Religija i umetnost

Faberžeova jaja kao simbol Uskrsa Najvažniji crkveni praznik u pravoslavnoj Rusiji jeste Uskrs, oduvek proslavljan uz tri poljupca i kucanje jajima.

U carskoj Rusiji jaja su imala poseban značaj, naročito od 1884. kada je zlatar Peter Karl Faberže izradio za cara Aleksandra treći Romanova prvo skupoceno jaje od plemenitih materijala, ukrašeno dragim kamenjem.

Od tada pa sve do danas Faberžeova jaja predstavljaju simbol carske raskoši, originalnosti i ukusa negovanog na dvoru poslednjih Romanova.

Porodica Faberže poreklom je iz Francuske, ali nakon Nantskog edikta (1685), deo protestantskih članova pobegao je u Rusiju. Peter Karl Faberže rođen je 1846. i svoje prve zlatarske veštine stekao je kao šegrt u Nemačkoj.

U 24. godini nasledio je očevu zlataru u Petrogradu, gde je nastavio da proizvodi nakit, istovremeno radeći kao volonter u "Ermitažu" na prepravci i katalogizaciji drevnog blaga i umetničkih predmeta od zlata.

Uz pomoć brata Agatona napravio je originalne komade nakita koje je predstavio na jednom moskovskom sajmu. Oduševljeni onim što su videli, car i carica dodelili su mu zlatnu medalju "jer je započeo novu eru u umetnosti izrade nakita".

Sve do pojave Faberžea juvelirstvo je smatrano običnim zanatom on je, svojom kreativnošću načinio od toga umetnost čija se vrednost ne meri samo zlatnim polugama.

Prvo uskršnje jaje za dvor, koje je bilo poklon cara Aleksandra trećeg Romanova supruzi Mariji, Faberže je napravio 1884.

Carica je bila toliko oduševljena jajetom da je dogovoreno da svake godine Karl Faberže na Uskrs imperatorki pokloni po jedno skupoceno jaje.

Izgled uskršnjeg jajeta, a naročito poklon-iznenađenje koje je u sebi skrivalo, čuvani su kao najveća tajna. Nakon smrti Aleskandra treći, njegov sin Nikolaj drugi nastavio je očevu tradiciju, sve do tragičnog pogubljenja carske porodice 1918. godine.

Dizajn carskih jaja bio je inspirisan umetničkim delima koje je Faberže preslikavao u svojim posetama "Ermitažu", a veliki deo njih predstavlja i istoriju carske porodice, budući da su neke od tema bile i krunisanje cara Nikolaja, završetak transsibirske železnice i godišnjice braka ili vladavine.

Za osnovu jaja korišćen je prirodni kamen: jaspis, rodonit, ahat, kvarc, lapis lazuli i nefrit.

Tehnika u kojoj su rađena, delimično providni emajl, bila je izuzetno cenjena u 19. veku i zahtevala je i po nekoliko slojeva emajla, od kojih je svaki morao da bude posebno pečen.

Međutim, u Faberžeovo vreme korišćeno je tek nekoliko boja, pa je umetnik odlučio da eksperimentiše, postigavši 140 različitih nijansi.

Najčuveniji je bio emajl u boji ostrige, čiji je kolorit zavisio od svetla pod kojim se gleda.

Od materijala su korišćeni zlato i srebro, bakar, nikl i paladijum, a gotova jaja na kraju su ukrašavana dragim kamenjem - safirima, rubinima, smaragdima i dijamantima.

Zanimljivo je da sam Peter Karl Faberže nije zapravo kreirao nijedno jaje koje danas nosi njegovo ime.

Posao je bio podeljen na nekoliko manjih specijalizovanih radionica. Dva majstora zanata, najodgovornija za izradu jaja, bili su Mihajlo Perčin i Henrik Vingštrem.

U Faberžeovoj radionici napravljeno je 56 carskih jaja, od kojih je do danas pouzdano locirano njih 44, a još dva znamo sa fotografija.

Osim carskih, postoji još 12 uskršnjih jaja rađenih za sibirskog vlasnika rudnika zlata Aleksandra Kelha.

Najveću Faberžeovu kolekciju sa 12 jaja poseduje Malkolm Forbs.





Faberžeova jaja se vraćaju u Moskvu

Vlasnik najveće privatne kolekcije čuvenih "Faberže jaja", planira da osnuje u Moskvi muzej Karla Faberžea. Fond "Veze vremena ", koji pripada ruskom biznismenu Viktoru Vekselbergu, je 2004. godine od porodice Forbs otkupio kolekciju uskršnjih jaja Faberže, a planira da do 2012. u centru Moskve otvori Muzej Karla Faberžea (1846–1920).

Najpoznatija uskršnja jaja na svijetu koja je pravio zlatar ruskog carskog dvora Faberže, naći će se u moderno opremljenom muzeju, ukupno 500 predmeta iz njegove majstorske radionice

Faberže je napravio 57 umjetničkih, veoma vrijednih uskršnjih jaja, i uglavnom ih poklanjao članovima ruske carske porodice.

Fond namjerava da naredne godine priredi izložbu u Vatikanu na kojoj će biti predstavljen dio kolekcije, a 2010. godine otvoriće izložbu u Sankt Peterburgu u restauriranom Šuvalovskom dvorcu, navodi agencija RIA "Novosti".
Jaja su rađena od različitog materijala, drveta, porcelana, skupocjenog kamenja, zlata, srebra i predstavljali su prave umjetničke dragocjenosti.

Prošle godine jedan primjerak dostigao je rekordnu cijenu od 18, 5 miliona dolara, na aukciji u aukcijskoj kući "Christie's".
I danas, kolekcionari širom svijeta ne pitaju za cijenu koja dostiže vrtoglave sume, samo da dođu do nekog jajeta koje je napravio Faberže.

Tako su februara 2004. zakoniti naslednici američkog poslovnog čovjeka Malkolma Forbsa na aukciju u Sotbiju iznijeli kolekciju od devet uskršnjih jaja i oko 180 drugih predmeta koje je izradio Feberže.

Prije nego što je aukcija i počela, cijelu kolekciju je kupio oligarh Vekselberg za sumu između 90 i 120 miliona dolara.

Otkada je otkupljena kolekcija Fond je organizovao nekoliko izložbi u Rusiji i inostranstvu.






Fond namerava da naredne godine priredi izložbu u Vatikanu na kojoj će biti predstavljen deo kolekcije, a 2010. godine otvoriće izložbu u Sankt Peterburgu u restauriranom Šuvalovskom dvorcu, navodi agencija RIA "Novosti".


















Фаберже јајце по повод крунисувањето на царот Николај II

Fantastično, eremita!

Evo još:

Franz Pforr
St George and the Dragon
1811

Resurrection



Made between 1885 and 1890, this egg is one of Faberge's masterpieces; exquisitely made in the manner of the Italian Renaissance. The three gold figures in the group are enamelled en ronde bosse - white drapery and lilac-coloured wings. The grass and the ground on which the group is arranged are enamelled pale green and brown with yellow flecks, and the base is surrounded by a narrow belt of rose diamonds.

The door is enamelled to simulate marlbe with a coral-colored handle. The whole Resurrection scene is contained within a carved rock crystal egg, the two hemispheres held together by a line of rose diamonds. A large pearl serves as the shaft for this egg.



1891 - Azova



This egg is carved from a solid piece of heliotrope jasper, and is decorated in the Louis XV style with yellow gold scrolls set with brilliant diamonds and chased gold glowers; the broad fluted gold bezel is set with a drop ruby clasp. A tiny replica in gold of the Pamiat Azova set on a piece of aquamarine is contained inside the egg.




1894 - Renaissance



Carved from a block of milky agate, this egg, mounted horizontally on a gold enameled base, is fashioned as a jewel casket. Individual fancy and lineal pattern in Renaissance effectiveness are skilfully combined in the applied gold trelliswork pointed by diamonds and rubies at the interstices; and in the play of emerald, ruby and lapis-blue enamels in scroll and conventionalized design.

A scalloped tracery in diamonds on the cover encloses a ruby-enameled medallion variously ornamented with repeated foliate motifs in colorful enamels and the year in diamonds. Gold heraldic lions' heads at either end terminate slender loop handles. The opening is secured by a tiny gold and diamond latch, while engagingly designed inner rims are developed in opaque white enameling and gold floral patterns.

1893 - Caucasus



Varicolored gold garlands held by diamond bowknots mount this gold egg, overload with vibrant ruby enamel on a guilloche'undersurface. An extraordinary table-top diamond, gem-encircled, crowns the object; another completes the base.

Depicting views of mis mountain retreat high in the Caucasus where the Grand Duke Georg, younger brother of Nikolai II, because of ill health spent the greater part of his life, miniatures executed and signed by Krijitski are revealed on opening the four pearl-bordered doors around the egg. Each of these bears a diamond-set numeral of the year.



1895 - Danish Palaces



A star sapphire within a cluster of rose diamonds and chased gold laurel leaves surmounts this trois-couleur gold egg which is enamelled a translucent pink on a guilloche pattern of repeated crosses. The egg is divided into twelve panels by broad bands consisting each of a line of rose diamonds within continuous laurel leaf borders chased in gold, an emerald is set at each intersection of the lines of rose diamonds.

A folding screen of miniature paintings framed in vari-coloured gold is recessed within the egg. Painted on mother-of-pearl, eight of the ten panels depict palaces and residences in Denmark where the Empress spent her childhood.



1896 - Revolving Miniatures



Banded in diamonds and translucent emerald enamel, it is surmounted by a rare Siberian emerald weighing 27 karats, cun en cabochon and pointed. On a plinth of rock crystal, the double spheroidic base in contrastingly colorful enamels, twice circled with diamonds, is designed with monograms of the Tsarina, as the Princess Alix of Hesse-Darmstadt, before her marriage, and later as Aleksandra Feodorovna, Empress of Russia. Above these appears a series of diamond crowns of the respective royal houses.

Within the egg twelve signed miniatures by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a columnar axis. These, showing the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse; Balmoral and Windsor Castles, and Osborne House in the British Isles; the Winter, Antichkov and Aleksandr Palaces of Russia.

Karelian Birch (Fabergé egg)
From Wikipedia, the free encyclopedia


The Karelian Birch egg
The Karelian Birch egg, also known as Karelian Birch or the Birch Egg, is a Fabergé egg, one of two Easter eggs made under the supervision of Peter Carl Fabergé in 1917 for the last Tsar of Russia Nicholas II. It was the second to last Fabergé egg made, before Constellation. The Karelian Birch egg was considered lost until 2001, when a private collector in whose possession it had been since 1927 sold it to the State Historical Museum in Moscow.
Design

The egg is made out of Karelian birch panels set in a gold frame. This is a departure in design from previous eggs, which were far more ornate and gilded. The change was due to austerity measures taken as a result of World War I, both by the Russian Imperial family, and the House of Faberge. A number of the Faberge Imperial Easter eggs created during the war (those ordered by the Tsar as Easter gifts for members of the Russian Imperial family, as opposed to other eggs produced by Faberge), utilized unusual and less costly materials. However, the Karelian Birch egg was the only one to use an organic substance (wood) as a primary construction element. Its "surprise" was a miniature mechanical elephant, covered with tiny rose-cut diamonds, wound with a small jewel-encrusted key.
History

The Birch Egg was created in 1917, and was due to be completed and delivered to the Tsar that Easter, as a present for his mother, the Empress Maria Feodorovna. Before the egg was delivered however, the February Revolution took place and Nicholas II was forced to abdicate on March 15.On April 25, Fabergé sent the Tsar an invoice for the egg, addressing Nicholas II not as "Tsar of all the Russias" but as "Mr. Romanov, Nikolai Aleksandrovich".Nicholas paid 12,500 rubles and the egg was sent to Grand Duke Michael Alexandrovich at his palace, for presentation to the Empress, but the Duke fled before it arrived. The egg remained in the palace until it was looted in the wake of the October Revolution later that year.
After the October Revolution the egg was acquired by the Rumyantsev Museum in Moscow. It disappeared once again after the museum closed in January 1927 and was presumed lost.In 1999 Fabergé's great-granddaughter Tatiana published drawings of the designs for the Birch and Constellation Eggs, but it was assumed that they were both incomplete.The Birch Egg publicly reappeared in 2001 when a private collector from the United Kingdom, the descendant of Russian emigrants, sold it to the State Historical Museum. The complete purchase, which cost the museum "millions of dollars", consisted of the egg itself, the case, the wind-up key for the surprise, Fabergé's original invoice to Nicholas II, and a letter from Fabergé to Alexander Kerensky complaining about not being paid and asking that the egg be delivered. The "surprise" itself was not in the collector's possession and was likely stolen by soldiers during the October Revolution.The egg remains on display at the museum to this day.

Jacob:

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The Nazarenes


In 1809, the young German painters Franz Pforr (1788-1812) and Johann Fridrich Overbeck (1789-1869) founded the Brotherhood of St Luke in Vienna. They settled in Rome a year later, where they lived and worked with new recruits in the convent of Sant'Isidoro del Pincio. Because of their flowing hair and monk-like appearance, they were called the Nazarenes. Within the confines of the Brotherhood, their daily life was based on fraternity and ascetic poverty. As artists, the members set out to revive the art of painting by following an ideal of simplicity and sincerity, in conflict with the academic principles of their time. Their reworking of ancient sacred an was based on a sobriety of
colour and line that had many sources of inspiration, including Fra Angelico http://www.all-art.org/early_renaissance/fra_angelico1.html, the early works of Raphael http://www.all-art.org/history230-5.html, and older northern masters from van Eyckhttp://www.all-art.org/gothic_era/van_eyck1.html to Durer.http://www.all-art.org/durer/durer1-1.html. For the Nazarenes, art was a divine mission, elevated to the level of true faith. The celestial origin of sacred art was celebrated by Philipp Veit (1793-1877) in his frescos in the Villa Massimo of Rome (1819), where he represented the three great Italian poets - Dante, Ariosto, and Tasso -alongside the saints and fathers of the church. Between 1826 and 1839, Peter von Cornelius (1783-1867) gave artists sacred status in the loggias of the Munich Pinakothek (1826-30) and the Stadel Institute of Frankfurt with his Triumph of Religion in the Arts(1829). In portraits, there was a mood of contemplation. In the intimate portrayal of friends, pictures reveal subtle nuances of character, in a style far removed from the canons of official portraiture. The original spirit, derived from the masters of the 15th century that had brought the Nazarenes together, lasted only for a short time. The fresco cycles that decorated the home of the German consul Bartholdy (1816-17) and the Villa Massimo already showed affinities with the style of the Renaissance of the early 16th century. Pforr died before the age of 25 and Cornelius was summoned, together with Heinrich von Oliver (1785-1841) and Julius Schnorr von Carolsfeld http://www.all-art.org/neoclasscism/carolsfeld1.html (1794-1872), to Munich by Ludwig. The king encouraged a popular, educational style of painting and commissioned them to adorn the city's public buildings with patriotic, humanistic frescos. The art of the Nazarenes assumed an official role with Cornelius' http://www.all-art.org/neoclasscism/cornelius1.html paintings - which formed part of the Glyptothek (1819-30), the museum of ancient art designed in a Greek style by Leo von Klenze. Thanks, too, to Carolsfeld's cycle of the Nibelungen (1827) for the Konigsbau (the royal residence in Munich open to visitors), an artistic interpretation of national mythology assumed an educational function.

Виктор Васнецов "Отечествие"

Виктор Васнецов "Бог Саваоф"

Milos Bojanic:

Trojerucica u Gregetegu

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Извини, али ево овде се боље види:


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The Holy Face of Genoa.
This image is kept in the modest Church of St Bartholomew of The Armenians, Genoa, where it was donated to the city’s 14th century Doge Leonardo Montaldo by the Byzantine Emperor John V Palaeologus.
It has been the subject of a detailed 1969 study by Colette Dufour Bozzo, who dated the outer frame to the late 14th century, while the inner frame and the image itself are believed by some to have originated earlier. Bozzo found that the image was imprinted on a cloth that had been pasted onto a wooden board.

Јакобе, икона је једном речју ФАНТАСТИЧНА.......

predivne slikice eremitice

poljupčić za njih.... cmok