T his study analyzes the phenomenon of church paintings as subversive visual representations of Fascism and as an act of systematic rebellion against Fascist “ideological marking of space.” Slovene Expressionist painter and sculptor Tone Kralj's (1900−75) paintings functioned as ideological markers of national territory. He painted churches along the ethnic border as it was imagined by the Slovene community, delineating it with visual symbols of anti-Fascism and anti-Nazism. Kralj's undertaking can thus be interpreted as an instance of systematic “subversive coverage” of an ethnically exposed borderland with church paintings. Even today, his artistic “delineation” of the then-disputed ethnic border is a marking phenomenon that cannot be found anywhere else in Europe. If one of the most important authorities on Fascist ideology in Italy, Emilio Gentile, considers Fascist ideology to be a form of political religion and a modern manifestation of the sacralization of politics, then Tone Kralj's church paintings could be regarded as an instance of systematic introduction of the political and ideological into the religious context. Perhaps the most ingenious feature of Kralj's ecclesiastical art is his fusion of Catholicism with the Slovene national idea for the purpose of ideologically marking and promoting anti-Fascism and anti-Nazism as well as Slovene nationalism and Slovene irredentism in the Julian March.

中文翻译：

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在教堂中揭开墨索里尼和希特勒的面纱：画家的意识形态颠覆与斯洛文尼亚-意大利边界沿线的空间标记

他的研究分析了教堂绘画现象作为法西斯主义的颠覆性视觉表现和对法西斯主义“空间意识形态标记”的系统反叛行为。斯洛文尼亚表现主义画家和雕塑家 Tone Kralj（1900−75 年）的画作是国家领土的意识形态标志。他在斯洛文尼亚社区的想象中沿着民族边界绘制教堂，用反法西斯主义和反纳粹主义的视觉符号来描绘它。因此，Kralj 的事业可以被解释为一个系统性的“颠覆性报道”，用教堂绘画对一个种族暴露的边境地区进行“颠覆性报道”。即使在今天，他对当时有争议的民族边界的艺术“划定”也是欧洲其他任何地方都找不到的标志现象。如果作为意大利法西斯意识形态最重要的权威之一，埃米利奥·詹蒂莱（Emilio Gentile）认为法西斯意识形态是政治宗教的一种形式，是政治神圣化的现代表现，那么托尼·克拉利（Tone Kralj）的教堂画可以看作是将政治和意识形态系统地引入宗教语境的一个例子。克拉利的教会艺术最巧妙的特征也许是他将天主教与斯洛文尼亚民族思想的融合，目的是在思想上标记和促进朱利安游行中的反法西斯主义和反纳粹主义以及斯洛文尼亚民族主义和斯洛文尼亚民族主义。他的教堂画可以看作是将政治和意识形态系统地引入宗教语境的一个例子。克拉利的教会艺术最巧妙的特征也许是他将天主教与斯洛文尼亚民族思想的融合，目的是在思想上标记和促进朱利安游行中的反法西斯主义和反纳粹主义以及斯洛文尼亚民族主义和斯洛文尼亚民族主义。他的教堂画可以看作是将政治和意识形态系统地引入宗教语境的一个例子。克拉利的教会艺术最巧妙的特征也许是他将天主教与斯洛文尼亚民族思想的融合，目的是在思想上标记和促进朱利安游行中的反法西斯主义和反纳粹主义以及斯洛文尼亚民族主义和斯洛文尼亚民族主义。