Povijest hrvatskoga grba: hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | Croatian |
| Veröffentlicht: |
Zagreb
Školska Knjiga
2011
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: History of the Croatian coat of arms |
| Beschreibung: | 315 S. zahlr. Ill. |
| ISBN: | 9789530612853 |
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| 245 | 1 | 0 | |a Povijest hrvatskoga grba |b hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća |c Dubravka Peić Čaldarović ; Nikša Stančić |
| 264 | 1 | |a Zagreb |b Školska Knjiga |c 2011 | |
| 300 | |a 315 S. |b zahlr. Ill. | ||
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Datensatz im Suchindex
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| adam_text |
Vі ¡:;S; 11
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Sadržaj
U\ODNA NAPOMENA ČITATELJU
."
PREDGOVOR
POVIJEST HRVATSKOGA GRBA KAO POVIJEST
DEZINTEGRACIJE I INTEGRACIJE HRVATSKOG PROSTORA
.13
I. HRVATSKI GRB U POVIJESNIM ZBIVANJIMA OD
14.
DO
18.
STOLJEĆA
.25
1.
Najstariji hrvatski grb
-
nastanak i modifikacije u
14.
i
15.
stoljeću
.26
2.
Grbovi Hrvatske, Slavonije i Dalmacije u
15.
i
16.
stoljeću
-
heraldički izraz dezintegracije hrvatskih zemalja
.47
3.
Hrvatski grb
-
kontroverze
о
porijeklu heraldičkog
motiva crveno-srebrnih (bijelih) polja i boji početnog polja
.60
3.1.
Porijeklo motiva crveno-srebrnih (bijelih) polja u hrvatskome grbu
.60
3.2.
Crveno ili srebrno (bijelo) početno polje
.69
4.
Grb Kraljevine Slavonije
-
porijeklo i uporaba
.74
5.
Složeni i sjedinjeni grb Trojedne Kraljevine Dalmacije,
Hrvatske i Slavonije i program ujedinjenja hrvatskih zemalja u
17.
i
18.
stoljeću
.85
6.
Grbovi Dubrovačke Republike i Istre
.109
6.1.
Grb Dubrovačke Republike
.110
6.2.
Grb Istre
.119
7.
Zaključak: Glavna obilježja razvoja hrvatskoga grba od
14.
do kraja
18.
stoljeća
.127
( Bayerische ]
Staatsbibliothek
II.
TRADICIONALNO
I
MODERNO U
HRVATSKOJ NACIONALNOJ HERALDICI
19.
STOLJEĆA
.133
1.
Heraldika
19.
stoljeća
-
promjena značenja i stilske odlike
.134
2.
Hrvatski grb i hrvatski državni i nacionalni identitet u
19.
stoljeću
.139
3.
Ilirska leljiva
-
porijeklo i značenje simbola mladog mjeseca i zvijezde Danice
.152
4.
Zaključak: glavna obilježja hrvatske nacionalne heraldičke simbolike
19.
stoljeća
.163
III. HRVATSKI GRB U
20.
1 NA POČETKU
21.
STOLJEĆA
-
IZMEĐU MITA I STVARNOSTI
. 167
1.
Heraldička teorija i praksa u Hrvatskoj u
20.
i na početku
21.
stoljeća
.168
2.
Hrvatski grb
1918. - 1941.:
u sjeni srebrnoga orla
.173
3.
Grbovi ustaško-domobranskog pokreta
i Nezavisne Države Hrvatske
(1932. - 1945.).185
4.
Državna i republička simbolika komunističkog režima
1945. - 1990.:
obračun
s
heraldičkom tradicijom
.193
5.
Grb Republike Hrvatske
1990.
godine: kompromis heraldike i politike
.201
6.
Zaključak: obilježja hrvatske državne heraldike
20.
stoljeća
.212
POGOVOR: AKTUALNOST HERALDIČKE BAŠTINE
I MOGUĆNOSTI NJEZINE ZAŠTITE
.214
KATALOG HERALDIČKIH IZVORA I ILUSTRACIJA
.221
LITERATURA
.281
HISTORY OF THE CROATIAN COAT OF ARMS
.289
KAZALO OSOBNIH I GEOGRAFSKIH IMENA
.304
HISTORY OF THE CROATIAN
COAT OF ARMS
AS THE HISTORY OF DISINTEGRATION
AND INTEGRATION OF CROATIAN LANDS
Name and coat of arms
-
signs of identity in the changes
A person's universal need is to manifest in the society his/her individuality
and social status, and this need is expressed by both individuals as well as
informal and institutionalized groups, from families to the state. The fun¬
damental identity sign is the name and along with it symbols, visual and auditory,
like flags and anthems linked to collective identities, and one of the visual signs is
the coat of arms. These signs induce in members, especially of developed collective
identities, emotions of varied intensity and importance, depending on the integra¬
tion of individuals and on the circumstances they come into contact with, like on
occasions when the marking of success under the elevated symbol causes a feel¬
ing of pride or, when the boosting of the symbol turns into a call for mobilization
for the defence of endangered identity. However, these symbols
-
which include the
name and coat of arms
-
are not extra-temporal and neither so are the identities that
they mark, and in time they get reshaped, acquire new contents, or there arise new
symbols with new contents. The collective identity that carries the Croatian name
-
ethnic and cultural, national and political
-
has been changed in the course of centu¬
ries, and so was the coat of arms, the sign as a symbol
ofthat
identity.
The very name „Croatia" was in existence since the early Middle Ages as the name
of the political territory
-
principality or kingdom
-
but the territory of this state
was changed. From the beginning nucleus in the hinterland of the Dalmatian cit¬
ies it spread out, encompassed territories that inherited other names from the pre¬
vious historical developments
(Dalmaţia),
in the relapses of the further historical
development it was split, its individual parts came under various authorities and
preserved or received new names
(Slavonia),
so that after the disintegration a new
process of its revised political integration should start again. In these changes even
the very name of the state would be changed by names of historical regions added
289
l':
■
II
. ·· (.' ;
to the Croatian name, regions that already had or acquired the status of kingdoms
in the complex of the unique „Triune" Kingdom. Finally, the individual parts were
administratively divided, but the public-law unique territory obtained a plural and
triple form: the „Kingdoms of
Dalmaţia,
Croatia and
Slavonia"
(Regna Dalmatiae,
Croatie et Slavoniae).
These changes were also expressed in step with changes in the shape and usage of
the coat of arms that symbolized the Croatian political identity. The historical territo¬
ries Croatia,
Dalmaţia
and
Slavonia
obtained their parallel symbols in the Croatian,
Dalmatian and Slavonian coat of arms. In the Early modern age and particularly
since the 19th century, in the complex of social changes and due to the emergence
of the national phenomenon, integration processes were activated, and they, too,
were expressed through the usage of names for the Croatian public-law entirety and
through the shape of its coat of arms. In historiography this process was marked as
„exit from plural" Since the 17th century and particularly since the 19th century and
the beginnings of the national movement, intentions were manifested for the usage
of the singular name for „kingdom" (regnum) and the use of the unique Croatian
name, first by putting the Croatian name in the triune denomination into the first po¬
sition and later by using the unique name „Croatia'! These processes also obtained
their expression in the manner of usage of the coat of arms. Since the 17th century
the joint demonstration of the three coats of arms started, combined in various ways.
Gradually, in the course of the 19th century and finally in the 20th century, the histori¬
cal coat of arms of Croatia with red and white/silver square fields (a chequy shield
Gules and Argent) was singled out as a unique symbol of the Croatian state and na¬
tional identity.
Coat of arms
-
indication of the estate identity and symbol of the exponent of
state sovereignty
The coat of arms is the indication of identity expressed by visual means in conformity
with defined (heraldic) rules. The first coats of arms came into existence at the time
of the
("rusades,
when the feudal lords started marking the shields of the members
of their formations with different colours and symbols in order to differentiate them
from the members of other formations. This is the reason why, on account of its ori¬
gin, the fundamental element of the coat of arms is a shield with a heraldic figure
placed into it. Returning to their native countries, the crusaders brought with them
their coats of arms and so, around the year
1130,
their coats of arms almost simulta¬
neously started to be used in France, Germany, Flanders and England, wherefrom
their usage spread across the feudal Europe.
290
The custom of marking one's own identity by a coat of arms was at first taken over
by individuals, institutions and the like, independently of the estate affiliation, but
the right of possession of a coat of arms was very soon mostly (but not exclusively)
limited to the nobility and the king. The coats of arms at that time of the final forma¬
tion of estate society established on feudal relations were generally given the role of
marking social affiliations and role of symbols of social identity. Since the beginning
of the 13th century the right of the possession of a coat of arms spread to individuals,
groups and institutions that, in the complex of the feudal society, had their own ju¬
ridical individuality (cities, guilds, chapters, church prelates and others). Sometimes
some individual commoners would take a coat of arms themselves, especially the
city nobility, like in the city communes in
Dalmaţia.
Autonomous or independent
political territories
-
regions, kingdoms and the like also obtained coats of arms.
It is through the history of the coats of arms in the first centuries of their existence
that the dynamics of relationship between the rulers and nobility is reflected. At
the very beginning, feudal families or various autonomous institutions, depending
on the degree of independence and current relations, would themselves take coats
of arms and determine their contents or they would be granted coats of arms by
their suzerains whose vassals or denizens they were. However, since the 13th cen¬
tury, with the strengthening of the royal authority, the right of granting coats of arms
became the exclusive right of the ruler. From the 13th century on, the nobility was
getting stronger and endeavoured to acquire an independent position in relation
to the aristocracy and the king; they got constituted as estates and created their
representative body (parliament, assembly
-
or the Croatian term
sabor),
whereat
they regarded themselves as equal exponents of state sovereignty, next to the king.
The Slavonian nobility thus assembled for the first time at the
sabor,
parliament, in
the year
1273
and it was the first estate assembly on the Croatian territory, held at
the dawn of European parliamentarianism, not long after the session of the first es¬
tate assembly, the session of the English parliament in the year
1265.
The awareness
of being, next to the king, equal exponents of sovereignty was demonstrated by the
Slavonian nobility by the fact that the seal of the land authorities in the inscription
round the coat of arms from the year
1497
was not specified as the seal of the king¬
dom but as „the seal of the nobility of the Kingdom of
Slavonia" („Sigillum
nobilium
regni Sclavoniae").
On the other hand, the rulers inserted the coats of arms of politi¬
cal territories that were under their rule into their coats of arms, and these individual
coats of arms, linked together in the ruler's coat of arms, were symbolic expressions
of sovereignty of the ruler over the political territories of different levels: kingdoms,
principalities, duchies and the like. The rulers frequently included their coats of arms
291
ľOYIIľ.S'i
IHÎVYISkO(,\ Cilîtï \
into the coats of arms of countries they had no authority over, but this was the way
to indicate their pretensions or their right to the authority over these territories (the
so called pretension coats of arms). This was also the case with some of the earliest
preserved presentations of the Croatian territories' coats of arms.
Coats of arms and their devices
Various figures that symbolically marked individual contents of collective identities
existed even in the pre-heraldic era, before the actual emergence of coats of arms.
Some of them were of very old origin, like symbols that were content-wise linked to
natural cycles (depictions of celestial bodies like the sun, crescent or waxing moon
and Venus, the morning star), the others were more recent, religious Christian sym¬
bols (the cross, images of patron saints or their symbols like the signs of the Evange¬
lists), some of them represented animals
-
real ones (e.g. lion, marten) or imaginary
animals from legends (dragon, unicorn) and so on. However, these figures were not
located on the shields and, even if they were marking specific individual or collective
identities, they were still not coats of arms that would be expressions of feudal rela¬
tions and the estate social and juridical system established on these relations of the
developed Middle Ages. Nevertheless, following the emergence of the coat of arms
as the new phenomenon, together with numerous new symbols (images of animals,
different objects, geometrical figures and the like), some of them turned into heral¬
dic devices shaped and arranged in the shield in concordance with the gradually
formed heraldic rules. However, later, too, some figures as non-heraldic symbols
-
like the Venetian lion of St. Mark, the Evangelist or the figure of St. Blaise on the flag
of the Ragusan Republic
-
were used as signs of collective identities.
The strict rules in the formation of coats of arms, their main part (shield and the
contents in it) and the secondary parts (figures outside the shield: helmet, crest,
supporters, cloak, motto etc.) were shaped and strictly preserved in the period of
the so called live heraldry until the 14th/15th centuries. Present at the courts were
heralds, official experts for coats of arms, who created and manufactured coats of
arms adhering to the „heraldic" rules. The time between the 16th to the end of the
19th century is the period of the so called dead heraldry when strict heraldic rules
were abandoned. Apart from the short revival of classical heraldry at the time of neo-
styles from the end of the 19th and beginning of the 20th century, this more liberal
style applied in the shaping of coats of arms has been maintained up to the present,
despite the exertions of certain institutions, primarily those in the western countries,
that were officially in charge of the formation of coats of arms.
292
Rulers used to include existing coats of arms of individual territories in their coats of
arms or they personally granted coats of arms to the nobility of particular territories.
Inserting into the rulers' coats of arms the abovementioned pretension coats of arms
or granting coats of arms, allowed them to decide on their own on the motif of the
coat of arms or take into consideration the desires of those to whom they granted
coats of arms. They could also appreciate, in greater or lesser measure, their already
existing tradition of usage of pre-heraldic figures or coats of arms. As a matter of fact,
endeavouring to secure for themselves the nobility's loyalty, the rulers also had to
make sure that the nobility should not feel that their coats of arms for a political ter¬
ritory was something foreign but that it should be felt as a symbol of their political
identity.
Thus, for instance, the Hungarian-Croatian King Ludovik I Angevin, in the contract
by which
Dubrovnik
[Ragusa] in 1358
acknowledged Hungarian sovereignty, grant¬
ed to
Dubrovnik
the Hungarian
Árpád
coat of arms (seven silver and red stripes
-
harry of seven Gules and Argent). There are other examples linked to the first known
presentations of the Croatian coat of arms with three crowned lions' heads in the coat
of arms of the same king from the 14th century and the later the first known presenta¬
tion of the Croatian (pretension) coat of arms with red and silver fields (a chequy Gules
and Argent shield) of Maximilian I
Habsburg
from the end of the 15th century. Both
heraldic figures, possibly lion's (or when turned en face heraldic leopard's) heads, and
definitely the chequy red and silver {Gules and Argent) shield
-
were present as heral¬
dic figures on family and similar coats of arms in Croatian lands even earlier than
they were found on those representations featuring various meanings. The rulers
took them over either as already existent coats of arms of political territories or they
formatted those coats of arms on their own, availing themselves of motifs from the
tradition of the Croatian nobility. This makes the case of the marten on the Slavonian
coat of arms quite clear. The figure of the marten was used as a pre-heraldic motif on
Slavonian coins that were minted by Hungarian kings and Slavonian bans. The figure
of the marten first appeared in the year
1237,
freely placed on the surface of the coin
that
Bela
IV issued as the „royal money for
Slavonia"
(„moneta
Regis pro Sclavonia").
The figure of the marten was in use until the end of the 14th century when Queen
Maria Angevin in the year
1384
banned the minting of special money for
Slavonia.
The Hungarian and Croatian king Vladislas II
Jagiellon
in the year
1496
granted a
coat of arms to
Slavonia,
following the explicit demand of the Slavonian nobility. He
also granted to them the armorial achievement at the time when he assumed it was
necessary to encourage the Slavonian nobility for the defence against the Ottoman
293
ihìvyismk.uìriìx
incursion. This is when he also accepted this tradition and included the figure of the
marten as the central motif into the Slavonian coat of arms.
Pre-heraldic symbols of Croatian identity
The Croatian Kingdom retained in the complex of the countries of the Hungarian
crown all the characteristics of the inner structure inherited from the times of the
rulers from the Croatian dynasties in the early Middle Ages. Its core consisted of the
mountainous territory of the historical Croatia, from the hinterland of the Dalmatian
cities to the belt along the hills to the south of the rivers
Kupa
and
Sava,
where the es¬
tates' society was lagging on with their formation and where the independence of the
princely families was longer preserved. In
Dalmaţia,
along the Adriatic belt stretch¬
ing down the coast and islands, the cities retained their communal regime, but they
were permanently exposed to the attempts of Croatian noblemen from the conti¬
nental hinterland to impose their governance and to the attempts of Venice to sub¬
due them. In
Slavonia,
north of the rivers
Kupa
and
Sava
and the mountain
Gvozd,
the estates' society was the earliest to be formed, and there the ruler had the strong¬
est authority. This different rhythm of forming the estates' societies in Croatia and
Slavonia
is demonstrated by the fact that the Slavonian nobility assembled for the
first time at the
sabor
in the year
1273
in Zagreb, while the first
sabor
of the nobility
from Croatia south of
Gvozd
was assembled in the year
1351.
The fact of the
different degree of independence of Croatia and
Slavonia
is proved by the fact that
the Slavonian
sabor
used to send their representatives to the Hungarian parliament
(it was first recorded in the year
1442),
while the Croatian
sabor
south of
Gvozd
failed
to do it. These differences became prominent in the crises when the Croatian and Sla¬
vonian nobility had to resolve their choice of different dynasties and when different
dynasties, in the endeavour to secure their power over the Croatian territories, ex¬
ploited these differences. The unity and inner differences also manifested them¬
selves in the usage of pre-heraldic symbols and later also coats of arms as signs of
identity of the Croatian political entirety and its parts in the course of later centuries.
In the independent Croatian principality and kingdom, until their entrance into the
community of countries of the Hungarian crown at the beginning of the 12th century,
they used pre-heraldic symbols as marks of particular levels of social identity. These
were frequently symbols of old and obscure origin and ambiguous meaning as well.
They were used unsystematically, and their shape and use were not regulated. One
cannot consider them as coats of arms that, as a matter of fact, emerged in Europe in
the 12th century as symbols of collective individualities of an already formed estates
society developed in the Middle Ages. The first known coat of arms as the symbol of
294
Croatia's political identity originates from the end of the 14th century (three crowned
lions' heads in the shield of the coat of arms of the Hungarian-Croatian king Ludovik I
Angevin), and until then on the Croatian territory there were only some pre-heraldic
symbols in use, some of which were to enter the heraldic usage in the 15th century.
In the early Middle Ages what was used in the Croatian lands was the motif of red
and white/silver square fields with the meaning that was not possible to define trust-
worthily. Unquestionably, the ornamental motif of square fields originating from
older undefined times, existed in a part of the European-Asian territory; it can be
found on the Croatian territory, too, on stone monuments from the early Middle
Ages. However, there are no data that could prove that the motif was used as a pre-
heraldic symbol of the Croatian principality or kingdom from the time of the dynasty
of Croatian rulers, at the time when there were no state symbols or coats of arms in
Europe either. According to the preserved data, the chequy red and white device as
a heraldic achievement is first included in the coats of arms of particular Croatian
noblemen's families in the 15th century.
The first figure that was used as a specific symbol of identity on the whole of the
Croatian territory was the motif of the crescent and Venus, the morning star. From
the end of the
1
2th or beginning of the 13th century this motif was placed on the coins
next to the name of Croatia. This means that it appeared at the dawn of the European
heraldic era, but it was freely deposited on the coin's surface and not in the shield, so
it was not a coat of arms but a pre-heraldic symbol.
The motif of the crescent and the morning star, the mullet, was present on the terri¬
tory of Illyricum, a Roman province in ancient Illyria, and was common on the more
spacious territory of the Near and Middle East as a symbol of deities linked to the
phases of natural cycles: the crescent as the sign of the beginning of the new 30-day
long cycle; Venus, the last star on the sky that announces the beginning of a new
day. In the late Middle Ages, this motif was generally present on the Croatian and
surrounding territories which can be substantiated by its presence on the medieval
tombstones (natively called
stećak)
from the 12th or 13th centuries to the end of the
1
5th century in Bosnia and Herzegovina and in the bordering parts of Croatia, Serbia
and Montenegro. Since the end of the 12th century, i.e. from the beginning of the Eu¬
ropean heraldic era, and then in the
1
3th and
1
4th centuries, the motif appears on the
Croatian territory as well in the coats of arms of noblemen's families and also on the
coins as the mark of particular Croatian historical territories (Croatia,
Dalmaţia
and
Slavonia).
The earliest motif of the crescent and the mullet on the coins originates
295
РОУЦГ.ЅТИНУЛТЅМК.Л^КПЛ
from the end of the 12th or beginning of the 13th century, minted on the silver coin,
frisaticus, of the Croatian
Duke {Herceg}
Andreas
(1196 - 1204),
the later Hungarian
and Croatian king Andreas II. Duke Andreas was titled
„Herceg
of
Dalmaţia,
Croatia
and Hum"
(„Dalmácie
et Croatie, Chlumeque
dux"), whereat
„Dalmaţia
and Croatia"
were since the times of independent Croatia (from the 11th century as „regnum
Croatiae
et Dalmatiae") a
unique public-law identity, and
Slavonia
at that time had
not yet been granted the title of kingdom. On Duke Andreas' silver coin, frisaticus, on
its obverse, there was the motif of the crescent and the mullet imprinted, and around,
along the edge of the coin, bordered by the inscription „Andreas d[ux] Croatiae]"
i.e.
„Andreas,
Duke (Herceg)
of Croatia" At the end of the 13th and beginning of the 14th
century, the symbol of the crescent and the mullet was also simultaneously present
on the coat of arms of the family of the Princes of
Bribir
(principes
Br
eher
lenses), at
that time bans of Croatia with agricultural holdings in Croatia and
Dalmaţia,
and
also on the coins of the Slavonian bans of the family
Babonić.
The same motif usually
occurred in the 13th and 14th centuries on the coins in
Slavonia
that were issued by
the Hungarian kings or on the
„Banovac
coins" silver coins minted by the Slavonian
bans (Viceroys, governors).
The way that the crescent and the mullet motif is used on the coins fails to respect
one of the fundamental heraldic rules, i.e. it is not posed on the shield but, bordered
by the inscription, stands free on the obverse of the coin. Nevertheless, though it is
not a coat of arms but a pre-heraldic motif, it has all the characteristics of symbols
that mark political identities. The crescent and the mullet of six device, thus, was
used from the end of the 12th century and in the 13th and 14th centuries as the sym¬
bol of Croatian lands, in Croatia as well as in
Slavonia.
Indeed, this is the first symbol
which is explicitly, on Duke Andreas' silver coin frisaticus at the turn of the 12th and
13th centuries, linked to the political territory that bears the Croatian name. How¬
ever, it failed to be used as a figure in the shield that would symbolize the Croatian
political identity.
At the same time, in the 13th and 14th centuries, as a symbol on the coins, the figure
of the marten, specific for the territory of the medieval
Slavonia,
came into use. It
occurred in combination with a star or also with the crescent or respectively with a
cross on the coins that the Hungarian kings and Slavonian bans minted for
Slavonia.
This charge has no unclear or old origin like the chequy red and silver device and
the crescent with the star, but is most probably associatively connected to the type
of medieval royal tax, kunovina, that was paid by marten pelts in medieval
Slavonia.
296
All these devices during the heraldic era, competing for the marking of Croatia's
identity, were outranked by the figure of lions' heads from the common holdings of
European heraldic figures. This figure was going to exist as a device with different
meanings until the end of the 15th century
-
the time of political disintegration of
the Croatian territory
-
when they finally got differentiated in terms of contents. The
figures of lions' heads, chequy Gules and Argent device and marten were going to be
defined as symbols of three Croatian kingdoms:
Dalmaţia,
Croatia and
Slavonia.
In
later centuries these symbols were going to change their mutual relations of con¬
nection and distance, for as long as the moment when the chequy Gules and Argent
shield does not get singled out as the unique coat of arms of the unique Croatia. The
figures of the crescent and mullet would through that time
-
individually or in vari¬
ous relations with them
-
live their own life.
The motif of the crescent and the mullet was present in the coats of arms from manu¬
scripts and printed coat of arms' armorials as early as the end of the 15th century but
especially at the period of „dead heraldry" of the 17th and 18th centuries. However, it
was not in use on some political territory but the authors of the armorials used it as a
figure in the coat of arms of the abstract „Illyria" or e.g. as one of the figures in the coat
of arms of the historical Bosnia that at that time was a territorial unit {pashalik) in the
Ottoman Empire. These devices only give proof to the Croatian baroque „Illyrian"
ideologically-coloured expression also present in other works of their authors. In the
first part of the 19th century, in the course of the ten-or-so years of the „Illyrian" stage
of the Croatian national movement, the crescent and the mullet became, under the
title „Leljiva" the symbol of the Illyrian movement. The „Illyrians" represented it on
various events in the shield as well,
i.e.
as a heraldic device, sometimes also as an ele¬
ment of the coat of arms of the Triune Kingdom of
Dalmaţia,
Croatia and
Slavonia,
though the coat of arms with the crescent and the mullet never became the coat of
arms of the Triune Kingdom.
Croatian coats of arms
The first known coats of arms that served as the representatives of the identity of the
Croatian political territory reach back to the period from the end of the 14th century.
The earliest representations of the Croatian coat of arms are known from the com¬
plex coats of arms that marked the extent of the royal authority.
The first of them is the coat of arms of the Hungarian-Croatian king Ludovik I An¬
gevin
(1342 - 1382)
with Croatia's heraldic device representing three crowned lions'
heads, marking the restored entirety of the Croatian territory under his authority.
297
l'OUlľSTHHN
ΛΪΝΚϋί,Η,ΗΗΛ
By acceding to the throne Ludovik, actually, had authority only over
Slavonia,
but
he then overpowered the independence of the princes
Nelipić
and princes of
Bribir
in Croatia south of
Gvozd
and after the war against Venice, by signing the Treaty
of
Zadar
in
1358,
he resumed his authority over
Dalmaţia.
Ludoviks royal coat of
arms, into which Croatia's coat
oí
arms with three crowned lions' heads is included,
is found in Gelre's Armorial that was created by the Belgian herald Gelre, and in view
of the overlapping of the years of Ludovik's rule with the time of creating the armorial
(1370 - 1414)
it could be deduced that the representation of the coat of arms origi¬
nates from the period from the year
1370
to the year
1382.
After Ludoviks death a period of disintegration of Croatian territories set in. On the
one hand there occurred a further political individualization of the three Croatian
geographic and historical territories of
Dalmaţia,
Croatia and
Slavonia
that all car¬
ried the title kingdom. What contributed to this were the conflicts of different Eu¬
ropean dynasties in their fight for Croatian territories, i.e. for its particular parts and
consequently their inner conflicts linked to this. In the 15th century Venice obtained
permanent possession of
Dalmaţia
and, as a new factor, the Ottoman Empire ap¬
peared who, after conquering Bosnia in
1463,
turned Croatian lands into a battlefield
and at the same time into a defence belt that was supposed to defend the countries
of Central Europe against Ottoman incursion. The fact was that at the same time the
Croatian nobility
-
particularly after being debilitated in the defeat in the Battle of
Krbava
field in the year
1493 -
were also looking for support. In these circumstances
the use of the coat of arms with three crowned lions' heads continued to be used as
the mark for the whole of the Croatian territory. However, at the end of the 15th cen¬
tury at the latest, and almost simultaneously, new coats of arms came into existence,
as already mentioned above, separate coats of arms for Croatia south of
Gvozd
(the
chequy Gules and Argent shield) and for
Slavonia
(the coat of arms with the marten
as the central figure), at which the coat of arms with three lions' heads was reduced
to the symbol of
Dalmaţia,
i.e. it started to be used and was permanently retained as
Dalmatias coat of arms.
In the second half of the 15th century, the Habsburgs already used the (pretension)
coat of arms of Croatia with three crowned lions' heads (Frederick III who ruled in
the period
1440 - 1493).
But Emperor Maximilian
I Habsburg
(1493 - 1519)
had
already round the year
1495
included in his coat of arms Croatian red and silver
[Gules and Argent) device („Croatian" chequy shield). This was the first known rep¬
resentation of the coat of arms of Croatia with that device and next to it was also the
parallel coat of arms with three lions' heads, now with the meaning of Dalmatias
coat of arms. Almost simultaneously, the last Hungarian and Croatian king from the
298
Jagiellon dynasty,
Ludovik
И
(1516-1526)
used in his coat of arms the new Croatian
chequy Gules and Argent device and next to it the old coat of arms with three lions'
heads as the coat of arms of
Dalmaţia.
His predecessor on Hungarian and Croatian
throne, Vladislas II
Jagiellon
had already in the year
1496
granted a separate coat of
arms to
Slavonia.
As far as it is known, it was only the Croatian nobility that had for
the first time used the new coat of arms of Croatia when the
sabor
(parliament), as¬
sembly of Croatia (south of
Gvozd),
held at Cetin after Ludovik II perished in the Bat¬
tle of
Mohacz,
in the year 1527elected Archduke Ferdinand of
Habsburg
as Croatian
king (the Slavonian nobility had then at the
sabor
assembly in
Dubrava
elected Ivan
Zápolya).
The diploma issued on January
1, 1527,
which contains this decision of
the Croatian parliament, was endorsed with a signet-ring, pressed into the wax, with
the coat of arms with a field divided into squares and the inscription
„Regni sigillum"
(Coat of arms of the kingdom).
Since that time, on the Croatian territory three coats of arms were used for three
historical political territories. However, the Ottoman incursion reduced the territo¬
ries of Croatia and
Slavonia
to the remnants of remnants
-
„reliquiae reliquiarum"
-
and this is when there came to the fusion of Croatia south of
Gvozd
and the rest of
Slavonia
(upper
Slavonia
between the rivers
Kupa
and
Drava
to which Zagreb also
belonged) into one political unit. Two sabors assembled for the first time together
in the year
1553
in order to agree to the defence against Ottoman incursions; the
sabor
of Croatia south of
Gvozd
assembled for the last time independently in
1557
and after that they assembled as the unique
sabor
of Croatia and
Slavonia.
The po¬
litical emphasis was transferred to the territory of „upper"
Slavonia
onto which the
Croatian name was gradually transferred; the name of
Slavonia
was limited to the
territory of „lower"
Slavonia
that was then under the Ottoman rule. The whole terri¬
tory from the river
Drava
to the
Velebit
canal since then carries the name of Croatia,
and this name joined the tradition of the nobility from Croatia south of
Gvozd
about
the independence of Croatia and the tradition of the Slavonian nobility that was in
closer relation with Hungary. Thus the Slavonian parliament used to send their rep¬
resentatives to the Hungarian parliament, which the common parliament of Croatia
and
Slavonia
was later also going to do. The awareness of this development existed
already in the first half of the
1
9th century, when the territory that was then named
Croatia was occasionally dubbed „Croatia and upper
Slavonia"
and there was also
the fact that until the last session of the Croatian estates
sabor
in the year
1847
the
parliamentary papers were validated by the seal with the coat of arms of
Slavonia.
299
i>ovi)ľ.sTiiK\.VTSMK.\(;i{ľ>\
The spreading of the Ottoman Empire and conquering of parts of the Croatian ter¬
ritory was stopped in the war in the course of which a great victory was won in the
Battle of
Sisak
in
1593.
After the Treaty of
1606
a period of balance on the battlefield
set in that would last until the end of the 17th century. In such circumstances the
Croatian nobility manifested intentions for the restoration of the territorial entirety
of the Croatian territory. The official name of „Kingdom of
Dalmaţia,
Croatia and
Slavonia"
(„Regna Dalmatiae, Croatiae et Slavoniae")
expressed the idea about the
unique public-law identity and restoration of entirety
ofthat
political territory. At the
same time, this intention became manifested in the inclusion of three coats of arms
in one shield. The first known common representation of the three coats of arms in
a sinigle shield is placed, not by chance, exactly on the tombstone of the victor of the
Battle of
Sisak,
ban
Torna Erdödy
in the Zagreb cathedral (he died in
1624).
In the wars from the end of the 17th and beginning of the 18th century the greatest
part of Croatian historical territories was made free. However, till the period of Na¬
poleonic wars from the end of the 18th and beginning of the 19th century,
Dalmaţia
remained under the authority of the Venetian Republic (until its downfall in the year
1797).
The Ragusan Republic (Republic of
Dubrovnik),
on the other hand, subsisted
as an independent state (until it was repealed by the French authorities in the year
1808).
After the end of Napoleonic wars, after Napoleon's downfall and the decision
of the Congress of Vienna in
1815,
all Croatian territories found themselves in the
complex of one state, the
Habsburg
Monarchy, though administratively separated.
For the Austrian region of
Dalmaţia
the Dalmatian coat of arms remained in use;
Dubrovnik
became a constituent part of the Dalmatian region and the official coat
of arms of the Republic of
Dubrovnik
vanished from official use; the region of
Istria
used the official coat of arms of the former
Habsburg
Pazin
County' coat of arms, i.e.
Margrave County of Istria's coat of arms with a goat. In northern Croatia (Croatia
and
Slavonia),
that in those developments became the Croatian political and cul¬
tural centre and exponent of the tradition of medieval independent Croatia and the
programme of restoration of its territorial integrity, the three coats of arms were fre¬
quently placed on the single shield or connected in various ways as unique symbols
of identity and integrity of „united kingdoms"
(„regna unita")
of
Dalmaţia,
Croatian
and
Slavonia.
In the 19th century it was the national idea that marked the political life, and the
Croatian revival movement from the first half of the 19th century (Illyrian move¬
ment) established the Croatian national identity as part of the Slavic and South
Slavic („Illyrian") ethnic and cultural identity that they marked with the alleged II-
300
lyrian
symbol
of the crescent and the mullet („Leljiva"). The movement, in the pro¬
gramme of national independence (within the complex of the
Habsburg
Monarchy)
and unification relied on the public-law continuity of the Triune Kingdom and its
„municipal rights" (jura municipalia). The revival programme found its heraldic ex¬
pression most palpably on the coat of arms from the flag of ban
Josip Jelačić
from
the year
1848.
The idea of independence and unification of the Triune Kingdom
was expressed by coats of arms of Croatia,
Slavonia
and
Dalmaţia,
arranged so that
the upper borders of the shield were connected and crowned. The idea of Croatian
and South Slavic cultural unity was expressed by the „Illyrian" symbol, the figure of
the crescent and the mullet, placed in the field that is closed by upper edges of the
shields and the lower border of the crown.
The idea of the public-law identity of the Triune Kingdom was in the 19th century ex¬
pressed in the unique coat of arms with motifs from coats of arms of Croatia,
Dalma¬
ţia
and
Slavonia
in one shield. Finally, the „united coats of arms" installed in a single
shield, were officially pronounced as the coat of arms of the „Kingdom of
Dalmaţia,
Croatia and
Slavonia"
following the Croatian-Hungarian Agreement from the year
1868
that was accepted by the Croatian parliament,
Sabor.
This coat of arms was
valid until the break-up of the
Habsburg
Monarchy in the year
1918.
In the ideology of Croatian nobility's proto-nationalism of the 17th and 18th centuries,
along with the Slavic and Illyrian ideologically-coloured expression, the viewpoint
about the Croatian name as a unique name for the politically divided Croatian his¬
torical territories (e.g. in
Vitezović's
work „Croatia
rediviva"
(Revived Croatia from
1701)
was already developed. The exponents of the revival movement in the first
half of the 19th century started using the unique name of Croatia, so that
Dragutin
Rakovac ascertained in
1842
(in his work „Small Catechism for Grown Men") that
instead of the three-part „Dalmatian-Croatian-Slavonian" name „it is the Croatian
that is mostly used as a political name" This perception also became prominent in
the unofficial heraldry, when on utility objects and the like, along with the „Illyrian"
coat of arms only the Croatian chequy shield was used as the symbol of the Triune
Kingdom. In the second half of the 19th century in the national movement, both in
the Croatian National Party, the exponent of the Croatian-South Slavonic idea, and
the Croatian Party of Rights with their exclusive Croatian national idea, the percep¬
tion prevailed about the Croatian nation as the exponent of state sovereignty and in
accordance with that of the Triune Kingdom as Croatia. Consequently, in the prac¬
tice of political parties and generally in public, up to the year
1918 -
despite the of¬
ficial usage of the complex coats of arms
-
the Croatian (Gules and Argent) chequy
301
ΙΌΥΙΙΙ'Μ 11
i í
V
\ї\к(П,
\
Citili
\
shield was gradually fully accepted as the coat of arms of Croatia. This general per¬
ception is best proved by the allegorical poem of Vladimir
Nazor „Zvonimir
's
Ship"
from the year
1912
(from his collection „Croatian Kings") in which the king's ship,
while stranded on a rock, recalls the past times
When about me, hallowed, free
The chequered flag was flying.
As a self-explanatory coat of arms of Croatia, after the year
1918
this coat of arms
was authorized in all states into which Croatia was then included. Along with the
Serbian and Slovenian coats of arms it was included into the three-part shield of the
Kingdom of the Serbs, Croats and Slovenes (from
1929
Kingdom of Yugoslavia). In
the year
1939
it became the coat of arms of the autonomous Croatia established
within the Kingdom of Yugoslavia, when for the first time the territory, nowadays in
greatest measure covering the territory of the Republic of Croatia, was named by the
unique Croatian name
[Banovina Hrvatska).
In the year
1941
it became the coat of
arms of the Independent State of Croatia, and after the end of the Second World War,
in
1947
it became the official coat of arms of the People's (and since
1963)
Socialist
Republic of Croatia, one of the federal republics of Yugoslavia.
The number and layout of Gules and Argent devices (red and silver fields) in the
shield of the Croatian coat of arms was not settled. The number of fields and their
arrangement varied from
4x4, 4x5, 5x5
etc., up to
8x8,
and in the same way the col¬
our of the initial field was not settled. It was since the second half of the 19th century
when the shape of the coat of arms got stabilized, and it is since then that in the
predominant use there was the coat of arms with
5x5
fields. In the 20th century the
initial Gules (red) field was stabilized in the official use and it was singled out from
the continuity for a short time with a initial Argent (silver) field during the time of the
Independent State of Croatia.
Until the year
1941
all Croatian coats of arms in official use had a crown above the
shield as a sign of the monarchy regime. The crown was until the year
1918,
depend¬
ing on political circumstances, the Imperial Austrian crown or Royal Hungarian
crown and since
1918
the royal crown of the
Kamdjordjević
dynasty. Since the year
1941
some ideological symbols were added to the Croatian coats of arms. Thus the
coat of arms of the Independent State of Croatia had above the shield the symbol of
the Ustasha movement
-
the letter
U
in the midst of the interlaced ribbon pattern.
On the coat of arms of the Peoples Republic/Socialist Republic of Croatia added to
the shield were, among others, symbols of the communist movement (five-pointed
red star) and symbols of the „union of workers and peasants" (wheat, anvil).
302
Coat
ofarms
of the Republic of Croatia
Sabor,
the Croatian parliament, elected at the free elections in the year
1990,
in De¬
cember of the same year passed the law on the design of coat of arms of the Republic
of Croatia. The intention of all factors in the process of designing the proposal for the
coat of arms
-
the professional commission, President Dr.
Franjo
Tuđman
and
tlie
Sabor
-
was, at that historical period leading towards the creation of independent
Croatia, the intention of creating a coat of arms that would symbolize the historical
public-law continuity of Croatia and the integrity of its territory. The coat of arms
of the Republic of Croatia consists of a central shield (escutcheon) with the cheqity
Guies
and Argent device crowned with a stylized crown upon which smaller heraldic
devices are positioned
-
the first one with the figure of the crescent and the mullet,
the first symbol (though non-heraldic) to which, at the turn of the 12th into the 13th
century, the name of Croatia is linked; the following devices identify the Croatian
historical territories
(Dalmaţia
and
Slavonia)
and territories that had a separate in¬
dividual development (Republic of
Dubrovnik
and
Istria).
As a whole, the coat of
arms that was adopted in the year
1990
by the
Sabor
by way of its historical symbols
includes the expressed programme of Croatian independence and integrity, the pro¬
gramme that was also accomplished in the last decade of the 20th century.
Translation:
Jasna Bilinić-Zubak
303 |
| any_adam_object | 1 |
| author | Peić Čaldarović, Dubravka 1955- Stančić, Nikša 1938- |
| author_GND | (DE-588)1021970220 (DE-588)1018928995 |
| author_facet | Peić Čaldarović, Dubravka 1955- Stančić, Nikša 1938- |
| author_role | aut aut |
| author_sort | Peić Čaldarović, Dubravka 1955- |
| author_variant | č d p čd čdp n s ns |
| building | Verbundindex |
| bvnumber | BV040104834 |
| ctrlnum | (OCoLC)796205072 (DE-599)BVBBV040104834 |
| era | Geschichte 1300-2010 gnd |
| era_facet | Geschichte 1300-2010 |
| format | Book |
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| geographic | Kroatien (DE-588)4073841-3 gnd |
| geographic_facet | Kroatien |
| id | DE-604.BV040104834 |
| illustrated | Illustrated |
| indexdate | 2024-08-10T01:25:34Z |
| institution | BVB |
| isbn | 9789530612853 |
| language | Croatian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024961305 |
| oclc_num | 796205072 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 315 S. zahlr. Ill. |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Školska Knjiga |
| record_format | marc |
| spelling | Peić Čaldarović, Dubravka 1955- Verfasser (DE-588)1021970220 aut Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća Dubravka Peić Čaldarović ; Nikša Stančić Zagreb Školska Knjiga 2011 315 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: History of the Croatian coat of arms Geschichte 1300-2010 gnd rswk-swf Staatswappen (DE-588)4182686-3 gnd rswk-swf Kroatien (DE-588)4073841-3 gnd rswk-swf Kroatien (DE-588)4073841-3 g Staatswappen (DE-588)4182686-3 s Geschichte 1300-2010 z DE-604 Stančić, Nikša 1938- Verfasser (DE-588)1018928995 aut Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024961305&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024961305&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Peić Čaldarović, Dubravka 1955- Stančić, Nikša 1938- Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća Staatswappen (DE-588)4182686-3 gnd |
| subject_GND | (DE-588)4182686-3 (DE-588)4073841-3 |
| title | Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća |
| title_auth | Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća |
| title_exact_search | Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća |
| title_full | Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća Dubravka Peić Čaldarović ; Nikša Stančić |
| title_fullStr | Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća Dubravka Peić Čaldarović ; Nikša Stančić |
| title_full_unstemmed | Povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća Dubravka Peić Čaldarović ; Nikša Stančić |
| title_short | Povijest hrvatskoga grba |
| title_sort | povijest hrvatskoga grba hrvatski grb u mijenama hrvatske povijesti od 14 do pocetka 21 stoljeca |
| title_sub | hrvatski grb u mijenama hrvatske povijesti od 14. do početka 21. stoljeća |
| topic | Staatswappen (DE-588)4182686-3 gnd |
| topic_facet | Staatswappen Kroatien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024961305&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024961305&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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