F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 2000/1-2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 2000)

TANULMÁNY - Rostás Tibor: Udvari művészet Magyarországon a 13. század második negyedében és közepén, avagy a Gizella-kápolna hazai kapcsolatrendszere

Tibor ROSTÁS COURT ART IN HUNGARY IN MID 13TH CENTURY Hungarian court style in mid 13

th century was in close connection with Central European art. The fragmentary material of the building activity of Béla IV shows similarities with the monuments of Lower-Austria, Bohemia, Moravia and partly with Silesia. From among monuments built by the last Babenberg princes Heiligenkreuz, Klosterneuburg, the Micheliskirche in Vienna, Lilienfeld, those of the Pfzemisl-dinasty Tisnov and certain details of the St. Agnes monastery in Prague belong to this circle. The study is dealing with the Hungarian monuments showing the stylistic connections among them. The starting point was the subject of an earlier study, the Gizella chapel in Veszprém, belonging most probably to the royal chapel. It was in connection with other buildings in Veszprém ordered by the bishop Bertalan, for example fragments of edifices in the vicinity of the cathedral and the St. George chapel. The architectural style of the former buildings appears however in another important royal building, the royal castle of Óbuda. The study is dealing with the churches of royal foundation in the city of Buda built between 1242-42, the parish church of the Holy Virgin, the Hungarian parish church St. Magdalene, the Dominican church of St. Nicholas and the Dominican convent in Margaret island. The town-houses show stylistic similarities with these churches. On the basis of sources and documents, archaeological excavations and stylistic connections to the monuments built before the Mongol invasion it can be stated that the majority of the buildings in Buda were built in the forties and fifties. The baron's buildings of the period were almost without exception monasteries. The noblemen belonging to the royal court built churches like Tűrje and Gyulafirátót (both Premonstratensian) showing the influence of court style, like to some extent a third Premonstratensian church, the monastery at Zsámbék. The remains of he ruins of Gyulafirátót are connected with the court style, as it is proved by the carvings reused at the later fortifications in Veszprém. Kerc and its workshop is an independent circle within the court stile. The Cistercian church in Transylvania and parish churches connected to it show relations mainly with the Gizella chapel and buildings later than 1242 in Buda. Several important elements of court style are missing from the style of the Cistercian abbey and the characteristics of the Kerc workshop are not present in royal buildings. The abbey was built in the second quarter of the 13

th century by a workshop that was in close connection with royal building activity. These stylistic connections prove that the Mongol invasion did not break the stylistic development in Hungarian architecture. The style could be traced from the thirties to the fifties and the change took place in the sixties, when buildings were decorated with classical Gothic elements. Finally it had to be mentioned that this style was not the only one characterising the mid 13

th century in Hungary. Far from court art different stylistic characteristics were present. This is true mainly to Ják and its surrounding which is basically different from