Od po\u010d\u00e1tku prac\u00ed na v\u00fdstav\u011b Tajemn\u00e9 d\u00e1lky jsme v\u011b\u0159ili \u017ee gotick\u00e9 prostory Ane\u017esk\u00e9ho kl\u00e1\u0161tera mus\u00ed symbolistn\u00edmi v\u00fdtvarn\u00fdmi d\u00edly vytv\u00e1\u0159et symbi\u00f3zu, ne\u017e kontrast. \u0160lo o to ud\u011blat z pr\u00e1zdn\u00e9ho chr\u00e1mu, chr\u00e1m um\u011bn\u00ed. Tradi\u010dn\u00ed duchovn\u00ed prostory napln\u011bn\u00e9 um\u011bn\u00edm, kter\u00e9 hled\u00e1 duchovno v p\u0159ekotn\u00e9 dob\u011b, kdy se na \u00fakor pokroku tradi\u010dn\u00ed hodnoty ztr\u00e1c\u00ed.<\/p>\n
P\u0159i vytv\u00e1\u0159en\u00ed expozice Tajemn\u00fdch D\u00e1lek, symbolismus v \u010desk\u00fdch zem\u00edch v komplikovan\u00fdch a rozmanit\u00fdch prostor\u00e1ch kl\u00e1\u0161tera sv. Ane\u017ey \u010cesk\u00e9 bylo nutn\u00e9 u\u010dinit prov\u00e9st div\u00e1ka expozic\u00ed spr\u00e1vn\u00fdm sm\u011brem a p\u0159edev\u0161\u00edm vytvo\u0159it atmosf\u00e9ry \u0161it\u00e9 na m\u00edru jednotliv\u00fdm prostor\u00e1m.<\/p>\n
V\u00fdstava za\u010d\u00edn\u00e1 v ambitu kl\u00e1\u0161tera historickou osou na jej\u00edm\u017e konci je panel s logem v\u00fdstavy. V\u00fdstava za\u010d\u00edn\u00e1 t\u0159emi men\u0161\u00edmi m\u00edstnostmi b\u00fdvalou \u0161atnou, refekt\u00e1\u0159em a \u010dernou kuchyn\u00ed. Abychom udr\u017eeli kontinuitu v\u00fdstavy a umo\u017enili vystavit d\u00edla se specifick\u00fdmi sv\u011bteln\u00fdmi po\u017eadavky bylo nutn\u00e9 do ambitu vystav\u011bt dlouhou m\u00edstnost tzv.\u010dern\u00fd tunel. Tento tunel slou\u017ei nejen jako spojovac\u00ed prvek mezi t\u0159emi m\u00edstnostmi v prvn\u00ed \u010d\u00e1sti expozice a velk\u00fdm fin\u00e1lem v kostelech Panny Marie a mauzoleu sv. Salv\u00e1tora, ale p\u0159edev\u0161\u00edm jako hlavn\u00ed pohledov\u00e1 osa – p\u00e1te\u0159 v\u00fdstavy. V kostlech i dal\u0161\u00edch m\u00edstnostech byla vytvo\u0159ena tajemn\u00e1 atmods\u00e9ra a to dv\u011bma n\u00e1stroji, jednak celk\u00e9v\u00fdm zatmaven\u00edm oken a p\u0159edev\u0161\u00edm zvolen\u00edm specifick\u00e9 panel\u00e1\u017ee pokryt\u00e9 nelakovan\u00fdm plechem. Plechov\u00e9 panely umoc\u0148ovali atmosf\u00e9ru d\u011bl na nich um\u00edst\u011bn\u00fdch a v odlesc\u00edch symbolizovali jejich skryt\u00fd v\u00fdznam. V kostele panny Marie a v mauzoleu sv. Salvatora byla vystavena velkoform\u00e1tov\u00e1 d\u00edla a sochy. Velkoform\u00e1tov\u00e1 d\u00edla byla um\u00edst\u011bna v kostele sv. Salv\u00e1tora tak jako by to byly olt\u00e1\u0159e.
\nV\u00fdstava Tajemn\u00e9 d\u00e1lky byla zakon\u010den\u00edm dlouhodob\u00e9ho badatelsk\u00e9ho projektu historika um\u011bn\u00ed Otto M. Urbana, kter\u00fd se touto tematikou v\u00edce ne\u017e desetilet\u00ed zab\u00fdval a soub\u011b\u017en\u011b s v\u00fdstavou byla vyd\u00e1na obs\u00e1hl\u00e1 monografie.<\/p>\n
V\u00fdstava Tajemn\u00e9 d\u00e1lky, symbolismus v \u010desk\u00fdch zem\u00edch se v\u011bnuje specifick\u00e9 \u010d\u00e1sti v\u00fdtvarn\u00e9 um\u011bleck\u00e9 sc\u00e9ny v \u010desk\u00fdch zem\u00edch, ovlivn\u011bn\u00e9 symbolismem v obdob\u00ed mezi lety 1880 a 1914. Datace v\u00fdstavy je pomysln\u011b r\u00e1mov\u00e1na dobou otev\u0159en\u00ed N\u00e1rodn\u00edho divadla a za\u010d\u00e1tkem prvn\u00ed sv\u011btov\u00e9 v\u00e1lky, n\u00e1zev je odvozen z titulu b\u00e1snick\u00e9 sb\u00edrky Otakara B\u0159eziny z 90. let 19. stolet\u00ed. V\u00fdstava je prvn\u00edm podobn\u00fdm projektem, a\u017e do sou\u010dasnosti byl symbolismus prezentov\u00e1n jako specifick\u00e1 kapitola v r\u00e1mci rozs\u00e1hlej\u0161\u00edch v\u00fdstavn\u00edch projekt\u016f. V jednotliv\u00fdch tematick\u00fdch kapitol\u00e1ch se tak p\u0159edstavuj\u00ed vedle zn\u00e1m\u00fdch a uzn\u00e1van\u00fdch um\u011blc\u016f (Alfons Mucha, Max \u0160vabinsk\u00fd, Franti\u0161ek B\u00edlek, Josef V\u00e1chal, Bohumil Kubi\u0161ta, Jan Zrzav\u00fd ad.) i auto\u0159i m\u00e9n\u011b vystavovan\u00ed a zvl\u00e1\u0161t\u011b v mezin\u00e1rodn\u00edm kontextu t\u00e9m\u011b\u0159 nezn\u00e1m\u00ed (Maxmili\u00e1n Pirner, Bene\u0161 Kn\u00fcpfer, August Br\u00f6mse, Jaroslav Panu\u0161ka, Josef Mandl, Tav\u00edk Franti\u0161ek \u0160imon, Alois Boh\u00e1\u010d aj.). Expon\u00e1ty jsou jak z velk\u00fdch etablovan\u00fdch galeri\u00ed (N\u00e1rodn\u00ed galerie v Praze, Galerie hlavn\u00edho m\u011bsta Prahy nebo Pam\u00e1tn\u00edk n\u00e1rodn\u00edho p\u00edsemnictv\u00ed), tak z men\u0161\u00edch muse\u00ed a region\u00e1ln\u00edch instituc\u00ed, stejn\u011b jako ze soukrom\u00fdch sb\u00edrek. V n\u011bkolika p\u0159\u00edpadech se jedn\u00e1 i o z\u00e1p\u016fj\u010dky ze zahrani\u010d\u00ed (\u0158ezno, Oslo, Pa\u0159\u00ed\u017e). Vedle zn\u00e1m\u00fdch jsou zde tak p\u0159edstaveny i doposud nevystaven\u00e9 pr\u00e1ce. Jakkoli v\u00fdstava tematicky vych\u00e1z\u00ed a navazuje na expozice, kter\u00e9 v r\u00e1mci tohoto projektu prob\u011bhly v Krakov\u011b a Olomouci, jej\u00ed struktura je od p\u0159edch\u00e1zej\u00edc\u00edch pon\u011bkud odli\u0161n\u00e1, nebo\u0165 vych\u00e1z\u00ed ze specifick\u00fdch podm\u00ednek kl\u00e1\u0161tera sv. Ane\u017eky \u010cesk\u00e9. Na rozd\u00edl od zm\u00edn\u011bn\u00fdch prezentac\u00ed tvo\u0159\u00ed j\u00e1dro v\u00fdstavy soubor d\u011bl ze sb\u00edrek N\u00e1rodn\u00ed galerie v Praze. Jedn\u00e1 se \u010dasto o z\u00e1sadn\u00ed pr\u00e1ce, kter\u00e9 se zde objevuj\u00ed v nov\u00e9m kontextu. V\u00fdrazn\u011b v\u011bt\u0161\u00ed je tak\u00e9 soubor vystaven\u00fdch knih.<\/p>\n
Bylo to pr\u00e1v\u011b v prost\u0159ed\u00ed symbolismu, kde se poprv\u00e9 a nejv\u00fdrazn\u011bji objevily vyhran\u011bn\u00e9 kritick\u00e9 n\u00e1zory k nacion\u00e1ln\u00edm tendenc\u00edm, je\u017e \u010desk\u00e9 kultu\u0159e v 19. stolet\u00ed dominovaly. Um\u011blci se c\u00edtili jako sou\u010d\u00e1st jak\u00e9hosi duchovn\u00edho spole\u010denstv\u00ed bez ohledu na n\u00e1rodnostn\u00ed \u010di soci\u00e1ln\u00ed podm\u00edn\u011bnost. V\u00fdrazn\u011b se tomuto t\u00e9matu v\u011bnovala kl\u00ed\u010dov\u00e1 postava \u010desk\u00e9ho symbolismu a dekadence, b\u00e1sn\u00edk, kritik a v\u00fdtvarn\u00edk Karel Hlav\u00e1\u010dek v textu p\u0159\u00edzna\u010dn\u011b nazvan\u00e9m \u201eNacionalismus a internacionalismus\u201c z roku 1896. Pro Hlav\u00e1\u010dka a jeho druhy bylo fascinuj\u00edc\u00ed pozn\u00e1vat tvorbu \u201esp\u0159\u00edzn\u011bn\u00fdch du\u0161\u00ed\u201c z Pa\u0159\u00ed\u017ee, Lond\u00fdna, Berl\u00edna, V\u00eddn\u011b, Bruselu, Krakova \u010di \u0158\u00edma; jejich d\u00edla jim nebyla ciz\u00ed, ale naopak hluboce bl\u00edzk\u00e1 a p\u0159\u00edbuzn\u00e1.<\/p>\n
V teoretick\u00fdch diskus\u00edch se st\u00e1le \u010dast\u011bji objevoval pojem syntetismu, kter\u00fd se z\u00e1hy stal jedn\u00edm ze z\u00e1sadn\u00edch t\u00e9mat um\u011bleck\u00e9 kritiky a teorie t\u00e9 doby. Syntetismus byl snahou o sv\u00e9bytn\u00e9 propojen\u00ed um\u011bn\u00ed a \u017eivota, o vn\u00edm\u00e1n\u00ed kr\u00e1sy, harmonie, ale i bolesti a hr\u016fzy jak\u00fdmsi vy\u0161\u0161\u00edm a hlub\u0161\u00edm zp\u016fsobem, kter\u00fd by se z\u00e1sadn\u011b projevil i v samotn\u00e9m lidsk\u00e9m kon\u00e1n\u00ed.<\/p>\n
Realita ov\u0161em st\u00e1la v p\u0159\u00edm\u00e9 opozici, pragmatismus doby sv\u011btla ch\u00e1pal probl\u00e9m zcela opa\u010dn\u011b: technologick\u00fd rozvoj s\u00e1m ovlivn\u00ed tv\u00e1\u0159 um\u011bn\u00ed a kultury. S takovou situac\u00ed se \u0159ada um\u011blc\u016f a myslitel\u016f odm\u00edtala sm\u00ed\u0159it a volila dobrovoln\u011b osam\u011bl\u00e9 sn\u011bn\u00ed v p\u0159\u00edtm\u00ed kav\u00e1ren \u010di ateli\u00e9r\u016f.<\/p>\n
Symbolismus byl v \u010desk\u00e9m prost\u0159ed\u00ed prvn\u00edm um\u011bleck\u00fdm sm\u011brem, jen\u017e proklamativn\u011b vystupoval jako sou\u010d\u00e1st \u0161ir\u0161\u00edho evropsk\u00e9ho um\u011bleck\u00e9ho proudu. Jeho z\u00e1sluhou pak v n\u00e1sleduj\u00edc\u00edch desetilet\u00edch pat\u0159ilo \u010desk\u00e9 um\u011bn\u00ed p\u0159irozen\u011b k evropsk\u00e9 kultu\u0159e. D\u00edky um\u011bleck\u00fdm i osobn\u00edm kontakt\u016fm, kter\u00e9 generace 90. let nav\u00e1zala s mnoha um\u011blci v zahrani\u010d\u00ed, mohly ty n\u00e1sleduj\u00edc\u00ed zcela samoz\u0159ejm\u011b vstupovat do mezin\u00e1rodn\u00edho kontextu. Sta\u010d\u00ed p\u0159ipomenout pozd\u011bj\u0161\u00ed \u00fazk\u00e9 kontakty s n\u011bmeck\u00fdm, zejm\u00e9na mnichovsk\u00fdm expresionismem, t\u011bsn\u00e9 um\u011bleck\u00e9 i lidsk\u00e9 vazby s pa\u0159\u00ed\u017esk\u00fdmi kubisty, po prvn\u00ed sv\u011btov\u00e9 v\u00e1lce pak propojen\u00ed s mezin\u00e1rodn\u00edm hnut\u00edm surrealismu..<\/p>\n
Otto M. Urban<\/p>\n
Web v\u00fdstavy: https:\/\/www.ngprague.cz\/<\/a><\/p>\n Recenze: Od po\u010d\u00e1tku prac\u00ed na v\u00fdstav\u011b Tajemn\u00e9 d\u00e1lky jsme v\u011b\u0159ili \u017ee gotick\u00e9 prostory Ane\u017esk\u00e9ho kl\u00e1\u0161tera mus\u00ed symbolistn\u00edmi v\u00fdtvarn\u00fdmi d\u00edly vytv\u00e1\u0159et symbi\u00f3zu, ne\u017e kontrast. \u0160lo o to ud\u011blat z pr\u00e1zdn\u00e9ho chr\u00e1mu, chr\u00e1m um\u011bn\u00ed. Tradi\u010dn\u00ed duchovn\u00ed prostory napln\u011bn\u00e9 um\u011bn\u00edm, kter\u00e9 hled\u00e1 duchovno v p\u0159ekotn\u00e9 dob\u011b, kdy se na \u00fakor pokroku tradi\u010dn\u00ed hodnoty ztr\u00e1c\u00ed. P\u0159i vytv\u00e1\u0159en\u00ed expozice Tajemn\u00fdch D\u00e1lek, symbolismus v \u010desk\u00fdch zem\u00edch […]<\/p>\n","protected":false},"author":1,"featured_media":1871,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-349","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archive"],"_links":{"self":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts\/349","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=349"}],"version-history":[{"count":14,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts\/349\/revisions"}],"predecessor-version":[{"id":3582,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/posts\/349\/revisions\/3582"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=\/wp\/v2\/media\/1871"}],"wp:attachment":[{"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=349"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=349"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rcnksk.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nRadan Wagner, \u010cesk\u00e1 pozice, Lidovky: https:\/\/ceskapozice.lidovky.cz\/<\/a>
\nKl\u00e1ra Fleyberkov\u00e1, \u010cesk\u00fd rozhlas: https:\/\/www.irozhlas.cz\/<\/a>
\nMarie T\u0159e\u0161\u0148\u00e1kov\u00e1, \u010cesk\u00e1 televize: https:\/\/ct24.ceskatelevize.cz\/<\/a>
\nIvan Adamovi\u010d, Hospod\u00e1\u0159sk\u00e9 noviny: https:\/\/domaci.ihned.cz\/<\/a>
\nPeter Kov\u00e1\u010d, Pr\u00e1vo: https:\/\/www.novinky.cz\/<\/a><\/p>","protected":false},"excerpt":{"rendered":"