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    Wyświetlanie 1-3 z 3
    Tytuł:
    Kaplice kolegiaty św. Anny w Krakowie – indywidualne fundacje pod zbiorczym nadzorem
    Autorzy:
    Kurzej, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/2016272.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    sztuka nowożytna
    kościół
    kaplice
    Sebastian Piskorski
    Uniwersytet Jagielloński
    early modern art
    church
    chapel
    Jagiellonian university
    Opis:
    Krakowska kolegiata św. Anny jest przykładem rzadkiej sytuacji, w której odrębne finansowanie poszczególnych kaplic udało się pogodzić ze ścisłym zintegrowaniem ich wystroju z całością wnętrza, ale też bardzo specyficznej komemoracji ich dobrodziejów. Upamiętniono ich w książce wydanej z okazji konsekracji, co stanowiło specyficzny wyraz kultury akademickiej, skoncentrowanej na słowie pisanym, a także odwołującej się często do księgi jako uniwersalnego symbolu mądrości. W kościele św. Anny jest to główny motyw wnętrza, powtarzający się jako atrybut patronki, spis ziemskich przodków jej wnuka, dowód świętości Jana Kantego, znak wiedzy antycznych prorokiń oraz godności Baranka Apokaliptycznego jako Najwyższej Mądrości Bożej.
    The artistic history of the university collegiate church in Cracow, has been the subject of numerous studies. Focusing on its chapels, however, imposes a slightly different perspective, related to the issues of patronage over individual oratories and the way in which their decoration was included in the ideological and artistic program of the entire church. After adopting such perspective, the Church of St. Anna appears as an interesting contribution to the reflection on the phenomenon of collective patronage, perfectly confirming the view of Peter Hirschfeld and Michael Baxandall, according to which the term basically refers to the activities of an individual hidden behind the collective. One of the goals set by the creators of the magnificent modern church with a rich liturgical and architectural program was to achieve the greatest possible coherence of the decor, both in terms of ideology and art. The obstaclesin its achievement were often complicated ownership relations, resulting from the diversified patronage over the chapels. Cracow Church of St. Anne, erected in the years 1693–1703 under the supervision of prof. Sebastian Piskorski, is one of the rare examples where the chapels have been given a coherent content and artistic program, despite the fact that their interiors were decorated thanks to money providedby separate founders. To achieve this harmony, the inclusion of the chapels in the content program of the interior was of the utmost importance, especially due to the transept chapels. It was in one of them that the altar of the tomb of St. John Cantius had to be placed, and such a location allowed direct light to be shone on it on the anniversary of saints’ birthday. Special setting had to be provided also for the opposite chapel of St. Cross, which reminded of the saints’ passionate devotion and presented the Cross as a source of wisdom. Much attention was paid to smaller nave oratorios. There are three pairs of them, the middle of which has been distinguished by a higher dome with a lantern. The choice of patrons of the nave chapels is allegorical – the middle chapel on the Epistle side was dedicated to the Virgin Mary, and the neighboring ones – to her spouse, St. Joseph and relative, St. John the Baptist. Moreover, the John Baptist’s Oratory is adjacent to the mausoleum of John Cantius, who was born on the Midsummer Day, inheriting his name. On the other hand, the chapels on the Gospel side were dedicated to figures representing the Church of times of the New Covenant. Its first superior – St. Peter, following Christ in martyrdom, was commemorated next to the Chapel of St. Cross. The middle oratory, opposite the St.Mary’s Chapel, is dedicated to St. Catherine the virgin, and the last – St. Sebastian, the patron of Piskorski, but also a popular apostle of those suffering infectious diseases. What is very characteristic, the contribution of the benefactors of individual chapels was commemorated only in a literary way – in publications issued on the occasion of the completion of the construction of the church. There are no inscriptions relating to their benefactors or space for their epitaphs in the chapels, or at least some of them have no funeral function at all.
    Źródło:
    TECHNE. Seria Nowa; 2020, 5; 117-131
    2084-851X
    Pojawia się w:
    TECHNE. Seria Nowa
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Capellae maiores et minores” i różne sposoby ich kształtowania w architekturze sakralnej po Soborze Trydenckim
    Autorzy:
    Krasny, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/2016280.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    nowożytna architektura sakralna
    nowożytna teoria sztuki
    sztuka sepulkralna
    liturgia po Soborze Trydenckim
    kaplice
    przestrzeń sakralna w epoce nowożytnej
    early modern sacral architecture
    early modern theory of art
    sepulchral art
    liturgy after the Council of Trent
    chapel
    sacred space in early modern period
    Opis:
    Reformy liturgiczne po Soborze Trydenckim doprowadziły do zasadniczych zmian w funkcjonowaniu liturgicznym i w kształtowaniu różnych partii świątyni. W różnych środowiskach terminem kaplica określano więc bądź prezbiterium, bądź aneksy ściśle powiązane z korpusem, bądź też autonomiczne budowle służące kultowi relikwii i cudownych obrazów oraz grzebaniu dostojnych zmarłych. Ten zamęt terminologiczny nie został uporządkowany w tekstach teoretyczno-artystycznych, takich jak mediolańskie Instructiones fabricae et supellectilis ecclesiastice. Nie sposób zatem wypracować jednoznacznej definicji nowożytnej kaplicy przykościelnej na użytek historii sztuki.
    In Instructiones fabricae et supellectilis ecclesiasticae published in Milan in 1577, in line with the tradition formed in the Middle Ages, the term capella was used to describe a part of the church interior, definitely designated as the place for altar. There, the term capella maior was referred to the church’s presbytery, and capelle minores – to the strings of identical chapels, adjacent to the sides of the nave, and sometimes also to the transept. Capella maior was already losing its spatial separateness as a result of liturgical reforms introduced after the Council of Trent. In Italy and in most European countries, it was then that great importance was attached to gathering the people at one solemn Holy Mass, at the same time striving to make its celebration as visible as possible to the gathered worshipers. Therefore, the choir partitions were removed, and the presbyteries were cleaned from elements emphasizing their spatial distinctiveness on the one hand (reliquaries, miraculous paintings, impressive tombstones), and on the other, distracting the attention of the worshipers from the celebration of the Holy Sacrifice. Such activities – strongly recommended in Instructiones – meant that the presbytery was very strongly (both spatially and ideologically) integrated with the body of the church, as a result of which in most languages it ceased to be called a chapel. On the other hand, in the documents of church factories such a term was applied to annexes connected very loosely with the space and body of the temple, to which the saints and tombstones from the presbytery were “transferred”. The construction of two such structures by the popes at the larger basilica of Santa Maria Maggiore in Rome became the confirmation of this practice by the highest authority in the Church. However, Instructiones and other Counter-Reformation texts on church shaping did not record the rapid spread of an “autonomous” chapel in sacral architecture. The Milanese work describes only the way of shaping the strings of capellae minores, so a solution present in the Italian architecturefrom the late Middle Ages. The reason for this choice was probably the fact that the chapels adjacent to the nave fulfilled a specific tradition in the liturgy in the church, and the role of autonomous chapels in this field remained insignificant. Due to the well-established local tradition in the South Netherlands, there was no integration of the spaces of presbyteries and churches in this area. In this area, Catholicism was restored after the period of violent Reformation, which meant that in the churches, first of all, elements destroyed by iconoclasts were reconstructed. Therefore, in the cathedrals and collegiate churches, with the consent of the Holy See, the partitions separating them from the corpus were reconstructed. Behind these partitions, imposing tombstones of bishops and canons were built, because only these spaces were supervised by higher clergy, while the corps were under the administration of municipalities. In Flemish, the presbytery was thus still described with the term (grote) kapel, while the side chapels, usually built between the buttresses of great Gothic churches, were called chapels (kapelletjes). Thus, in the modern era, the term “chapel” was associated with various spatial and functional solutions, both in construction practice and in texts on sacral architecture. Therefore, one should limit himself to noticing the complex presence of chapels in the history of modern architecture, and not try to formulate a precise and unambiguous definition of this type of building.
    Źródło:
    TECHNE. Seria Nowa; 2020, 5; 11-37
    2084-851X
    Pojawia się w:
    TECHNE. Seria Nowa
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Warszawa i Łowicz. Dwie kolegiackie kaplice Chrystusa Ukrzyżowanego w XVIII stuleciu
    Autorzy:
    Barczyk, Alina
    Sito, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/2016275.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    XVIII wiek
    Branicki Jan Klemens
    Łowicz
    Warszawa
    nowożytna architektura sakralna
    mecenat biskupi
    sztuka baroku
    cudowne wizerunki
    mauzolea
    sztuka sepulkralna
    18th century
    Warsaw
    early modern sacral architecture
    patronage of bishops
    baroque art
    miraculous images (crucifixes)
    mausoleums
    sepulchral art
    Opis:
    Dwie kaplice wzniesione przy kolegiatach w Warszawie i w Łowiczu, mieszczące słynące łaskami krucyfiksy, wykazują liczne analogie, do których należą: lokalizacja na przedłużeniu północnych naw, powiązania obu kapituł kolegiackich oraz szczególny status świątyń kojarzonych z najważniejszymi osobami w Rzeczypospolitej – królem (a także, w szerszym ujęciu, Sejmem i kręgiem dworskim) oraz prymasem, czyli interrexem. Mimo że powstanie architektury kaplic dzieliło blisko pół wieku, dostrzec można wzajemne zależności zastosowanych form. Wnętrza posiadają tym więcej analogii, że kaplicę warszawską przekształcono z inicjatywy Jana Klemensa Branickiego w na początku lat 60. XVIII wieku – gdy powstawało mauzoleum w Łowiczu. Zaprezentowania analiza, oparta na kwerendach archiwalnych i obserwacjach in situ, pozwoliła na doprecyzowanie dotychczasowych ustaleń, ukazanie procesu budowy oraz przekształceń omawianych obiektów, a także poświadczenie zależności artystycznych pomiędzy kaplicami.
    In the collegiate churches in Warsaw and Łowicz (two particularly important residential cities of the Republic of Poland in the modern era), in the 18th century, chapels were erected for the exhibition of late Gothic crucifixes, famous for their graces. The chapels were distinguished by remarkable architectural forms and innovative artistic programs. Both were built on the extensions of the northern aisles and were under the care of chapters, although their creation was financed from funds provided by powerful patrons. In the case of Łowicz, the construction was the fulfillment of the volition expressed in the will of Primate Adam Ignacy Komorowski, who assigned this part of the temple for his mausoleum. In Warsaw, the the right to patronage was passed on to successive families – the patronage was granted to the Szembek and Branicki families, among others. The features connecting both investments were also: the connections of both collegiate chapters and the special status of said churches, associated with the most important people in the Republic of Poland – the king (and, in a broader sense, the Seym and court circles) and the primate, i.e. the interrex. Although the chapels’ architecture was developed almost half a century apart, one can see the mutual dependence of the forms used. The interiors boast even more analogies because the Warsaw chapel, built in the second decade of the 18th century, was transformed at the initiative of Jan Klemens Branicki in the early 1860s – while the mausoleum in Łowicz was being built. Probably both buildings employed the workshop of the Warsaw architect Jakub Fontana. In both chapels, influences of palace architecture are visible, manifested in the lightness of forms, rococo style and colors based on combining white with gold. The connection to residential interiors was enhanced especially by crimson wall coverings introduced by Fontana in the present St. John cathedral. The presented analysis, based on archival queries and in situ observations, made it possible to clarify the findings so far, as well as to show the construction process and transformations of the discussed objects. A look at their architectural form and decor details made it possible to identify sources of inspiration, probable contractors and to confirm the relationship between two particularly important examples of 18th-century collegiate chapels.
    Źródło:
    TECHNE. Seria Nowa; 2020, 5; 61-94
    2084-851X
    Pojawia się w:
    TECHNE. Seria Nowa
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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