Zpívající fontána v Královské zahradě Pražského hradu
The Singing Fountain in The Royal Garden of The Prague castle
bachelor thesis (DEFENDED)
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http://hdl.handle.net/20.500.11956/80768Identifiers
Study Information System: 168034
Collections
- Kvalifikační práce [2255]
Author
Advisor
Referee
Šmied, Miroslav
Faculty / Institute
Catholic Theological Faculty
Discipline
History of Christian Arts
Department
Institute of Christian Art History
Date of defense
6. 9. 2016
Publisher
Univerzita Karlova, Katolická teologická fakultaLanguage
Czech
Grade
Excellent
Keywords (Czech)
uţité umění, renesanční plastika, vodní architektura, zahrady, zvonařství, Praţský hrad, Královská zahrada, Ferdinand I. (1503-1564), Ferdinand II. (1529-1595, místodrţící v Čechách mezi léty 1548-1567), Maxmilián II. (1527-1576), Tomáš Jaroš z Brna, Francesco Terzio, Antonio Brocco de Campion, Vavřinec Křička z Bítyšky, Wolf Hofprugger, Hans PeisserKeywords (English)
Applied arts, renessaince plastic, water architecture, gardens, bellfounding, nonEuropean art, The Prague Castle, The Royal Garden, Ferdinand I (1503-1564), Ferdinand II (1529-1595, the administration of Bohemia in years 1548-1567), Maxmilián II (1527-1576), Tomáš Jaroš z Brna, Francesco Terzio, Antonio Brocco de Campion, Vavřinec Křička z Bítyšky, Wolf Hofprugger, Hans PeisserThis work follows three main questions, which will allow a deeper appreciation of art historical monument. At first, there is a concise story of rulers, which donated fountain. In the next part, the work gives ideas of the original context of the installation of the bronze fountain in the architecture of the Royal Garden at the Prague Castle in the third quarter of the 16th century. The artistic description with historical sources presents the monument as the result of the work of artists associated around the royal gunsmith Tomas Jaros of Brno. In the closing section attempts to draw attention to the potential non-European cultural influence in the creation of artwork. Compared fanciful figures on the fountain with bells of the late 16th century, attempts to document the gradual domestication of a particular theme used on the Habsburg court before the arrival of Rudolf II. Secondary question will present conservation of the artwork.