Temat: "Zygmunt". - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Mgr inż. arch. Zygmunt Knothe (1898-1977)
Autorzy:: Krzyżanowski, Lech
Powiązania:: https://bibliotekanauki.pl/articles/538233.pdf
Data publikacji:: 1978
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Zygmunt Knothe
lubelski wojewódzki konserwator zabytków
Źródło:: Ochrona Zabytków; 1978, 2; 132
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 2.

Tytuł:: O założeniu Towarzystwa Opieki nad Zabytkami Przeszłości
Autorzy:: Tatarkiewicz, Władysław
Powiązania:: https://bibliotekanauki.pl/articles/538552.pdf
Data publikacji:: 1958
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: założenie Towarzystwa Opieki nad Zabytkami Przeszłości
Adam Krasiński
Zygmunt Gloger
Erazm Majewski
posiedzenia TOnZP
Źródło:: Ochrona Zabytków; 1958, 3-4; 154-157
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 3.

Tytuł:: ROZBUDOWA KATAKUMB ZGROMADZENIA SIÓSTR NIEPOKALANEGO POCZĘCIA NMP W SZYMANOWIE
THE EXPANSION OF THE CATACOMBS OF THE ORDER OF THE IMMACULATE CONCEPTION OF THE HOLY VIRGIN MARY IN SZYMANÓW
Autorzy:: Maszewski, Krzysztof
Powiązania:: https://bibliotekanauki.pl/articles/539693.pdf
Data publikacji:: 2008
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: CATACOMBS IN SZYMANÓW
katakumby w Szymanowie
s. Marcelina Darowska
Zygmunt Tilinger
siostry niepokalanki
koncepcja rozbudowy katakumb
Opis:: Since 1907 Szymanów, a locality situated in the environs of Warsaw, has been the seat of the Order of the Immaculate Conception of the Holy Virgin Mary. At the time, this was the only centre of the Order in the Kingdom of Poland, within the restrictive conditions imposed by the Russian partition authorities. The order purchased from Prince Konstanty Lubomirski a palace standing in a sprawling park, and soon expanded by adding a part intended for a boarding school. The moment the nuns arrived in Szymanów they took into consideration the need for constructing a sepulchre. The initiative was commenced at the end of the summer of 1910 and completed in the following year. The Warsaw-based architect Zygmunt Tillinger, who supervised the expansion of the palace, was the author of the project. The erected catacombs are a typical example of Classical sepulchral art from the early twentieth century. The basic element is an imposing portal in front of the corps of the burial part in the form of a projection towering over it. The first catacombs, built together with the portal, contain two spans facing each other. Each span contained three crypts, arranged along an axis on three storeys. The whole sepulchre was maintained in the form of an interior with a single entrance, covered with a barrel vault, and with side walls created by the spans with characteristic deep niches of the crypts. Subsequently, successive segments of the catacombs were added together with a strip situated perpendicularly to the axis of the sepulchre. The catacombs in Szymanow, whose architectural configuration became a point of departure for the expansion, are arranged in three strips, two of which are parallel and standing at a distance, thus making it possible to ensure unhampered communication between them; from the entrance they are closed with a monumental portal, designating the axis of the whole future premise. The third, diagonal strip was placed in the back, perpendicularly to the two first ones, and the distance between it and their gables was intended for a passageway. The passage along the section adjoining the portal was covered with a cradle ceiling, which at this point creates a covered corridor. The remaining sections of the passages are devoid of roofs. Pilasters marking the vertical rhythm of the spans, which, in turn, contain three crypt storeys each, divide each strip of the catacombs. The expansion of the Szymanow catacombs shaped the architectural structure in which the historical building erected in 1910 was connected with the contemporary edifice, referring to solutions presented in the oldest part and the segments added later on. The sepulchral premises produced by the expansion and the first catacombs posses a closed plan; the same holds true for the first catacombs. The historical portal is displayed along the axis of the expanded facade, whose new parts assumed the function of the northern and southern wing. Due to its portals, whose configuration of solids refers to the monumental, severe architecture of the early twentieth century, each wing turned into a background of the central part.
Źródło:: Ochrona Zabytków; 2008, 1; 31-44
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 4.

Tytuł:: Historyczny wystrój i wyposażenie kościoła parafialnego pw. Ducha Świętego w Żabnie
Historical interiors and fittings of the Holy Spirit parish church in Żabno
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/537134.pdf
Data publikacji:: 2012
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: neobarok
polska sztuka sakralna XIX w.
kościół parafialny w Żabnie
Piotr Niziński
ks. Franciszek Leśniak
ks. Bernard Preibisz
Zygmunt Grüner
August Kugler
Opis:: It happened around 1970, when as part of the action of renovating the interiors of the Holy Spirit parish church in Żabno and adapting its chancel to the requirements of the liturgy reformed after the Second Vatican Council, the Neo-Baroque uniform design and fittings of interiors were removed and irretrievably destroyed. Now it is known only from the photographic documentation made by an unknown author in the 1940s. On that basis and of the parish chronicles, the appearance of the interior of the single-nave church may be recreated, and an assessment of its historical and architectural values attempted. The interiors of the church (built in 1663-1685 by Rafał Kazimierz Makowiecki, the castellan of Kamieniec Podolski [now Kamianets-Podilskyi in Ukraine] and starost of Trembowla [now Terebovl in Ukraine]) were destroyed by fire in 1888. Repairs were undertaken by the newly appointed parish priest, Antoni Łętkowski (1852-1912), former senator of the cathedral curates of Tarnów. On his initiative a new main altar was then erected by Romuald Łapczyński, with images of Christ crucified and the Descent of the Holy Spirit by Piotr Niziński, a graduate of the Art School in Kraków. The side altars, created by a local artist Józef Sowiński, were consecrated in 1892. Also, the painting was brought to the church depicting the Virgin Mary, painted by the Tarnów artist Zygmunt Grüner (Griner), as well as the picture of St. Anthony of Padua, created by Rev. Bernard Preibisz from Tarnów. The image of the patroness of the church, St. Anne, placed in the side altar, was made by the canon and priest of the Tarnów cathedral parish, Rev. Franciszek Leśniak. A painter-woodcarver-conservationist of interiors from Lwów - Julian Kruczkowski provided the polychrome. Almost all those artists had studied in Vienna or Munich; that is probably the reason why the image of crucified Christ modelled on Van Dyck’s depiction (kept in the imperial collection in Vienna) was placed in the main altar of the church in Żabno. The patronage and interest in arts, as well as painting activity within the Tarnów diocese, is an interesting historical and cultural phenomenon. The article calls attention upon the problem of the provincial artistic community of the former West Galicia region in context of the patronage of the Church, and the issue of renovating the church along the Neo-Baroque model, in conformity with the spirit of the time and the individual features of the architectural shape of the church. For many years that art failed to receive the proper understanding of church managers, parish communities, and sometimes even the authorities of conservationist services (both those representing the church and the state).
Źródło:: Ochrona Zabytków; 2012, 3-4; 151-160
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 5.

Tytuł:: REKONSTRUKCJA I KREACJA W ODNOWIE ZAMKU NA WAWELU
RECONSTRUCTION AND CREATION IN THE RESTORATION OF WAWEL CASTLE
Autorzy:: Stępien, Piotr M.
Powiązania:: https://bibliotekanauki.pl/articles/537015.pdf
Data publikacji:: 2007
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: WAWEL CASTLE - RECONSTRUCION AND CREATION
odnowa zamku na Wawelu
Tomasz Pryliński
Zygmunt Hendel
„Pochód królów”
realizacje Adolfa Szyszko-Bohusza
strop kasetonowy
rezerwaty archeologiczne
uporządkowanie Wawelu
Opis:: The damage incurred by the partitioning authorities meant that in 1905 the condition of Wawel Castle was that of advanced devastation. Consequently, its restoration entailed the permanent question whether to recreate the historical form of the damaged elements or rather to introduce new ones, proposed by the designer? In the first restoration (1881-1882) architect Tomasz Pryliƒski referred to the shape of the Castle from the first half of the seventeenth century. Due to the degree of its devastation and gaps in the documents, a number of elements resembled more design creation than reconstruction. The study served as a base for a restoration project proposed in 1907-1908 by Zygmunt Hendel, which, in turn, became the topic of a controversy involving the Cracow conservators and Max Dvofiák, who opposed the reconstruction of the damaged components and even the removal of the walled up parts of the gallery. The discussion produced a compromise, which proved to be conducive for Wawel Castle. In work completed up to 1914 the recreation of the historical state remained predominant and corresponded to the premises of the scientific restoration of this monument of national history. This was also the time of several unrealised projects relating to Wawel, in which artistic creation prevailed over conservation principles. The two most important are Acropolis by Stanisław Wyspiański and Władysław Ekielski, and Pochód Królów (Royal Procession) by Wacław Szymanowski. Adolf Szyszko-Bohusz, supervisor of the Castle’s restoration in 1916-1939 and 1945-1946, proposed more moderate solutions. He achieved, i. a. the recreation of the majority of the Castle interiors, a new composition of the main entrance, and a number of elements in the Castle elevations. The archaeological reservations around the relics of the rotunda of St. Felix and St. Adauctus, and in the western wing of the Castle, comprised truly pioneering proposals. Both contain a creative element, albeit of a new variety, i.e. the conservation arrangement. In the four conceptions concerning the whole Hill, the realised elements were those of greatest value, while the rejected ones were contrary to Wawel’s historical character. Wawel Hill managed to survive the German occupation unscathed, but was subjected to a number of harmful redesigning ventures. The ensuing damage of the historical complex called either for the recreation of its earlier state or creative reconstruction. The post-war resignation from stately functions in favour of purely museum ones contributed to a new trend. Prof. Witold Minkiewicz negated the conception of monumental buildings, and recognised adaptation to a historical environment to be the suitable solution. It is precisely this current which is represented by the restoration of Złodziejska (Thieves) Tower and the adjoining newly erected administrative building no. 8. The restoration of the western wing of the palace (Prof. Alfred Majewski) attempted to make use of the “reconstruction” trend combined with partial recreation referring to the general character of the Renaissance interiors. On the other hand, the gate wing interiors have been granted the nature of an architectural reservation. Successive realisations within the range of archaeologicalarchitectural reservations include the so-called inner courtyard featuring a display of the foundations of mediaeval edifices and “The Lost Wawel” exhibition. The author of the shows in the Treasury and the Armoury (Prof. Młodzianowski) applied simple modernistic forms. The reconstruction encompasses the southern section of the mediaeval walls, re-created only to a certain height. The next stage in the restoration of Wawel Castle has been determined by the realisation of a complex conservation programme, conducted since 1990 under the supervision of Prof. Jan Ostrowski, the present-day Director of the Royal Castle on Wawel Hill. Its premises foresee the inclusion not only of the historical strata of assorted buildings on Wawel Hill but also previous conservation. This approach does not exclude a number of corrections, as long as the essential elements of the historical assumptions had been recreated incorrectly. The recreation of the Royal Gardens complex remains an important task within the whole programme. Pertinent studies made it possible to precisely reconstruct various architectural elements (design by P. Stępień, J. Smólski, S. Karczmarczyk). A discovered fragment of brick paths from the sixteenth century proved decisive for the future trend of recreating the garden composition, The restoration of the paved surface of the Arcaded Courtyard (design: J. Kisielewski, Z. K. Baster) and the reconstruction of the roof of Senatorska (Senators’) Tower (design: P. Stępień, S. Karczmarczyk) have been treated as a necessary supplement of the Castle’s restoration. For the purposes of the conservation of Sandomierska Tower (authors: vide supra) use has been made of certain elements of the reconstruction of historical forms and contemporary creation, with the assumption of full harmony between the latter and the tower’s architecture. The authors of the restoration of building no. 5, redesigned upon several occasions in the nineteenth and twentieth century, have opted for correcting the elevation architecture by adapting this building to the entire complex. In the course of the century-long restoration of Wawel Castle artistic creation gradually made way for conservation arrangement. Today, reconstruction and creation are applied cautiously, and are predominated by undertakings of a preserving, securing and museum nature. The revival of Wawel Castle was impossible, however, without the recreation of historical elements and the installation of newly designed ones. The author believes that such solutions should be used with moderation and responsibility as measures serving for the reintegration of the historical monument, and not as a goal in itself.
Źródło:: Ochrona Zabytków; 2007, 2; 27-50
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 6.

Tytuł:: Cynowe sarkofagi Zygmunta Augusta i Anny Jagiellonki. Konserwacja i restauracja, historia, wymowa ideowa
Tin sarcophagi of Sigismund Augustus and Anna Jagiellon. Conservation and restoration, history, ideological meaning
Autorzy:: Kolendo-Korczak, Katarzyna
Trzos, Agnieszka
Powiązania:: https://bibliotekanauki.pl/articles/1927168.pdf
Data publikacji:: 2018
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: sarkofagi cynowe
konserwacja i restauracja
Groby Królewskie na Wawelu
Gdańsk
Zygmunt II August
Anna Jagiellonka
sztuka sepulkralna
program ideowy i heraldyczny
tin sarcophagi
conservation and restoration
Wawel Royal Tombs
Sigismund II Augustus
Anna Jagiellon
sepulchral art
ideological and heraldic program
Opis:: Znajdujące się w kryptach katedry na Wawelu metalowe sarkofagi królewskie to nie tylko wysokiej klasy dzieła sztuki o interesującym programie ideowym, ale także zabytki o ogromnej wartości historycznej. Prowadzony od 2015 r. program konserwacji i restauracji monarszych trumien jest okazją do ponownych studiów nad tymi obiektami. Artykuł prezentuje przeprowadzone w 2016 r. prace konserwatorskie i restauracyjne przy cynowych sarkofagach Zygmunta Augusta i Anny Jagiellonki, koncentrując się na dokonanych podczas tych zabiegów rekonstrukcjach oraz zastosowanych przez konserwatorów nowatorskich, autorskich rozwiązaniach konstrukcyjnych. Przedstawiono również historię obu zabytków, dokonywane przez lata przekształcenia i naprawy. Prezentacji badań towarzyszy próba uzupełnienia, m.in. o program heraldyczny, odczytanego przez Barbarę Tuchołkę-Włodarską programu ikonograficznego sarkofagu Zygmunta Augusta oraz przedstawienie po raz pierwszy treści ideowych sarkofagu Anny Jagiellonki.
The metal royal sarcophagi located in the Wawel Cathedral crypts are not only high-class works of art with an interesting ideological program, but also monuments of great historical value. Program of conservation and restoration of the royal coffins, initiated in 2015, is an opportunity to re-examine these objects. The article presents conservation and restoration works carried out in 2016 at the tin sarcophagi of Sigismund Augustus and Anna Jagiellon, focusing on the reconstructions performed during these works and the innovative, original construction solutions applied by conservators. It also discusses the history of both monuments, their transformation and repairs made over the years. The research presentation is accompanied by an attempt to supplement the iconographic program of Sigismund Augustus’ sarcophagus, deciphered by Barbara Tuchołka-Włodarska, with, inter alia, a heraldic program, and the first-ever explanation of ideological content of Anna Jagiellon’s sarcophagus.
Źródło:: Ochrona Zabytków; 2018, 2; 61-106
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 7.

Tytuł:: Konserwacja Wawelu w świetle doktryn konserwatorskich
The conservation of Wawel castle in the light of conservation doctrines
Autorzy:: Stępień, Piotr M.
Powiązania:: https://bibliotekanauki.pl/articles/538866.pdf
Data publikacji:: 2009
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Wawel
prace konserwatorskie i restauratorskie na Wawelu
konserwacja Wawelu
prace na Wzgórzu Wawelskim
studium restauracji zamku
projekt restauracji katedry
Sławomir Odrzywolski
regotycyzacja prezbiterium
Zygmunt Hendel
doktryny konserwatorskie na Wawelu
Adolf Szyszko-Bohusz
prof. Witold Minkiewicz
prof. Alfred Majewski
koncepcje prac konserwatorskich na Wawelu
prof. Jan Ostrowski
Opis:: The article analyses the conservation and restoration conducted from the third quarter of the nineteenth century on Wawel Hill, both within the royal residence complex and the cathedral, from the viewpoint of the then prevailing and present-day conservation doctrines. The first pioneering study of the restoration of the royal castle, prepared by Tomasz Pryliński in 1881-1882, must be highly assessed also as regards the current conservation method. On the other hand, the project of the restoration of the cathedral proposed by Sławomir Odrzywolski in 1886 still contained numerous elements of stylistic purism. In the course of its realisation it was considerably modified by a limitation of the re-Gothicisation, a preservation of the majority of the historical strata and an introduction of modern elements (Art Nouveau). The project of the restoration of the castle presented by Zygmunt Hendel in 1908 became the topic of a discussion in which diverse stands were represented by Max Dvořak, the chief conservator of historical monuments in the Austro-Hungarian monarchy, and Professor Stanislaw Tomkowicz, chairman of the Castle Restoration Committee. Continuing the ideas launched by Alois Riegel, Dvořak was in favour of strictly comprehended conservation, while Tomkowicz defended the idea of scientific restoration. The outcome of the discussion was a compromise favourable for Wawel Hill, entailing a resignation from controversial reconstruction proposals but not from the actual restoration of the royal residence. In 1916-1939 the restoration of the castle was continued by Adolf Szyszko-Bohusz, whose specific approach was based more on artistic creation. Today, his realisations already possess a certain historical value and deserve to be subjected to conservation protection on their own merit. Their essential novelty consisted of arranging two archaeological- -architectural reservations. Out of for four conceptions pertaining to the whole Hill (1917, 1919, 1939, 1946) Szyszko-Bohusz or his successors implemented the best elements. Fortunately for Wawel Hill, they did not realise plans for a Pantheon and an amphitheatre, which cannot be favourably judged from the viewpoint of conservation doctrine. After the Second World War conservators resigned from these plans and under the supervision of Witold Minkiewicz and Alfred Majewski initiated, i.a. work on mediaeval walls in the western and southern part of Wawel Hill. The range of the reconstruction was distinctly limited in comparison with the conceptions expounded by Szyszko-Bohusz, thus expressing the transformations of the conservation doctrine of the period. In 2008 a positive opinion about those realisations was reflected in its entry into a register of historical monuments as a “conservation document”. Modern elements of exposition arrangements introduced into the Treasury, the Armoury and the exhibition “The lost Wawel” are distinct from the authentic substance, a solution that reflects a clear-cut impact of the doctrine recorded in the Charter of Venice. Complex conservation, comprising the next stage of work conducted on Wawel Hill, had been initiated in 1990 by the present-day Director of the Royal Castle on Wawel Hill and Conservator of Historical Monuments on Wawel Hill – Professor Jan Ostrowski. The basic premises of these undertakings are contained in the Statute of the Royal Castle on Wawel Hill, which defines both the function of the Castle complex as a museum- -historical residence and the trend of conservation: “the preservation of the historical substance of monuments belonging to the Castle”. “Conservation” should, however, be comprehended as “conservation- -restoration”, since present-day activities should supplement those of the predecessors and not negate them. Such a continuation of earlier initiatives included the recreation of the surface of the arcade courtyard, the recreation of the historical crowing of Lubranka, the completion of the conservation- -restoration of the Sandomierz bastion, the architectural correction of the elevation of the Royal Kitchens (no. 5), the recreation of the royal gardens and the revalorisation of the complex of Gothic houses, i.e. building no. 7. An essential element in embarking upon conservation decisions is a valorisation of the historical strata, which includes also the results of earlier conservation. The negative opinion about the nineteenth- century introduction of barracks in the royal palace complex is maintained, but Austrian fortifications extant up to this day have been recognised as an element subjected to protection. Redesigning introduced during the Nazi occupation, fortunately not extensive, has also been negatively assessed. The principles applied in reference to the outcome of previous conservation assumed their preservation as historical values unless they collide with the fundamental purpose of the presentation of a historical royal residence, i.e. falsify its image or damage its historical substance. In such cases, corrections are advised, as exemplified by the exit from the castle to the royal gardens and a new arrangement of the reservation in the west wing of the castle.
Źródło:: Ochrona Zabytków; 2009, 1; 83-100
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki