D a n i e l G r ú ň : C y k l u s s v. M i k u l á š a z h l av n é h o o l t á r a fa r sk é h o kos to l a v P r e š ove
špecifiká zobrazenia sv. Mikuláša v obrazových príbehoch, ich interpretáciu v súvislosti s jeho legendou a kultom. Z jednotlivých aspektov funkcie obrazového cyklu sme sa pokúsili vymedziť miesto týchto tabuľo-
vých malieb v kontexte spišskej a šarišskej výtvarnej produkcie na prelome 15. a 16. storočia. Daniel Grúň, Katedra teórie a dejín umenia, Vysoká škola výtvarných umení Bratislava
Vita Sancti Nicolae from the Main Altarpiece of St Nicolas Church in Prešov Interpretation of a Narrative Unit Summary When considering the structural and iconographic ensemble of the Prešov high altar dedicated to St Nicolas, we cannot avoid the difficulties caused by its present fragmentary state. The contemporary viewer cannot see the altar in its original unity (which with its three central sculptures forms part of a Baroque whole); furthermore, not all of its panezl paintings have survived. Because of this, the study is primarily an attempt to partly reconstruct the iconographic programme, as well as to identify individual scenes. In terms of addressing the question of authorship, style and artistic influence, I have referred to archival research of town chronicles by the historian Béla Iványi. On the one hand, his research helps to explain the context of the altar’s creation, but on the other it throws up yet more questions; was there a painting workshop in Prešov? If there was, has anything from its production survived? Can we find similar altars in the Šariš region of influence from the first third of the sixteenth century? Though we cannot provide satisfactory answers to these questions, I have reached some conclusions about the independence or otherwise of the Šariš region, in terms of Spiš influence; I also suggest some possible affinities between surviving Šariš altars. From the three panel cycles, I have focused on seven panels (from the original eight) with scenes from the life of St Nicolas. Through comparisons with other numerous narrative panel paintings from upper Hungary I point out not only individual similarities, but also the uniqueness of the Prešov cycle manifesting itself on several levels: the way in which figures and space are depicted, the repetition of certain pictorial elements, or the presence of scenes not used elsewhere. Here it was essential to see the role of St Nicolas narrative cycles in the interdisciplinary study of the cult of the saint in the middle ages, and the impact of his deeds. Despite St Nicolas (as a medieval patron) being one of the most popular saints in Slovakia, I have attempted to show that this phenomenon had, in its time, a particular meaning in specific circumstances. On the basis of primary literary sources all individual saints’ lives through the studies of Carl Meisen and Adriaan Groot I map the occurrence of particular motifs, which I subsequently parallel with their ‘readings’ offered by panel paintings. It can be said that, despite necessary repetition due to similar pictorial sources and conventions, their research facilitates us to perceive differing intentions in the paintings of individual cycles. In comparing the saint’s deeds and their incorporation into particular scenes I realized that the paintings carried their own intentions; in the widest sphere of narratives St Nicolas cycles they could affect the viewer in various ways. Mention must go to the qualities of the saints’ deeds in the sphere of praxis, by which I mean the fact that his actions are closely connected to earthly difficulties, and that they help the believer in his worldly troubles. At the same time, the Nicolas cycle of the Prešov retable is articulated as a continuum of human life. I interpret the life and deeds of the saint in relation to the time of the making of the panels; to the needs of the clergy as well as the citizens of the royal city of Prešov at the close of the middle ages. During comparison with other Nicolas cycles (most significantly Lúčky and Veľká Lomnica) I point out the differing intentions of pictorial narrative, which in the case of the Prešov paintings is heavily influenced by the saint’s actions and his interventions of his narrative. Detailed analysis of the saint’s actions could help to unequiveocally identify the scenes amongst the numerous variety of Nicolas legends; it also contributes to our understanding the relationship between paintings and religious cult and their specific visual expression of medieval culture. English by Miroslav Pomichal
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