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Krađe ikona

dc.creatorSamardžić, Renata
dc.date.accessioned2019-03-21T16:07:19Z
dc.date.available2019-03-21T16:07:19Z
dc.date.issued2016
dc.identifier.issn0354-8872
dc.identifier.urihttp://jakov.kpu.edu.rs/handle/123456789/684
dc.description.abstractThe paper first considers certain issues related to the Orthodox icons, and points out to their specific features that differentiate them in relation to any other religious picture. As a hallmark of Orthodox religion, icons represent the artistic expression of theology and service of the Church, whose nature and meaning were defined at the Seventh Ecumenical Council of Nicaea (787 A.D.). The paper also considers the conflict between iconoclasts and iconodules based on different interpretations of the Christological dogma, which ended in the rejection of iconoclasm and definition of the Byzantine concept of image. According to the words of Saint Basil the Great, the one who stands before an icon, worships it in a way that the honour paid to the icon passes to the archetype. The art of icon painting experienced its golden age in Russia in the period from XIV to XVI century, while in XVII century perception of icons underwent a change, when the difference between the icon as a liturgical object and secular image became smaller. This break with tradition was especially noticeable during the reign of Peter the Great and Catherine II, when in the Europeanized Russia iconography was replaced by salon style painting. The new interest of the Russian elite for iconography (emerged as a reaction to the official art) occurred at the end of XIX and early XX century, when the first private collections of icons were created. In this period, Russian icons began penetrating the world of Western culture, which was particularly facilitated by the Russian emigration from the Soviet Russia, as well as the exhibitions of Russian icons organized abroad. Over time, icons became highly demanded among collectors in the West. On the market, they received the commodity value (the same as any other work of art). After the collapse of the Soviet Union, about fifty criminal groups were active in Western Europe, which were involved in art crime. In Germany, the USA, Italy, Israel, France and Great Britain, antique shops specialized in antique Russian icons trade were opened. When their auction value began to rise, icons became object of interest of the Russian mafia. In the third part of the paper, the current situation in Russia, Cyprus and Serbia was analysed.en
dc.description.abstractAutor u članku analizira prirodu i smisao pravoslavne ikone, njen značaj u crkvenoj umetnosti, kao i razloge zbog kojih je ona na Zapadu postala jedan od najtraženijih kolekcionarskih predmeta. Smisao i sadržaj ikone definisani su na Sedmom vaseljenskom saboru u Nikeji, koji je odbacio ikonoborstvo i definisao vizantijsku koncepciju slike. Rusija je uz hrišćanstvo od Vizantije dobila oformljenu ikonu kao i učenje o njoj. Ikona je postala glavni izraz ruskog pravoslavlja, ušavši duboko u narodni život. Umetnost ikone doživela je svoje zlatno doba u periodu od XIV do XVI veka. U XVII veku, pod uticajem evropskih estetičkih ideja, u ikonopis prodire zapadni manir slikanja i razlika između ikone kao sakralnog objekta i svetovne slike postaje sve manja. Ovaj prekid s tradicijom starog ruskog ikonopisa posebno je vidljiv u vreme Petra Velikog i Katarine II, kada u evropeizovanoj Rusiji ikonopis zamenjuje salonsko slikarstvo. Posle tri veka zaborava, ikona je ponovo otkrivena u Rusiji krajem XIX veka, a potom i na Zapadu, koji će je neretko vrednovati s estetičkih pozicija. Početkom XX veka, usled odsustva kontrole, kulturne vrednosti iz Rusije počele su da se raznose po Evropi i Americi. Ikone su dobile tržišnu vrednost, kao i sva druga umetnička dela. Kada je njihova aukcijska vrednost počela naglo da raste, postale su predmet interesovanja ruske mafije. Devedesetih godina XX veka ruske tajne službe potvrdile su da je u 95% slučajeva nelegalne trgovine ikonama umešan organizovan kriminal. U radu je predstavljeno aktuelno stanje u Rusiji, na Kipru i u Srbiji.sr
dc.publisherKriminalističko- policijska akademija, Beograd
dc.relationProjekat Kriminalističko-policijske akademije: Kriminalitet u Srbiji i instrumenti državne reakcije
dc.rightsopenAccess
dc.sourceNauka, bezbednost, policija
dc.subjecticonsen
dc.subjectOrthodox Christianityen
dc.subjectliturgical objectsen
dc.subjecttheftsen
dc.subjectRussiaen
dc.subjectSerbiaen
dc.subjectCyprusen
dc.subjectikonesr
dc.subjectpravoslavljesr
dc.subjectliturgijski predmetisr
dc.subjectkrađesr
dc.subjectRusijasr
dc.subjectSrbijasr
dc.subjectKiparsr
dc.titleThefts of iconsen
dc.titleKrađe ikonasr
dc.typearticle
dc.rights.licenseARR
dcterms.abstractСамарджић, Рената; Крађе икона; Крађе икона;
dc.citation.volume21
dc.citation.issue2
dc.citation.spage181
dc.citation.epage196
dc.citation.other21(2): 181-196
dc.citation.rankM51
dc.identifier.doi10.5937/nbp1602181S
dc.identifier.rcubconv_816
dc.identifier.fulltexthttp://jakov.kpu.edu.rs/bitstream/id/2772/682.pdf
dc.type.versionpublishedVersion


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