{"id":21043,"date":"2020-08-20T14:00:18","date_gmt":"2020-08-20T12:00:18","guid":{"rendered":"https:\/\/stiftadmont.at\/?p=21043"},"modified":"2023-09-25T08:03:48","modified_gmt":"2023-09-25T06:03:48","slug":"admont-in-njegove-barve-mineralni-pigmenti","status":"publish","type":"post","link":"https:\/\/stiftadmont.at\/sl\/blog\/admont-und-seine-farben-mineralpigmente\/","title":{"rendered":"Admont in njegove barve: Mineralni pigmenti"},"content":{"rendered":"<section class=\"firepress-section firepress-content\"\n\t\t\n\t\tdata-firepress-content\n\t\tdata-firepress-lightbox-group>\n\n\t\t<div class=\"firepress-content__inner\">\n\t\t\t<div class=\"firepress-content__grid firepress-content__grid--one-hundred\">\n\t\t\t\t\t\t\t\t\t\t\t\t\n\t<div class=\"firepress-content__box firepress-content__box--one\">\n\n\t\t\t\t\t\t\t\t<div class=\"prose\"><h1 class=\"line line--gold\">Admont in njegove barve: Mineralni pigmenti<\/h1>\n<p class=\"paragraph-m\"><strong>\u010cetrtek, 20.08.2020<\/strong><\/p>\n<h6 class=\"heading-s\">Ni\u010d presenetljivega: svet okoli nas je poln barv.<\/h6>\n<p class=\"paragraph-m\">Pogled na strop dvorane knji\u017enice v Admontu zlahka poudari to preprosto spoznanje. \u0160e vedno lahko vidite originalne barvne pigmente, ki jih je uporabil Altomonte. To, da se \u0161e danes tako jasno svetijo, ni le posledica skrbnega \u010di\u0161\u010denja pred nekaj leti. Pravi razlog za to \u0161e vedno impresivno sve\u017eino se skriva v dejstvu, da je bilo uporabljenih veliko pristnih naravnih barv, pigmentov predvsem mineralne in naravnoorganske narave, ki lahko dolgo \u010dasa ohranijo svojo svetlost. Ob pogledu na Altomontova dela za\u010dnemo tudi razumeti, da je bilo poznavanje teh barv oziroma njihova sestava in proizvodnja skrbno varovana skrivnost takratnih umetnikov v smislu izvirnosti, ki so jo brez oklevanja odnesli v grob.<\/p>\n<p class=\"paragraph-m\">Italijanski slikar Cennino Cennini je v svojem priro\u010dniku, napisanem okoli leta 1400, prvi razkril previden vpogled v svet barvne kuhinje. \u010ceprav je bilo delo sprva raz\u0161irjeno le v nekaj izvodih, se je izkazalo za vpliven u\u010dbenik o slikarstvu v poznem srednjem veku. \u0160e danes je pomembno, vsaj ponarejevalci umetnin so ga lahko po potrebi uporabljali kot izjemno pou\u010den vir informacij.<\/p>\n<p class=\"paragraph-m\">Kljub temu je uporaba barv v osnovi ve\u010d kot starodavna. O tem nam nazorno pri\u010dajo barvni pigmenti na skalnih poslikavah na\u0161ih daljnih prednikov. V jamskem svetu so uporabljali zemeljske barve, kot so zelena zemlja, oker ali umbra, pa tudi oglje ali kostno oglje, kadar ni bilo na voljo \u010drnega manganovega dioksida. Za jamske slikarje je imela rde\u010da barva okre morda tudi versko ozadje. O\u010ditno so ji pripisovali lastnosti, ki potrjujejo \u017eivljenje, zato so v tej barvi pogosto upodabljali \u017eivali, umrle pa so ob\u010dasno pokopavali v rde\u010di okri. Umetniki iz kamene dobe so oprijemljivost na grobo kamnito povr\u0161ino dosegli predvsem z uporabo apna in vode kot veziva za pigmente.<\/p>\n<p class=\"paragraph-m\">Tudi uporaba telesne barve je stara in ni omejena izklju\u010dno na vojne barve in posebne praznike. Tudi Sveto pismo v 2. knjigi kraljev (9,30) nekoliko razdra\u017eeno navaja: \"... ko je Jezabela to sli\u0161ala, si je z barvo prekrila o\u010di\". Po modnem trendu med njenimi sosedi pa so za poudarjanje o\u010di in njihov ve\u010dji sijaj uporabljali antimon ali alternativno \u010disti arzenik. Obe snovi sta pravzaprav sporni in sta se po zemeljskih barvah in sajah \u017ee zgodaj zna\u0161li v \u017eivljenju barvitih ljudi. Danes ne smemo hiteti z razmi\u0161ljanjem o njuni \u0161kodljivosti; v tistih \u010dasih manj bogate \u017eivljenjske dobe so bila tak\u0161na tveganja manj\u0161e zlo - in koristi so bile mamljive.<\/p>\n<p class=\"paragraph-m\">Od kod torej izvirajo te mineralne barve, \u010de ne, tako kot lapis lazuli, iz oddaljenega in zato izjemno dragega Afganistana? \u010ce so v kamninah v obliki \u017eelezovih oksidov ali \u017eelezovih hidroksidov, so ti pigmenti obi\u010dajno rde\u010di. Rumene kamnine, kot so nekatere okre, pa obi\u010dajno vsebujejo getit ali gline. \u010ce to okro pozneje naravno ali umetno segrevamo, se vsebnost rde\u010de barve v njej postopoma pove\u010duje, tako da je mogo\u010de sestaviti razli\u010dne odtenke oran\u017ene barve. Za temnej\u0161e barvne sence na pla\u0161\u010du se je na primer pogosto uporabljala ciprska umbra, sorodnica okre, ki se je me\u0161ala z izvirno barvo. Ta ciprska ali tur\u0161ka umbra se \u0161e vedno prodaja po visokih cenah. Rjava \u017eelezna ruda pa se je uporabljala za pridobivanje stabilnih rjavih barv. Redkej\u0161a, vendar \u017ee po imenu znana, je presenetljivo rde\u010da barva krvavega kamna, ki je sam po sebi srebrnkasto-antracitne barve. Zakaj ime in zakaj rde\u010da barva? \u010ce ta dragulj drgnemo po trdi, hrapavi in po mo\u017enosti beli povr\u0161ini - na primer po elektri\u010dni varovalki - ali celo zdrobimo mineral v prah, dobimo temno rde\u010d izdelek, podoben su\u0161e\u010di se krvi. Ni presenetljivo, da je krvni kamen ali hematit tudi \u017eelezov oksid.<\/p>\n<p class=\"paragraph-m\">\u010ce se vrnemo k modri barvi lapis lazuli: vrednost modre barve Fra Angelico (lapis lazuli) je \u0161e danes pribli\u017eno enaka njeni te\u017ei v zlatu.  Iskanje znamenite \"modre glazure\", ki se vedno znova pojavlja v na\u0161ih legendah o Kasermandlnu, veliko pove o pomenu te barve, zlasti za steklarsko industrijo v Benetkah (od tod ime \"Venedigermandln\"). Ker pa je Afganistan dale\u010d in ker je denarja danes enako malo kot takrat, so si v de\u017eelah ob Nilu z veseljem pomagali z me\u0161anico kremen\u010devega peska, apna in bakrovih soli, \"egip\u010dansko modro\". Vendar se ta barva nekoliko razlikuje od \u010distih, naravnih mineralnih barv.<\/p>\n<p class=\"paragraph-m\">Med naravnimi pigmenti sta temno modri bakrov oksid azurit in kemijsko podoben zeleni malahit vsekakor del \u010dlove\u0161ke barvne palete \u017ee od nekdaj.  Redkej\u0161i, vendar v naravi prisoten mineral azurit ponuja posebno privla\u010dno modro barvo z ob\u010dasnim temno modrim videzom. V nasprotju z jasno zeleno barvo malahita kot bakrovega minerala je mehkej\u0161a zelena veronska barva neposreden produkt vremenskih vplivov prete\u017eno osnovnih kamninskih sestavin, kot sta augit ali rogova\u010da. Mimogrede, ta barva ni omejena samo na Verono. Znano nahajali\u0161\u010de na gori Monte Baldo so kot zeleno barvilo uporabljali \u017ee Rimljani in tako postalo znano. Druga mineralna zelena barvila, kot so glaukonit, sljuda fuksit ali celadonit, so na voljo zelo redko. Mimogrede, zelene barve skoraj nikoli ne najdemo na jamskih poslikavah.<\/p>\n<p class=\"paragraph-m\">Nenazadnje ne smemo pozabiti na cinabar. V Evropi so ga prvi\u010d odkrili Grki v 6. stoletju pred na\u0161im \u0161tetjem. Rimljani so kopali velike koli\u010dine rde\u010de \u017eivosrebrove rude, zlasti v Almadenu v \u0160paniji. Pigment, pridobljen iz minerala cinobra ali realgarja, je bil pri Rimljanih priljubljen in drag, zato je bil zelo iskan. O tem prepri\u010dljivo pri\u010dajo obse\u017ene stenske poslikave v Pompejih. Slabost te prave mineralne barve je, da cinabar postopoma potemni, zlasti na svetlobi, in tako postopoma izgubi svoj poseben sijaj. Slabost slednjih pigmentov, ki se je zavedamo \u0161ele danes, je njihova \u0161kodljivost za zdravje, kar bi lahko vplivalo na delo in \u017eivljenje anti\u010dnih mojstrov in njihovih pomo\u010dnikov.<\/p>\n<p class=\"paragraph-m\">Poleg manganovih mineralov za pomembne temne odtenke, ki smo se jih na kratko dotaknili na za\u010detku, obstajajo seveda tudi drugi barvni minerali; pomislimo le na zlato, veliko manj na hitro temne\u010de srebro ali na minerale s spinelno strukturo. Zaradi redkosti teh mineralnih nosilcev barve (rubin in safir sta spinela) ni te\u017eko domnevati, da so se uporabljali drugi pigmenti, ki jih je bilo nekoliko la\u017eje dobiti. Ni presenetljivo, da so se v barvitem svetu na\u0161ih prednikov zgodaj zna\u0161le tudi barve iz organskih materialov, kot so rastline (npr. \u017eafran) in \u017eivali (npr. vijoli\u010dna). Toda to je tako reko\u010d druga\u010dna, organska zgodba.<\/p>\n<\/div>\n\n\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/section>\n\n\n\n\t<section class=\"firepress-section firepress-image-slider\"\n\t\tdata-firepress-image-slider\n\t\tdata-firepress-lightbox-group>\n\n\t\t<div class=\"firepress-image-slider__inner\">\n\t\t\t<div class=\"firepress-image-slider__viewport\">\n\t\t\t\t<div class=\"firepress-image-slider__track\">\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"firepress-image-slider__slide\"\n\t\t\t\t\t\t\tdata-firepress-lightbox\n\t\t\t\t\t\t\tdata-full=\"https:\/\/stiftadmont.at\/wp-content\/uploads\/StiftsbibliothekAdmont_Deckenfresken@MarcelPeda-3-e1634723735843-1920x1438.jpg\">\n\t\t\t\t\t\t\t<div class=\"firepress-image-slider__media\">\n\t\t\t\t\t\t\t\t<img width=\"768\" height=\"575\" src=\"https:\/\/stiftadmont.at\/wp-content\/uploads\/StiftsbibliothekAdmont_Deckenfresken@MarcelPeda-3-e1634723735843-768x575.jpg\" 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