Likovna i graditeljska baština Župe Pohoda Blažene Djevice Marije u Vukovini i povijesne Župe sv. Jurja u Starom Čiču - Cvetnić, Sanja (Array, 2005)
Hrvatski: Pregled likovne i graditeljske baštine povijesne župe sv. Jurja u Starom Čiču i suvremene župe Pohoda Blažene Djevice Marije u Vukovini hod je kroz prošlost u kojoj se veliki svjetski događaji i lokalna povijest često isprepliću, ili bolje rečeno odražavaju na naručiteljske mogućnosti i stilske odabire djela u sakralnoj arhitekturi i njezinoj opremi. Gledajući na vrijednost sačuvanih djela, svako stoljeće iznjedrilo je u umjetničkoj baštini župe posebnu vrijednost, plod najuspješnijih trenutka u kojima su se združili novčana moć, raspoloživost umjetnika i ukus naručitelja. Starija su djela tu u prednosti, jer vrijeme oprašta neke nedostatke, a dodaje prednosti, ako ne u valorizaciji samoga djela, onda barem u potrebi da se ono sačuva i zaštiti. U takvu odabiru posebno sretnih trenutaka iz XVII. stoljeća ističe se oltarna pala Sv. Fabijana i Sebastijana iz 1648. godine u Kučama i oltar na kojem se nalazi (iako tek djelom u kapeli, a dijelom u Muzeju grada Zagreba). Iz razdoblja kraja XVII. i početaka XVIII. stoljeća posebno mjesto zauzimaju skulptura Nebeske Kraljice na glavnom oltaru župne crkve i raskošno skulptirani glavni oltar Sv. Ivana Krstitelja Mihaela Komersteinera u istoimenoj kapeli u Buševcu. Ta drvena kapela predstavlja najvrjedniju sačuvanu povijesnu cjelinu - i zbog tradicijske drvene arhitekture, i zbog opreme, a pogotovo zbog oslika. S kraja XVIII. stoljeća najimpozantnije je djelo župna crkva u Vukovini, a od slikarskih djela najuspješnija je oltarna pala Mučeništvo sv. Vida u Mraclinu. Sama kapela sv. Vida u istom mjestu vrhunac je devetnaestostoljetnih uloga u sakralnu baštinu. U dvadesetom stoljeću situacija s odabirom postaje zamršenija, jer je najviše sačuvanih djela. Kapela sv. Fabijana i Sebastijana Hectora von Eckhela u Kučama i oltari Ferdinanda Stuflessera u župnoj crkvi svakako predstavljaju najuspješnija djela s početka toga stoljeća. Na kraju, valja spomenuti još jedan dio likovne baštine župe, koji nije tako izložen javnosti, pa ni približno poznat kao dosadašnji. Od vremena župnika Jurja Rusana, dakle od 1830. godine, u župi postoji knjižnica, o kojoj je već bilo riječi. Za nju Laszowski i Barl&egrave ; ; (1911.) kažu da je takva "kakove valjda nema nijedna župa u nadbiskupiji", a tada je nadbiskupija bila veća no danas, ali je i sama knjižnica nekada bila veća. U siječnju 1869. godine, prema Uručbenom zapisniku, Jugoslavenska akademija znanosti i umjetnosti u Zagrebu zahvaljuje župniku Nikoli Folnegoviću, jer joj je poklonio knjige i obavještava ga da će popis darovanih knjiga i javna zahvala darovatelju biti objavljeni u V. knjizi Rada Jugoslavenske akademije znanosti i umjetnosti i u kasnijim knjigama. Zaista, prva dvadeset i tri naslova objavljena u obećanu Radu, odnosno popis poklonjenih knjiga s godinama izdanja od 1550. do 1753., govore u prilog tvrdnje o knjižnici kakve nema u nadbiskupiji. Na popisu darovanih kniga nalazi se i Alphabetum Christi a Raphaele Sadelero imaginibus exornatum, tiskana u Münchenu 1619. godine. Iako nedostupna, ta nam knjiga samim imenom grafičara koji ju ukrasio - Raphaela Sadelera - govori o iznimnoj likovnoj opremi. Imenjaci, rođaci i suvremenici, Raphael Sadeler I. (Antwerpen oko 1560.-61. - Venecija ili München između 1628. i 1632.) i Raphael Sadeler II. (Antwerpen 20. prosinca 1584. - Prag ili München između 1627. i 1632.), pripadaju jednoj od najpoznatijih i najrazgranatijih bakrorezačkih obitelji. Sadeleri su podrijetlom iz Antwerepena, ali su kao cijenjeni majstori bakroreza posao nalazili u izdavačkim centrima Europe, u slikarskim radionicama ili na dvorovima, pa su tako Raphael I. (od 1591.) i Raphael II. (od 1604.) djelovali u Münchenu, gdje je tiskan Alphabetum Christi. Još su i danas dio župne biblioteke emblemi, alegorije ili prikazi evanđelista u izdanjima poput Historishen Bilder=Saals, koje su 1724. godine tiskali Johann Leonhard Buggel i Johann Andreas Seiss u Nürnbergu, ili u Rimskom misalu tiskanom u Veneciji 1721. (Ex Typographia Balleoniana.), pa i taj dio likovnoga naslijeđa zavrjeđuje barem spomen. English: Preserved sacral monuments in the historical parish of St. George in Staro Čiče and the present parish of Visitation of Blessed Virgin Mary in Vukovina were created in a wide span of four centuries, from 17th till 20th century. They are presented here in chronological and topographical order, following the appearance of a sacral building in each settlement (or village). Therefore sacral art and architecture in the old parish centre Staro Čiče are discussed first, and than follow Vukovina, Kuče, Mraclin, Rakitovec, Okuje, Gornje Podotočje, Donje Podotočje, Čička Poljana and Turopolje. Archive documents give us an insight to the outlook of the previous buildings, their ornament, and development of certain cults, latter especially connected to the pilgrimage centre in Vukovina. Therefore a Latin protocol of the first canonical visitation, written by Bendictus Vinković in 1622, is published here, as well as a list of miracles performed by Blessed Virgin Mary of Vukovina, written in 1760, in a Kaikavian and Latin language. Each century has produced a work of art of a special value, a fruit of particularly successful moment when the financial power, availability of a skilful artist, and - last but far from least - the taste of those who ordered it, happily met. In the 17th century it is the altar painting of St. Fabian and Sebastian from 1648 in Kuče, and the altar itself (from the end of the same century). From the group of monuments that were created in the end of the 17th and the beginning of the 18th century, special place hold two Baroque sculptural works - the venerated miraculous statue of the Queen of Heavens (Regina Cœ li) still in the parish church, and the richly ornamented altar of St. John the Baptist from the homonymous wooden chapel in Buševec by Michael Komersteiner. He continued the workshop of his father Ioannes Komersteiner (d. 1694/95), the most famous sculptor in the second half of the 17th century in continental Croatia. This chapel is the most precious complex - not only for its traditional wooden architecture and for the church furniture, but particularly - for its unique preserved painted interior in vernacular style, with na&iuml ; f charm, not to speak of the cultural importance of it. From the end of the 18th century the most important investment in the architectural heritage is the building of the present parish church in Vukovina in late Baroque Classicism style. The altar painting Martyrdom of St. Vitus in the chapel of the martyr in Mraclin is the most exceptional painting of the 18th century in the parish. The neogothic chapel of St. Vitus itself by architect Kosta Tomac from 1894 in the same village is the most illustrious investment in the sacral architecture in the 19th century. The altars by Ferdinand Stuflesser in the parish church (1904, 1907.) and the chapel of St. Fabian and Sebastian by the architect Hector von Eckhel in Kuče (1909.-1911.) splendidly open the 20th century. Since the parish had one of the most valuable libraries (part of it was donated in the mid-19th century to the Yugoslav Academy of Sciences and Arts, now Croatian Academy of Sciences and Arts), some of the book-illustrations within it enter to the panorama of the parish's visual culture. Among the books donated to the Academy, there was a title Alphabetum Christi a Raphaele Sadelero imaginibus exornatum, published in Munich in 1619. Even though the book is not available, the name of Raphael Sadeler speaks in favour of the excellence of its illustrations. Raphael Sadeler I (Antwerp c 1560-6. - Venice or Munich between 1628 and 1632) and Raphael Sadeler II (Antwerp 20th Dec 1584 - Prague or Munich between 1627 or 1632), belong to one of the most famous families of engravers. They were homonymous, relatives and contemporaries, and since as other Sadelers worked throughout Europe, both Raphael I (from 1591-3) and Raphael II (from 1604) could be found in Munich, where the Alphabetum Christi was published. The parish library still possesses other book-illustrations as engraved emblems, allegories and representations of the Evangelists in its collection, for example in the Historishen Bilder=Saals, that was published in 1724 by Johann Leonhard Buggel and Johann Andreas Seiss in Nürnberg, or in the Roman missal, published in Venice in 1721 (Ex Typographia Balleoniana). Throughout centuries the parish of Visitation of Blessed Virgin Mary in Vukovina, and its predecessor, the parish of St. George in Staro Čiče, have accumulated and preserved many sacral monuments. Their value often surpasses local context, and have significant position in the panorama of Croatian sacral art and architecture. One shouldn't forget that churches were erected, altars and paintings were ordered, books were acquired, interiors were decorated, mostly by funds collected within local community, sometimes with the help of the self-governed Noble Commune of Turopolje [Plemenita općina Turopolje], and in the beginning of the 20th century with contributions sent by the émigrés to the United States of America. Before satellites, GPS and mobile phones, the only known long distance connection was via saints and Virgin Mary, so by helping to erect their sculptures or chapels in their home village, the latter felt connected to their homes, their families and local life. Nowadays, by conserving and protecting sacral monuments in the parish - both for their art historical value, and for the complex cultural and historical significance that they reveal - present parish community proves itself as worthy heirs of its forefathers, and the parish priest Đuro Sabolek of his forerunners.