{"id":123405,"date":"2024-11-12T15:36:49","date_gmt":"2024-11-12T13:36:49","guid":{"rendered":"https:\/\/www.miroslavo.com\/strucna-historie-umeni-od-renesance-po-soucasnost\/"},"modified":"2026-03-19T18:11:28","modified_gmt":"2026-03-19T16:11:28","slug":"strucna-historie-umeni-od-renesance-po-soucasnost","status":"publish","type":"post","link":"https:\/\/www.miroslavo.com\/cs\/strucna-historie-umeni-od-renesance-po-soucasnost\/","title":{"rendered":"Stru\u010dn\u00e9 d\u011bjiny um\u011bn\u00ed: Od renesance po dne\u0161ek"},"content":{"rendered":"\n

Um\u011bn\u00ed bylo v\u017edy siln\u00fdm odrazem lidsk\u00e9 spole\u010dnosti, v\u00edry a sn\u016f. Po\u010d\u00ednaje renesanc\u00ed se um\u011bn\u00ed vyv\u00edjelo od \u0159emesla zam\u011b\u0159en\u00e9ho na n\u00e1bo\u017eensk\u00e1 t\u00e9mata k sofistikovan\u00e9mu zkoum\u00e1n\u00ed emoc\u00ed, perspektivy a individualismu, \u010d\u00edm\u017e se formovala jeho role jako v\u00e1\u017en\u00e9 discipl\u00edny. Zde je rychl\u00fd pr\u016flet t\u00edmto v\u00fdvojem: <\/p>\n\n

Renesance (14.-17. stolet\u00ed): Znovuzrozen\u00ed klasick\u00fdch ide\u00e1l\u016f<\/h2>\n\n
\"\"<\/figure>\n\n

Renesance, co\u017e znamen\u00e1 „znovuzrozen\u00ed“, byla obdob\u00edm obnoven\u00e9ho z\u00e1jmu o klasick\u00e9 filozofie antick\u00e9ho \u0158ecka a \u0158\u00edma. Tento posun byl podpo\u0159en politickou stabilitou, hospod\u00e1\u0159skou prosperitou v Evrop\u011b a vzestupem mocn\u00fdch m\u011bstsk\u00fdch st\u00e1t\u016f, jako byla Florencie. Bohat\u00ed mecen\u00e1\u0161i, zejm\u00e9na rodina Medicejsk\u00fdch<\/strong> v It\u00e1lii, financovali um\u011bn\u00ed, aby uk\u00e1zali sv\u00e9 postaven\u00ed a podpo\u0159ili intelektu\u00e1ln\u00ed r\u016fst. <\/p>\n\n

Um\u011bn\u00ed se odklonilo od strnul\u00e9 n\u00e1bo\u017eensk\u00e9 ikonografie st\u0159edov\u011bku a p\u0159ijalo humanismus – filozofii, kter\u00e1 zd\u016fraz\u0148ovala lidsk\u00fd potenci\u00e1l a \u00fasp\u011bch. Um\u011blci studovali anatomii, perspektivu a p\u0159\u00edrodu, aby realisticky zachytili sv\u011bt, jak je vid\u011bt na Vitruvi\u00e1nsk\u00e9m mu\u017ei<\/em> Leonarda da Vinciho a Michelangelov\u011b Davidovi<\/em>. <\/p>\n\n

Renesan\u010dn\u00ed um\u011blci zpochybnili duchovn\u00ed zam\u011b\u0159en\u00ed st\u0159edov\u011bk\u00e9ho um\u011bn\u00ed a m\u00edsto toho se v\u011bnovali v\u011bd\u011b, kr\u00e1se a sv\u011btsk\u00fdm t\u00e9mat\u016fm. Oce\u0148ovali harmonii, proporce a rovnov\u00e1hu a um\u011bn\u00ed pova\u017eovali za intelektu\u00e1ln\u00ed \u010dinnost, kter\u00e1 zvy\u0161ovala spole\u010densk\u00e9 postaven\u00ed um\u011blce. <\/p>\n\n

Baroko (1600-1750): Drama a moc<\/h2>\n\n
\"\"<\/figure>\n\n

Katolick\u00e1 c\u00edrkev reagovala na reformaci protireformac\u00ed, v n\u00ed\u017e se barokn\u00ed um\u011bn\u00ed stalo prost\u0159edkem k vyj\u00e1d\u0159en\u00ed n\u00e1bo\u017eensk\u00e9ho z\u00e1palu a dramatu. Absolutn\u00ed monarchie (jako Francie za vl\u00e1dy Ludv\u00edka XIV.<\/strong>) pou\u017e\u00edvaly tento styl k vyj\u00e1d\u0159en\u00ed moci, kontroly a vzne\u0161enosti. <\/p>\n\n

Barokn\u00ed um\u011bn\u00ed vyu\u017e\u00edvalo intenzivn\u00ed kontrasty, dynamick\u00e9 kompozice a emocion\u00e1ln\u00ed intenzitu, aby zaujalo div\u00e1ky. Um\u011blci jako Caravaggio<\/strong> kladli d\u016fraz na realistick\u00e9, dramatick\u00e9 sc\u00e9ny s v\u00fdrazn\u00fdm sv\u011btlem a st\u00ednem, kter\u00e9 o\u017eivovaly sakr\u00e1ln\u00ed i sv\u011btsk\u00e1 t\u00e9mata. <\/p>\n\n

Baroko bylo reakc\u00ed na renesan\u010dn\u00ed ide\u00e1ly i protestantskou kritiku a prom\u011bnilo um\u011bn\u00ed v emocion\u00e1ln\u00ed, vizu\u00e1ln\u011b p\u016fsobiv\u00fd z\u00e1\u017eitek, kter\u00fd potvrzoval moc c\u00edrkve a st\u00e1tu. Kladlo d\u016fraz na pod\u00edvanou a drama, co\u017e kontrastovalo s klidn\u00fdm racionalismem renesance. <\/p>\n\n

Neoklasicismus (18. stolet\u00ed): Racion\u00e1ln\u00ed \u0159\u00e1d a heroismus<\/h2>\n\n
\"\"<\/figure>\n\n

Osv\u00edcenstv\u00ed, kter\u00e9 kladlo d\u016fraz na rozum a v\u011bdu, zm\u011bnilo pohled na um\u011bn\u00ed a spole\u010dnost. Politick\u00e9 revoluce v Americe a Francii volaly po demokracii a rovnosti a inspirovaly um\u011bn\u00ed, kter\u00e9 propagovalo ob\u010danskou povinnost a ob\u011btavost. <\/p>\n\n

Neoklasicismus se odvol\u00e1val na starov\u011bk\u00fd \u0158\u00edm a \u0158ecko a zt\u011bles\u0148oval ctnosti jako odvahu a vlastenectv\u00ed. Um\u011blci jako Jacques-Louis David<\/strong> zobrazovali historick\u00e9 a mytologick\u00e9 v\u00fdjevy s jasnost\u00ed, symetri\u00ed a stoick\u00fdm citem, jak je vid\u011bt na p\u0159\u00edsaze Horati\u016f<\/em>. <\/p>\n\n

Neoklasicismus odm\u00edtl zdobnost a dramati\u010dnost baroka a m\u00edsto toho up\u0159ednostnil racionalitu, strukturu a mor\u00e1ln\u00ed t\u00e9mata. Odr\u00e1\u017eel touhu po obnoven\u00ed \u0159\u00e1du a hrdinstv\u00ed a odr\u00e1\u017eel politick\u00e9 v\u00fdzvy k soci\u00e1ln\u00ed reform\u011b a racion\u00e1ln\u00edmu \u0159\u00edzen\u00ed. <\/p>\n\n

Romantismus (konec 18. a\u017e polovina 19. stolet\u00ed): Emoce a p\u0159\u00edroda<\/h2>\n\n
\"\"<\/figure>\n\n

Pr\u016fmyslov\u00e1 revoluce a rychl\u00fd r\u016fst m\u011bst zp\u016fsobily, \u017ee lid\u00e9 za\u010dali tou\u017eit po p\u0159\u00edrod\u011b a individualit\u011b. V dob\u011b, kter\u00e1 byla poznamen\u00e1na tov\u00e1rn\u00ed prac\u00ed a spole\u010densk\u00fdmi ot\u0159esy, se romantismus sna\u017eil obnovit spojen\u00ed s p\u0159\u00edrodou a osobn\u00edmi emocemi. <\/p>\n\n

Romanti\u010dt\u00ed um\u011blci jako J. M. W. Turner<\/strong> a Caspar David Friedrich<\/strong> se zam\u011b\u0159ovali na dramatick\u00e9 krajiny, exotiku a lidskou zranitelnost. Vyjad\u0159ovali \u00factu, v\u00e1\u0161e\u0148 a n\u011bkdy i hr\u016fzu a zobrazovali p\u0159\u00edrodu jako mocnou s\u00edlu, kterou \u010dlov\u011bk nem\u00e1 pod kontrolou. <\/p>\n\n

Romantismus vznikl jako protiklad k p\u0159\u00edsn\u00e9mu \u0159\u00e1du neoklasicismu a nab\u00eddl subjektivn\u011bj\u0161\u00ed, emocion\u00e1ln\u011b intenzivn\u011bj\u0161\u00ed pohled. Reagoval na racionalitu osv\u00edcenstv\u00ed, zahrnoval imaginaci a vzne\u0161enost, aby vyj\u00e1d\u0159il hlubok\u00e9 spojen\u00ed s p\u0159\u00edrodou a jednotlivcem. <\/p>\n\n

Realismus (polovina 19. stolet\u00ed): Pravda do \u017eivota<\/h2>\n\n
\"\"<\/figure>\n\n

Industrializace zp\u016fsobila velk\u00e9 soci\u00e1ln\u00ed zm\u011bny, p\u0159epln\u011bn\u00e1 m\u011bsta a \u0161patn\u00e9 pracovn\u00ed podm\u00ednky. Soci\u00e1ln\u00ed nerovnost t\u00e9to doby inspirovala um\u011blce k tomu, aby se zam\u011b\u0159ili na oby\u010dejn\u00e9 lidi a ka\u017edodenn\u00ed \u017eivot. <\/p>\n\n

Realisti\u010dt\u00ed um\u011blci jako Gustave Courbet<\/strong> a Jean-Fran\u00e7ois Millet<\/strong> zobrazovali roln\u00edky, d\u011bln\u00edky a m\u011bstsk\u00fd \u017eivot bez idealizace. Realismus kladl d\u016fraz na autenticitu, poctiv\u011b zobrazoval lidsk\u00e9 boje a pr\u00e1ci. <\/p>\n\n

Realismus odm\u00edtal romantick\u00fd eskapismus a idealizaci. M\u00edsto toho se zam\u011b\u0159il na spole\u010densk\u00e9 probl\u00e9my a sna\u017eil se vyvolat pov\u011bdom\u00ed a empatii v\u016f\u010di d\u011blnick\u00e9 t\u0159\u00edd\u011b. Realistick\u00e9 um\u011bn\u00ed posouvalo hranice t\u00edm, \u017ee konfrontovalo div\u00e1ky s nep\u0159ikr\u00e1\u0161lenou realitou. <\/p>\n\n

Impresionismus (konec 19. stolet\u00ed): Zachycen\u00ed prchav\u00fdch okam\u017eik\u016f<\/h2>\n\n
\"\"<\/figure>\n\n

V t\u00e9 dob\u011b se Pa\u0159\u00ed\u017e modernizovala, vznikaly nov\u00e9 bulv\u00e1ry, parky a kav\u00e1rny, kter\u00e9 podporovaly spole\u010densk\u00e9 kontakty. Technologick\u00fd pokrok, jako nap\u0159\u00edklad p\u0159enosn\u00e9 barvy a nov\u00e9 pigmenty, umo\u017enil um\u011blc\u016fm malovat venku. <\/p>\n\n

Impresionist\u00e9, nap\u0159\u00edklad Claude Monet<\/strong> a Edgar Degas<\/strong>, malovali v plen\u00e9ru, aby zachytili sv\u011btlo a pohyb. Rychl\u00fdmi tahy \u0161t\u011btce zachycovali prchav\u00e9 okam\u017eiky a \u010dasto se zam\u011b\u0159ovali na ka\u017edodenn\u00ed sc\u00e9ny a krajiny. <\/p>\n\n

Impresionismus se odpoutal od realistick\u00e9ho d\u016frazu na p\u0159esnost a prosazoval spont\u00e1nnost a subjektivn\u00ed pro\u017eitek. To bylo pova\u017eov\u00e1no za radik\u00e1ln\u00ed, proto\u017ee impresionist\u00e9 up\u0159ednost\u0148ovali um\u011blcovo vn\u00edm\u00e1n\u00ed sc\u00e9ny p\u0159ed p\u0159esn\u00fdmi detaily. \u010celili kritice, ale nakonec zm\u011bnili vn\u00edm\u00e1n\u00ed ve\u0159ejnosti o tom, jak\u00e9 um\u011bn\u00ed m\u016f\u017ee b\u00fdt. <\/p>\n\n

Modernismus (konec 19. a\u017e polovina 20. stolet\u00ed): P\u0159ekra\u010dov\u00e1n\u00ed hranic<\/h2>\n\n
\"\"<\/figure>\n\n

S p\u0159\u00edchodem 20. stolet\u00ed do Evropy zpochybnila tradi\u010dn\u00ed hodnoty rychl\u00e1 urbanizace, sv\u011btov\u00e9 v\u00e1lky a v\u011bdeck\u00fd pokrok. Um\u011blci zpochyb\u0148ovali star\u00e9 konvence a hledali nov\u00e9 zp\u016fsoby, jak vyj\u00e1d\u0159it \u00fazkosti a slo\u017eitosti modern\u00edho \u017eivota. <\/p>\n\n

Modern\u00ed um\u011blci jako Picasso<\/strong> (kubismus), Matisse<\/strong> (fauvismus) a Kandinskij<\/strong> (expresionismus) experimentovali s formou, barvou a abstrakc\u00ed. Zpochyb\u0148ovali tradi\u010dn\u00ed perspektivu, pou\u017e\u00edvali geometrick\u00e9 tvary, jasn\u00e9 barvy a symbolick\u00e9 obrazy. <\/p>\n\n

Modernismus byl reakc\u00ed na omezuj\u00edc\u00ed normy v um\u011bn\u00ed a spole\u010dnosti. Sna\u017eila se vyj\u00e1d\u0159it vnit\u0159n\u00ed emoce, abstrakci a fragmentaci, co\u017e odr\u00e1\u017eelo roz\u010darov\u00e1n\u00ed z m\u011bn\u00edc\u00edho se sv\u011bta. <\/p>\n\n

Surrealismus (po\u010d\u00e1tek a polovina 20. stolet\u00ed): Podv\u011bdom\u00ed zkoum\u00e1no<\/h2>\n\n
\"\"<\/figure>\n\n

Surrealismus, ovlivn\u011bn\u00fd Freudov\u00fdmi teoriemi o snech a podv\u011bdom\u00ed, vznikl jako reakce na hr\u016fzy prvn\u00ed sv\u011btov\u00e9 v\u00e1lky.Toto hnut\u00ed odr\u00e1\u017eelo touhu uniknout realit\u011b a zkoumat hlubiny mysli. <\/p>\n\n

Surrealisti\u010dt\u00ed um\u011blci jako Salvador Dal\u00ed<\/strong> a Ren\u00e9 Magritte<\/strong> vytv\u00e1\u0159eli fantastick\u00e9, snov\u00e9 v\u00fdjevy, kter\u00e9 se vymykaly logice. Jejich c\u00edlem bylo odhalit podv\u011bdom\u00e9 my\u0161lenky a spojit re\u00e1ln\u00e9 a imagin\u00e1rn\u00ed v surrealistickou sm\u011bs. <\/p>\n\n

Surrealismus radik\u00e1ln\u011b odm\u00edtal racionalitu a oslavoval iracionalitu a bizarnost. Sna\u017eil se osvobodit mysl a proniknout do nev\u011bdom\u00ed, aby reflektoval chaos a traumata pov\u00e1le\u010dn\u00e9ho obdob\u00ed. <\/p>\n\n

Abstraktn\u00ed expresionismus (polovina 20. stolet\u00ed): \u010cist\u00e1 exprese<\/h2>\n\n
\"\"<\/figure>\n\n

Po druh\u00e9 sv\u011btov\u00e9 v\u00e1lce se ameri\u010dt\u00ed um\u011blci sna\u017eili osvobodit od evropsk\u00fdch tradic. Zkoumali sebevyj\u00e1d\u0159en\u00ed jako odpov\u011b\u010f na existenci\u00e1ln\u00ed ot\u00e1zky v dob\u011b, kter\u00e1 byla poznamen\u00e1na konfliktem. <\/p>\n\n

Abstraktn\u00ed expresionist\u00e9 jako Jackson Pollock<\/strong> a Mark Rothko<\/strong> pou\u017e\u00edvali nereprezentativn\u00ed techniky k p\u0159\u00edm\u00e9mu vyj\u00e1d\u0159en\u00ed emoc\u00ed prost\u0159ednictv\u00edm barvy, formy a spont\u00e1nn\u00edho pohybu. Pollockova technika kap\u00e1n\u00ed zt\u011bles\u0148ovala svobodu, zat\u00edmco Rothkova barevn\u00e1 pole nab\u00edzela meditativn\u00ed prostor. <\/p>\n\n

Toto hnut\u00ed odm\u00edtlo strukturovanou kompozici a symbolismus a up\u0159ednostnilo syrov\u00fd, nefiltrovan\u00fd v\u00fdraz. Abstraktn\u00ed expresionismus byl reakc\u00ed na \u0159\u00e1d a form\u00e1lnost a odr\u00e1\u017eel pov\u00e1le\u010dn\u00e9 existenci\u00e1ln\u00ed ot\u00e1zky. <\/p>\n\n

Sou\u010dasn\u00e9 um\u011bn\u00ed (konec 20. stolet\u00ed – sou\u010dasnost): Rozmanitost a inovace<\/h2>\n\n
\"Úspěch<\/figure>\n\n

S globalizac\u00ed, digit\u00e1ln\u00edmi technologiemi a politikou identity zahrnuje sou\u010dasn\u00e9 um\u011bn\u00ed r\u016fzn\u00e1 m\u00e9dia a perspektivy. Odr\u00e1\u017e\u00ed slo\u017eit\u00e9, multikulturn\u00ed a vz\u00e1jemn\u011b propojen\u00e9 probl\u00e9my. <\/p>\n\n

Sou\u010dasn\u00e9 um\u011bn\u00ed je velmi rozmanit\u00e9, hnut\u00ed jako pop-art<\/strong>, konceptu\u00e1ln\u00ed um\u011bn\u00ed<\/strong> a digit\u00e1ln\u00ed um\u011bn\u00ed<\/strong> zkoumaj\u00ed v\u0161e od konzumn\u00ed kultury (Warhol) a\u017e po politickou kritiku. Um\u011blci experimentuj\u00ed s materi\u00e1ly, instalacemi a interaktivn\u00edmi z\u00e1\u017eitky. <\/p>\n\n

Sou\u010dasn\u00e9 um\u011bn\u00ed se br\u00e1n\u00ed kategorizaci a odr\u00e1\u017e\u00ed rozmanitost a slo\u017eitost modern\u00edho \u017eivota. \u010casto zpochyb\u0148uje tradi\u010dn\u00ed pojet\u00ed um\u011bn\u00ed, zahrnuje soci\u00e1ln\u00ed kritiku a inovace, kter\u00e9 hluboce oslovuj\u00ed dne\u0161n\u00ed publikum. <\/p>\n\n

Z\u00e1v\u011br<\/h2>\n\n

Um\u011bn\u00ed se tedy v podstat\u011b vyvinulo od p\u0159\u00edsn\u00e9ho realismu renesance k dne\u0161n\u00ed rozs\u00e1hl\u00e9 eklektick\u00e9 krajin\u011b, kde je mo\u017en\u00e9 t\u00e9m\u011b\u0159 v\u0161e. <\/p>\n\n

Ka\u017ed\u00e1 \u00e9ra zpochyb\u0148ovala nebo roz\u0161i\u0159ovala hranice stanoven\u00e9 tou p\u0159edchoz\u00ed a posouvala um\u011bn\u00ed za hranice pouh\u00e9ho zobrazen\u00ed, aby zahrnovalo osobn\u00ed vyj\u00e1d\u0159en\u00ed, spole\u010denskou kritiku, a dokonce i humor.<\/p>\n\n

Zde je stru\u010dn\u00fd p\u0159ehled t\u00e9to historick\u00e9 cesty za um\u011bn\u00edm:<\/h3>\n\n
    \n
  1. Renesance<\/strong> (1300-1600) – stanovila m\u011b\u0159\u00edtko realismu<\/em>, p\u0159esn\u00e9 anatomie a idealizovan\u00e9 kr\u00e1sy.<\/li>\n\n\n\n
  2. Baroko<\/strong> (1600-1750) – prosazovalo dramati\u010dnost a emoce<\/em> s vysok\u00fdm kontrastem a divadeln\u00edmi kompozicemi.<\/li>\n\n\n\n
  3. Neoklasicismus<\/strong> (1700) – P\u0159ijal \u0159\u00e1d a heroismus<\/em> a pro p\u0159ehlednost \u010derpal z antick\u00fdch vzor\u016f.<\/li>\n\n\n\n
  4. Romantismus<\/strong> (1750-1850) – Reagoval na oce\u0148ov\u00e1n\u00ed emoc\u00ed, p\u0159edstavivosti a \u00facty k p\u0159\u00edrod\u011b<\/em>.<\/li>\n\n\n\n
  5. Realismus<\/strong> (1850) – Obr\u00e1til se ke ka\u017edodenn\u00edmu \u017eivotu<\/em>, zobrazoval lidi a m\u00edsta up\u0159\u00edmn\u011b, bez idealismu.<\/li>\n\n\n\n
  6. Impresionismus<\/strong> (1850-1900) – Zam\u011b\u0159uje se na sv\u011btlo, barvu a moment\u00e1ln\u00ed vjemy<\/em> a odkl\u00e1n\u00ed se od jasn\u00fdch detail\u016f.<\/li>\n\n\n\n
  7. Modernismus<\/strong> (1850-1950) – zcela se odklonil od realismu, zkoumal abstraktn\u00ed formy, perspektivy<\/em> a soci\u00e1ln\u00ed koment\u00e1\u0159e.<\/li>\n\n\n\n
  8. Surrealismus a abstraktn\u00ed expresionismus<\/strong> (1900-1950) – pono\u0159il se hluboko do podv\u011bdom\u00ed<\/em> a \u010dist\u00fdch emoc\u00ed a vzd\u00e1lil se doslovn\u00e9mu zobrazen\u00ed.<\/li>\n\n\n\n
  9. Sou\u010dasn\u00e9 um\u011bn\u00ed<\/strong> (1950 – sou\u010dasnost) – V\u00edt\u00e1 r\u016fzn\u00e1 m\u00e9dia, sd\u011blen\u00ed a metody<\/em>, styly od realismu po konceptu\u00e1ln\u00ed a digit\u00e1ln\u00ed.<\/li>\n<\/ol>\n\n

    V dne\u0161n\u00ed dob\u011b se um\u011bn\u00ed st\u00e1v\u00e1 stejn\u011b tak my\u0161lenkami<\/em> a zku\u0161enostmi<\/em> jako vizu\u00e1ln\u00ed formou. Vedle sebe existuj\u00ed realistick\u00e9 portr\u00e9ty, abstraktn\u00ed experimenty, digit\u00e1ln\u00ed d\u00edla a instalace, kter\u00e9 jsou pro um\u011blce p\u0159\u00edle\u017eitost\u00ed k prozkoum\u00e1n\u00ed my\u0161lenek, soci\u00e1ln\u00edch ot\u00e1zek nebo dokonce kulturn\u00ed kritiky. U\u017e nejde o to „jak dob\u0159e dok\u00e1\u017eu zobrazit realitu?“, ale „co mohu t\u00edmto d\u00edlem \u0159\u00edci, uk\u00e1zat nebo zpochybnit?“. <\/p>\n","protected":false},"excerpt":{"rendered":"

    Um\u011bn\u00ed bylo v\u017edy siln\u00fdm odrazem lidsk\u00e9 spole\u010dnosti, v\u00edry a sn\u016f. Po\u010d\u00ednaje renesanc\u00ed se um\u011bn\u00ed vyv\u00edjelo od \u0159emesla zam\u011b\u0159en\u00e9ho na n\u00e1bo\u017eensk\u00e1 t\u00e9mata k sofistikovan\u00e9mu zkoum\u00e1n\u00ed emoc\u00ed, perspektivy a individualismu, \u010d\u00edm\u017e se formovala jeho role jako v\u00e1\u017en\u00e9 discipl\u00edny. Zde je rychl\u00fd pr\u016flet t\u00edmto v\u00fdvojem: Renesance (14.-17. stolet\u00ed): Znovuzrozen\u00ed klasick\u00fdch ide\u00e1l\u016f Renesance, co\u017e znamen\u00e1 „znovuzrozen\u00ed“, byla obdob\u00edm obnoven\u00e9ho […]<\/p>\n","protected":false},"author":1,"featured_media":123362,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1388],"tags":[],"class_list":["post-123405","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-cs"],"_links":{"self":[{"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/posts\/123405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/comments?post=123405"}],"version-history":[{"count":4,"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/posts\/123405\/revisions"}],"predecessor-version":[{"id":129465,"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/posts\/123405\/revisions\/129465"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/media\/123362"}],"wp:attachment":[{"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/media?parent=123405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/categories?post=123405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.miroslavo.com\/cs\/wp-json\/wp\/v2\/tags?post=123405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}