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    Wyświetlanie 1-11 z 11
    Tytuł:
    Województwo wałbrzyskie
    WAŁBRZYCH VOIVODSHIP
    Autorzy:
    Derej, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/538304.pdf
    Data publikacji:
    1977
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Urząd Wojewódzki w Wałbrzychu
    wałbrzyski konserwator zabytków
    zabytki województwa wałbrzyskiego
    Opis:
    The problems of organization of the Voivodship Office for Conservation o f Historical Monuments are approached by the author against the background of his personal experience acquired at the early period of exercising his office, the first contacts with administrative authorities and journeys to the respective localities in the region concerned. Since 1975 cooperation has been' established with numerous institutions engaged in the protection of historical monuments and the steps taken for the purpose of restoration of the former post of district conservator of historical monuments. The postulate has been put into effect for appointment of a working group for conservation of historical monuments in the old town of Kłodzko and the Voivodship Fund for the Protection of Historical Monuments sunk. At present work is under way on registration of the monuments of 19th century architecture and complementing the lists of movable monuments. Nevertheless, a considerable part of the Voivodship’s 1200 monuments of architecture and building are not utilized now but exposed to steady deterioration.
    Źródło:
    Ochrona Zabytków; 1977, 1-2; 79-81
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Województwo tarnowskie
    TARNÓW VOIVODSHIP
    Autorzy:
    Krupiński, Andrzej B.
    Powiązania:
    https://bibliotekanauki.pl/articles/536134.pdf
    Data publikacji:
    1977
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    zabytki województwa tarnowskiego
    konserwator tarnowski
    tarnowski urząd konserwatora zabytków
    Pałac Lubomirskich
    Opis:
    The large number of historical monuments to be found in the territory of the voivodship of Tarnów results in no less numerous tasks of the Voivodship Office for Conservation of Historical Monuments, in particular, those involved in drawing up complete records of those monuments and their verification, inspection of the ones still in use, determination of appropriate frameworks of the Office’s cooperation with the bodies of state administration. In 1975—1976 a team for the research on, and documentation of historical monuments was set up by the Conservator, the Museum in Tarnów having been raised to the rank of a regional one, with two branches. The activities of the Conservator’s Office are carried on in a consonance with the programme for its proceedings in 1976—1980, one of the tasks laid down therein being proper development of Tarnów tourist region from the viewpoint of the protection and conservation of historical monuments. The main concern of conservation authorities is protection of the monuments of wooden architecture. The setting up is planned of two more Skansen Museums and adaptation of the monuments in situ for new practical purposes. Another line of the activities discussed consits in popularization of the protection of historical monuments, to mention but the competition entitled : ’’The Historical Monuments of Tarnów Region in Photographs.”
    Źródło:
    Ochrona Zabytków; 1977, 1-2; 76-79
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Problemy organizacji nowych urzedów konserwatorskich : województwo słupskie
    PROBLEMS INVOLVED IN THE ORGANIZATION OF CONSERVATION OFFICES — SŁUPSK VOIVODSHIP
    Autorzy:
    Szpilewski, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/535486.pdf
    Data publikacji:
    1978
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    urząd konserwatorski w woj. słupskim
    Zdzisław Daczkowski
    Biuro Badań i Dokumentacji Zabytków w Słupsku
    Opis:
    The region of Słupsk voivodship, brought to life in 1975, is not rich in historic monuments but they make an essential element o f the landscace, which — with a touristic nature of the region — increases their value. From the very beginning of voivodship’s life the conservator of monuments made attempts to establish the Office for the Research and Documentation of Historic Monuments. The Office was opened early in 1976 and is an independent budget body. It undertakes studies and compiles documentation on all kinds of works of culture. In 1976 the Office acquired suitable premises and equipped them with necessary implements, to mention only special bookcases for storing catalogue cards. At that time numerous field investigations were made and they confirmed devastation of many historic monuments. A working group attached to the Histoiic Monuments’ Conservation Workshop was set up with an aim to carry on conservation works commenced at Bytów and Słupsk. Concluding his article, the author puts forward postulates concerning, i.a., historic building being devastated by their present users nad emphasizes a social role of the protectors of the monuments in assisting the conservation services.
    Źródło:
    Ochrona Zabytków; 1978, 3; 190-193
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Województwo bielsko-bialskie
    BIELSKO-BIAŁA VOIVODSHIP
    Autorzy:
    Gruszczyk, Karol
    Powiązania:
    https://bibliotekanauki.pl/articles/535873.pdf
    Data publikacji:
    1977
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    urząd konserwatorski Bielsko-Biała
    muzea województwa bielsko-bialskiego
    urzędy konserwatorskie
    bielsko-bialski konserwator zabytków
    lustracje terenowe
    Opis:
    One of Poland’s smallest voivodships, the voivodship of Bielsko- Biała has some 1 250 monuments of architecture and town-planning, ca 120 sets of movable monuments and about 180 other objects of historical value. The Voivodship Office for Conservation of Historical Monuments is staffed by three persons. According to plans, an office for the research on, and documentation of, historical monuments will have been set up by 1980, however marked the difficulties involved, one of them being the non-inviting salaries. The Voivodship Conservator’s Office is also faced with considerable difficulties in procurring adequate premises, above all, those wanted for documentation purposes and also with those caused by limited possibilities o f the necessary frequent journeys to the respective localities. Another problem are the proceedings of building enterprises which, not infrequently, carry out modernization or repair work within historical groupings without having previously obtained the Voivodship Conservator’s permission in this respect.
    Źródło:
    Ochrona Zabytków; 1977, 1-2; 74-75
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Amerykański projekt ochrony pomników
    THE AMERICAN SCULPTURE PROTECTION PROJECT
    Autorzy:
    Bartosz, Adam
    Powiązania:
    https://bibliotekanauki.pl/articles/538566.pdf
    Data publikacji:
    2002
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Heritage Preservation
    program ochrony rzeźby wolnostojącej
    Save Outdoors Sculpture
    ochrona rzeźb pomników w Ameryce
    amerykański Urząd Ochrony Dziedzictwa
    Opis:
    Since 1995 the American Heritage Preservation conducts the Save Outdoors Sculpture programme. To 1997 the involvement of volunteers and the Scouts has made it possible to complete an inventory of approximately 32000 objects, of which about a half require conservation. Grants of $850 dollars were assigned for cost calculations of the conservation. In 1998 the programme embarked on classifying sculptures for conservation, as a rule selecting one object in each region. At this stage, 120 grants, oscillating from $ 1 500 to $40000, were assigned. The campaign of winning funds and conservation is accompanied by an educational programme which aims at rendering society aware of the historical and cultural value of sculptures. A touring exhibition promotes the protection of sculptures. The organisers attach special importance to the participation of the Scouts and plan special awards for the best teams.
    Źródło:
    Ochrona Zabytków; 2002, 3-4; 415-416
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Profesor dr Pietrò Gazzola - doktor honoris causa Politechniki Krakowskiej
    PROFESSOR DR. PIETRÖ GAZZOLA AWARDED WITH THÉ DOCTOR’S (HON. C.) DEGREE AT THE TECHNICAL UNIVERSITY, CRACOW, POLAND
    Autorzy:
    Majewski, Alfred
    Powiązania:
    https://bibliotekanauki.pl/articles/535296.pdf
    Data publikacji:
    1974
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    Pietrò Gazzola
    doktor honoris causa
    Urząd Ochrony Zabytków Sycylii
    ratowanie zabytków Nubii
    ratowanie świątyni Abu Simbel
    prezydent Międzynarodowej Rady Zabytków ICOMOS
    Opis:
    (A BRIEF SUMMARY OF A SPEECH DELIVERED BY HIS PROMOTER) Professor Dr. Pietro Gazzola, one of the world’s outstanding experts in the field of preservation of cultural property and heritage is active in this range as long as from 1932. In 19391—41 he has organized! and headed a government agency responsible for protection of historic monuments of the Eastern Sicily, Catania and later was offered with a position of the Chief Inspector of Historic Monuments in Italy. Among his most succesful achievements are to be listed1 the restoration of the north façade of Visconti Palace, Milan, the renovation of Casa del Mantigna, Mantua, that of Palazzo Boromeo at Milan, restoration of the sfone-buit bridges in Verona and Borghetto as well as the plan of conservation prepared for the town of Sabbioneta. His scientific oeuvre comprises 175 printed publications. Professor Gazzola devotes much of his time to vocational activities in numerous Italian and foreign organizations, among them the UNO, where he is dealing with problems of the man’s natural environment, being an UNESCO expert in problems of cultural heritage. It is Professor Gazzola who together with many other prominent specialists is to be named as promoter and co-author of the revised version of „Venetian Chart” giving the outlines of modern art of conservation. Starting from 'Шб up he performs the duties of the President of ICOMOS. All his activities are characteristic of immense contributions of his personal energy iand initiative who are both supported by his deep conviction that there are real possibilities of international co-operation in the field of culture. It is a long time already that Professor P. Gazzola is seriously interested in historic monuments of Poland and he highly appreciates the Polish achievements and experiences that have been gained in protection of cultural porperty after destructions and losses brought by the World War II. As an expression of their respect for all achievements and merits of Professor P. Gazzola and also for his friendly feelings toward our country the Scientific Council acting at the Institute of History of Architecture and Conservation submitted to the Rector and Senate fo the Cracow Technical University a proposal to confer him the doctor’s (honoris causa) degree of that University.
    Źródło:
    Ochrona Zabytków; 1974, 2; 89-92
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Trzydziestolecie konserwatorstwa polskiego
    LE PLUS ANCIEN TABLEAU POLONAIS
    Autorzy:
    Remer, Jerzy
    Powiązania:
    https://bibliotekanauki.pl/articles/537354.pdf
    Data publikacji:
    1950
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    zniszczenia wojenne zabytków
    zabezpieczenie zabytków
    Główny Urząd Konserwatorski
    powojenna organizacja władz konserwatorskich
    „Kwestionariusz w zakresie strat i zniszczeń…”
    rola społeczna zabytków
    Opis:
    En automne 1949, les auteurs ont (lćeouvert dans une église de bois de style roman tardif, à Dębno en Podhale, un tableau sur bois (dimensions: 23,3X68.3): il avai t été retrouvé peu auparavant au cours de t ravaux à l’entour du bâtiment et avait serti de simple planche. Après avoir opéré des retouches de conservation. al) olument nécessai ics vu son état fortement endommag é , on a pu constater que ce tableau sur bois constitue un fragment de ce qu'on appel le un f rontale triptique d’autel. Il représente ste Catherine et ste Agnès (lig. A et ś). Il faut e xéc ut é à l’huile sur un fond crayeux: le dessin a d’abord été finement gravé sur la craie. Le fond du tableau était dot é avec un publ ient gris posé sur la craie. Les deux saintes sont traitées d’une manière i socéphal ique et de front, tournées de Vj vers le spectateur. Les figures sont minces et élancées, comme qui dirait . en fuseau”, d’une raideur presque hiératique souli gnée par le dur dessin des vêtements dont les lignes forment parfois des ..zigzag“. Les visages des deux saintes, a l l ongés, sont tracés en noir à l’aide de quelques signes de convention. Les deux personnages tiennent des palmes à lu main. Leur vêtement se compose d’une longue tuuiquc et d’un manteau un peu plus court. Les têtes sont surmontées d ’une couronne. La gamme des couleurs est toute simple: le teint est de couleur chair foncée et un ton de brique pour les joues, la tunique de ste Catherine est couleur cerise, son manteau olive foncé, la tunique de ste Agnès est couleur olive, son manteau chiubre. les contours sont noirs, le fond or (avec des traits argentés). Le tout e-t d’un caractère plutôt primitif. Le triptyque dont le dit tableau était certainement une partie, devait probabl ement avoir deux volets presque identiques représentant quatre saintes de chaque côté et. dans la partie centrale, plus large, la Vierge et l’Enfant. En se basant sur des monuments connus, il est aisé de reconstruire le tout (lig. 6). Quant au style, c ’est du roman, p l u s exactement du roman titrdif. proche déjà, chronologiquement, de l’époque gothique. On le voit à certains détai ls caract éristiques tels que la couronne aux lignes élancées, le geste de la main droite de ste Catherine, les formes dynamiques brutalement brisées des draperies. Tout ceci permet de l'uire remonter le tableau à lu lin du Xl l l - e ts.: du reste, les inscriptions en majuscules facilitent ici la tâche. Quant aux analogies, on ne peut rien conclure de défini tif par suite du manque de littérature sur ce sujet et de matériel historique. Il pourrait être ici question de peinture de miniatures. S ’il s ’agit de la planche de Dębno, il ftflit tenir compte en premier lieu du Psautier de G logów, de la moitié du Xl l l - e s., notamment l 'Annonciation dont la provenance artistique n'est point certaine (école de Saxe?). Pour l’instant, le tableau de Dębno sembl e être tout près des miniatures de Si lésie d’eux. la moitié-du Xl l l - e s. Il présente d’assez grandes analogies avec l’art de Gracovie et de la région de Sącz. Oii peut admettre que ce fragment est une partie du t riptyque du maître-autel de la première' église - également en bois de Dębno datant d’eux. 1300. Il a pu être e xéc ut é à Gracovie qui, depuis longtemps, était un centre culturel et artistique: on y a conservé des monuments historic]ik's moins anciens cpie celui de Dębno, mais qui lui ressemblent. On retrouve la représentation figurée, presque contemporaine' du triptyque de Dębno, dans l’un des codes non publiés, probablement un Antiphonaire. du couvent des SS. Clarisses de Stary Sącz (fig. 7 et 8),- proxeuant certainement de Gracovie où l’on constate au début du XIV-c s. l'existence de la peinture de miniature et de xitraux. Il est donc fort probable que le tableau de Dębno est un modeste t émoignage de la peinture du Xl l l - e s. Ce tableau met en lumière le style de la peinture locale et son évolution de la fin du Xl l l - e au XV-c s. fa i t très intéressant: on retrouve certains traits des personnages du t riptyque dans les tableaux de la région de Cracox ie et de Sącz encore à la première moitié du XV-e s. C’est là une opinion qu’on ne peut émettre qu’avec une grande prudence tout en espérant (pie d’autres découvertes viendront soutenir cette thèse. Le triptyque de Dębno présente l’union de traditions italiennes et byzantines, des valeurs call igraphiques ..du nord“, mais connues auparavant en Italie, — un idéalisme de fond et de forme caractéristique pour l'époque, une naï veté semi-populaire dans la représentation entièrement étrangère à tout ce que nous connaésnns de ce temps en Al lemagne dan- le do maine de la peinture de chevalet. Tout ceci nous conf irme dans notre opinion qu’il s ’agit ici de la plus anci enne peinture de chevalet de Pologne, ex écutée très probablement à Gracovie et devançant de plus de cent ans les monuments historiques polonais de ce genre de pe inture.
    Źródło:
    Ochrona Zabytków; 1950, 1; 1-8, 70-71
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ochrona zabytków w Norwegii
    THE PRESERVATION OF HISTORICAL MONUMENTS IN NORWAY
    Autorzy:
    Majka, Maria
    Powiązania:
    https://bibliotekanauki.pl/articles/535671.pdf
    Data publikacji:
    1972
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    ochrona zabytków w Norwegii
    Johann Christian Dahl
    kościoły typu „stav”
    „stavkirke"
    kościół Heddal
    Norsk Folkemuseum
    ogólnonorweskie Muzeum Budownictwa Ludowego
    Towarzystwo Opieki nad Norweskimi Zabytkami Przeszłości (Foreningentil Norske Fortidsminnesmerkers Bevaring)
    Państwowy Urząd do Spraw Zabytków (Riksantikvaren)
    Zagroda Rygnestad w dolinie Setesdal
    Rosesmügrenden w Bergen
    górnicze miasteczko Røros
    Roros
    Opis:
    In order to trace the beginnings of interest for historical monuments in Norway we have to go back to the late XVIII century and to link it with subject matter of the romantic works of native artists, first of all painters, who „discovered” and popularized by means of their paintings the beauty of Norvegian nature, landscape and relics of national art and architecture. Special attention has been given to objects dating back to the early medieval period of Norvegian political and economic grandeur and wooden „stavechurches” recognized as best examples of Norvegian architecture, representing the most important features of the national art. The preservation of „stavechurches” has become the matter of greatest concern for art lovers and cultural monuments curators. Also comparatively early the variety of architectural and ornamental forms in the folk architecture of wooden peasants’ farms has been noticed, which has always had the prevailing place in the architecture of the whole country. The museum preservation of the most precious monumental objects was initiated by the Swedish-Norvegian King Oscar II who organized his so called „collection” of wooden buildings at the peninsula Bydgoy in Oslo in the eighties of XIX century. That „collection” started the later Norks Folkemuseum established in 1894 by Hans Aal. In the same year Anders Sandvig opened in Lillehammer the Museum of Folk Architecture of the Valley of Gudbrandsdalen. The legal basis for preservation of the national monuments in Norway is guaranteed under the Act of 29, June 1951 enclosing and extending all previous laws in that field which had been issued since 1897. The Association for Preservation of the Ancient Monuments of Norway (Foreningen til Norske Fortidsminnesmerkers Bevaring), founded in 1844, is the oldest existing body dealing with maintenance and popularization of the social care for relics of the past. In 1912 a special Office for the Monuments of Culture was established — Rikvantikvaren — having on behalf of the state under its protection ancient monuments of the country, supervising their maintenance, needs and preservation works carried out. The Conservator Offices (Fylkeskonservator) for 18 counties and two provincial capitals, which have been founded gradually since 1962, are aimed at providing local museums of all grades and types with every possible help and assistance. As regards the preservation of the cultural monuments the conservators play the part of district informers and consultants for the Riksantikvaren. It has been thanks to the first move of the Association for the Preservation of Ancient Monuments and Riksantikvaren that the works on the recording of ancient monuments were launched aimed at producing the catalogue and the detailed file of all the architectural objects existing beyond the limits of the open-air museums. The repair works and preservation of the monuments of culture are financed mainly from the state funds and from the donations of county and local authorities but to the remarkable extent from funds delivered for that purpose by private persons and private institutions. The monumental objects transfered to skansen museums are transmitted free of charge mostly and their equipment and furnishing is exclusively transfered by donations and grants. The preservation of the cultural monuments „in situ” is considered to be the best form of preservation and in that direction turn the efforts of curators and managers of local museums. Aside from the preservation of separate objects or groupings of rural dwellinghouses (exemplified by theXVI-th century farm Rygnestad in Setesdal valley or the hamlets of Havrotunet and Agatunet in Hordaland) there is no effort spared to preserve and protect „in situ” the objects and groupings of monumental town architecture when adjusted to new conditions and needs. The ideal solution seems to be to preserve these monumental complexes in the state of „living” town districts, opened to public and constantly inhabited; as for example district Rosesmligrenden in Bergen, Gamle Stavanger, or Bryggen — street of granaries at the landing-pier of Bergen which after restoration supply room for tourist agencies and commercial offices. Another example is provided by Frysja Center in Oslo, a group of XIX century covered markets and plants forseen after restoration to serve for studios and ateliers to young artists. In view of the quickly spreading reurbanization of small towns and hamlets the preservation of the most precious monumental objects in the open-air museums becomes a problem of great importance. Open-air museums, called in Norway Folk Museums (Folkmuseer) amount at present to the total of 120. They make up almost 70°/o of the total number of all museums associated in the Norvegian Association of Museums which follow the main division into the central, province, county, district and local museums. Norsk Folkemuseum in Oslo being the most important museum and scientific center acts as sort of central museum for all open-air museums in Norway. The dynamic development of local museums, which has been going on in our century, deserves special attention as it bears evidence of the constant increase of social awareness and interest for the preservation of the most precious relics of the cultural heritage.
    Źródło:
    Ochrona Zabytków; 1972, 2; 86-100
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-11 z 11

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