{"id":4136,"date":"2017-11-10T09:52:53","date_gmt":"2017-11-10T08:52:53","guid":{"rendered":"http:\/\/www.vtei.cz\/?p=4136"},"modified":"2024-07-16T12:32:09","modified_gmt":"2024-07-16T11:32:09","slug":"water-reservoirs-and-their-landscapes-in-visual-art","status":"publish","type":"post","link":"https:\/\/www.vtei.cz\/en\/2017\/11\/water-reservoirs-and-their-landscapes-in-visual-art\/","title":{"rendered":"Water reservoirs and their landscapes in visual art"},"content":{"rendered":"

<\/i> This article is available in Czech only. For translation or more information on this topic, please contact author.<\/h4>\n

 <\/p>\n

Souhrn<\/h2>\n

Jedn\u00edm ze z\u00e1kladn\u00edch sm\u011br\u016f krajinn\u00e9 ekologie je hodnocen\u00ed zm\u011bn krajiny prost\u0159ednictv\u00edm srovn\u00e1n\u00ed jej\u00edho stavu (vyu\u017eit\u00ed) v\u00a0r\u016fzn\u00fdch \u010dasov\u00fdch obdob\u00edch. K\u00a0tomuto \u00fa\u010delu se b\u011b\u017en\u011b pou\u017e\u00edvaj\u00ed mapy, fotografie, leteck\u00e9 i\u00a0dru\u017eicov\u00e9 sn\u00edmky. V\u00fdznamn\u00fdm podkladem pro krajinn\u011b ekologickou interpretaci v\u0161ak mohou b\u00fdt i\u00a0mal\u00ed\u0159sk\u00e1 a\u00a0grafick\u00e1 zobrazen\u00ed krajiny, pokud jsou ov\u0161em dostate\u010dn\u011b realistick\u00e1. Pr\u00e1v\u011b v\u00fdstavba p\u0159ehrad pat\u0159\u00ed k\u00a0t\u011bm lidsk\u00fdm z\u00e1sah\u016fm, kter\u00e9 m\u011bn\u00ed krajinu nejv\u00edce. P\u0159itom p\u0159ed zatopen\u00edm se \u00fadoln\u00ed i\u00a0nivn\u00ed po\u0159\u00ed\u010dn\u00ed krajina zpravidla vyzna\u010dovala obzvl\u00e1\u0161t\u011b pestrou a\u00a0malebnou krajinnou mozaikou, kter\u00e1 l\u00e1kala mal\u00ed\u0159e k\u00a0zobrazen\u00ed v\u00edce ne\u017e jin\u00e1 \u00fazem\u00ed. Typick\u00fdm p\u0159\u00edkladem jsou \u00fadol\u00ed \u0159ek Dyje a\u00a0\u017deletavky na jihoz\u00e1padn\u00ed Morav\u011b, kter\u00e1 byla ve 30. letech 20. stolet\u00ed z\u00a0\u010d\u00e1sti zatopena vodami Vranovsk\u00e9 p\u0159ehrady. Ji\u017e od za\u010d\u00e1tku 19. stolet\u00ed tuto romantickou krajinu zobrazovala \u0159ada rakousk\u00fdch i\u00a0\u010desk\u00fdch mal\u00ed\u0159\u016f, kte\u0159\u00ed zachytili \u2013 \u010dasto velmi podrobn\u011b \u2013 jej\u00ed podstatn\u00e9 rysy. K\u00a0posouzen\u00ed zm\u011bn je tak k\u00a0dispozici obs\u00e1hl\u00fd soubor krajinomaleb i\u00a0grafick\u00fdch list\u016f, zejm\u00e9na litografi\u00ed, deponovan\u00fd v\u00a0Jihomoravsk\u00e9m muzeu ve Znojm\u011b. Krom\u011b Vranovsk\u00e9 p\u0159ehrady se \u010dl\u00e1nek zab\u00fdv\u00e1 i\u00a0v\u00fdtvarnou dokumentac\u00ed krajiny a\u00a0v\u00fdstavby \u00fadoln\u00ed n\u00e1dr\u017ee V\u00edr na \u0159ece Svratce, vltavsk\u00e9 p\u0159ehradn\u00ed kask\u00e1dy a\u00a0vodn\u00edho d\u00edla Nov\u00e9 Ml\u00fdny na ji\u017en\u00ed Morav\u011b. Okrajov\u011b je v\u011bnov\u00e1na pozornost i\u00a0v\u00fdtvarn\u00e9 v\u00fdzdob\u011b p\u0159ehradn\u00edch objekt\u016f.<\/p>\n\"Lacina-1\"<\/a>\n

Obr. 1. Adolf Friedrich Kunike (kol. r. 1833): Z\u0159\u00edcenina Corn\u0161tejn (litografie, 244\u00a0\u00d7\u00a0330\u2008mm)
\nFig. 1. Adolf Friedrich Kunike (around 1833): Ruins of Corn\u0161tejn (lithography, 244\u00a0\u00d7\u00a0330\u2008mm)<\/h6>\n

\u00davod<\/h2>\n

\u00dazem\u00ed, ve kter\u00fdch b\u00fdvaj\u00ed budov\u00e1ny p\u0159ehradn\u00ed n\u00e1dr\u017ee, pat\u0159\u00ed zpravidla k\u00a0nejzaj\u00edmav\u011bj\u0161\u00edm a\u00a0nejp\u0159ita\u017eliv\u011bj\u0161\u00edm \u010d\u00e1stem krajiny. Za\u0159\u00edznut\u00e1 \u00fadol\u00ed \u0159ek toti\u017e vynikaj\u00ed nejen bohatstv\u00edm rostlinn\u00fdch a\u00a0\u017eivo\u010di\u0161n\u00fdch druh\u016f a\u00a0jejich spole\u010denstev, ale i\u00a0tvary reli\u00e9fu v\u010detn\u011b v\u00fdchoz\u016f rozmanit\u00fdch hornin. Vysokou biodiverzitou a\u00a0geodiverzitou se vyzna\u010duj\u00ed i\u00a0n\u00ed\u017einn\u00e9 nivy, pokud jsou v\u00a0nich alespo\u0148 \u010d\u00e1ste\u010dn\u011b zachov\u00e1ny p\u0159irozen\u00e9 fluvi\u00e1ln\u00ed procesy. Zm\u00edn\u011bn\u00e9 po\u0159\u00ed\u010dn\u00ed krajiny tedy b\u00fdvaj\u00ed v\u00fdjime\u010dn\u00e9 bizarn\u00ed mozaikou krajinn\u00fdch, zejm\u00e9na vegeta\u010dn\u00edch, struktur. Proto jsou p\u0159edm\u011btem zv\u00fd\u0161en\u00e9ho z\u00e1jmu nejen p\u0159\u00edrodov\u011bdc\u016f rozmanit\u00fdch specializac\u00ed a\u00a0ochr\u00e1nc\u016f p\u0159\u00edrody a\u00a0krajiny, ale i\u00a0mal\u00ed\u0159\u016f. D\u00e1 se \u0159\u00edci, \u017ee ekologick\u00e9 hodnoty krajiny podmi\u0148uj\u00ed jej\u00ed kvality estetick\u00e9. Vodn\u00ed n\u00e1dr\u017ee v\u017edy znamenaj\u00ed velmi citeln\u00fd z\u00e1sah do krajinn\u00fdch struktur, z\u00e1nik ur\u010dit\u00fdch spole\u010denstev, zm\u011bnu krajinn\u00e9ho r\u00e1zu. Krajinomalba, realisticky zachycuj\u00edc\u00ed stav krajiny p\u0159ed jej\u00edm zatopen\u00edm, tak m\u016f\u017ee b\u00fdt jedn\u00edm z\u00a0v\u00fdznamn\u00fdch dokument\u016f a\u00a0podklad\u016f pro krajinn\u011b ekologickou interpretaci zm\u011bn v\u00a0d\u016fsledku realizace vodn\u00edch d\u011bl. Takov\u00e9to vyu\u017eit\u00ed krajinomalby je hlavn\u00edm t\u00e9matem tohoto pojedn\u00e1n\u00ed.<\/p>\n\"Lacina-2\"<\/a>\n

Obr. 2. Z\u0159\u00edcenina Corn\u0161tejna v\u00a0roce 2015
\nFig. 2. Ruins of Corn\u0161tejn in 2015<\/h6>\n

Krom\u011b p\u016fvodn\u00edch po\u0159\u00ed\u010dn\u00edch krajin zachytili mal\u00ed\u0159i i\u00a0budov\u00e1n\u00ed p\u0159ehrad. Bylo tak tomu zejm\u00e9na v\u00a050. letech 20. stolet\u00ed, kdy tehdej\u0161\u00ed re\u017eim striktn\u011b vy\u017eadoval anga\u017eovan\u00e9 um\u011bn\u00ed v\u00a0duchu socialistick\u00e9ho realismu. Ned\u00e1 se ov\u0161em up\u0159\u00edt, \u017ee nov\u00e9 vodn\u00ed hladiny u\u010dinily krajinu alespo\u0148 pro n\u011bkter\u00e9 mal\u00ed\u0159e p\u0159ita\u017eliv\u011bj\u0161\u00ed, a\u00a0proto ji pojali jako dominantu sv\u00fdch krajinomaleb. A\u00a0nelze, alespo\u0148 okrajov\u011b, nezm\u00ednit, \u017ee v\u00fdstavba n\u011bkter\u00fdch p\u0159ehrad vyvolala i\u00a0zaj\u00edmavou v\u00fdtvarnou v\u00fdzdobu sv\u00fdch doprovodn\u00fdch objekt\u016f.<\/p>\n\"Lacina-3\"<\/a>\n

Obr. 3. M\u00edsto a\u00a0sm\u011br mal\u00ed\u0159ova z\u00e1b\u011bru
\nFig. 3. The place and direction of the painter\u2018s\u00a0shot<\/h6>\n

Liter\u00e1rn\u00ed p\u0159ehled<\/h2>\n

K\u00a0b\u011b\u017en\u00fdm metod\u00e1m studia plo\u0161n\u00fdch zm\u011bn krajiny pat\u0159\u00ed interpretace star\u00fdch map. P\u0159ibli\u017en\u011b v\u00a0posledn\u00edch 15 letech se staly i\u00a0ve\u0159ejnosti pom\u011brn\u011b dostupn\u00e9 mapy vojensk\u00fdch mapov\u00e1n\u00ed \u2013 I., II. a\u00a0III. \u2013 z\u00a0let 1764\u20131768, 1836\u20131852 a\u00a01876\u20131880 v\u00a0m\u011b\u0159\u00edtku 1 : 28 000, resp. 1 : 70 000. V\u00fdhodou topografick\u00fdch map st\u0159edn\u00edch m\u011b\u0159\u00edtek je jejich vyu\u017eitelnost pro studium zm\u011bn v\u011bt\u0161\u00edch \u00fazemn\u00edch celk\u016f [1\u20133]. Krom\u011b zm\u00edn\u011bn\u00fdch map vojensk\u00e9ho mapov\u00e1n\u00ed lze z\u00a0pozd\u011bj\u0161\u00edch obdob\u00ed vyu\u017e\u00edt \u010deskoslovensk\u00e9 topografick\u00e9 mapy z\u00a050. a\u00a090. let 20. stolet\u00ed a\u00a0sou\u010dasn\u00e9 z\u00e1kladn\u00ed\u00a0mapy \u010cesk\u00e9 republiky. Zku\u0161enosti se zpracov\u00e1n\u00edm star\u00fdch map prezentovali odborn\u00ed pracovn\u00edci V\u00fdzkumn\u00e9ho \u00fastavu Silva Taroucy pro krajinu a\u00a0okrasn\u00e9 zahradnictv\u00ed, v. v. i., na p\u0159\u00edkladu administrativn\u011b i\u00a0p\u0159\u00edrodn\u011b vymezen\u00fdch \u00fazem\u00ed, nap\u0159. v\u00a0kraj\u00edch, okresech, obc\u00edch s\u00a0roz\u0161\u00ed\u0159enou p\u016fsobnost\u00ed, geomorfologick\u00fdch regionech, povod\u00edch a\u00a0chr\u00e1n\u011bn\u00fdch \u00fazem\u00edch [4\u201310].<\/p>\n\"Lacina-4\"<\/a>\n

Obr. 4. Josef Dor\u00e9 (1865): Hrad B\u00edtov (akvarel, 325\u00a0\u00d7\u00a0458\u2008mm)
\nFig. 4. Josef Dor\u00e9 (1865): B\u00edtov Castle (watercolor, 325\u00a0\u00d7\u00a0458\u2008mm)<\/h6>\n

Krajinn\u00ed a\u00a0vegeta\u010dn\u00ed ekologov\u00e9 \u010dasto zkoumaj\u00ed vztah zm\u011bn vyu\u017e\u00edv\u00e1n\u00ed krajiny a\u00a0zm\u011bn biodiverzity [11\u201313], zaob\u00edraj\u00ed se dlouhodob\u00fdmi zm\u011bnami vyu\u017e\u00edv\u00e1n\u00ed krajiny ve velk\u00fdch prostorov\u00fdch m\u011b\u0159\u00edtc\u00edch, nap\u0159. [14], v\u00a0\u010cesk\u00e9 republice nap\u0159. [15].<\/p>\n\"Lacina-5\"<\/a>\n

Obr. 5. Hrad B\u00edtov v\u00a0roce 2015 (fotografie: J. Pt\u00e1\u010dek)
\nFig. 5. B\u00edtov Castle in 2015 (photo: J. Pt\u00e1\u010dek)<\/h6>\n

Sv\u00e9r\u00e1zn\u00fdm a\u00a0zat\u00edm jen m\u00e1lo vyu\u017e\u00edvan\u00fdm p\u0159\u00edstupem ke studiu zm\u011bn krajiny s\u00a0ohledem na vegetaci a\u00a0floru je vyu\u017eit\u00ed zobrazen\u00ed krajiny a\u00a0jej\u00edch detail\u016f na star\u00fdch fotografi\u00edch, skic\u00e1ch a\u00a0zejm\u00e9na v\u00a0krajinomalb\u00e1ch i\u00a0v\u00a0kresebn\u00fdch a\u00a0grafick\u00fdch d\u00edlech.<\/p>\n\"Lacina-6\"<\/a>\n

Obr. 6. M\u00edsto a\u00a0sm\u011br mal\u00ed\u0159ova z\u00e1b\u011bru
\nFig. 6. The place and direction of the painter\u2018s\u00a0shot<\/h6>\n

O\u00a0interpretaci star\u00fdch pramen\u016f pro pot\u0159eby zm\u011bn v\u00a0krajin\u011b \u2013 rozmanit\u00fdch map a\u00a0skic, historick\u00fdch statistick\u00fdch dat o\u00a0vyu\u017eit\u00ed p\u016fdy a\u00a0leteck\u00fdch sn\u00edmk\u016f \u2013 obs\u00e1hle a\u00a0podrobn\u011b pojednala ve sv\u00e9 knize autorka Trp\u00e1kov\u00e1 [16]. O\u00a0vyu\u017eit\u00ed star\u00fdch krajinomaleb k\u00a0t\u00e9mu\u017e \u00fa\u010delu je v\u0161ak v\u00a0tomto d\u00edle jen stru\u010dn\u00e1 informace. P\u0159itom i\u00a0krajinomalby, pokud jsou dostate\u010dn\u011b realistick\u00e9, mohou hodnocen\u00ed zm\u011bn vegeta\u010dn\u00edho krytu v\u00a0zobrazen\u00e9 krajin\u011b dob\u0159e poslou\u017eit a\u00a0podlo\u017eit v\u00fdstupy mapov\u00fdch anal\u00fdz. Podle V. V. \u0160techa je \u201ekrajinomalbu mo\u017eno pova\u017eovat za zrcadlo zm\u011bn, jimi\u017e proch\u00e1zel lidsk\u00fd vztah k\u00a0p\u0159\u00edrod\u011b a\u00a0ke sv\u011btu\u201c [17]. Tento v\u00fdznamn\u00fd historik um\u011bn\u00ed v\u00a0katalogu v\u00fdstavy \u010cesk\u00e1 krajina v\u00a0Al\u0161ov\u011b jiho\u010desk\u00e9 galerii v\u00a0Hlubok\u00e9 nad Vltavou t\u00e9\u017e uv\u00e1d\u00ed, \u017ee \u201esledovat v\u00fdvoj \u010desk\u00e9 krajinomalby je vz\u00e1cnou pout\u00ed po na\u0161ich kraj\u00edch a\u00a0dob\u00e1ch. Otev\u0159en\u00e9 o\u010di a\u00a0vn\u00edmav\u00e1 srdce najdou p\u0159i n\u00ed mnoh\u00e9 pou\u010den\u00ed nejenom o\u00a0vzhledu dom\u00e1c\u00ed p\u0159\u00edrody a\u00a0jej\u00edm ovzdu\u0161\u00ed, m\u011bn\u00edc\u00edm se podle ro\u010dn\u00edch dob i\u00a0postupem v\u011bk\u016f, n\u00fdbr\u017e i\u00a0z\u00e1va\u017en\u00e9 zpr\u00e1vy o\u00a0duchovn\u00ed atmosf\u00e9\u0159e \u010das\u016f\u201c [18]. O\u00a0t\u0159i desetilet\u00ed pozd\u011bji Ivan Dejmal v\u00a0let\u00e1ku konference a\u00a0v\u00fdstavy Tv\u00e1\u0159 na\u0161\u00ed zem\u011b \u2013 krajina domova p\u00ed\u0161e, \u017ee \u201em\u00e1lo co vypov\u00edd\u00e1 o\u00a0zp\u016fsobu na\u0161eho \u017eivota a\u00a0my\u0161len\u00ed tak p\u0159esv\u011bd\u010div\u011b jako srovn\u00e1n\u00ed minul\u00fdch obraz\u016f \u010desk\u00e9 a\u00a0moravsk\u00e9 krajiny v\u00a0mal\u00ed\u0159stv\u00ed a\u00a0fotografii 19. a\u00a020. stolet\u00ed s\u00a0jej\u00ed sou\u010dasnou tv\u00e1\u0159\u00ed.\u201c Svou sta\u0165 p\u0159itom p\u0159\u00edzna\u010dn\u011b nazval \u010cesk\u00e1 krajina od uklizenosti k\u00a0vyklizenosti a\u00a0zpustnut\u00ed [19]. T\u0159eba\u017ee se jednalo o\u00a0krajinn\u011b ekologickou akci, ke srovn\u00e1n\u00ed star\u00fdch krajinomaleb se sou\u010dasn\u00fdm stavem krajiny v\u00a0jejich z\u00e1b\u011bru ani na t\u00e9to v\u00fdstav\u011b nedo\u0161lo. Ojedin\u011bl\u00fdm p\u0159\u00edkladem takov\u00e9ho srovn\u00e1n\u00ed je katalog v\u00fdstavy Podyj\u00ed ve sb\u00edrce Jihomoravsk\u00e9ho muzea ve Znojm\u011b, v\u00a0n\u011bm\u017e n\u011bkolik reprodukc\u00ed star\u00fdch krajinomaleb prov\u00e1z\u00ed fotografie sou\u010dasn\u00e9ho stavu [20].<\/p>\n\"Lacina-7\"<\/a>\n

Obr. 7. Oskar Slav\u00ed\u010dek (1932): Kostel sv. V\u00e1clava ve star\u00e9m B\u00edtov\u011b (olej na pl\u00e1tn\u011b, 50\u00a0\u00d7\u00a060\u2008cm)
\nFig. 7. Oskar Slav\u00ed\u010dek (1932): Church of St. Wenceslas in old B\u00edtov (oil on canvas, 50\u00a0\u00d7\u00a060\u2008cm)<\/h6>\n

Krajinomalba na \u00fazem\u00ed dne\u0161n\u00ed \u010cesk\u00e9 republiky, a\u00a0to jak v\u00a0jej\u00ed \u010desk\u00e9, tak i\u00a0moravsko-slezsk\u00e9 \u010d\u00e1sti, m\u00e1 v\u00edce ne\u017e dvousetletou tradici. Od za\u010d\u00e1tku 19. stolet\u00ed se na pra\u017esk\u00e9 Akademii v\u00fdtvarn\u00fdch um\u011bn\u00ed vyst\u0159\u00eddalo \u2013 s\u00a0p\u0159est\u00e1vkami \u2013 n\u011bkolik krajin\u00e1\u0159sk\u00fdch \u0161kol \u2013 Karla Postla, Anton\u00edna M\u00e1nesa, Maximili\u00e1na Haushofera, Julia Ma\u0159\u00e1ka, Otakara Nejedl\u00e9ho. Vyrostly zde \u2013 \u010dasto s\u00a0p\u0159isp\u011bn\u00edm dal\u0161\u00edho \u0161kolen\u00ed v\u00a0cizin\u011b (Mnichov, D\u00fcsseldorf, V\u00edde\u0148, Pa\u0159\u00ed\u017e a\u00a0plen\u00e9r v\u00a0Barbizonu) \u2013 des\u00edtky v\u00fdznamn\u00fdch krajin\u00e1\u0159\u016f. Dal\u0161\u00ed krajin\u00e1\u0159i se vy\u0161kolili mimo krajin\u00e1\u0159sk\u00e9 ateliery \u2013 nap\u0159. Josef Jambor absolvoval Akademii v\u00a0grafick\u00e9 speci\u00e1lce Maxe \u0160vabinsk\u00e9ho, Old\u0159ich Bla\u017e\u00ed\u010dek u\u00a0figuralisty Hanu\u0161e Schwaigera. Pro krajinn\u011b ekologickou interpretaci, v\u010detn\u011b hodnocen\u00ed zm\u011bn vegeta\u010dn\u00edho krytu a\u00a0flory jako\u017eto ukazatele zp\u016fsobu a\u00a0intenzity vyu\u017eit\u00ed p\u016fdy, je tak k\u00a0dispozici velik\u00e9 mno\u017estv\u00ed d\u011bl z\u00a0r\u016fzn\u00fdch krajinn\u00fdch typ\u016f i\u00a0\u010dasov\u00fdch horizont\u016f [21\u201325].<\/p>\n\"Lacina-8\"<\/a>\n

Obr. 8. Z\u00e1klady kostela sv. V\u00e1clava ve star\u00e9m B\u00edtov\u011b v\u00a0roce 2015 (fotografie: J. Pt\u00e1\u010dek)
\nFig. 8. The foundations of the St. Wenceslas in old B\u00edtov in 2015 (photo: J. Pt\u00e1\u010dek)<\/h6>\n

Krajinomalbou ve vztahu k\u00a0p\u0159ehradn\u00edm n\u00e1dr\u017e\u00edm Vranov a\u00a0Nov\u00e9 Ml\u00fdny se v\u011bnovali auto\u0159i t\u00e9to stat\u011b v\u00a0letech 2014\u20132016 p\u0159i \u0159e\u0161en\u00ed projektu NAKI Zatopen\u00e9 kulturn\u00ed a\u00a0p\u0159\u00edrodn\u00ed d\u011bdictv\u00ed ji\u017en\u00ed Moravy [26].<\/p>\n

Metodick\u00fd p\u0159\u00edstup<\/h2>\n

Metodick\u00fd p\u0159\u00edstup spo\u010d\u00edv\u00e1 ve srovn\u00e1n\u00ed star\u00e9 krajinomalby z\u00a0obdob\u00ed p\u0159ed z\u00e1plavou se sou\u010dasn\u00fdm stavem p\u0159ehradn\u00ed krajiny. Prvn\u00edm krokem je v\u00fdb\u011br vhodn\u00fdch d\u011bl krajinomalby (ve st\u00e1l\u00fdch galerijn\u00edch expozic\u00edch, depozit\u00e1\u0159\u00edch galeri\u00ed a\u00a0muze\u00ed, na kr\u00e1tkodob\u00fdch v\u00fdstav\u00e1ch, v\u00a0monografi\u00edch \u010di v\u00a0kataloz\u00edch) a\u00a0po\u0159\u00edzen\u00ed jejich reprodukc\u00ed. Pot\u00e9 se pomoc\u00ed topografick\u00e9 mapy p\u0159edb\u011b\u017en\u011b odhadne m\u00edsto mal\u00ed\u0159ova z\u00e1b\u011bru, kter\u00e9 se pak co nejp\u0159esn\u011bji dohled\u00e1 v\u00a0ter\u00e9nu. Po\u0159\u00edd\u00ed se srovn\u00e1vac\u00ed fotodokumentace sou\u010dasn\u00e9ho stavu \u2013 celkov\u00fd z\u00e1b\u011br obrazu, zachycuj\u00edc\u00ed zm\u011bnu krajinn\u00e9ho r\u00e1zu, i\u00a0detaily, vystihuj\u00edc\u00ed zm\u011bny reli\u00e9fu a\u00a0vegeta\u010dn\u00edho krytu. N\u00e1sleduje zhotoven\u00ed podrobn\u00e9 mapky m\u00edsta a\u00a0sm\u011bru mal\u00ed\u0159ova z\u00e1b\u011bru a\u00a0popis zm\u011bn.<\/p>\n\"Lacina-9\"<\/a>\n

Obr. 9. M\u00edsto a\u00a0sm\u011br mal\u00ed\u0159ova z\u00e1b\u011bru
\nFig. 9. The place and direction of the painter\u2018s\u00a0shot<\/h6>\n

V\u00fdsledky<\/h2>\n

Krajinomalba jako v\u00fdtvarn\u00fd dokument krajiny p\u0159ed v\u00fdstavbou p\u0159ehrad<\/h3>\n

K\u00a0mal\u00ed\u0159sky nejfrekventovan\u011bj\u0161\u00edm pat\u0159ilo \u00fadol\u00ed Dyje od Znojma p\u0159es Vranov a\u017e nad rakousk\u00fd Drosendorf Stadt. Romantick\u00e9 \u00fadol\u00ed na rakousko-moravsk\u00e9m pomez\u00ed, kter\u00e9 m\u011blo b\u00fdt \u2013 ani\u017e to mal\u00ed\u0159i tu\u0161ili \u2013 v\u00a0budoucnu z\u00a0\u010d\u00e1sti zaplaveno vodami Vranovsk\u00e9 p\u0159ehrady, v\u00e1bilo ji\u017e v\u00a0pr\u016fb\u011bhu 19. stolet\u00ed (ozna\u010dovan\u00e9ho jako hlavn\u00ed stolet\u00ed krajinomalby) mnoh\u00e9 mal\u00ed\u0159e jak z\u00a0rakousk\u00e9, tak i\u00a0moravsk\u00e9 strany tehdej\u0161\u00edho mocn\u00e1\u0159stv\u00ed. I\u00a0na v\u00fdtvarn\u00fdch d\u00edlech z\u00a0Podyj\u00ed m\u016f\u017eeme sledovat, jak krajinomalba sp\u011bla od romantismu s\u00a0realistick\u00fdmi prvky k\u00a0realismu, ale z\u00e1rove\u0148 i\u00a0k\u00a0hlub\u0161\u00edmu vyj\u00e1d\u0159en\u00ed um\u011blcov\u00fdch pocit\u016f a\u00a0pro\u017eitk\u016f ze zobrazovan\u00e9 krajiny.<\/p>\n\"Lacina-10\"<\/a>\n

Obr. 10. Karl G\u00f6del (1910): \u017deletavka pod B\u00edtovem (tempera, 61\u00a0\u00d7\u00a071\u2008cm)
\nFig. 10. Karl G\u00f6del (1910): The \u017deletavka River under the B\u00edtov Castle (tempera, 61\u00a0\u00d7\u00a071\u2008cm)<\/h6>\n

V\u00a0p\u0159\u00edpad\u011b \u00fazem\u00ed dne\u0161n\u00ed Vranovsk\u00e9 p\u0159ehrady je to linie od mal\u00ed\u0159e a\u00a0rytce francouzsk\u00e9ho p\u016fvodu Josefa Dor\u00e9 (1805\u20131878) p\u0159es absolventa krajin\u00e1\u0159sk\u00e9 \u0161koly Maxe Haushofera na pra\u017esk\u00e9 akademii, hrotovick\u00e9ho rod\u00e1ka Franti\u0161ka Bohumila Zv\u011b\u0159iny (1835\u20131908) a\u017e po absolventa Ma\u0159\u00e1kovy \u0161koly Romana Havelku (1877\u20131950). Ten, jako jedin\u00fd z\u00a0klasick\u00fdch krajin\u00e1\u0159\u016f, ve sv\u00e9m obl\u00edben\u00e9m \u00fazem\u00ed maloval i\u00a0po jeho \u010d\u00e1ste\u010dn\u00e9m poh\u0159ben\u00ed vodou, ale tak, aby se pokud mo\u017eno ve sv\u00e9m z\u00e1b\u011bru p\u0159ehradou vzdut\u00e9 hladin\u011b vyhnul. Obs\u00e1hl\u00fd soubor d\u011bl, zachycuj\u00edc\u00ed \u00fadoln\u00ed z\u00e1\u0159ez Dyje v\u00a0pr\u016fb\u011bhu dvou stolet\u00ed, je ve sb\u00edrk\u00e1ch Jihomoravsk\u00e9ho muzea ve Znojm\u011b. V\u0161imn\u011bme si alespo\u0148 n\u011bkter\u00fdch.<\/p>\n\"Lacina-11\"<\/a>\n

Obr. 11. Pohled na hrad B\u00edtov v\u00a0roce 2015 (fotografie: J. Pt\u00e1\u010dek)
\nFig. 11. View of B\u00edtov Castle in 2015 (photo: J. Pt\u00e1\u010dek)<\/h6>\n

Romantickou a\u00a0trochu tajemnou atmosf\u00e9ru m\u00e1 litografie Z\u0159\u00edcenina Corn\u0161tejn (obr. 1<\/em>) rakousk\u00e9ho mal\u00ed\u0159e A. F. Kunikeho (1777\u20131838). Zachycuje v\u00a0n\u00ed kolem roku 1833 \u2013 v\u00a0pohledu na v\u00fdchod proti proudu \u0159eky \u2013 meandr Dyje a\u00a0nad n\u00edm rozs\u00e1hl\u00e9 z\u0159\u00edceniny st\u0159edov\u011bk\u00e9ho hradu Corn\u0161tejna. Nad strm\u00fdm skalnat\u00fdm b\u0159ehem jsou str\u00e1n\u011b zalesn\u011bny sm\u00ed\u0161en\u00fdmi porosty, kde\u017eto m\u00edrn\u011bj\u0161\u00ed p\u0159\u00edb\u0159e\u017e\u00ed prot\u011bj\u0161\u00ed je kryto louk a pastvin. Z\u00e1b\u011br o\u017eivuje staf\u00e1\u017e dvou myslivc\u016f v\u00a0pop\u0159ed\u00ed a\u00a0sedl\u00e1k p\u0159ev\u00e1\u017eej\u00edc\u00ed na lo\u010fce p\u0159es Dyji seno a\u00a0kozu.<\/p>\n

Vody Vranovsk\u00e9 p\u0159ehrady poh\u0159bily tuto starosv\u011btskou idylu jen \u010d\u00e1ste\u010dn\u011b (obr. 2<\/em>\u00a0a\u00a03<\/em>), zcela zde v\u0161ak zanikly polokulturn\u00ed kv\u011btnat\u00e9 louky. Hlavn\u00ed zm\u011bna spo\u010d\u00edv\u00e1 v\u00a0tom, \u017ee do kdysi klidn\u00e9ho \u00fadol\u00ed mezi B\u00edtovem a\u00a0Corn\u0161tejnem vtrhla po obou b\u0159ez\u00edch vzdut\u00e9 Dyje rekrea\u010dn\u00ed z\u00e1stavba \u2013 doslova chata na chat\u011b. T\u00e9m\u011b\u0159 nedot\u010deny z\u016fstaly na\u0161t\u011bst\u00ed na strm\u00fdch skalnat\u00fdch svaz\u00edch pod z\u0159\u00edceninou p\u0159irozen\u011b rozvoln\u011bn\u00e9 a\u00a0zakrsl\u00e9 listnat\u00e9 porosty se vz\u00e1cnou teplomilnou fl\u00f3rou a\u00a0faunou. Pat\u0159\u00ed k\u00a0nejcenn\u011bj\u0161\u00edm \u010d\u00e1stem evropsky v\u00fdznamn\u00e9 lokality \u00dadol\u00ed Dyje, vymezen\u00e9 zde v\u00a0r\u00e1mci projektu Evropsk\u00e9 unie NATURA 2000.<\/p>\n\"Lacina-12\"<\/a>\n

Obr. 12. M\u00edsto a\u00a0sm\u011br mal\u00ed\u0159ova z\u00e1b\u011bru
\nFig. 12. The place and direction of the painter\u2018s\u00a0shot<\/h6>\n

Josef Dor\u00e9 (1805\u20131878), mal\u00ed\u0159, kresl\u00ed\u0159 a\u00a0rytec francouzsk\u00e9ho p\u016fvodu, se usadil ve Vranov\u011b nad Dyj\u00ed kolem roku 1830. Za \u010dty\u0159i desetilet\u00ed sv\u00e9ho \u017eivota zde vytvo\u0159il mal\u00ed\u0159sk\u00fdmi i\u00a0grafick\u00fdmi technikami obs\u00e1hl\u00e9 d\u00edlo, kter\u00e9 pat\u0159\u00ed k\u00a0nejcenn\u011bj\u0161\u00edm v\u00fdtvarn\u00fdm dokument\u016fm tv\u00e1rnosti romantick\u00e9ho \u00fadol\u00ed Dyje v\u00a019. stolet\u00ed. Akvarel Hrad B\u00edtov z\u00a0roku 1865 (obr. 4<\/em>) je malov\u00e1n p\u0159es \u00fast\u00ed \u017deletavky do Dyje a\u00a0zachycuje i\u00a0spodn\u00ed konec p\u016fvodn\u00edho m\u011bste\u010dka B\u00edtov. Z\u00a0akvarelu je z\u0159ejm\u00e9, \u017ee strm\u00e9 svahy hradn\u00edho kopce m\u011bly tehdy sp\u00ed\u0161e \u00fapravu p\u0159\u00edrodn\u00edho parku \u2013 kulisy listnat\u00fdch d\u0159evin i\u00a0um\u011ble vys\u00e1zen\u00e9ho smrku st\u0159\u00eddaj\u00ed zatravn\u011bn\u00e9 pruhy. Nad skaliskem p\u0159i \u00fast\u00ed je v\u00fdsadba d\u0159evin jen roztrou\u0161en\u00e1, pod sk\u00e1lou t\u011bsn\u011b vede jedna z\u00a0p\u0159\u00edstupov\u00fdch cest do m\u011bste\u010dka. Staf\u00e1\u017e \u017eeny s\u00a0n\u016f\u0161\u00ed tr\u00e1vy v\u00a0pop\u0159ed\u00ed nasv\u011bd\u010duje, \u017ee p\u00edce se \u010dasto nosila do B\u00edtova zdaleka.<\/p>\n

M\u00edsto pra\u0161n\u00e9 cesty v\u00a0pop\u0159ed\u00ed Dor\u00e9ho z\u00e1b\u011bru je dnes (obr. 5\u00a0<\/em>a\u00a06<\/em>) asfaltovan\u00e1 silnice s\u00a0nov\u00fdm mostem, siln\u011b frekventovan\u00e1 zejm\u00e9na v\u00a0letn\u00edm obdob\u00ed. Vranovskou p\u0159ehradou o\u00a0n\u011bkolik metr\u016f vzdut\u00e1 \u017deletavka a\u00a0Dyje zaplavuj\u00ed ve sr\u00e1\u017ekov\u011b norm\u00e1ln\u00edch letech do poloviny sk\u00e1ly v\u00a0pop\u0159ed\u00ed. M\u00edsto zanikl\u00e9 spodn\u00ed \u010d\u00e1sti B\u00edtova je zde v\u00a0pravob\u0159e\u017e\u00ed vzdut\u00e9 \u017deletavky mezi novou silnic\u00ed a\u00a0p\u0159ehradn\u00ed hladinou nat\u011bsn\u00e1na chata na chat\u011b. Jen ten hrad na obzoru tr\u010d\u00ed st\u00e1le stejn\u011b, strm\u00e9 svahy pod n\u00edm i\u00a0p\u0159ed n\u00edm jsou v\u0161ak zalesn\u011bny souvisle.<\/p>\n\"Lacina-13\"<\/a>\n

Obr. 13. Roman Havelka (kol. r. 1930): Podzim na B\u00edtov\u011b (olej na pl\u00e1tn\u011b, 41\u00a0\u00d7\u00a051\u2008cm)
\nFig. 13. Roman Havelka (kol. r. 1930): Autumn in B\u00edtov (oil on canvas, 41\u00a0\u00d7\u00a051\u2008cm)<\/h6>\n

Oskar Slav\u00ed\u010dek (1879\u20131951), u\u010ditel v\u00a0Suchohrdl\u00edch u\u00a0Znojma, byl i\u00a0dobr\u00fdm mal\u00ed\u0159em. Jeho olejomalba Kostel sv. V\u00e1clava ve star\u00e9m B\u00edtov\u011b z\u00a0roku 1932 (obr. 7<\/em>) je kvalitn\u00edm a\u00a0cenn\u00fdm v\u00fdtvarn\u00fdm dokumentem centr\u00e1ln\u00ed \u010d\u00e1sti zanikl\u00e9ho B\u00edtova. M\u011bste\u010dko se t\u00e1hlo v\u00a0d\u00e9lce necel\u00e9ho kilometru pod\u00e9l \u017deletavky pod ostro\u017enou se stejnojmenn\u00fdm hradem. Mal\u00ed\u0159 je zachytil \u2013 velmi idylicky \u2013 nedlouho p\u0159ed jeho likvidac\u00ed. Po roce 1934 sem zas\u00e1hlo vzdut\u00ed Vranovsk\u00e9 p\u0159ehrady, z\u00a0B\u00edtova z\u016fstal jen h\u0159bitov, lokalizovan\u00fd na terase strm\u00e9ho svahu nad z\u00e1topou.<\/p>\n

V\u00a0extr\u00e9mn\u011b such\u00e9m roce 2015 poklesla hladina p\u0159ehrady natolik, \u017ee byly obna\u017eeny zbytky z\u00e1kladov\u00e9ho zdiva kostela i\u00a0okoln\u00edch staven\u00ed (obr. 8<\/em>\u00a0a\u00a09<\/em>). Neb\u00fdt letit\u00fdch sediment\u016f, vypadal by zde spodn\u00ed tok \u017deletavky t\u00e9m\u011b\u0159 stejn\u011b jako p\u0159ed napu\u0161t\u011bn\u00edm p\u0159ehrady.<\/p>\n

Ve srovn\u00e1n\u00ed s\u00a0podobn\u00fdm z\u00e1b\u011brem Josefa Dor\u00e9 se p\u0159ibl\u00ed\u017eil rakousk\u00fd mal\u00ed\u0159 Karl G\u00f6del (1870\u20131948) ve sv\u00e9m obraze \u017deletavka pod B\u00edtovem (1910) ke hradu B\u00edtovu proti proudu \u017deletavky o\u00a0p\u00e1r set metr\u016f (obr. 10<\/em>). Jeho z\u00e1b\u011br tak minul skaln\u00ed ostro\u017enu nad \u00fast\u00edm \u017deletavky do Dyje, zato zachytil v\u00a0pop\u0159ed\u00ed obrazu starosv\u011btsk\u00fd ml\u00fdn se zp\u011bn\u011bn\u00fdm jezem na spodn\u00edm konci m\u011bste\u010dka. Na rozd\u00edl od o\u00a0p\u016flstolet\u00ed star\u0161\u00edho zobrazen\u00ed J. Dor\u00e9ho vedla ji\u017e do \u00fadoln\u00edho s\u00eddla silnice \u2013 sv\u011bd\u010d\u00ed o\u00a0tom G\u00f6dlem namalovan\u00e9 betonov\u00e9 z\u00e1bradl\u00ed t\u011bsn\u011b nad \u017deletavkou p\u0159i lev\u00e9m okraji obrazu.<\/p>\n\"Lacina-14\"<\/a>\n

Obr. 14. Pohled na soutok Dyje s\u00a0\u017deletavkou v\u00a0roce 2015 (fotografie: J. Pt\u00e1\u010dek)
\nFig. 14. View of the confluence of the rivers Dyje and \u017deletavka in 2015 (photo: J. Pt\u00e1\u010dek)<\/h6>\n

Ml\u00fdn \u2013 obdobn\u011b jako cel\u00e9 m\u011bste\u010dko B\u00edtov \u2013 zanikl v\u00a0z\u00e1top\u011b Vranovsk\u00e9 p\u0159ehrady, silnice byla p\u0159elo\u017eena v\u00fd\u0161e (obr. 11\u00a0<\/em>a\u00a012<\/em>). Sou\u010dasn\u00e1 chatov\u00e1 z\u00e1stavba v\u00a0\u00fazk\u00e9m pruhu mezi silnic\u00ed a\u00a0p\u0159ehradn\u00ed hladinou m\u00e1 k\u00a0idyle t\u00e9 tradi\u010dn\u00ed p\u0159ed sto lety hodn\u011b daleko!<\/p>\n

Roman Havelka (1877\u20131950) byl jedn\u00edm z\u00a0nejmlad\u0161\u00edch a\u00a0posledn\u00edch absolvent\u016f slavn\u00e9 krajin\u00e1\u0159sk\u00e9 \u0161koly Julia Ma\u0159\u00e1ka na pra\u017esk\u00e9 Akademii v\u00fdtvarn\u00fdch um\u011bn\u00ed. Poch\u00e1zel sice z\u00a0Jemnice, ale romantick\u00e9 \u00fadol\u00ed Dyje ho ohromilo ji\u017e v\u00a0jino\u0161sk\u00fdch letech a\u00a0stalo se jeho mal\u00ed\u0159sk\u00fdm \u00fad\u011blem. Autor Uhl\u00ed\u0159 [27] uv\u00e1d\u00ed, \u017ee b\u011bhem sv\u00e9ho \u017eivota vyt\u011b\u017eil z\u00a0Podyj\u00ed t\u00e9m\u011b\u0159 3 000 krajin, v\u00fdte\u010dn\u011b zachycuj\u00edc\u00edch barevn\u00e9 a\u00a0sv\u011bteln\u00e9 n\u00e1lady lesnat\u00fdch \u0159\u00ed\u010dn\u00edch \u00fadol\u00ed v\u00a0r\u016fzn\u00fdch obdob\u00edch vegetace. Obraz Podzim na B\u00edtov\u011b (obr. 13<\/em>) m\u00e1 i\u00a0p\u0159esn\u011bj\u0161\u00ed n\u00e1zev \u00dast\u00ed \u017deletavky do Dyje pod B\u00edtovem. Zachycuje oslun\u011bn\u00e9 skalisko s\u00a0pro\u0159\u00eddl\u00fdm porostem borovic v\u00a0levob\u0159e\u017e\u00ed \u017deletavky nad \u00fast\u00edm ve sm\u011bru po proudu, kde\u017eto Josef Dor\u00e9 je roku 1865 zachytil z\u00a0opa\u010dn\u00e9 strany, tedy proti proudu. Na Havelkov\u011b obrazu ze za\u010d\u00e1tku 30. let minul\u00e9ho stolet\u00ed je patrn\u00e9, \u017ee soutok \u0159ek byl lemov\u00e1n mok\u0159adn\u00edmi travinn\u00fdmi spole\u010denstvy, kontrastuj\u00edc\u00edmi s\u00a0vyprahlou vegetac\u00ed skal.<\/p>\n

Tento jedine\u010dn\u00fd kontakt rozmanit\u00fdch biotop\u016f byl zatopen (obr. 14\u00a0<\/em>a\u00a015<\/em>). Na sou\u010dasn\u00fdch velmi strm\u00fdch p\u0159ehradn\u00edch b\u0159ez\u00edch s\u00a0kol\u00edsaj\u00edc\u00ed hladinou se mok\u0159adn\u00ed lem ji\u017e nevytvo\u0159\u00ed. Pohled na p\u0159ehradn\u00ed hladinu je ve srovn\u00e1n\u00ed s\u00a0mal\u00ed\u0159ov\u00fdm z\u00e1b\u011brem velice f\u00e1dn\u00ed. Nelze ov\u0161em nep\u0159iznat, \u017ee R. Havelka z\u016fstal krajin\u011b \u00fadoln\u00edch \u0159\u00ed\u010dn\u00edch z\u00e1\u0159ez\u016f pod B\u00edtovem a\u00a0Corn\u0161tejnem v\u011brn\u00fd i\u00a0po jej\u00edm \u010d\u00e1ste\u010dn\u00e9m poh\u0159ben\u00ed vodou. Maloval zde v\u0161ak tak, aby vzdutou hladinu nebylo p\u0159\u00edli\u0161 vid\u011bt.<\/p>\n\"Lacina-15\"<\/a>\n

Obr. 15. M\u00edsto a\u00a0sm\u011br mal\u00ed\u0159ova z\u00e1b\u011bru
\nFig. 15. The place and direction of the painter\u2018s\u00a0shot<\/h6>\n

V\u00fdtvarn\u011b byla \u010dasto dokumentov\u00e1na i\u00a0nivn\u00ed krajina pod P\u00e1lavou, kter\u00e1 pak byla v\u00a0letech 1978\u20131989 zaplavena t\u0159emi n\u00e1dr\u017eemi vodn\u00edho d\u00edla Nov\u00e9 Ml\u00fdny. Ve sb\u00edrk\u00e1ch Region\u00e1ln\u00edho muzea v\u00a0Mikulov\u011b je pozoruhodn\u00fd soubor v\u00fdtvarn\u00fdch d\u011bl Wenze Gr\u00f6lla (1889\u20131969), kter\u00fd muzeu v\u011bnovala mal\u00ed\u0159ova vnu\u010dka Gertruda Gr\u00f6llov\u00e1. Tento rod\u00e1k z\u00a0vesnice Bavory pod P\u00e1lavou vystudoval Vysokou \u0161kolu u\u017eit\u00e9ho um\u011bn\u00ed ve V\u00eddni a\u00a0od roku 1919 p\u016fsobil v\u00a0tomto m\u011bst\u011b jako u\u010ditel kreslen\u00ed. Jihomoravsk\u00e1 krajina jeho d\u011btstv\u00ed a\u00a0ml\u00e1d\u00ed byla n\u00e1m\u011btem jeho tvorby po cel\u00fd \u017eivot, po roce 1945 ji maloval podle fotografi\u00ed. Mezi Gr\u00f6llov\u00fdmi akvarely nechyb\u00ed ani mal\u00ed\u0159sk\u00e9 z\u00e1znamy z\u00e1plav pod P\u00e1lavou, v\u00a0nich\u017e se zrcadl\u00ed pro tuto krajinu typick\u00e9 hlavat\u00e9 vrby.<\/p>\n

Za nejsystemati\u010dt\u011bj\u0161\u00edho mal\u00ed\u0159e ji\u017en\u00ed Moravy lze pova\u017eovat Rudolfa Gajdo\u0161e (1908\u20131975), kter\u00fd sice poch\u00e1zel z\u00a0M\u011b\u0159\u00edna na \u010ceskomoravsk\u00e9 vrchovin\u011b, podstatnou \u010d\u00e1st \u017eivota v\u0161ak str\u00e1vil v\u00a0Lednici a\u00a0v\u00a0Mikulov\u011b. Absolvent pra\u017esk\u00e9 Akademie u\u00a0Maxe \u0160vabinsk\u00e9ho a\u00a0zakl\u00e1daj\u00edc\u00ed profesor \u0160koly um\u011bn\u00ed ve Zl\u00edn\u011b s\u00a0l\u00e1skou zobrazoval p\u0159edev\u0161\u00edm skalnatou a\u00a0vinorodou P\u00e1lavu, vinn\u00e9 sklepy, Mikulov a\u00a0rybn\u00edky kolem Lednice. V\u00a0jeho d\u00edle v\u0161ak najdeme i\u00a0\u0159adu d\u011bl, zachycuj\u00edc\u00edch jedine\u010dn\u00fd kontakt vyprahl\u00e9ho v\u00e1pencov\u00e9ho bradla a\u00a0mok\u0159adn\u00ed, periodicky zaplavovan\u00e9 dyjsk\u00e9 nivy, jak je patrn\u00e9 z\u00a0monografie, vydan\u00e9 ke Gajdo\u0161ov\u011b mikulovsk\u00e9 a\u00a0brn\u011bnsk\u00e9 v\u00fdstav\u011b roku 1973 [28]. Jmenujme alespo\u0148 kresby P\u00e1lava od Mu\u0161ova a\u00a0P\u00e1lava od Strachot\u00edna (ob\u011b z\u00a0roku 1937), litografii P\u00e1lava od Doln\u00edch V\u011bstonic (1953) z\u00a0cyklu Ji\u017en\u00ed Morava, olejomalby a\u00a0tempery Letn\u00ed povode\u0148 u\u00a0Mu\u0161ova (1954), Z\u00e1plavy u\u00a0Nov\u00fdch Ml\u00fdn\u016f (1954), Jarn\u00ed povode\u0148 pod P\u00e1lavou (1956) a\u00a0Letn\u00ed z\u00e1plavy pod P\u00e1lavou (1966). \u201eGajdo\u0161 byl p\u0159esv\u011bd\u010den, \u017ee je nutno zaznamen\u00e1vat v\u0161echny prom\u011bny \u017eivota, z\u00e1sahy lid\u00ed do p\u0159\u00edrody a\u00a0dolo\u017eit je d\u00edlem um\u011blce\u201c\u00a0\u2013 vzpom\u00edn\u00e1 na sv\u00e9ho p\u0159\u00edtele Jan Andrys, b\u00fdval\u00fd tajemn\u00edk Sdru\u017een\u00ed v\u00fdtvarn\u00fdch um\u011blc\u016f moravsk\u00fdch v\u00a0Hodon\u00edn\u011b. \u201eJeden \u00fatvar zanikne, vyvst\u00e1v\u00e1 nov\u00fd a\u00a0bude tak i\u00a0p\u0159i velk\u00e9m vodn\u00edm d\u00edle na Dyji\u2026 Pracoval tu tedy Gajdo\u0161 velmi piln\u011b, o\u00a0v\u0161em byl dob\u0159e zpraven, mnoho obraz\u016f rozd\u011blal, aby zachoval, co zajde\u2026\u201c [29]. Byl to z\u0159ejm\u011b pr\u00e1v\u011b Rudolf Gajdo\u0161, kter\u00fd p\u0159ivedl na ji\u017en\u00ed Moravu sv\u00e9ho star\u0161\u00edho p\u0159\u00edtele z\u00a0hodon\u00ednsk\u00e9ho Sdru\u017een\u00ed v\u00fdtvarn\u00fdch um\u011blc\u016f moravsk\u00fdch (SVUM), mal\u00ed\u0159e Vyso\u010diny Josefa Jambora (1887\u20131964). Z\u00a0kraje pod P\u00e1lavou je uv\u00e1d\u011bno jeho d\u00edlo Mo\u010d\u00e1ly u\u00a0Mu\u0161ova (1954).<\/p>\n\"Lacina-16\"<\/a>\n

Obr. 16. Anton\u00edn Vojtek (2003): P\u00e1lavsk\u00e1 jezera (60\u00a0\u00d7\u00a050\u2008cm), p\u0159evzato z\u00a0www.vojtek-av.com
\nFig. 16. Anton\u00edn Vojtek (2003): Lakes under the Pavlov hills (60\u00a0\u00d7\u00a050\u2008cm), taken from www.vojtek-av.com<\/h6>\n

Stejn\u00e9 \u00fazem\u00ed v\u00fdtvarn\u011b dokumentoval i\u00a0hodon\u00ednsk\u00fd mal\u00ed\u0159 Karel Nov\u00e1k (1915\u20132006) \u2013 viz nap\u0159\u00edklad akvarel Kostel v\u00a0Mu\u0161ov\u011b (1980), v\u00a0n\u011bm\u017e je kostel sv.\u00a0Leonarda dosud obklopen domky a\u00a0zahradami vesnice, \u010di olejomalba Letn\u00ed vody pod P\u00e1lavou (1977), zachycuj\u00edc\u00ed hlavat\u00e9 vrby nad hladinou letn\u00ed povodn\u011b\u00a0[30]. St\u00e1rnouc\u00ed mal\u00ed\u0159 sta\u010dil je\u0161t\u011b namalovat i\u00a0trvale zatopen\u00e9 \u00fazem\u00ed \u2013 nap\u0159\u00edklad v\u00a0olejomalb\u011b Vody Mu\u0161ovsk\u00e9ho jezera (1999), z\u00e1rove\u0148 se v\u0161ak nostalgicky vracel ke star\u00fdm malebn\u00fdm motiv\u016fm z\u00a0obdob\u00ed p\u0159ed budov\u00e1n\u00edm vodn\u00edho d\u00edla.<\/p>\n

Specifickou tajemnou atmosf\u00e9ru lu\u017en\u00edch les\u016f a\u00a0mok\u0159ad\u016f pod P\u00e1lavou b\u00e1sniv\u00fdm \u0161t\u011btcem vyj\u00e1d\u0159il Mat\u011bj Trojan (1914\u20131973), pou\u010den\u00fd d\u00edlem Jana Zrzav\u00e9ho, kter\u00e9mu byl v\u00a0ml\u00e1d\u00ed pomocn\u00edkem. Trojan pat\u0159il k\u00a0t\u011bm nemnoha mal\u00ed\u0159\u016fm, kte\u0159\u00ed pronikli a\u017e do nitra mok\u0159ad\u016f, kde se mohli op\u00e1jet samotou v\u00a0kr\u00e1lovstv\u00ed v\u011bkovit\u00fdch strom\u016f, pt\u00e1k\u016f, kom\u00e1r\u016f a\u00a0\u017eab. \u201eJe to pr\u00e1v\u011b ona Trojanova romanticky zalo\u017een\u00e1 obraznost, kter\u00e1 mu v\u00a0jednotliv\u00fdch d\u00edlech dovoluje s\u00a0p\u0159\u00edmo\u010darou samoz\u0159ejmost\u00ed spojovat realitu s\u00a0viz\u00ed a\u00a0snem sklenout v\u00a0jednotu rousseauovsky naivn\u00ed vid\u011bn\u00ed sv\u011bta s\u00a0kultivovanou mal\u00ed\u0159skou formou,\u201c napsal o\u00a0Trojanov\u011b tvorb\u011b Ji\u0159\u00ed Hlu\u0161i\u010dka [31]. Ji\u017e n\u00e1zvy Trojanov\u00fdch obraz\u016f navozuj\u00ed tajemnou a\u00a0snovou atmosf\u00e9ru dnes ji\u017e z\u00a0velk\u00e9 \u010d\u00e1sti zanikl\u00fdch biotop\u016f jihomoravsk\u00e9 nivn\u00ed krajiny \u2013 jmenujme alespo\u0148 Mysterium lu\u017en\u00edho lesa I\u00a0a\u00a0II (1966 a\u00a01968), Torza star\u00fdch vrb (1969) a\u00a0Jezero drak\u016f (1971).<\/p>\n

Obdobn\u011b b\u00e1sniv\u00e9 je d\u00edlo nejen na ji\u017en\u00ed Morav\u011b velmi obl\u00edben\u00e9ho Anton\u00edna Vojtka (*1934), kter\u00fd je z\u00a0uveden\u00fdch mal\u00ed\u0159\u016f s\u00a0divo\u010dinou po\u0159\u00ed\u010dn\u00ed krajiny nejsepjat\u011bj\u0161\u00ed a\u00a0je j\u00ed nejv\u00edce okouzlen. Nav\u00edc jako n\u011bkdej\u0161\u00ed p\u0159\u00edrodov\u011bdn\u011b pou\u010den\u00fd u\u010ditel dovede ztv\u00e1r\u0148ovan\u00e9 mok\u0159adn\u00ed a\u00a0lu\u017en\u00ed biotopy doplnit o\u00a0typick\u00e9 druhy rostlin i\u00a0pt\u00e1k\u016f \u2013 viz nap\u0159\u00edklad dnes ji\u017e u\u00a0n\u00e1s vyhynul\u00fd slanoro\u017eec rozprost\u0159en\u00fd v\u00a0obraze U\u00a0Strachot\u00edna (1980), kyprej vrbice v\u00a0d\u00edle z\u00a0cyklu Kraj pod P\u00e1lavou (80. l\u00e9ta), invazivn\u00ed slune\u010dnice hl\u00edznat\u00e1 v\u00a0olejomalb\u011b Na konci l\u00e9ta \u2013 topinambury (2004). \u201eMnoh\u00e1 m\u00edsta, moje m\u00edsta, pohltila podp\u00e1lavsk\u00e1 jezera\u201c \u2013 vyznal se mal\u00ed\u0159 [32]. Dok\u00e1\u017ee je v\u0161ak znovu malovat jako vzpom\u00ednku, jako sen. Ve Vojtkov\u011b d\u00edle se i\u00a0nad\u00e1le odr\u00e1\u017eej\u00ed kopule vrb s\u00a0b\u00edl\u00fdmi volavkami ve vod\u00e1ch t\u0159eba i\u00a0d\u00e1vno zanikl\u00e9ho a\u00a0z\u0159ejm\u011b nejkr\u00e1sn\u011bj\u0161\u00edho jihomoravsk\u00e9ho mok\u0159adu Pansee (obr. 16<\/em>).<\/p>\n

V\u00fdtvarn\u00e1 dokumentace v\u00fdstavby p\u0159ehrad<\/h3>\n

Nov\u00e1 situace i\u00a0pro v\u00fdtvarn\u00e9 um\u011blce nastala po roce 1948, kdy se p\u0159ehrady staly prote\u017eovan\u00fdmi stavbami socialismu a\u00a0vy\u017eadovanou um\u011bleckou formou byl socialistick\u00fd realismus neboli sorela. Sv\u011bd\u010d\u00ed o\u00a0tom katalog T\u0159et\u00ed \u010dlensk\u00e9 v\u00fdstavy Krajsk\u00e9ho st\u0159ediska \u010deskoslovensk\u00fdch v\u00fdtvarn\u00fdch um\u011blc\u016f v\u00a0Brn\u011b roku 1952. N\u011bkter\u00e9 vystavovan\u00e9 pr\u00e1ce byly \u2013 jak v\u00a0katalogu p\u00ed\u0161e Dr. Franti\u0161ek Kubi\u0161ta \u2013 \u201ev\u00fdsledkem \u00fakolov\u00e9 akce, p\u0159i nich\u017e bylo db\u00e1no, aby t\u011b\u017eily z\u00a0budovatelsk\u00e9ho \u00fasil\u00ed, kter\u00e9 bylo mo\u017eno sledovat na stavb\u011b v\u00edrsk\u00e9 p\u0159ehrady.\u201c [33]. N\u00e1ro\u010dnou p\u0159ehradn\u00ed stavbu v\u00a0hlubok\u00e9m \u00fadol\u00ed Svratky nad V\u00edrem za\u010d\u00e1tkem 50. let v\u00a0r\u016fzn\u00fdch f\u00e1z\u00edch a\u00a0z\u00a0r\u016fzn\u00fdch pohled\u016f zachytila \u0159ada brn\u011bnsk\u00fdch mal\u00ed\u0159\u016f \u2013 Jan Brukner, Jaroslav Dvo\u0159\u00e1\u010dek, Eduard S. Kostrhon, Franti\u0161ek Mal\u00fd. A\u00a0tak\u00e9 Vojt\u011bch \u0160tolfa (1921\u20132002), brn\u011bnsk\u00fd sc\u00e9nograf a\u00a0portr\u00e9tista bylin a\u00a0trav. Dlu\u017eno ov\u0161em dodat, \u017ee V. \u0160tolfa ve sv\u00e9 olejomalb\u011b V\u00edrsk\u00e9 \u00fadol\u00ed (1952) zachytil stavbu a\u017e v\u00a0pozad\u00ed dosud nezatopen\u00e9 lu\u010dinat\u00e9 nivy s\u00a0kopulemi vrb a\u00a0s\u00a0pra\u0161nou cestou do Chudob\u00edna, vesni\u010dky odsouzen\u00e9 k\u00a0z\u00e1niku. Jeho obraz je tak sp\u00ed\u0161e ne\u017e oslavou budovatelsk\u00e9ho \u00fasil\u00ed ojedin\u011bl\u00fdm a\u00a0kvalitn\u00edm v\u00fdtvarn\u00fdm dokumentem vegeta\u010dn\u00edho krytu p\u0159ed zaplaven\u00edm \u00fadol\u00ed p\u00e1r let na to. Naopak jeden z\u00a0nejplodn\u011bj\u0161\u00edch krajin\u00e1\u0159\u016f Vyso\u010diny Alois Luk\u00e1\u0161ek (1911\u20131984), \u017eij\u00edc\u00ed bl\u00edzko k\u00a0V\u00edru v\u00a0Nedv\u011bdici, dal ve sv\u00fdch olejomalb\u00e1ch Stavba V\u00edrsk\u00e9 p\u0159ehrady I\u00a0a\u00a0II z\u00a0roku 1950 (obr. 17<\/em>) betonov\u00e1n\u00ed hr\u00e1ze dominantn\u00ed postaven\u00ed [34].<\/p>\n\"Lacina-17\"<\/a>\n

Obr. 17. Alois Luk\u00e1\u0161ek (1950): Stavba V\u00edrsk\u00e9 p\u0159ehrady II. (olej, 65\u00a0\u00d7\u00a080\u2008cm), p\u0159evzato z\u00a0[34]
\nFig. 17. Alois Luk\u00e1\u0161ek (1950): Construction of the V\u00edr Dam II. (oil, 65\u00a0\u00d7\u00a080\u2008cm), taken from [34]<\/h6>\n

Podobn\u011b, jako se na Morav\u011b v\u011bnovali mal\u00ed\u0159i v\u00fdstavb\u011b \u00fadoln\u00ed n\u00e1dr\u017ee V\u00edr, anga\u017eovali se v\u00fdtvarn\u00edci v\u00a0\u010cech\u00e1ch v\u00a0letech 1953\u20131954 p\u0159i \u00fakolov\u00e9 svazov\u00e9 akci \u201ePovltav\u00ed\u201c, tedy p\u0159i budov\u00e1n\u00ed vltavsk\u00e9 p\u0159ehradn\u00ed kask\u00e1dy. Ochr\u00e1nce p\u0159\u00edrody a\u00a0krajiny zaujmou z\u00a0t\u00e9to akce zejm\u00e9na obrazy V\u00e1clava Vojt\u011bcha Nov\u00e1ka (1901\u20131969). Zn\u00e1m\u00fd mal\u00ed\u0159 panoramaticky rozm\u00e1chl\u00fdch z\u00e1b\u011br\u016f jiho\u010desk\u00e9 rybni\u010dn\u00ed krajiny v\u00a0olejomalb\u011b Vltava u\u00a0\u017dupanovic (1953) a\u00a0dal\u0161\u00edch v\u011brn\u011b zachytil skalnat\u00e9 a\u00a0vegeta\u010dn\u011b zaj\u00edmav\u00e9 \u00fadol\u00ed Vltavy, kter\u00e9 pak roku 1957 zmizelo v\u00a0z\u00e1plav\u011b n\u00e1dr\u017ee Slapy. Kde\u017eto mal\u00ed\u0159 soci\u00e1ln\u00edch motiv\u016f a\u00a0zaduman\u00fdch krajin m\u011bstsk\u00e9 periferie Karel Holan (1893\u20131953) maloval na sklonku sv\u00e9ho \u017eivota nap\u0159\u00edklad v\u00a0obraze P\u0159ehrada (1952) rozestav\u011bnou p\u0159ehradn\u00ed hr\u00e1z.<\/p>\n

P\u0159ehradn\u00ed n\u00e1dr\u017ee jako hlavn\u00ed motiv krajinomalby<\/h3>\n

Jist\u011b nen\u00ed p\u0159ekvapen\u00edm, \u017ee krom\u011b budov\u00e1n\u00ed p\u0159ehrad mal\u00ed\u0159i zobrazovali \u2013 a\u00a0dodnes zobrazuj\u00ed \u2013 i\u00a0hotov\u00e1 p\u0159ehradn\u00ed jezera. Jejich hladiny jsou v\u00fdtvarn\u011b zaj\u00edmav\u00e9 a\u00a0l\u00e1kav\u00e9. T\u0159eba hladina Brn\u011bnsk\u00e9 (d\u0159\u00edve Kn\u00edni\u010dsk\u00e9) p\u0159ehrady, dokon\u010den\u00e9 roku 1940. \u201eM\u00e1m za to, \u017ee snad v\u0161ichni mal\u00ed\u0159i \u017eij\u00edc\u00ed v\u00a0Brn\u011b, kter\u00fdm u\u010daroval jako projev \u017eivotn\u00edho postoje fenom\u00e9n KRAJINA, alespo\u0148 jednou se o\u00a0p\u0159ehradu pokusili,\u201c p\u00ed\u0161e ve sv\u00fdch obs\u00e1hl\u00fdch vzpom\u00ednk\u00e1ch Brno \u2013 \u010dern\u00e1 b\u00edl\u00e1 [35] brn\u011bnsk\u00fd v\u00fdtvarn\u00edk Jan Rajlich. A\u00a0jmenuje celou \u0159adu mal\u00ed\u0159\u016f i\u00a0mal\u00ed\u0159ek. Vyberme z\u00a0nich alespo\u0148 Miroslava Net\u00edka (1920), kter\u00fd se ve sv\u00e9m obs\u00e1hl\u00e9m d\u00edle vracel k\u00a0Brn\u011bnsk\u00e9 p\u0159ehrad\u011b nej\u010dast\u011bji\u00a0\u2013 od \u201ebudovatelsk\u00e9\u201c olejomalby S\u00e1zen\u00ed stromk\u016f na Kn\u00edni\u010dsk\u00e9 p\u0159ehrad\u011b (1952) a\u017e po nedosti\u017en\u011b svi\u017en\u00e9 akvarely z\u00a060. a\u00a0dal\u0161\u00edch let, nap\u0159. P\u0159\u00edstav (1965). Z\u00a0dal\u0161\u00edch slavn\u00fdch tv\u016frc\u016f se v\u00a0souvislosti s\u00a0p\u0159ehradou u\u00a0Brna objevuje dokonce i\u00a0Franti\u0161ek Folt\u00fdn (1891\u20131976), proslul\u00fd p\u0159edev\u0161\u00edm sv\u00fdmi abstraktn\u00edmi kompozicemi. V\u00a0olejomalb\u011b P\u0159ehrada (1951) v\u0161ak sp\u00ed\u0161e realisticky zachycuje v\u00fdletn\u00ed lo\u010f pod H\u016frkou u\u00a0Bystrce.<\/p>\n

V\u00edrskou p\u0159ehradu v\u00a0Hornosvrateck\u00e9 vrchovin\u011b, p\u0159ipom\u00ednaj\u00edc\u00ed skandin\u00e1vsk\u00e1 jezera, opakovan\u011b maloval ji\u017e zm\u00edn\u011bn\u00fd Alois Luk\u00e1\u0161ek a\u00a0\u0159ada region\u00e1ln\u00edch mal\u00ed\u0159\u016f. Ale tak\u00e9 t\u0159eba i\u00a0dendrolog docent Jind\u0159ich Chmela\u0159 (1926\u20132001), p\u0159edn\u00ed evropsk\u00fd znalec vrb (rodu\u00a0Salix<\/em>\u00a0spp.), kter\u00fd \u010dasto spolupracoval s\u00a0vodohospod\u00e1\u0159i na volb\u011b vhodn\u00fdch d\u0159evin p\u0159i ozele\u0148ov\u00e1n\u00ed p\u0159ehrad. Byl t\u00e9\u017e v\u00fdborn\u00fdm mal\u00ed\u0159em, jak dokumentuje i\u00a0jeho pastel z\u00a0roku 1962 V\u00edrsk\u00e1 p\u0159ehrada (obr. 18<\/em>).<\/p>\n\"Lacina-18\"<\/a>\n

Obr. 18. Jind\u0159ich Chmela\u0159 (1962): V\u00edrsk\u00e1 p\u0159ehrada (pastel, 30\u00a0\u00d7\u00a022\u2008cm)
\nFig. 18. Jind\u0159ich Chmela\u0159 (1962): V\u00edr Dam (pastel, 30\u00a0\u00d7\u00a022\u2008cm)<\/h6>\n

Dominantn\u00ed postaven\u00ed v\u00a0krajin\u011b jihov\u00fdchodn\u00ed \u0160umavy m\u00e1 od roku 1960 hladina na\u0161\u00ed nejv\u011bt\u0161\u00ed p\u0159ehradn\u00ed n\u00e1dr\u017ee Lipno. Tam u\u00a0Horn\u00ed Plan\u00e9, kde kdysi maloval a\u00a0kreslil pestrou krajinnou mozaiku b\u00e1sn\u00edk a\u00a0prozaik \u0161umavsk\u00e9 p\u0159\u00edrody Adalbert Stifter (1805\u20131868), zachytili podstatn\u011b jednodu\u0161\u0161\u00ed sou\u010dasnou vodn\u00ed krajinu nap\u0159\u00edklad Josef Hodek (1888\u20131973) v\u00a0obraze Lipensk\u00e9 jezero u\u00a0Horn\u00ed Plan\u00e9 (1965) \u010di Ada Nov\u00e1k (1912\u20131990) v\u00a0olejomalb\u011b Lipno (1981). Rekrea\u010dn\u00ed vyu\u017eit\u00ed \u2013 jachting na Lipn\u011b pak zobrazuje nap\u0159\u00edklad dynamicky pojat\u00fd Posledn\u00ed v\u00edtr (1984) od Josefa Gregra (1938).<\/p>\n

Anton\u00edn Sma\u017eil (1923\u20132011) vystavil roku 1983 v\u00a0Mikulov\u011b rozs\u00e1hl\u00fd soubor akvarel\u016f a\u00a0n\u011bkolika olejomaleb pod n\u00e1zvem P\u00e1lavsk\u00e9 metamorf\u00f3zy [36]. Tyto zobrazen\u00e9 p\u0159em\u011bny se v\u0161ak t\u00fdkaj\u00ed v\u00edce ne\u017e v\u00e1pencov\u00e9ho bradla P\u00e1lavy, p\u0159edev\u0161\u00edm nivn\u00ed krajiny pod nimi. A. Sma\u017eil zobrazil jak zbytky autochtonn\u00ed p\u0159\u00edrody \u2013 nap\u0159. Mu\u0161ovsk\u00e9 vrby (1970), Lu\u017en\u00ed lesy u\u00a0Nov\u00fdch Ml\u00fdn\u016f (1976) a\u00a0jejich z\u00e1nik \u2013 Lu\u017en\u00ed lesy odch\u00e1zej\u00ed (1975), tak i\u00a0budov\u00e1n\u00ed vodn\u00edch n\u00e1dr\u017e\u00ed \u2013 viz nap\u0159. Beton\u00e1rka pod P\u00e1lavou (1976) i\u00a0p\u0159ehradn\u00ed jezera napu\u0161t\u011bn\u00e1 \u2013 nap\u0159. Nov\u00e9 zrcadlen\u00ed P\u00e1lavy (1981) a\u00a0Nad p\u0159ehradou (1982).<\/p>\n

V\u00fdtvarn\u00e1 v\u00fdzdoba p\u0159ehradn\u00edch objekt\u016f<\/h3>\n

Zejm\u00e9na v\u00a060. a\u017e 80. letech minul\u00e9ho stolet\u00ed b\u00fdvaly n\u011bkter\u00e9 stavby dopl\u0148ov\u00e1ny v\u00fdtvarn\u00fdmi d\u00edly. St\u00e1valo se tak i\u00a0u\u00a0doprovodn\u00fdch objekt\u016f p\u0159ehrad. Zmi\u0148me alespo\u0148 dva p\u0159\u00edpady. S\u00a0vod\u00e1renskou n\u00e1dr\u017e\u00ed Kru\u017eberk na \u0159ece Moravici souvis\u00ed \u00fapravna vody v\u00a0Podhrad\u00ed u\u00a0V\u00edtkova. Jej\u00ed hlavn\u00ed budova je od roku 1967 vyzdobena komplexem kamenn\u00fdch reli\u00e9f\u016f Voda v\u00a0na\u0161em \u017eivot\u011b. Jedn\u00e1 se o\u00a0posledn\u00ed monument\u00e1ln\u00ed d\u00edlo p\u0159edn\u00edho \u010desk\u00e9ho socha\u0159e Vincence Makovsk\u00e9ho (1900\u20131966).<\/p>\n\"Lacina-19\"<\/a>\n

Obr. 19. \u010cty\u0159ver\u0161\u00ed Jana Sk\u00e1cela, ztv\u00e1rn\u011bn\u00e9 Milo\u0161em Slez\u00e1kem na budov\u011b vodn\u00ed elektr\u00e1rny u\u00a0Nov\u00fdch Ml\u00fdn\u016f (80. l\u00e9ta 20. stolet\u00ed)
\nFig. 19. Jan Sk\u00e1cel\u00b4s\u00a0quatrian, performed by Milo\u0161 Slez\u00e1k at the building of the hydroelectric power station near Nov\u00e9 Ml\u00fdny (1980\u2018s\u00a0of the 20th<\/sup>\u00a0century)<\/h6>\n

Na st\u011bn\u011b hydroelektr\u00e1rny u\u00a0v\u00fdpustn\u00edho objektu doln\u00ed n\u00e1dr\u017ee vodn\u00edho d\u00edla Nov\u00e9 Ml\u00fdny je ji\u017e z\u00a0d\u00e1lky n\u00e1padn\u00fd modrav\u00fd reli\u00e9f (obr. 19<\/em>). Jedn\u00e1 se o\u00a0\u010dty\u0159ver\u0161\u00ed Jana Sk\u00e1cela (1922\u20131989), do tvaru kl\u00ednu t\u00e1hnouc\u00edch divok\u00fdch hus ztv\u00e1rn\u011bn\u00e9 v\u0161estrann\u00fdm brn\u011bnsk\u00fdm v\u00fdtvarn\u00edkem Milo\u0161em Slez\u00e1kem (1921\u20131989). Toto \u010dty\u0159ver\u0161\u00ed, dr\u00e1\u017ed\u00edc\u00ed n\u011bkter\u00e9 ekologick\u00e9 aktivisty, zn\u00ed: \u201eDivok\u00e9 husy s\u00a0k\u0159ikem t\u00e1hnou k\u00a0jihu \/ a\u00a0vodn\u00ed sl\u00edpky po hladin\u011b plavou. \/ Rozmlouv\u00e1 v\u00edtr v\u00a0\u0159\u00e1dk\u00e1ch kuku\u0159ice. \/ Je konec \u017e\u00edzn\u011b v\u00a0kraji pod P\u00e1lavou.\u201c Velik\u00fd moravsk\u00fd b\u00e1sn\u00edk t\u00edm vlastn\u011b p\u0159itakal rozs\u00e1hl\u00fdm vodohospod\u00e1\u0159sk\u00fdm \u00faprav\u00e1m na ji\u017en\u00ed Morav\u011b, kter\u00e9 jsou z\u00a0pohledu i\u00a0profesion\u00e1ln\u00edch ekolog\u016f pon\u011bkud problematick\u00e9. Jan Sk\u00e1cel, neohro\u017een\u00fd \u2013 a\u00a0v\u00a0dob\u011b normalizace zak\u00e1zan\u00fd \u2013 b\u00e1sn\u00edk, kter\u00fd si v\u017edycky bubnoval v\u00a0rytmu vlastn\u00ed krve, v\u0161ak na sv\u00e9m n\u00e1zoru trval. U\u017e proto, \u017ee vyr\u016fstal v\u00a0jihomoravsk\u00e9 Po\u0161torn\u00e9, kde za\u017e\u00edval povodn\u011b i\u00a0suchem vyprahl\u00e1 pole, pova\u017eoval novoml\u00fdnsk\u00e9 n\u00e1dr\u017ee nejen za u\u017eite\u010dn\u00e9, ale i\u00a0za kr\u00e1sn\u00e9 [37].<\/p>\n

Diskuse a\u00a0z\u00e1v\u011br<\/h2>\n

M\u016f\u017ee b\u00fdt malba \u010di grafick\u00fd list dosta\u010duj\u00edc\u00edm sv\u011bdectv\u00edm o\u00a0struktu\u0159e krajiny v\u00a0ur\u010dit\u00e9 dob\u011b podobn\u011b jako fotografie? Porovn\u00e1v\u00e1n\u00ed star\u00fdch krajinomaleb, litografi\u00ed, rytin se sou\u010dasn\u00fdm stavem kdysi zobrazen\u00e9 krajiny sice nem\u00e1 je\u0161t\u011b p\u0159\u00edli\u0161 dlouhou tradici u\u00a0n\u00e1s ani v\u00a0zahrani\u010d\u00ed, jak je patrn\u00e9 z\u00a0mal\u00e9ho mno\u017estv\u00ed obdobn\u00fdch prac\u00ed [38\u201339], p\u0159esto lze konstatovat, \u017ee ano. Auto\u0159i tohoto \u010dl\u00e1nku s\u00a0fotografem Josefem Pt\u00e1\u010dkem zat\u00edm vstoupili do z\u00e1b\u011bru t\u00e9m\u011b\u0159 130 v\u00fdtvarn\u00fdch d\u011bl od t\u0159\u00ed des\u00edtek mal\u00ed\u0159\u016f a\u00a0grafik\u016f a\u00a0fotograficky je zdokumentovali. Z\u00a0dosavadn\u00edho v\u00fdzkumu vypl\u00fdv\u00e1, \u017ee mal\u00ed\u0159sk\u00e9 \u010di grafick\u00e9 zobrazen\u00ed krajiny dokumentuje nejen krajinn\u00fd r\u00e1z, dan\u00fd ur\u010dit\u00fdm rozlo\u017een\u00edm vegeta\u010dn\u00edch formac\u00ed jako d\u016fsledku ur\u010dit\u00e9ho zp\u016fsobu vyu\u017eit\u00ed p\u016fdy, ale p\u0159i dostate\u010dn\u011b podrobn\u00e9m realistick\u00e9m zobrazen\u00ed lze dokonce ur\u010dit \u010di alespo\u0148 odhadnout i\u00a0zastoupen\u00ed ur\u010dit\u00fdch rostlinn\u00fdch spole\u010denstev ba i\u00a0konkr\u00e9tn\u00edch druh\u016f. K\u00a0nejcenn\u011bj\u0161\u00edm pro hodnocen\u00ed krajinn\u00fdch zm\u011bn pat\u0159\u00ed ta star\u00e1 zobrazen\u00ed krajiny, kter\u00e1 byla tvo\u0159ena je\u0161t\u011b p\u0159ed vyn\u00e1lezem fotografie. V\u00a0ka\u017ed\u00e9m p\u0159\u00edpad\u011b lze krajinomalbu i\u00a0grafick\u00e9 listy pou\u017e\u00edt p\u0159i hodnocen\u00ed krajinn\u00fdch zm\u011bn alespo\u0148 jako dopln\u011bk ke star\u00fdm map\u00e1m a\u00a0fotografi\u00edm.<\/p>\n

Plat\u00ed to samoz\u0159ejm\u011b i\u00a0p\u0159i rekonstrukci r\u00e1zu a\u00a0vegeta\u010dn\u00edch formac\u00ed krajinn\u00fdch \u010d\u00e1st\u00ed, kter\u00e9 byly dot\u010deny v\u00fdstavbou p\u0159ehrad. Proto\u017ee se jednalo zpravidla o\u00a0\u00fazem\u00ed se zvl\u00e1\u0161t\u011b p\u0159ita\u017elivou a\u00a0malebnou krajinnou mozaikou, pat\u0159ila tato \u00fazem\u00ed \u2013 jak o\u00a0tom sv\u011bd\u010d\u00ed \u00fadol\u00ed Dyje a\u00a0\u017deletavky, zatopen\u00e1 ve 30. letech Vranovskou p\u0159ehradou \u2013 k\u00a0mal\u00ed\u0159sky nejfrekventovan\u011bj\u0161\u00edm. Proto je odtud k\u00a0dispozici dostatek v\u00fdtvarn\u00fdch dokument\u016f pro krajinn\u011b ekologickou interpretaci.<\/p>\n

Pod\u011bkov\u00e1n\u00ed<\/h3>\n

D\u011bkujeme za poskytnut\u00ed reproduk\u010dn\u00edch pr\u00e1v ke sb\u00edrkov\u00fdm p\u0159edm\u011bt\u016fm Jiho<\/em>moravsk\u00e9mu muzeu ve Znojm\u011b, p\u0159\u00edsp\u011bvkov\u00e9 organizaci se s\u00eddlem P\u0159emyslovc\u016f 129\/8, 669 02 Znojmo. Za mo\u017enost nahl\u00e9dnut\u00ed do depozit\u00e1\u0159e obrazov\u00e9 sb\u00edrky d\u011bkujeme pracovn\u00edk\u016fm Region\u00e1ln\u00edho muzea v\u00a0Mikulov\u011b. \u010cl\u00e1nek vznikl d\u00edky podpo\u0159e NAKI DF3P01OVV012 Zatopen\u00e9 kulturn\u00ed a\u00a0p\u0159\u00edrodn\u00ed d\u011bdictv\u00ed ji\u017en\u00ed Moravy a\u00a0institucion\u00e1ln\u00ed podpory \u00dastavu geoniky AV \u010cR, v. v. i. (RVO:68145535).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

One of the fundamental branches of landscape ecology is the assessment of changes in a landscape through comparisons of its state (usage) at different points in time. This typically employs maps, photographs, and aerial and satellite photography. <\/p>\n","protected":false},"author":8,"featured_media":4029,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[1013,1012,384],"coauthors":[948,949],"class_list":["post-4136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-from-the-world-of-water-management","tag-changes-in-landscape-structures","tag-landscapes","tag-water-reservoirs"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/posts\/4136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/comments?post=4136"}],"version-history":[{"count":2,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/posts\/4136\/revisions"}],"predecessor-version":[{"id":30426,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/posts\/4136\/revisions\/30426"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/media\/4029"}],"wp:attachment":[{"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/media?parent=4136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/categories?post=4136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/tags?post=4136"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.vtei.cz\/en\/wp-json\/wp\/v2\/coauthors?post=4136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}