O ideji prošlosti u savremenoj umetnosti (ka razumevanju „Vizantine“ u srpskoj kulturi tokom poslednjeg stoleća)
The Idea Of The Past In The Modern Art And Understanding Of Byzantine Quality In The Serbian Culture During The Last Century

Summary/Abstract: Among the tendencies which marked the period of the last hundred years, the most prominent are those based on the idea of the past, on the dialogue with ancient heri- tage, in this case the Byzantine world and its spiritual quality. These works of art however were and still are the victims of inadequate considerations, often with little analytical quality, not rarely extremly rigid, from uncritical disapproval to blind admiration. The differencies between sacral, religious and profane art which particularly define a work of art and its distinctive traits were usually ignored in both cases, al- though they are the key factors in terms of the content and form of the work of art. Along with the most progressive developments in European modernism, some of the most important standards were established in order to determine different approach and evaluation of medieval Eastern Christian culture, including the position that al- lowed one to reduce everything to the simple geometric figures, entering in the same time into the transcendental world available only to the “spiritual eyes“ - the distinc- tive trait of the Byzantine aesthetic tradition. It means that the ancient art could not directly influence the development of modern artistic tendencies, but it still has influ- ences the retroactive comprehension of modernism in its entirety, becoming one of the foundations of the modern artistic scene. As a result of the pluralism of postmodern art, the relation between the na- tional and international, modern and classic, „new“ and „old“ has lost its firm histori- cal reference and the works developed from the dialogue with the past are not neces- sarily severely condemned: they are not considered decadent only for not being inno- vative or progressive, they are not obliged to be either of the two. Such an approach allowed even the third option in the creation and interpretation of the works of art es- tablished in the creative dialoque with the heritage, designed to be beyond the reach of ideological influences. Speaking of Serbian modern art a mention should be made of malevolent subtype of pseudo-culture, the one that established a particular dialogue with the na- tional heritage or “Serbian Byzantinism“ and abused it in different ways.

• Details
• Contents