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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:
    Kaplice Najświętszego Sakramentu w kolegiatach ulokowanych w miastach rezydencjonalnych biskupów polskich. Funkcje – kształt architektoniczny – źródła inspiracji
    Autorzy:
    Nowak, Weronika
    Powiązania:
    https://bibliotekanauki.pl/articles/2016273.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    kolegiaty
    kaplice Najświętszego Sakramentu
    sztuka sakralna XVII i XVIII wieku
    fundacje biskupie
    collegiate chapels
    chapels of the Blessed Sacrament
    sacred art of the 17th and 18th centuries
    patronage of bishops
    Opis:
    Artykuł poświęcony został zagadnieniu budowy i aranżacji kaplic Najświętszego Sakramentu w kolegiatach ulokowanych w biskupich miastach rezydencjonalnych: Warszawie, Łowiczu, Nysie, Pułtusku, Kielcach, Janowie Podlaskim i Wolborzu. Temat przechowywania Eucharystii w kościele w czasach nowożytnych nie był dotychczas przedmiotem dogłębnych analiz. Powszechnie przyjmuje się, że po Soborze Trydenckim tabernakulum zaczęto umieszczać na ołtarzu głównym świątyni. Należy jednak zaznaczyć, że Kościół nie wypracował w tej kwestii jednolitej, uniwersalnej formuły. Na soborze nie odniesiono się do problemu w sposób szczegółowy. Podkreślono, że Eucharystię należy przechowywać miejscu świętym, a regulacje wszelkich pozostałych kwestii pozostawiono ordynariuszom poszczególnych diecezji. Powszechne stało się umieszczanie Najświętszego Sakramentu na „wielkim” ołtarzu, jednak nadal z powodzeniem korzystano ze średniowiecznych wolnostojących sakramentariów lub ściennych nisz. Pod koniec XVI wieku w Państwie Kościelnym ukształtował się zwyczaj lokowania Eucharystii w specjalnie przystosowanej do tego kaplicy. Formuła ta została przyjęta także w Rzeczypospolitej. Od początku XVII wieku biskupi zaczęli inicjować translacje tabernakulów do odrębnych kaplic w najważniejszych świątyniach diecezji – katedrach – oraz kościołach kolegiackich ulokowanych w ich miastach rezydencjonalnych. W niniejszym artykule przedstawiono historię fundacji tych ostatnich, omówiono funkcje kaplic, ich pierwotny kształt, przemiany architektoniczne oraz wystrój.
    In the One of the problems that arose after the Council of Trent was the issue of where the Blessed Sacrament should be kept. During the session of the Council, this issue was not discussed in detail, only emphasizing the need to place the Eucharist inside the church building. It was commonly agreed that this place was to be dignified, clean and protected against sacrilege, but there was no uniform, universal formula for the location of the tabernacle in the temple. In addition to the well-known forms such as the placing of the Blessed Sacrament on the main altar and the sacramentals that functioned even long after the Council of Trent, other solutions were also accepted in the Catholic Church, which were also allowed by Charles Borromeo, as evidenced by one of the fragments of the First Milan Synod. A kind of novelty was therefore the creation of separate chapels in cathedrals and collegiate churches intended only to place the Blessed Sacrament, which can be divided into two types. The first, for which a magnificent model was the Lateran Basilica, was the storage of the Eucharist in the transept, distinctly continued in Bologna and Ravenna, the second – the location of the Blessed Sacrament in a separate, richly decorated chapel, initiated in the Papal State (the Chapel of Sixtus V in the Church of Our Lady Major, Cathedrals of Urbino, Fano, Gubbio and Fermo). Although the separate chapels of the Blessed Sacrament, popularized in Venice, functioned somewhat earlier at parish churches and were associated with the established Eucharistic fraternities, building them in cathedral and collegiate churches served to clearly distinguish between the space of the choir and the services celebrated in it which were related to the functioning of the chapter, and private adoration of the Blessed Sacrament. This well-established example of locating the Eucharist in a separate chapel was adopted in Poland, with which we can connect known cases of the bishops’ initiated translation of tabernacles into separate cathedral chapels –the cathedral in Kraków (1602), in Gniezno (1613) and in Włocławek (1618). In this context, one should also consider the chapels of the Blessed Sacrament founded by Polish bishops in residential collegiate churches located in their cities, including those adapted in chapels which originally had different functions, with distinct respect for the tradition of the place and the use of spolia (Warsaw, Nysa, Pułtusk), following the pattern connecting the storage of the Eucharist with the sepulchral function (Lipski’s chapel in Łowicz) and the pairs of chapels created in the 18th century connecting the invocation of St. Cross (altars with the tabernacle) with a Marian one (Kielce, Janów Podlaski, Wolbórz).
    Źródło:
    TECHNE. Seria Nowa; 2020, 5; 95-115
    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
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