ANGELINA MILOSAVLJEVIĆ
Singidunum University, Faculty of Media and Communications Belgrade
angelina.milosavlјevic@fmk.edu.rs
andjelijam@gmail.com
ŽIVA TELA: primenjena grafika u anatomskim atlasima Andree Vezalijusa iz 1543. i Johana Remelina iz 1609. godine
BODIES ALIVE: Applied Graphics in Anatomical Atlases by Andrea Vesalius of 1543 and Johann Remmelin of 1609
Journal 14/2018 (Museum of Applied Art), pages 15-25
Article category: original scientific paper
UDC:
76.041.2
655.553
Abstract (original language):
Grafika se u istoriji umetnosti dugo posmatrala pretežno iz vizure umetničkih vrednosti, dok se, usled disciplinarne određenosti, njena utilitarnost često ostavljala po strani. NJena funkcija je određuje i žanrovski, kao devocionalnu, dekorativnu, didaktičku, političko-propagandnu, ilustrativnu, i slično. Grafika se do neslućenih razmera razvila i u formalnom, medijskom i funkcionalnom smislu u XVI veku, našavši svoj izvanredni izraz u trodimenzionalnim predstavama čovekove anatomije u anatomskim atlasima – posebno De humani corporis fabrica (1543) Andree Vezalijusa (Andrea Vesalius), a kasnije i u Catoptri Microcosmici (1609) Johana Remelina (Johann Remmelin), u kojima se prelamaju strategije otvaranja tela i pogleda ispod površine kože iskazane u renesansnoj umetničkoj teoriji i praksi, kao i u naučnim istraživanjima. U ovom radu želimo da ukažemo na to da su ilustratori pomenutih atlasa, zahvaljujući svojim umetničkim interesovanjima i saznanjima koja su prethodila striktno naučnim medicinskim istraživanjima, odbacili drevne modele shematizovanih dvodimenzionalnih prikaza i uveli kompleksne volumetrijske predstave. Formalnom višeslojnošću ovih predstava, postignutom specifičnim preklapanjem sastavnih delova koji omogućavaju uvid u anatomska tkanja ljudskog tela, ilustratori su u proces saznavanja uveli nove didaktičke metode. U saradnji sa naučnicima, oni su pronalazili načine da informacije pretoče u prepoznatljive i pristupačne modele, ali i da im daju kognitivnu strukturu. U toj vizuelizaciji saznanja, stvaranjem dinamičnih interaktivnih obrazaca kojim se moglo manipulisati po potrebi, umetnici su takođe donosili nova i revolucionarna, ali još uvek nedovoljno poznata, rešenja dizajna knjiga.
Key words: (original language)
anatomski atlas, Andrea Vezalijus (1514–1564), Johan Remelin (1583–1632), renesansna grafika, renesansna umetnička teorija
Summary:
Graphic print has long been considered from the point of its aesthetic values, due to the conventional disciplinary boundaries, leaving its utilitarian values to the theory and history of graphic design. Its function defines its genres: devotional, decorative, didactic, political and propagandistic, illustrative, and similar, combined with its physical characteristics, its materiality, and formats. Prints gained their unprecedented scope in form, function and media in the 16th century, finding their exquisite expression in the three-dimensional representations of human anatomy in anatomical atlases, especially in Andrea Vesalius' De humani corporis fabrica of 1543, and later on in Johann Remmelin's Catoptri Microcosmici of 1609. They reflect the strategies of opening the body and a look beneath the surface, the skin, expressed in the Renaissance art theory and practice, as well as in scientific research. In this paper, we would like to show that the illustrators of these atlases, owing to their artistic interests and knowledge that predated strictly scientific medical research, rejected the old models of schematized twodimensional images and introduced volumetric representations characterized by complexity and immediacy. With formal layering of these representations, achieved by specific overlapping of constituent parts that enable the insight into anatomical intricacies of the human body, the illustrators introduced new didactic methods into the process of acquiring and communication of knowledge. In cooperation with scientists, they found ways to translate information into recognizable and accessible models, giving them the cognitive structure. In this visualization of knowledge, in the creation of dynamic interactive patterns that could be manipulated according to need, artists also brought new and revolutionary, but still insufficiently known, solutions of book design.
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