20.500.12556/RUL-187943 Painting as communication with the deceased and other non-human beings Slikanje kot sredstvo za sporazumevanje z mrtvimi in drugimi nečloveškimi bitji The article examines painting as a practice of relating to the dead and other non-human beings in contemporary and historical contexts. Drawing on vernacular religion, it approaches these relationships not as fixed beliefs system but as experiences emerging through bodily perception, learning, and artistic practice. The article focuses on ethnographic research with a contemporary Slovenian painter, Ana, whose painting develops through sensitivity to presence rather than trance or mediumistic possession. Her practice is compared with the spiritualist painting of Georgiana Houghton and Hilma af Klint, where artistic creation relied on passive mediumship and the subordination of the artist’s body to spiritual agencies. The comparison reveals a shift from hierarchical models of revelation toward relational forms of creation, in which painting functions both as a liminal object and relational process through which connections between the living and the dead acquire temporary stability. Članek obravnava slikanje kot prakso vzpostavljanja odnosov z mrtvimi in drugimi nečloveškimi bitji v sodobnem in zgodovinskem kontekstu. Izhaja iz perspektive vernakularne religije, ki teh odnosov ne razume kot del zaprtih verovanjskih sistemov, temveč kot izkustva, ki nastajajo skozi telesno zaznavo, učenje in umetniško prakso. Članek temelji na etnografski raziskavi sodobne slovenske slikarke Ane, katere slikanje se razvija skozi občutek za prisotnost mrtvih in ne skozi stanje transa ali izgubo telesne avtonomije zaradi vpliva duhovnih sil. Njena praksa je primerjana s spiritualističnim slikarstvom Georgiane Houghton in Hilme af Klint, pri katerih je umetniško ustvarjanje temeljilo na pasivnem medijstvu in podreditvi umetničinega telesa duhovnim silam. Primerjava pokaže premik od hierarhičnih modelov razodetja k relacijskim oblikam ustvarjanja, pri katerih slika deluje hkrati kot liminalni objekt, slikanje pa kot relacijski proces, skozi katerega se med živimi in mrtvimi vzpostavljajo začasno stabilne povezave. vernacular religion spiritualism mediumship embodiment perception painting vernakularna religija spiritualizem verovanje medijstvo duhovni mediji utelešanje percepcija slikanje true false true Angleški jezik Slovenski jezik Članek v reviji 2026-09-16 16:07:43 2026-09-16 16:07:52 2026-09-17 16:11:01 0000-00-00 00:00:00 2026 0 0 Str. 209-229 Letn. 29 2026 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 2026-01-01 133.9:39 1408-6271 10.3986/SMS20262911 291339267 11_Simetinger.pdf 11_Simetinger.pdf 1 2FC03A1510A3FCF54E1CC5DA3C65FE20 14a08ff54dad2ef56c69397dcf977a5795c0b31585f9956a35cb06cfe1dacc21 326e52f9-b1d8-11f1-8bc5-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=247789 https://ojs.zrc-sazu.si/sms/article/view/14831 1 f9c71ed3-b1d7-11f1-8bc5-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=247788 Filozofska fakulteta 0 0 0