Iconographical peculiarities of the murals in the succursal church of St. Primož above Kamnik - an analysis of visual models

V magistrskem delu so predstavljeni v literaturi navedeni kot tudi na novo odkriti likovni vzori za srednjeveško poslikavo cerkve sv. Primoža in Felicijana na Sv. Primožu nad Kamnikom. Predloženo delo je prva samostojna obravnava likovnih vzorov za ikonografske posebnosti svetoprimoške poslikave. Obravnavani so izbrani prizori, katerim se pisci v literaturi do sedaj še niso natančneje posvečali. Poudarek je na prizorih iz Marijinega cikla, ki vsebujejo ikonografske posebnosti, kot so pismo s tremi pečati in zavrnjeni snubec, ki v besu grize palico, na izbranih figurah kraljevega spremstva in žanrskih upodobitvah v prizoru Pohoda in poklona sv. Treh kraljev, na podobah nadlog na Kužni sliki in določenih samostojnih prizorih. Vsi zbrani primeri možnih zgledov so bili s stališča sloga, tipologije in ikonografije primerjani s svetoprimoškimi prizori in ob koncu naloge analizirani v navezavi na geografsko območje njihovega nastanka. Izkazalo se je, da so grafične predloge skoncentrirane na območje južne in osrednje Nemčije. V zvezi s slikarskimi vzori, ki so zastopani predvsem z oltarnimi tablami, pa je bilo ugotovljeno, da je njihov izvor predvsem južna Nemčija, prihajajo pa tudi s Tirolske, predvsem z Južne, posamezni primeri pa tudi s Koroške, iz Kölna, Salzburga, z Nizozemske ter iz osrednje in severne Italije.In the master’s thesis, both examples listed in literature, as well as newly discovered examples of art models for the medieval paintings of the Church of St. Primus and Felician on St. Primož above Kamnik are presented. The presented work is the first independent discussion of artistic models for the iconographic peculiarities of the mentioned paintings. Selected scenes were analyzed, to which writers have not yet paid significant attention in literature. Emphasis is placed on scenes from the cycle of Mary, which contain iconographic features such as a letter with three seals and a rejected fiancé biting a stick in rage, selected figures of the royal entourage in the Procession and Adoration of the Magi, images of scourge in the Plague Painting and certain stand-alone scenes. All examples of art models were compared from the stylistic, typology and iconography aspect and in the end of the thesis related to the geographical area of their origin. The graphic models originate primarily from the areas of southern and central Germany. Painting samples which are mainly represented by altars, apart from southern Germany, originate from Tyrol, mostly from South Tyrol, and individual examples from Carinthia, Cologne, Salzburg, the Netherlands, as well as northern and central Italy