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The applicability and the transformative nature of Karaman’s notions of peripheral/provincial in Dalmatian Cinquecento

The paper develops some of the author’s previous readings of Ljubo Karaman’s art historical concepts of borderline, peripheral, and provincial which are fundamentally in- stalled in methodological approaches of Croatian art history of the late 20th and the early 21st century. Their applicability is primarily seen in the light of their eman- cipatory potential in the interpretation of particularities and the transformative nature of the visual language in the eastern Adriatic and its hinterlands throughout the centuries. Though Karaman had constructed these con- cepts upon the traditional framework that presumes the dependency of the production of the periphery from its sources in the artistic centres, he had managed to evade expectant deprecating patterns, primarily through recog- nition of creative potentials provided by the unrestrained environment of liminal areas. Following Karaman, gen- erations of Croatian art historians have realized the ne- cessity of such self-determining interpretation, avoiding both universalist essentialism and rigorously separated indigenous particularism. This process had facilitated an insight into the fluid, transformative and kaleidoscopic nature of local idiosyncrasies of the architectural and visual language within the everchanging dynamics of the multitude of political, social, and cultural factors. Finally, the paper will argue the suggested ideas through the example of some idiosyncrasies that emerged in the process of reception of the classical architectural language in the eastern Adriatic Cinquecento.

Ljubo Karmana, peripheral milieu, Zadar, 16th century architecture, Jeronim Bokanić, Tripun Bokanić

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