PROBLEMATIKA ODTUJEVANJA PREMIČNE KULTURNE DEDIŠČINE ISTRSKEGA PROSTORA S POUDARKOM NA PIRANU V LETIH 1940--1954. (Slovenian)

Given their incorporation into varying sociopolitical systems from the turn of the 20th century to 1954, as well as their varied ethnic composition, the regions of Istria and Dalmatia have experienced frequent instances of symbolic appropriation of movable culture and related subsequent demands for the restitution of the latter to the land of origin. In the paper, the author expounds upon the problem and fate of the movable cultural heritage of the area of today's Slovenian Istria, in particular Piran, through a series of works that once adorned the complex of Piran's cathedral, i.e., the Parish Church of St. George, the baptistery, the monastery of St. Francis, as well as a number of other churches in the town, the hospital and the town hall. Based on the existing literature and several unpublished archival sources, the paper explores the problem within the broader context of the administrative and political systems of the Austrian Littoral and, later, the Julian March, and within their respective heritage protection laws, examining in particular the reasons for the alienation of movable cultural heritage from this area and its consequences. It traces the fate of individual works of art removed from the churches, monastic buildings and secular institutions in the Piran area, some as early as the 19th century, but most of them in June 1940, when artworks were evacuated en masse from Koper, Izola, and Piran, and follows their transfer, first to Villa Manin in Passariano, then, in 1943, to San Daniele del Friuli and, after the war, to Rome. The author illustrates the "odysseys" of individual works of art, identifying their current locations, while also relating of the efforts or demands for their restitution on the part of the post-war authorities, and some of the divergences in the assessment and current views of this issue among Italian and Slovene scholars. Considerable attention is paid to the post-war situation, as well as to the establishment of the Museum of Piran (now called the Piran Maritime Museum) and the work of the Commission for the Protection of Monuments, which were both initially headed by Miroslav Pahor, who, at the time, was also in charge of the reorganisation and coordination of the old town library and archives. [ABSTRACT FROM AUTHOR]

Il contributo espone le problematiche e il destino dei beni culturali mobili originari dell'area dell'odierna Istria slovena, in modo specifico Pirano, sull'esempio di una serie di opere d'arte che un tempo ornavano il complesso della cattedrale di Pirano, ossia la chiesa parrocchiale di San Giorgio, il Battistero e il Monastero di San Francesco, oltre ad alcune altre chiese della città, all'Ospedale e al Municipio. Attraverso la consultazione della letteratura esistente e l'esame di alcune fonti archivistiche inedite, l'articolo esplora questo problema nel contesto più ampio dei sistemi amministrativi e politici del Litorale Austriaco e, successivamente, della Venezia Giulia, e delle rispettive leggi di tutela dei monumenti. In particolare, si indaga sulle ragioni che hanno portato all'alienazione del patrimonio culturale mobile da quest'area e sulle sue conseguenze. Allo stesso tempo il contributo descrive «l'odissea» e la collocazione odierna delle singole opere d'arte, gli sforzi e le richieste di restituzione avanzate dalle autorità del dopoguerra, nonché alcune delle divergenze tra gli studiosi italiani e sloveni in merito alla valutazione e alle opinioni attuali sulla questione. [ABSTRACT FROM AUTHOR]

Avtor v prispevku razgrinja problematiko in usodo premične kulturne dediščine na območju današnje slovenske Istre, zlasti Pirana z vrsto umetnin, ki so nekdaj krasile piransko stolnico oziroma župno cerkev sv. Jurija, krstilnico, samostan sv. Frančiška, kot nekatere cerkve, bolnišnico ter mestno hišo. V širšem kontekstu upravno-političnih sistemov Avstrijskega Primorja, kasneje pa Julijske krajine ter njune spomeniško-varstvene zakonodaje, na podlagi nekaterih še neobjavljenih arhivskih virov in literature, spremlja problematiko, zlasti pa razloge in posledice odtujevanja premične kulturne dediščine s tega območja. Hkrati s tem sta v prispevku razvidna »odisejada« in današnje nahajališče posameznih umetnin, prizadevanja oziroma zahteve povojnih oblasti za njihovo vrnitev ter nekatera razhajanja italijanske in slovenske stroke ob ocenah in aktualnih pogledih na navedeno problematiko. [ABSTRACT FROM AUTHOR]

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