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    Tytuł:
    Z kręgu zagadnień ciała i cielesności w cyklach obrazowych Genesis. Na wybranych przykładach sztuki średniowiecznej
    Body and Carnality in the Scene of „Genesis”. An Analysis of Selected Medieval Works of Art
    Autorzy:
    Mazurczak, Urszula M.
    Powiązania:
    https://bibliotekanauki.pl/articles/1929385.pdf
    Data publikacji:
    2011
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Stwórca
    człowiek
    ciało
    cielesność
    zmysły
    intelekt dusza
    ubiór
    God the Creator
    human being
    body
    carnality
    senses
    intellect
    soul
    apparel
    Opis:
    The Medieval imagery in the representations of the Genesis are profusely analysed in the literature of the subject. This is owing to the fact that the images in question cumulate a large number of interrelated religious motifs and ideas. The paramount motif is that of the Creator, whose presence was usually represented graphically by the figure of Christ with the crossnimbus. Other figures were also used as substitutes of God the Father. Figures of angels taking part in the consequent stages of creation are a frequent iconographic element, too. Irrespective of the above, the bodies and the carnality of Adam and Eve has been discussed only marginally, or completely ignored in the research on the Medieval imagery of the Genesis. Despite the common belief that Medieval art had no intense interest in the human body, the scenes depicting the creation of the human being reveal the artists' attempts to take up the theological discourse on the nature of carnality, bearing “God's image.” This paper points at a selection of patristic texts and those written by other authors who interpreted carnality in the context of the mystery of the human soul, intellect, human senses as well as the conditions relating to the sexual divide. The analysis is based on the most outstanding Medieval miniatures and reliefs that represent the relationship between the human being and the Creator in the moment of creating, first, Adam and then Eve. Special emphasis is placed on the artists' efforts to carefully represent the gestures of the Creator, which are to tell the spectator about the dignity of the human body as created by God. Also discussed are images that pinpoint the difference in the artistic positioning of the representation of God in relation to Adam and Eve. Some of the images show closeness and affinity, when God leans down towards the world in the act of creating man. In others, God sits on a globe, creating man by means of a divine gesture, but staying in a distance to His creation. A vital element in the way in which the first parents' bodies were painted was how a given artist emphasised or understated the anatomical features of Adam and Eve. Some artists even presented them as children, in an apparent need to give their own interpretation of their age. Yet another significant aspect in the analysis of how the human body was depicted is that of surroundings. The representations of the garden of Eden present nature, with special exposition of the ground on which the newly-created Adam is lying, a rock as well the trees and rivers in paradise.
    Źródło:
    Roczniki Humanistyczne; 2011, 59, 4; 5-28
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Inspiracje tekstów starotestamentalnych i apokryfów żydowskich w średniowiecznych wyobrażeniach scenicznych Księgi Rodzaju
    Inspirations of Old Testament Texts and Jewish Apocrypha in Medieval Scenic Representations of the Book of Genesis
    Autorzy:
    Mazurczak, Urszula M.
    Powiązania:
    https://bibliotekanauki.pl/articles/1807373.pdf
    Data publikacji:
    2020-01-02
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    ikonografia stworzenia człowieka
    średniowieczna antropologia obrazu
    symbolika Prawa
    iconography of the creation of man
    medieval anthropology of image
    figure of the Law
    Opis:
    The iconography of the Book of Genesis has been elaborated on in extensive studies in which connections with the biblical text and commentaries, mainly patristic, have been demonstrated. In the state of research gathered on this subject by U. Mazurczak in ‘Das Sechstagewerk in der Ikonographie des Mittelalters. Forschungsstand und Forschungsperspektiven’ (Acta Mediaevalia 8:1995) the author pointed out crucial research problems which were worth further studying in the iconography of ‘Genesis’. Moreover, in a book published in 2012 Human corporeality in medieval Italian painting (Vol. 1. Lublin 2012) the issues of the created body and its significance in the realm of medieval anthropology were presented. In the present study selected texts of Jewish apocrypha and philosophical commentators, which inspired Christian representations of illustrations for the Book of Genesis: the creation of man and his sojourn in the paradise as well as his departure after the original sin, have been pointed out. Jewish tradition in the images of angels in the illustrations of Cotton’s Bible, repeated on mosaics in the narthex of St. Mark’s Church in Venice has been also indicated. Those figures bear resemblance to the texts by Philo of Alexandria who explained the significance of angels appearing next to God in the subsequent days in his commentary On the creation of the world. The number of angels from the first to the seventh refers to each day being created. Elements of Jewish tradition can be also traced in the famous Bible of Czerwińsk (1148-1155), destroyed during World War II, where God the Creator was depicted together with three angels. God the Father anoints the first angel with the same gesture as he touches Adam’s forehead, which is shown in the following medallion. In this way Philo interpreted the creation of mind as stamping it with the wisdom of God the Creator who imprinted his stigma in man’s mind. The apocrypha called the Book of Jubilees was of significant importance—the list of angels’ (residents’ of heaven) powers was enumerated there. They rule over cosmic powers and over man on the earth. In the Book the dialogical form between God and the angels is developed and the gesture of touch is also explained here as it was presented in a codex once stored in Polish collection. The touch is a sign of the deep connection between man and Yahweh who reveals himself in a special way on the day of Sabbath—The Day of God’s Glory. With the sign of touching Adam’s forehead God gave his blessing to man on the seventh day, namely the day of consecration. In a codex stored in the National Library in Vienna and called the Vienna Genesis the scene of the parents going beyond the gates of paradise after the original sin was developed, in turn. A classic motif of an angel standing next to the gates of paradise was enriched with the second female figure, a personification which is deprived of signs of sanctity but is standing close to Adam and Eve. The miniaturist enriched the image of the paradise gates with a motif of blazing but not burning out rims of circles. The female personification, exposed by means of the smartness of clothes and proportionally exceeding all the figures of the scene including the angel, was identified with the personification of Wisdom. The author points out the personification of Divine Law here. In Liber Graduum, a compilation of Gnostic and Hebrew texts, its author concentrated on a description of the sin and the grace of God received by the parents. Before having committed the sin they experienced only God’s love in the paradise, however, after the sin they experienced Divine Mercy, together with Divine Law. The figure in Vienna Genesis standing beyond the gate next to the parents is the figure of the Law given by the merciful God to them.
    Źródło:
    Roczniki Kulturoznawcze; 2013, 4, 3; 51-73
    2082-8578
    Pojawia się w:
    Roczniki Kulturoznawcze
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Z kręgu rozważań nad portretami uczonych humanistów w malarstwie renesansowym na przykładzie portretu Pracelsusa w Luwrze
    Some Reflections on the Portraits of Learned Humanists in the Renaissance Painting on the Example of the Portrait of Paracelsus in the Louvre
    Autorzy:
    Mazurczak, Urszula M.
    Powiązania:
    https://bibliotekanauki.pl/articles/1955685.pdf
    Data publikacji:
    1999
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The problem of the portrait of the humanist has already been explained in formal terms as „a scholar in his study”, taking into consideration the significance of his bodily characteristics and the place in which he has been presented. Understood in this way the portrait becomes part of a series of portrait models explained within the type of a defined social group. Recent research into portrait in the Renaissance reveals that painters undertook attempts at showing also personality features of the presented people, and not only physical ones. Beginnings of such creation of figures have been pointed to, which are seen in the portraits of condottieres, whose physical strength was united with the inner strength of their character. Personalities of humanists also belong to this type. In the second half of the 15th century painters from Florence and Venice worked out a way of showing figures with inner strength. Landscape was harmonised with them in order to deepen the illusions sought for the models of the portrayed people. They may serve as comparison for the Louvre portrait of Paracelsus ascribed to Q. Massys, which is discussed in the present paper. The figure was shown in a way that integrates the man's fisis and psyche, in this way reproducing the real personality of the great doctor and humanist. The landscape is harmonised with the presented figure model; despite the illusion of uniformity it was de facto composed of many different topographic elements. It was intentionally composed as a spatial mosaic, so that the effects sought for the human figure could be brought out. Portraits painted against the background of landscape have their long tradition in the Dutch painting, starting with Jan van Eyck. However, the painters belonging to the later Antwerp school of the first quarter of the 16th century took up the problem again, accepting the character of landscape as an element that is integral with the figure of the portrayed humanist. Models for this type of painting were taken from Italian portraits they knew from their immediate experience. Painters more and more often crossed the Alps, consciously looking for inspiration there. Jan Scorel belonged to these painters. His paths of creative penetration followed traces of Paracelsus' life and work until the artist started work in Rome, at the court of his friend from Utrecht – Hadian VI. The portrait of Paracelsus shows the painter's knowledge of the art of the portrait as physical creation combined with attempts at rendering his inner personality. The type of landscape also has the features of southern painting, especially Tuscanian, which to a considerable degree introduced toposes of the ideal landscape with features of idyll inspired by poetical texts. The portrait of Paracelsus fits the rich tradition of „scholar against the background of landscape”, creating a harmony of the personality and the ideal place described in ancient texts. The Antwerpian humanism not only sought formal patterns for solving artistic problems, but it penetrated deeper connections with Italian humanism in literature, which was analysed in the work by Larry Silver. The problem of the portrait of Paracelsus discussed here may be an example of the Renaissance understanding of the humanist against the background of landscape.
    Źródło:
    Roczniki Humanistyczne; 1999, 47, 4; 88-105
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miasto w pejzażu malarstwa niderlandzkiego. Topika i obrazowanie
    The Town in the Landscape of the Duch Painting. The Topic and Imagery
    Autorzy:
    Mazurczak, Urszula M.
    Powiązania:
    https://bibliotekanauki.pl/articles/2120034.pdf
    Data publikacji:
    2001
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Opis:
    The concept of town in the Middle Ages and its image in art have two vectors: sacred and lay. In the early medieval painting the meaning of the sacred town dominated, whereas along with the development of towns in the 13th century the town as a real urban and architectonic space gains its place in an ever more distinct shape. The beginnings of this process are shown in miniature painting that was originated in Paris studios, starting with Louis the Saint's Psalter. They are selected details of the town architecture, e.g. the Notre Dame Cathedral in Paris, and places that were important for the city, like the Seine, that constituted scenes of action that had a sacred character. The end of the 14th century, and especially illuminations by Master Marshal Boucikaut are an example of developed town structures submerged in a landscape reminding of native ones. Miniature painting of the turn of the 14th century is a preparation for the Dutch tabular painting of the 15th century with its mature town structures along with the adjacent area joined with the town by means of roads and moving people. These landscapes are not autonomous views of towns but they remain the place or background for narrative scenes, mostly sacred ones. In their multitude and variety the compositions make one undertake an attempt to work out their typology; hence the following composition groups have been identified: 1.Events presented indoors within a townRooms situated on the level of the landscape surrounding themRooms situated considerably higher than the landscape that can be seen 2.Events in an open landscape with the townEvents situated at the walls of the townEvents situated in suburban areas with a perspective of the distant town 3. Selected motifs as substitutes for the town 4. A real town uniting all the visions of the holy town The presented types of towns joined with sacred scenes on selected examples of Dutch painting put the question concerning the degree to which they are real as compared to the real towns as well as their symbolism that was expressed in the oriental or archaic architecture. The situation of towns in the Netherlands in the 15th century after the Hundred Years' War shows a developmental dynamics in its industry and social life. Owing to historical research tendencies may be recognised for combining small town structures into big organisms in order to strengthen their economic standing. This is shown in Jan van Eyck's and Roger van der Weyden's paintings. At the same time a significant role of the nobility can be noticed along with its life outside the town that is marked in the paintings by feudal type castles or suburban residences. The end of the 15th century brings limited visions of towns, as selected architectonic forms take over, which are substitutes for the town and point to a departure from painting whole urban structures.
    Źródło:
    Roczniki Humanistyczne; 2001, 48-49, 4; 27-101
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dwie starożytne tradycje rozumienia ciała w sztuce średniowiecznej
    Two Ancient Traditions to Represent the Human Body in Mediaeval Art
    Autorzy:
    Mazurczak, Urszula M.
    Powiązania:
    https://bibliotekanauki.pl/articles/2127732.pdf
    Data publikacji:
    2007
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    ciało
    rzeźba
    tradycja klasyczna
    tradycja judaistyczna
    cielesność
    uśmiech
    body
    sculpture
    classical tradition
    Judaic tradition
    corporeality
    smile
    Opis:
    In the basic system of visual arts the human body is subject to the first interpretations, artistic and semantic evaluations. In the studies on art it was the principal criterion of style and artist’s workshop. In the most ancient research on early medieval art and the mature Middle Ages the stylistic definitions of the human body were assumed to be the basis of the classification of art, its relationship with ancient tradition or its various divergences, which were given pejorative names. The classical character of divergences from that model in the context modelling the body allows us to establish the chronology of works from the times of the fall of pagan art up to the new forms of Christian art. An interesting study on the human body (not on nakedness) help us to take a closer look on how Roman art, especially French sculpture, was established in the circle of Benedictine orders. Starting from the classical model of Mediterranean art it created a new understanding of the body in accord with the strict text of the Bible, which — instead of corporeal unity — stressed the importance of its members. An analysis of particular excerpts from the Bible, providing the sense of the hip, the knee, the eye, the head, and the hand allow us to explain the analysis of the body into its members often called deformation. Some examples of monumental sculpture in Moissac, Cluny, and Wezelay unveil the sense of this deformation in the Judaic, not Roman, context of understanding the body. Italy and its influence have retained the Mediterranean, Roman traditions in the shaping of the human body. Thereby they continued the classical model for Gothic art and sculpture in the cathedral milieus. The body and the wealth of its corporeality is shown by sculpture returning to the Roman model again, thereby unveiling the scale of psychological values, such as smile, depicted in the sculptures in Reims, Naumburg, and Lincoln. We may notice in medieval art two patterns by which to show the body: classical and Judaic that comes from the Bible.
    Źródło:
    Roczniki Humanistyczne; 2007, 54-55, 3; 157-186
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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