n\n\n Co m\u011b od um\u011bleckohistorick\u00e9ho b\u00e1d\u00e1n\u00ed, tak jak jsem jej mohl kolem sebe vn\u00edmat v dob\u011b studia, postupn\u011b st\u00e1le siln\u011bji odrazovalo, byl jeho \u010dasto zna\u010dn\u011b filologick\u00fd charakter. Vlastn\u011b jsem m\u011bl st\u00e1le intenzivn\u011bj\u0161\u00ed pocit, \u017ee \u0159ada historik\u016f um\u011bn\u00ed m\u00e1 tendenci ut\u00edkat od toho, co m\u011blo podle m\u011blo vposledku p\u0159edstavovat hlavn\u00ed p\u0159edm\u011bt jejich t\u00e1z\u00e1n\u00ed \u2013 tedy od um\u011bleck\u00fdch d\u011bl samotn\u00fdch. Nam\u00edsto toho ve sv\u00fdch textech a p\u0159edn\u00e1\u0161k\u00e1ch m\u011bli tendenci vr\u0161it st\u00e1le dal\u0161\u00ed a dal\u0161\u00ed kontextu\u00e1ln\u00ed informace kulturn\u011bhistorick\u00e9ho r\u00e1zu, kter\u00e9 byly p\u0159ev\u00e1\u017en\u011b vy\u010dten\u00e9 z dobov\u00fdch p\u00edsemn\u00fdch pramen\u016f. To p\u0159edstav\u011b o n\u00e1plni m\u00e9ho dal\u0161\u00edho profesn\u00edho \u017eivota p\u0159\u00edli\u0161 nekonvenovalo, z\u0159ejm\u011b i proto, \u017ee jsem se o \u010detbu relevantn\u00edch zdroj\u016f ve sv\u00e9 juveniln\u00ed dychtivosti po v\u011bd\u011bn\u00ed opakovan\u011b pokou\u0161el a opakovan\u011b ji shled\u00e1val dokonale \u00famornou. Z pozice etablovan\u00e9ho kritika si snad mohu dovolit um\u011bleckohistorick\u00fd coming out \u2013 v\u0161echny m\u00e9 pokusy o \u010detbu Plinia, Vitruvia, Albertiho nebo Vasariho skon\u010dily cca po deseti str\u00e1nk\u00e1ch. A co h\u016f\u0159, selh\u00e1val jsem opakovan\u011b i ve sv\u00fdch pokusech p\u0159e\u010d\u00edst si i tak z\u00e1kladn\u00ed texty pro z\u00edsk\u00e1n\u00ed vhled\u016f do d\u011bjin evropsk\u00e9 kultury, jak\u00fdmi jsou Bible, Hom\u00e9rova Iliada<\/em> nebo Vergiliova Aeneida<\/em>!<\/p>\n\n\n\n S takov\u00fdmi predispozicemi jsem se nejen musel vzd\u00e1t snu, s n\u00edm\u017e jsem se na d\u011bjiny um\u011bn\u00ed hl\u00e1sil \u2013 toti\u017e \u017ee ze m\u011b bude medievista \u010di barok\u00e1\u0159 \u2013, ale s postupem \u010dasu jsem pozb\u00fdval jistoty, \u017ee by se ze m\u011b mohl st\u00e1t skute\u010dn\u00fd<\/em> historik um\u011bn\u00ed. Ve chv\u00edli, kdy jsem sv\u016fj z\u00e1jem p\u0159esunul k d\u011bjin\u00e1m um\u011bn\u00ed 20. stolet\u00ed, jsem toti\u017e nahl\u00e9dl, \u017ee je zde situace jen hor\u0161\u00ed. Se zd\u011b\u0161en\u00edm jsem pozoroval, jak m\u00ed kolegov\u00e9 tr\u00e1v\u00ed dny, t\u00fddny a m\u011bs\u00edce v archivech, aby zde pro\u010d\u00edtali korespondenci hrdin\u016f sv\u00fdch diplomov\u00fdch prac\u00ed! (Dodnes sn\u00edm o tom, jak kr\u00e1sn\u00fdm oborem by d\u011bjiny um\u011bn\u00ed mohly b\u00fdt, kdyby v\u0161echny archivy sho\u0159ely, a romanticky ve sv\u00fdch oborov\u00fdch toulk\u00e1ch unik\u00e1m do obdob\u00ed a oblast\u00ed, ke kter\u00fdm \u017e\u00e1dn\u00e9 p\u00edsemn\u00e9 prameny neexistuj\u00ed.)<\/p>\n\n\n\n \u0158e\u0161en\u00edm sv\u00edzele, ve kter\u00e9 jsem se ocitl, se tedy m\u011blo st\u00e1t povol\u00e1n\u00ed um\u011bleck\u00e9ho kritika, u n\u011bho\u017e se mi zd\u00e1lo, \u017ee je p\u0159edev\u0161\u00edm o d\u00edlech samotn\u00fdch a \u017ee pro jeho v\u00fdkon \u010detba Bible nebo Vitruvia nen\u00ed nutn\u00e1. Konfrontace s realitou samoz\u0159ejm\u011b vedla k postupn\u00e9mu vyst\u0159\u00edzliv\u011bn\u00ed; p\u0159edn\u011b jsem p\u0159i \u010detb\u011b recenz\u00ed z\u00e1hy zjistil, \u017ee stejn\u011b jako kunsthistorici tak\u00e9 \u0159ada m\u00fdch koleg\u016f kritik\u016f ut\u00edk\u00e1 k reflexi kulturn\u011b-spole\u010densk\u00fdch kontext\u016f a souvislost\u00ed (nebo, je\u0161t\u011b h\u016f\u0159e, k nedisciplinovan\u00e9mu teoretizov\u00e1n\u00ed), ani\u017e by se p\u0159itom sna\u017eili d\u016fsledn\u011b vyk\u00e1zat relevanci poskytovan\u00fdch informac\u00ed pro pochopen\u00ed podoby jimi recenzovan\u00fdch artefakt\u016f. Ale i u kritick\u00fdch text\u016f, kter\u00e9 netrp\u011bly t\u00edmto ne\u0161varem, mi \u010dasto chyb\u011blo n\u011bco, co naopak pat\u0159ilo k um\u011bleckohistorick\u00e9mu psan\u00ed \u2013 le\u017e\u00e9rn\u00edmu a nez\u00e1vazn\u00e9mu vr\u0161en\u00ed post\u0159eh\u016f a impres\u00ed \u010dasto sch\u00e1zela d\u016fsledn\u011bj\u0161\u00ed snaha pohl\u00eddat si jejich objektivn\u00ed platnost.<\/p>\n\n\n\n Pot\u00ed\u017e spo\u010d\u00edvala v tom, \u017ee historici um\u011bn\u00ed objektivizace docilovali \u010dasto pr\u00e1v\u011b skrze odkazy na p\u00edsemn\u00e9 prameny. P\u0159i hled\u00e1n\u00ed alternativ se mi pozd\u011bji vr\u00e1tila jin\u00e1 vzpom\u00ednka na studium d\u011bjin um\u011bn\u00ed. Mysl\u00edm, \u017ee to bylo v r\u00e1mci \u00favodu do studia, kdy\u017e pedagog p\u0159inesl do v\u00fduky polychromovanou s\u00e1drovou kopii Konopi\u0161\u0165sk\u00e9 madony, aby n\u00e1m n\u00e1zorn\u011b demonstroval, kterak postupovat p\u0159i popisu um\u011bleck\u00e9ho d\u00edla. Zazn\u011blo, tu\u0161\u00edm, v\u00fdrazn\u00e9 esovit\u00e9 prohnut\u00ed, nechyb\u011bly ani miskovit\u00e9 \u010di trubkovit\u00e9 z\u00e1hyby. N\u00e1sledn\u011b studuj\u00edc\u00ed dostali za \u00fakol po pedagogov\u011b vzoru samostatn\u011b vypracovat verb\u00e1ln\u00ed popis artefaktu dle vlastn\u00edho v\u00fdb\u011bru.<\/p>\n\n\n\n Nutno podotknout, \u017ee v dob\u011b studia mi smysl podobn\u00e9ho po\u010d\u00edn\u00e1n\u00ed unikal. P\u0159edstava, \u017ee by \u00fast\u0159edn\u00ed dovednost\u00ed kunsthistorika m\u011bla b\u00fdt schopnost v\u011bcn\u011b popisovat, mi p\u0159i\u0161la jaksi ned\u016fstojn\u00e1. Jako student filozofick\u00e9 fakulty jsem si p\u0159edstavoval, \u017ee m\u00fdm hlavn\u00edm vkladem m\u00e1 b\u00fdt hlubok\u00e1 interpretace, a nikoli povrchn\u00ed popis! Pr\u00e1v\u011b a\u017e d\u00edky sv\u00e9 kritick\u00e9 praxi jsem nahl\u00e9dl, \u017ee interpretace bez popisu vede k psan\u00ed, je\u017e ztr\u00e1c\u00ed kontakt s d\u00edlem. Lekce cvi\u010den\u00ed s Konopi\u0161\u0165skou madonou pak spo\u010d\u00edv\u00e1 v tom, \u017ee takov\u00fd popis je mo\u017en\u00e9 br\u00e1t v\u00e1\u017en\u011b a z\u00e1vazn\u011b \u2013 jako n\u011bco, co uvozuje, n\u011bco, s \u010d\u00edm stoj\u00ed a pad\u00e1 jak\u00e9koli psan\u00ed, kter\u00e9 m\u00e1 ambici b\u00fdt o um\u011bleck\u00e9m d\u00edle.<\/p>\n\n\n\n [1]<\/a> V. V. \u0160tech. Prohl\u00e9dn\u011bme si pra\u017esk\u00e9 pomn\u00edky a sochy: Braunova svat\u00e1 Luitgarda na Karlov\u011b most\u011b, Praha II, 4. 6. 1937, Archiv \u010cRo. Za upozorn\u011bn\u00ed na tento mistrn\u00fd popis d\u00edla d\u011bkuji Tom\u00e1\u0161i Kli\u010dkovi.<\/p>\n\n\n\n <\/p>\n\n\n\n Josef Ledvina (*1982) je historik um\u011bn\u00ed a um\u011bleck\u00fd kritik. P\u0159edn\u00e1\u0161\u00ed na Kated\u0159e fotografie Filmov\u00e9 a televizn\u00ed fakulty Akademie m\u00fazick\u00fdch um\u011bn\u00ed v Praze a je dlouholet\u00fdm redaktorem m\u011bs\u00ed\u010dn\u00edku\u00a0Art+Antiques. V roce 2025 se stal laure\u00e1tem IX. ro\u010dn\u00edku Ceny V\u011bry Jirousov\u00e9 v kategorii etablovan\u00fdch kriti\u010dek a kritik\u016f.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" \u201ePozorujete-li bedliv\u011bji [toto] kr\u00e1sn\u00e9 d\u00edlo, nach\u00e1z\u00edte v n\u011bm jak\u00e9si z\u00e1kladn\u00ed hmoty, vz\u00e1jemn\u011b propojen\u00e9 \u0161ikm\u00fdmi liniemi a k\u0159ivkami rukou a \u0159as, jimi\u017e do zd\u00e1nliv\u011b nepravideln\u00e9ho celku dost\u00e1v\u00e1 se jak\u00fdsi vn\u011bj\u0161\u00ed \u0159\u00e1d. Tyto \u0161ikmice, diagon\u00e1ly a esovit\u00e9 k\u0159ivky jsou skryty povrchn\u00edmu pozorovateli pod mno\u017estv\u00edm podrobnost\u00ed, jimi\u017e je cel\u00fd balvan prom\u011bn\u011bn v mal\u00e9 i v\u011bt\u0161\u00ed plo\u0161ky a obliny, kter\u00e9 vyjad\u0159uj\u00ed m\u011bkkost l\u00e1tek, svaly a k\u016f\u017ei t\u011bl, drsn\u00fd povrch d\u0159eva i vzdu\u0161nou hmotnost oblak.\u201c[1] Jako absolventovi studia d\u011bjin um\u011bn\u00ed, kter\u00fd se n\u00e1sledn\u011b v\u011bnoval v\u00edce psan\u00ed recenz\u00ed v\u00fdstav ne\u017e um\u011bleckohistorick\u00e9mu b\u00e1d\u00e1n\u00ed, se mi \u010das od \u010dasu vybavuje pozn\u00e1mka jednoho z m\u00fdch pedagog\u016f. Nejsem schopen ji \u2192<\/a><\/p>\n","protected":false},"author":5,"featured_media":748,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-747","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/747","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=747"}],"version-history":[{"count":2,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/747\/revisions"}],"predecessor-version":[{"id":750,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/posts\/747\/revisions\/750"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=\/wp\/v2\/media\/748"}],"wp:attachment":[{"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=747"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=747"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cenavj.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=747"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Jako absolventovi studia d\u011bjin um\u011bn\u00ed, kter\u00fd se n\u00e1sledn\u011b v\u011bnoval v\u00edce psan\u00ed recenz\u00ed v\u00fdstav ne\u017e um\u011bleckohistorick\u00e9mu b\u00e1d\u00e1n\u00ed, se mi \u010das od \u010dasu vybavuje pozn\u00e1mka jednoho z m\u00fdch pedagog\u016f. Nejsem schopen ji ocitovat doslovn\u011b, ale jej\u00ed vyzn\u011bn\u00ed bylo kategorick\u00e9 \u2013 dob\u0159\u00ed historici um\u011bn\u00ed jsou \u0161patn\u00ed um\u011ble\u010dt\u00ed kritici a vice versa. D\u016fvod\u016f, pro\u010d by tomu tak m\u011blo b\u00fdt, by jist\u011b \u0161lo naj\u00edt v\u00edce; jako jedinec, kter\u00fd dosud \u00fapln\u011b nerezignoval na snahu b\u00fdt tak trochu oboj\u00edm (a v d\u016fsledku tak mo\u017en\u00e1 neb\u00fdt po\u0159\u00e1dn\u011b ani jedn\u00edm), se na tomto m\u00edst\u011b pokus\u00edm nazna\u010dit, co by tyto dva, \u010dasto tak r\u016fzn\u00e9, zp\u016fsoby psan\u00ed o um\u011bn\u00ed mohlo naopak spojovat.<\/p>\n\n\n\n