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    Wyświetlanie 1-9 z 9
    Tytuł:
    Artystyczna oprawa brackich świąt i uroczystości w diecezji krakowskiej do 1783 roku
    Artistic setting of confraternities’ holy days and celebrations in the diocese of Krakow until 1783
    Autorzy:
    Tracz, Ks. Szymon
    Powiązania:
    https://bibliotekanauki.pl/articles/2082118.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Opis:
    The Apostolic Constitution Quequmque of Pope Clement VIII, published on 7 December 1604, re-established the legal structure and functioning of all confraternities throughout the Church after the Council of Trent. The Constitution closed the medieval chapter of their activities and paved the way for their dynamic development over the next centuries, until the patent of Emperor Joseph II of 22 May 1783, which abolished all religious brotherhoods in the entire Habsburg monarchy, including the diocese of Krakow. The activities of confraternities covered almost all areas of social and religious life. However, the overriding goal was the development of public worship in the Church, its deepening, and the renewal of the Christian life of the members of the fraternity. Consequently, the focus was on the appropriate artistic setting for the celebrations, which was reflected in the care for a suitably arranged and decorated liturgical space, which was a place of common spiritual practices and meetings, the so-called trysts. If the confraternity was wealthy, the side chapel at the church where the confraternity was established was used for this purpose. The chapels of the Cracovian fraternities provide good examples. Sometimes, confraternities operating in villages (e.g. the Brotherhood of St. Isidore in Radziechowy), had magnificent chapels. The basic element of the chapel’s furnishings was the main painting placed in a special altar. In the case of very wealthy fraternities, the chapel had a few side altars placed under various invocations, and even a pulpit and a musical choir. When the fraternity had only the chapel at its disposal, and there was no meeting room or it was located in the so-called caper, i.e. the building outside the church, then the most necessary paraphernalia as well as ceremonial clothes were stored in the wardrobes placed inside the chapel. Often the wardrobes were decorated with representations referring to the charisma of a given confraternity. The basic element creating the “everyday” artistic setting for the brotherhoods’ celebrations was the altarpiece. It contained a painting with a representation of the patron saint or the illustration of the truth of faith, which was particularly revered and promoted by the brotherhood. The devotional painting was usually accompanied by other depictions of saints from the religious order, which cared for the confraternity, and to whose spiritual graces the confraternity was affiliated. They could be the patron saints of the founders, the commonly worshipped saints, or the saints in whose memory special indulgences were obtained. At times, the content of the altar was accompanied by pictures hanging in the immediate vicinity of the altar. An important role was also played by processional crosses and floats, especially the main float, where the brotherhood’s painting identifying the confraternity was placed. The splendour of these ceremonies, including the grand processions and pilgrimages, was raised by the costumes characteristic of individual confraternities and strictly defined by their statutes. The members of a confraternity used special staffs and sceptres with the symbols of the brotherhood. For many of them it was an honour to belong to a particular confraternity, so they portrayed themselves in their ceremonial costumes as Queen Anna Jagiellon did after 1586. These ceremonials also involved the creation of occasional decorations to celebrate the most important events. Triumphal gates decorated with emblems and coats of arms and lemmas were erected, and the route of the procession was decorated. Carriages were decorated with brotherhood’s paintings. On the backdrop of occasional decorations short theatrical spectacles were staged. This was always the case on the occasion of the inauguration of a new brotherhood, in which other confraternities from the immediate vicinity dressed in costumes, carrying staffs and accompanied by floats and banners took part. The musical setting also played an important role in these celebrations.
    Źródło:
    Rocznik Historii Sztuki; 2019, 44; 227-248
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Opowieść o mitycznej podróży bohatera współczesnej kultury popularnej, czyli kilka uwag na temat uroczystości upamiętniającej Michaela Jacksona
    Autorzy:
    Ciołkiewicz, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/985797.pdf
    Data publikacji:
    2013-12-01
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Michael Jackson
    monomyth media event popular culture
    monomit
    wydarzenie medialne
    kultura popularna
    Opis:
    The news of Michael Jackson’s death on 25 June 2009, a few days before a concert tour, circled the world and began an avalanche of stories about his life in the media. The author concentrates on those stories in which the musician is presented as a mythic hero. He uses Joseph Campbell’s idea of the monomyth in his analyses and begins by describing its basic points. Then he portrays Jackson’s funeral, which was transmitted worldwide, as a media event and refers in this context to the ideas of Daniel Dayan and Elihu Katz. He analyzes the funeral orations in terms of their representativeness of a certain type of narrative, i.e., they present Jackson as a hero changing the shape of the world by his actions. In the end, the author points to the need for further reflection on tales of mythic heroes in contemporary popular culture.
    Źródło:
    Kultura i Społeczeństwo; 2013, 57, 4; 145-165
    2300-195X
    Pojawia się w:
    Kultura i Społeczeństwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Warszawskie uroczystości pogrzebowe królów i ich rodzin w XVI i XVII wieku. Ceremoniał, przestrzeń, oprawa plastyczna
    Warsaw funeral ceremonies of kings and members of the royal family in the 16th and 17th centuries – places and artistic settings
    Autorzy:
    Sulewska, Renata
    Powiązania:
    https://bibliotekanauki.pl/articles/2082120.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Opis:
    John III. In addition to the lying in state, Warsaw’s funeral ceremonies also involved the transport of the royal remains to the place of burial. Several types of conducts took place there – conducts bringing the bodies into the city; private conducts; conducts carrying the bodies into the Royal Castle in case of deaths in suburban residences; conducts taking body parts to the place of burial; conducts of family members who were buried in the city. The most official and lavish funeral processions were those carrying the royal bodies to Krakow. The ceremony of moving the coffins out of Warsaw took place according to a repetitive scenario and order, and the convoy followed a fixed route. The ceremony began with prayers, masses and speeches said by the body in the castle’s hall, its courtyard or, less frequently, in one of the churches in Warsaw where the coffin was temporarily deposited. They were followed by a procession that travelled to the city walls and then to Ujazdów, where the first station was designated. Krakow’s funeral processions differed in the number of participants in particular groups, and the presence of deputies and ensigns with banners not only of the Kingdom and Grand Duchy of Lithuania, but also of voivodeships and districts. The ministers and officials carrying the signs of their office were more numerous than in Warsaw. Krakow’s conducts were also distinguished by the presence of the “figures” in the robes of rulers and the archimus. Warsaw is also connected with burials of parts of royal bodies (organs). In the basement of the Jesuit Church are the hearts of Constance of Austria and Cecilia Renata, in the Church of the Visitation Sisters the heart of Ludwika Maria Gonzaga, at the Camaldolese that of Michał Korybut Wiśniowiecki, and in the Capuchin church the heart of John III. The city was also associated with the exposi- tion and sometimes the burial of some of the royal children or their organs. The last royal burial of the 17th century Polish-Lithuanian Commonwealth, the funeral of Jan III Sobieski in the Capuchin church, took place entirely in Warsaw. Apart from the Warsaw churches connected with the burial of body parts or family members, other funeral ceremonies but without the presence of the body, took place in other churches in the city, its suburbs and the district of Prague. Throughout the entire funeral period masses and prayers for the dead were said there, and sometimes a special decoration was prepared in their interiors. This was common with many other cities and churches of the Polish-Lithuanian Commonwealth.
    Źródło:
    Rocznik Historii Sztuki; 2019, 44; 179-203
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    BOBOLANA 1938 – oprawa uroczystości związanych ze sprowadzeniem do Warszawy relikwii św. Andrzeja Boboli
    BOBOLANA 1938 – the ceremonial settings of the return of St. Andrzej Bobola’s relics to Warsaw
    Autorzy:
    Kolendo-Korczak, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/2082099.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    canonization ceremonies
    20th Century religious ceremonies
    20th Century occasional decorations
    state ceremony
    20th Century Polish culture
    Opis:
    Although he was only recognized as the patron saint of Poland by the Vatican in 2002, St. Andrzej Bobola was accorded a cult follow- ing much earlier than this, and venerated as the saint protector of the Polish-Lithuanian Commonwealth. He was seen as a special defender against the threat from first Tsarist Russia, then Orthodox Russia, then the Soviet Union – the Blessed’s intercession was associated with the victory of the Battle of Warsaw in 1920. For this reason, his beatification and canonization were part of political discourse. Andrzej Bobola’s relics were originally stored in the Jesuit church in Pińsk, moved to Połock after its closure, and were taken to the Hygienic Exhibition in Moscow in 1922. Recovered thanks to the Pope’s intervention in 1924, they were taken to the Il Gesù Church in Rome. By the 1920s, Polish church authorities were already making efforts to canonize Andrzej Bobola and return his relics to Poland. Several Polish cities tried to obtain the saint’s remains, including Vilnius, Warsaw, Pińsk and even Janów Poleski. The canonization, which took place on 17 April 1938, in particular the ceremonial return of the relics of St. Andrzej Bobola to Warsaw in June 1938, took the form of a great religious and patriotic demonstration. It was accompanied by numerous ceremonies in which the highest church and state authorities participated, with extensive paratheatrical scripts, as well as specially designed decorations and music composed for the occasion. The press reported these in great detail, constituting a fascinating case of an event of both great religious significance and broad political context.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 185-195
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pamięć o wjeździe Zygmunta III do Krakowa (1587) i problem reprezentacji oprawy artystycznej uroczystości w przekazach drukowanych w XVI i XVII wieku
    The memory of Sigismund III’s triumphal entry into Krakow (1587) and the problem of representing its artistic setting in 16th and 17th century prints
    Autorzy:
    Mroziewicz, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/2082115.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Opis:
    The ceremonial entry of Sigismund III into Krakow on 9 December 1587 was an important event in the international arena, but it was particularly important for the urban community of Cracow, who greatly supported his candidacy as the king of Poland. For the capital city, which organised and incurred the costs of the ceremony, the arrival of the newly elected ruler meant a happy ending to the siege and the related war effort. The most detailed description of the entry, and the only illustrated one, which was most likely prepared in advance, is preserved in a printed festival book called Sigismundi tertii Cracoviam ingressus. It shows the topographic and administrative scenery of the entry, its individual stages as well as the artistic and epigraphic setting. The prose-like description of the triumphal entry, the ideologically coherent portrayal of kings and the related poetic works make equal components of the print. They are a visual and literary praise of Sigismund III and the genealogy of his legitimate rule, based on the Jagiellonian roots and his military victory over Maximilian. Reprints, translations, and numerous references to this message in the 16th-and 17th-century printed material ensured its long-standing influence in Poland and abroad. The content of the message was adjusted to the interests of various reading groups and specific political interests, but during the process of its reception the description of the entrada did not lose its identity, and propagated the image of the ceremony depicted in the Sigismundi tertii Cracoviam ingressus for posterity. The study of Jakub Siebeneicher’s print from the point of view of its textual and visual message, its circulation space within which it functioned, and the role it played in shaping the memory of Sigismund III’s entry into Krakow, made it possible to identify a number of problems related to the ways of representing the artistic setting of the triumphal entry in prints. It was pointed out that in printed language the artistic setting of the entrada was rendered by typographical and graphic means, through cited inscriptions distin- guished by different fonts, as well as full-page woodcuts functioning as ideograms of the monarchs and their royal power. In the process of translating one text of culture (artistic setting) into another (printed message) many meanings, symbols and images escaped, but the effect was still a coherent, clear and lasting message about Sigismund III’s entry into Krakow. It imposed ready-made interpretative formulas on subsequent generations of its readers, which spread the fame of the ruler and of the city welcoming him, and harked back to the common heroic and political past of the Kingdom of Poland and Krakow.
    Źródło:
    Rocznik Historii Sztuki; 2019, 44; 163-177
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Osiemnastowieczne uroczystości z udziałem cudownych obrazów na terenie województwa bełskiego. Zarys problematyki
    Eighteenth-century ceremonies involving miraculous paintings occurring in the Bełsk Province – an outline of the issues
    Autorzy:
    Dworzak, Agata
    Powiązania:
    https://bibliotekanauki.pl/articles/2082103.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    18th Century religious ceremonies
    Marian iconography
    cult of the images
    cult image
    cult object
    18th Century Polish culture
    Opis:
    The subject area of the cult of images regarded as miraculous during the Old Polish period has long enjoyed the interest of scholars, who analysed it in historical, theological, religious, artistic or social terms. This applies to both single images (usually paintings) as well as to syntheses including selected groups of cult objects. The crowned pictures are of greatest interest, of course, but relatively little space has been devoted to local Marian centres. The aim of this article is to draw attention to eighteenth-century ceremonies involving miraculous paintings in the former Bełsk Province, especially in the local sanctuaries. Three ceremonies have been analysed: the coronation of the miraculous painting of Our Lady of Sokal, and ceremonies with the participation of the miraculous paintings of Our Lady of Łopatyn and Our Lady of Tartaków. The lack in the literature of a precise description of the course of the coronation of the miraculous Our Lady of Sokal picture has so far made general conclusions difficult.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 109-138
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Oprawa artystyczna Świąt i uroczystości Arcybractwa Różańcowego w Kościele Dominikanów w Krakowie
    Artistic setting of festivals and celebrations in the Archconfraternity of the Holy Rosary of the Dominican Church in Cracow
    Autorzy:
    Czyżewski, Krzysztof J.
    Walczak, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/2082094.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Early Modern religious confraternities
    Early Modern iconography
    Dominican Order in Poland
    The Holy Rosary iconography
    Early Modern religious celebrations
    Early Modern Polish culture
    Opis:
    In the early modern period, there were around 40 religious confraternities in the agglomeration of Cracow, one of the oldest and most important being the Confraternity of the Holy Rosary at the Dominican Church of the Holy Trinity. It is not known when it was founded, but it was probably already operating in the late Middle Ages. In 1600, this confraternity, existing “ab immemorabilis tempore”, was reformed by Fr. Abraham Bzowski, who on this occasion prepared and published an extensive dissertation, having the character of its “statutes”. From 4 February 1601 the seat of the renewed confraternity was in the Chapel of the Three Kings, at the far end of the northern nave of the church. It contained the Brotherhood’s altar which was transferred, probably after 1688, to the church of St. Giles and placed on the altar’s stone in the apse of the presbytery. The altar contained the holy picture of the Virgin Mary of the Salus Populi Romani type, connected by tradition established in the first half of the 17th century with Pope Clement VIII, who was to grant it indulgences. Bernard Maciejowski, then Bishop of Łuck, later Bishop of Cracow and finally Primate, is considered as the donor of the painting. Every first Sunday in October, the Cracow copy of the Roman image was carried out by the brothers out of the chapel and in a solemn procession around the Main Square. This custom was linked to the victory of the Christian fleet over the Turkish one near Lepanto in 1571, after which Pope Pius V established its liturgical memory (7 October). In Poland, this tradition gained a new dimension after to the successful defence of the Chocim fortress against the Turks in 1621. The devotion to the Rosary was cultivated not only in the Brotherhood’s chapel, but also in the Conventual Church, where the altar of the Holy Rosary stood to the left of the choir entrance. Symmetrically to it, on the right side of the rainbow arcade stood the altar of the Confraternity of the Holy Name of Jesus, founded in 1585 by Fr. Bartłomiej of Przemyśl. Its aim was to eradicate the sinful custom of swearing oaths, and because of the connections with the Confraternity of the Holy Rosary it was called the Archconfraternity of the Rosary of the Most Holy Name of Jesus. The spreading of the rosary prayer by the Order went beyond the Conventual Church. A special role in this work was played by the Gothic Church of St. Giles, which the Dominicans took under their protection in 1588. An important caesura in the history of the Archconfraternity of the Holy Rosary was the move to a new spacious oratory, which was erected on the site of the medieval Chapel of the Annunciation of the Blessed Virgin Mary, at the far end of the southern nave of the church. One of the reasons for undertaking this new work is considered to be the desire to commemorate the victory of John III Sobieski over the Turks at Vienna on 12 September 1683. The opulent decor and interesting ideological programme have only partially survived, but they can be reconstructed on the basis of preserved written sources, as can be the character of the Brotherhood’s celebrations. Particularly interesting monuments include those connected with the so-called Century of the Rosary, established with the consent of Pope Innocent XII (1694). It was a congregation of 100 brothers and 100 sisters, whose task was to pray continuously for the souls suffering in Purgatory. Among other things, a book of this association has been preserved, which contains illuminations showing the salutary effects of the prayer of the Rosary.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 59-84
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Walory moralne a obrona i legitymizacja katolickiej Europy. Oprawa uroczystości beatyfikacyjnych i kanonizacyjnych Stanisława Kostki w Rzeczypospolitej Obojga Narodów
    Moral values and the defense and legitimization of Catholic Europe. The setting of Stanisław Kostka’s beatification and canonization ceremonies in the Polish-Lithuanian Commonwealth
    Autorzy:
    Dzik, Janina
    Powiązania:
    https://bibliotekanauki.pl/articles/2082096.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Beatification ceremonies
    canonization ceremonies
    Early Modern religious celebrations
    The Society of Jesus
    Jesuits
    Jesuit Order in Poland
    Early Modern occasional decorations
    Early Modern Polish culture
    Opis:
    The putting on of spectacular ceremonies finalizing the acts of beatification and canonization of Stanisław Kostka, taking place in the principal Jesuit centers of the Polish-Lithuanian Commonwealth, was an important artistic activity of modern times. The content programs of the decorations which accompanied the celebrations between 1606 and 1726, known to us from written sources, reflect the propaganda of the Kostka ceremonies. The oldest occasional decorations and outdoor shows taking place in the city of Jarosław had been organized on the initiative of his relative Anna née Kostka Ostrogska. They were organized in connection with the proclamation of Stanisław Kostka as Blessed by Pope Paul V in 1606. The theme of the decorations accentuated the importance of the moral values of this ascetic follower of the Counter-Reformation Church, while the widely used language of allegory defined his individual spiritual values and illustrated scenes from his life and miracles. However, Stanisław Kostka soon became seen as an advocate of the Polish Lithuanian-Commonwealth in its military struggles in the East, especially in the conflict with the Ottoman Porte. After the victory of Chocim (Khotyn) in 1621 he was revered as the patron saint of the Polish knighthood, and after the victory at the Battle of Chocim in 1673 he was rapidly proclaimed (in 1674) one of the main patrons of the Kingdom of Poland and the Grand Duchy of Lithuania. It was this aspect of Kostka’s promotion that was used in the decorative themes of his thanksgiving ceremonies after the closing of the beatification process and the decree of canonization by Pope Clement XI in 1714. The decorations of the Jesuit Church in Lublin, described in detail in the records of the Society of Jesus (1715), explained and glorified the new role of the young saint. His role as a guarantor of peace and stability of the Commonwealth, revealed in God’s eternal plans, was presented through astral configurations and complicated semantic systems. Kostka’s canonization, which had raised the importance of the Polish-Li- thuanian Commonwealth, as being linked to the papacy and the Catholic faith, was seen as the culmination of a great historical message and the revelation of the secret given to Poland, also recognizable through astral configuration. The military and diplomatic triumph over the Ottoman Porte was considered a breakthrough moment, opening a period of happiness achieved thanks to Kostka’s intervention and the support of Heaven. The result of a united front in the battle with a common enemy was to achieve a state of happiness that strengthened the ecclesiastical and monarchical order, an idea taken up by the decorations seen in Jarosław and Vilnius, amongst others. The ad hoc political content was moved to the sphere of the monastic political philosophy and historical theol- ogy. An allusion to the happy future that mathematicians had supposedly predicted was also included in the decorations. After the partition of Poland and the dissolution of the Jesuit order, the revival of the fading cult of Stanislaw Kostka took place in the Second Polish Republic, particularly during the jubilee celebrations of the 200th anniversary of his canonization in 1927. This was seen in the ceremony of bringing his relics from Rome to the new church in Rostków, which was attended by the President of the Republic of Poland Ignacy Mościcki. However, there was a significant change in semantics as Stanisław Kostka was now described as the patron saint of children and youth, frequent Holy Communion and felicitous vocational choices.
    Źródło:
    Rocznik Historii Sztuki; 2020, 45; 87-90
    0080-3472
    Pojawia się w:
    Rocznik Historii Sztuki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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