BERNAR BERTO (BERNARD BERTHOD)
Docteur ès lettres, conservateur du Musée d'art religieux de Fourvière (Lyon) / doktor nauka, konzervator u Muzeju religiozne umetnosti Furvijer, Lion
GAEL FAVIJE (GAËL FAVIER)
doctorant à l'Ecole pratique des Hautes Etudes, Paris / doktorand u Školi za visoke studije, Pariz

LE CALICE DE SAINT RÉMI: inspiration et réinterprétation aux XIXè et XXè siècles / PUTIR SVETOG REMIJA: inspiracija i reinterpretacija u XIX i XX veku
SAINT RÉMI'S CHALICE: inspiration and a new interpretation during the 19th and 20th centuries

Zbornik 9/2013 (Muzej primenjene umetnosti), strana 57-69

UDK:
904:27-524(44)"13/18"
ID 203974412

Apstrakt:
Le calice de saint Rémi, conservé au trésor de la cathédrale de Reims et utilisé pour le sacre des rois de France depuis le XIVème siècle jusqu'au sacre de Charles X, en 1827, a beaucoup marqué l'imaginaire français voire européen. Le mouvement «néogothique» a renouvelé le regard des artistes sur les oeuvres médiévales et de nombreux architectes et dessinateurs travaillant pour des orfèvres se sont inspires d'objets liturgiques à haute portée symbolique comme le calice de saint Rémi. L'étude présente l'interprétation de cette oeuvre par des architectes français, en particulier Viollet-le-Duc, et les réalisations par des orfèvres actifs aux XIXème et XXème siècles dans un contexte de lutte de l'Eglise catholique contre l'Etat anticlérical.

Putir svetog Remija, koji se čuva u riznici katedrale u Remsu, koristio se u obredu krunisanja francuskih kraljeva od XIV veka do krunisanja Karla X, 1827. godine. On je ostavio dubok trag u svesti Francuza i Evropljana. Neogotika je ponovo usmerila pogled umetnika ka srednjevekovnim delima i mnoge arhitekte i dizajneri koji su radili za zlatare inspirisali su se liturgijskim predmetima uzvišene simbolike, kao što je putir svetog Remija. U radu se govori o tumačenju ovog predmeta koje su ponudile francuske arhitekte, a posebno Viole-le-Dik, i predstavljaju se dela zlatara koji su aktivno stvarali u XIX i XX veku u kontekstu borbe između katoličke crkve i antiklerikalne države.

Ključne reči:
Orfèvrerie, Néogothique, Catholicisme, Armand-Calliat, Poussièlgue–Rusand, Saint Remi, Viollet-le-Duc / zlatarstvo, neogotika, katoličanstvo, Arman-Kalija (Armand-Calliat), Pusielg–Risan (Poussièlgue-Russand), sveti Remi, Viole-le-Dik (Violet-le- Duc)

Summary:
Saint Rémi's chalice, held by the treasury of the cathedral of Reims and used in the coronation of kings of France between the 14th century and Charles X's coronation, in 1827, made a deep impression on French and European people. Due to the fact that it was confused with the Vase of Soissons, it became the mythical object brought into relation with the founding of the Kingdom of the Franks, the first Christian kingdom of the West. This vase was actually a product of a workshop in northern France manufactured during the first half of the 13th century. The Gothic revival turned the eyes of artists towards medieval works and many architects and designers working for silversmiths were inspired by symbolically loaded liturgical objects, such as the chalice of Saint-Rémi, which was one of the most copied models. Since 1848, the publisher Adolphe Napoléon Didron and the architect Viollet-le-Duc presented it as an example of the peak achievements of medieval art in the 13th century. The study presents the reinterpretation of this work by two French silversmiths who were very famous in the 19th and the early 20th centuries: the Parisian Poussièlgue-Rusand and Armand-Calliat of Lyon. The revival of the art inspired by the Middle Ages was a segment of the struggle between the Roman Catholic Church and the state anticlericalism.

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