Temat: the immaculate conception - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Geneza i znaczenie motywu Arbor Virginis w sztuce Północnej Europy do Soboru Trydenckiego
The Origin and Meaning of the Arbor Virginis Motif in the Pre-Trent Art
Autorzy:: Przylicki, Krzysztof
Powiązania:: https://bibliotekanauki.pl/articles/1887748.pdf
Data publikacji:: 2014
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: Arbor Virginis
Drzewo Jessego
idea Niepokalanego Poczęcia Najświętszej Maryi Panny
Tree of Jesse
idea of the Immaculate Conception of the Blessed Virgin Mary
Opis:: Rozwijająca się na przestrzeni wieków ikonografia maryjna wykształciła wiele rozwiązań, za pomocą których starano się przełożyć trudne treści teologiczne na język sztuki. Artyści usilnie poszukiwali plastycznych ekwiwalentów skomplikowanych dla prawd wiary. Jednym z najciekawszych przykładów tego rodzaju zabiegów w sztuce jest motyw Arbor Virginia. Oparty na schemacie drzewa genealogicznego i wykorzystujący popularną symbolikę floralną, przybliżał w możliwie przystępny sposób ideę Niepokalanego Poczęcia Najświętszej Maryi Panny. Artykuł niniejszy jest próbą wskazania źródeł literackich, na kanwie których mógł w końcu XIV w. wykształcić się motyw Arbor Virginis, a także analizą treści, jakie w sobie zawierał.
The Marian iconography developing over the ages has formed a number of solutions, by means of which attempts were made to translate the difficult theological truths into the language of art. Artists tried hard to find visual equivalents of the complicated truths of the faith. One of the most important examples of this kind of attempts is the Arbor Virginis motif. Based on the pattern of the genealogical tree and using the popular floral symbolism, it explained the idea of the Immaculate Conception of the Blessed Virgin Mary in a possibly accessible way. The present article tries to point to literary sources, on whose basis the Arbor Virginis motif was formed at the end of the 14th century, as well as analyzes the contents it contained.
Źródło:: Roczniki Humanistyczne; 2014, 62, 4; 5-32
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 2.

Tytuł:: Obraz Matki Bożej z kościoła pod wezwaniem Wniebowzięcia Najświętszej Maryi Panny w Łodzi
The painting of Our Lady from the church dedicated to the Assumption of the Holy Virgin Mary in Łódź
Autorzy:: Leszner, Magdalena
Powiązania:: https://bibliotekanauki.pl/articles/1954053.pdf
Data publikacji:: 2004
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: Łódź
kościół pod wezwaniem Najświętszej Maryi Panny w Łodzi
obraz Matki Bożej z Łodzi
Niepokalane Poczęcie
Zwiastowanie
Wniebowzięcie
dogmat
ikonografia przedstawień maryjnych
church devoted to the Assumption of the Holy Virgin Mary in Łódź
painting of Our Lady in Łódź
Immaculate Conception
Annunciation
Assumption
dogma
iconography of presentations of Mary
Opis:: Not everybody realizes that besides architectural monuments built in the previous century Łódź also owns a wonderful example of modern painting. Hidden in the neo-Gothic church dedicated to the Assumption of the Holy Virgin Mary the picture of Our Lady is one of the oldest artistic works in the town. In its long history the painting was given various titles: starting from the Dolorous or Glorious, through the Immaculate, Assumed, Merciful, to even being taken by some people for a copy of the picture of Our Lady of Ostra Brama. However, it is most often referred to as Our Lady of Bałuty, or just Our Lady of Łódź. In the work the history of the church and of the painting were followed, with paying special attention to separating legends from facts. Attempts were made to prove that the opinion about the painting in the Łódź church being a copy of the picture from Ostra Brama is unjustified; it is only the same iconographic type. It represents painting that is relatively rarely encountered in art. The bust of Mary without the Infant, with her hands crossed on the breast, expresses several truths about the Virgin. It is a sort of synthesis of three iconographic motifs: the Immaculate Conception, the Annunciation and the Assumption. The way to announcing the dogmas of the Immaculate Conception and the Assumption was especially turbulent and the process lasted from the beginnings of Christianity. Undoubtedly these truths are linked with each other. By the Assumption we also worship Mary's Immaculate Conception. Artists created paintings and sculptures presenting mariological truths. However, the iconography of these dogmas was similar, or even identical. This resulted from the very fact that they co-existed, as well as from their relatively late announcement by the Pope. The picture of the Immaculate Virgin was often changed and the moment of the Assumption was emphasized. The element that connected these two dogmas was the scene of the Annunciation, in which Mary's fiat united the Immaculate Conception, the virginal maternity and the divine Assumption of God's Mother. This is why the way of presenting Mary in the scene of the Annunciation is analogical to the pictures of the Immaculate Conception or the Assumption, in which Mary's gesture is significant: it is touching the heart or joining her hands in prayer. It is also important that Mary is presented without the Infant, owing to which the painting joins the group of scenes in which the artists had to show a composition of God's Mother without Jesus, but in spiritual communion with God the Father. The painting of God's Mother in the church dedicated to the Assumption of the Holy Virgin Mary in Łódź closely connects the Immaculate Conception to the Assumption, and also, owing to the specific position of the hands – to the Annunciation. The very fact that in Łódź since 1364 there has been a parish with such a dedication as well as the connection between these dogmas had effect on formation of such an image of God's Mother. Probably this iconographic type is derived from the Netherlandish graphic arts of the 16th century, that gradually passed to Eastern Europe. This is the way that the model could have reached Poland. The picture of God's Mother in Łódź is not a copy of the painting from Ostra Brama. They both represent a similar iconographic type, and what follows from it, they are presented in a similar arrangement. However, there are too many elements that are different to say it is a copy. It is not known who was the painter and from what school he came. He undoubtedly knew the works of Netherlandish and Italian masters, which is proven by the way Madonna was painted. There are no documents speaking about conservation of the painting, which makes it impossible to date the work precisely. It is possible that it was founded by Paweł Łódź Kubowicz in 1639, as in 1718 it was already considered miraculous.
Źródło:: Roczniki Humanistyczne; 2004, 52, 4; 345-366
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Informacja

Wyszukujesz frazę "the immaculate conception" wg kryterium: Temat

Źródło danych

Dostawca treści

Kolekcja

Rok wydania

Wydawca

Temat

Autor

Typ dokumentu

Język