Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "scenes" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-2 z 2
    Tytuł:
    Geneza treści kwater Drzwi Gnieźnieńskich. Narracja źródeł pisanych czy interpretacja twórcy?
    The origin of the Gniezno Doors scenes. The narration of the primary sources or interpretation of an author?
    Autorzy:
    Doroszewski, Przemysław H.
    Powiązania:
    https://bibliotekanauki.pl/articles/2151003.pdf
    Data publikacji:
    2015-12
    Wydawca:
    Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
    Tematy:
    Gniezno
    Gniezno Doors
    Saint Adalbert of Prague
    scenes
    origin
    Opis:
    The narration of the scenes on the left side of the Gniezno Doors is based mainly on three primary sources: Sancti Adalberti Pragensis episcopi et martyris vita prior (so-called Vita I, pol. Żywot I), Sancti Adalberti Pragensis episcopi et martyris vita altera (so-called Vita II, pol. Żywot II) and De sancto Adalberto episcopo (so-called Tempore illo). Seven of the nine scenes of the left door refer to Vita I (six to Vita II and Tempore illo). The inspiration of thescenes number IV and VIII can not be identified. These two scenes do not refer to primary sources listed above. The origin of the scenes on the right side of the Gniezno Doors is more complicated. Four of them (from X to XIII) are consistent with little modifications with both St.Adalbert’s Vita’s and Tempore illo. But the next scenes (from XIV to XVIII) where inspired mainly by the primary source Passio Sancti Adalberti martyris (pol. Pasja z Tegernsee) and also Tempore illo.
    Źródło:
    Studia Elbląskie; 2015, 16; 83-92
    1507-9058
    Pojawia się w:
    Studia Elbląskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zabytkowy wystrój i wyposażenie pomezańskiego kościoła katedralnego w Kwidzynie
    Historic ornaments and furniture of the Pomesanian Cathedral in Kwidzyn
    Autorzy:
    Wiśniewski, Jan
    Powiązania:
    https://bibliotekanauki.pl/articles/2165723.pdf
    Data publikacji:
    2013-12
    Wydawca:
    Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
    Tematy:
    Pomesanian cathedral
    historic equipment: altars
    confessionals
    epitaphs
    listed wall paintings: scenes from the life of Jesus and saints
    gallery of Pomesanian bishops and grand masters of the Teutonic Order
    Opis:
    The post-war hosts of the Pomesanian cathedral in Kwidzyn (since 1254) (oo. Franciscans Conv., then diocese priests) salvaged the monuments it housed. The cathedral was constructed between 1320 and 1355. It was the burial place of the three “condemned” grand masters (their graves were discovered in 2008) and the blessed Dorothy of Montau. Inside are preserved 32 (some in fragments) tombstones and epitaphs of Pomesanian bishops and dignitaries of the Teutonic Knights Order dated from the 14th to the 18th century and seven baroque tombstones; the mosaic of the St. John in the vat of boiling oil dated at ca. 1380 above the side entrance; the gallery of 17 Pomesanian bishops in the upper sanctuary, which was painted in the late 15th century; mural paintings on the side aisle walls of the main body of the church (biblia pauperum, although nowadays the main idea behind the paintings is not precise); oak throne of Hiob von Dobeneck (†1521 r.), an outstanding humanist, wooden pulpit from 1643, the main altar from around 1690 (now in the choir of the Chapter) Groeben family chapel form 1705 including the equipment; the organ front from the 2nd half of the 19th century, the present brick altar and pulpit from the 2nd half of the 19th century, the so-called 2 confessionals from 1715 with a canopy, the granite baptismal font from the 18 century; wooden crucifix from the 19th century and the Stations of the Cross made from artificial stone; three stained-glass windows of the 2nd half of the 19 century, two bells from 1512 and 1583, these objects of worship are high-class works of art. Just after the war was over, the historic equipment of the cathedral was protected from further damage. Subsequently, the cathedral parish commune carried out systematic conservation and renovation of the monuments (mural paintings were discovered). In this way, the cultural legacy, which is used again by Roman-Catholics after the Protestant period, has been saved for future generations. Finally, during the reforms following the Second Vatican Council, the equipment of the presbytery in the central aisle was adapted to the modernised service. Thus, the place of worship which the Pomesanian Cathedral has been and continues to be, is a “living” church, which has been adapted to the changing needs of worship (the cathedral of the bishop of Pomesania, the seat of the cathedral chapter, the city parish). After the diocese was converted to Protestantism, the interior was adapted to the evangelical style of worship (Protestants, Bohemian Brethren), and some of the interior decorations were damaged then. However, in the 19th century extensive renovation works of the cathedral were undertaken. These works have continued until now.
    Źródło:
    Studia Elbląskie; 2013, 14; 63-83
    1507-9058
    Pojawia się w:
    Studia Elbląskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies