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    Wyświetlanie 1-3 z 3
    Tytuł:
    The visual principle and the correlation between teaching of the Catholic religion and art education in Polish school
    Autorzy:
    Chałupniak, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/668157.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Catechesis
    the visual principle
    correlation
    picture
    religious painting
    teaching of the Catholic religion
    art education
    textbooks
    Opis:
    Contemporary culture – as already noted – is becoming more and more visual. Contemporary catechesis, referring to its rich, centuries-long experience, should also use different types of images. The first part of this article presents the visual principle as one of basic educating principles, and the second part presents the correlation between the teaching of Catholic religion, and art education in Polish schools. One specific example of using religious painting are in textbooks.Masterpieces of painting, created during centuries and expressing particular desires of their creators, still remain an important inspiration, among others, to the religious search. Faith, though strongly anchored in words, needs representations, specific references, which allow receiving, understanding, and experiencing it. Paintings give this possibility, and even – taking into consideration the contemporary civilization – impose the necessity to use them, in order to effectively reach the contemporary receiver.Using images in education is not only the achievement of specific objectives in catechesis, but also gives an opportunity to creatively engage students and shape their aesthetic sensibility. Working with the image creates the possibility of discovering the beauty, to see it in reality and “keeping the heart”, that is the enrichment of the beauty of one’s humanity.
    Źródło:
    The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II; 2015, 5, 2
    2391-6559
    2083-8018
    Pojawia się w:
    The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A comparison of approaches to art in the constitutions of the Orders of the Discalced Carmelites and Trinitarians
    Wspólne spojrzenie na sztukę w konstytucjach reformowanych zakonów karmelitów i trynitarzy
    Autorzy:
    Sobczyńska-Szczepańska, Mirosława
    Powiązania:
    https://bibliotekanauki.pl/articles/560470.pdf
    Data publikacji:
    2016-12-31
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Discalced Trinitarians
    Discalced Carmelites
    religious constitutions
    art
    architecture
    trynitarze bosi
    karmelici bosi
    konstytucje zakonne
    sztuka
    architektura
    Opis:
    The reform process of the Order of the Most Holy Trinity (Trinitarians) developed under the strong influence of the Teresian Carmel, which is reflected in the dependence of the first constitutions of the Discalced Trinitarians (1614) on the statutes of the Spanish Congregation of the Discalced Carmelites (1604). The article discusses the regulations on the artistic activity contained in the aforementioned texts and in the later statutes of both orders (including the unpublished constitutions of the Outside-Spain-Family of the Discalced Trinitarians compiled in 1770) that have as yet not been studied by historians of the Trinitarians Order. The analysis of these provisions leads to the conclusion that Trinitarian approach to art was determined by the legislations of the Spanish Discalced Carmelites and by the third point of the Trinitarian Rule, ordering that their churches were of simple construction. Unlike the Spanish Discalced Carmelites, the Discalced Trinitarians systematically modified their regulations, adapting them to the changing circumstances in which the religious buildings were constructed.
    Proces reformy zakonu Trójcy Najświętszej przebiegał pod silnym wpływem terezjańskiego Karmelu, czego wyrazem jest zależność pierwszych konstytucji trynitarzy bosych (1614) od statutów hiszpańskiej kongregacji karmelitów bosych (1604). W artykule zostały omówione przepisy dotyczące kwestii artystycznych zawarte we wzmiankowanych tekstach oraz w późniejszych statutach, w tym w niepublikowanych konstytucjach pozahiszpańskiej rodziny trynitarzy z 1770 roku, które dotychczas nie znalazły się w orbicie zainteresowań historyków zakonu. Analiza tych norm prowadzi do wniosku, że poglądy trynitarzy bosych na sztukę zostały zdeterminowane przez przepisy karmelitańskie oraz trzeci punkt reguły zakonu Trójcy Najświętszej nakazujący, by ich świątynie były prostej struktury. W odróżnieniu od hiszpańskich karmelitów bosych trynitarze bosi systematycznie modyfikowali swoje przepisy, adaptując je do zmieniających się realiów, w których powstawały ich budowle.
    Źródło:
    Folia Historica Cracoviensia; 2016, 22; 451-465
    0867-8294
    Pojawia się w:
    Folia Historica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Znaczenie inspiracji religijnej w muzyce
    Autorzy:
    Garnczarski, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/669467.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    religious inspiration
    faith
    art
    Gregorian chant
    mass
    oratorio
    passion
    cantata
    Bible
    liturgy
    inspiracja religijna
    wiara
    sztuka
    chorał gregoriański
    msza
    oratorium
    pasja
    kantata
    Biblia
    liturgia
    Opis:
    The issue of religious inspiration in the music is complex and multifaceted, rooted in the vast area of faith (internal, deeply personal) and art. In the present study was undertaken reflection on two kinds of inspiration: biblical, liturgical or religious text in general and sacred music motives and precisely liturgical.First, a significant source of inspiration is own singing of the Catholic Church – Gregorian chant, which in the Middle Ages was the main stream of sacred music, and became a source of development of polyphony, as its cantus firmus. Culmination of the polyphony development was the work of P. Palestrina. From the religious inspiration drew the composers of all eras in the history of music. In the Baroque period developed next to a popular mass such forms as oratory, its particular variant – passion and cantata. Also the form of instrumental music, especially organ (J.S. Bach, J.F. Handel). In the classicism religious music formed mainly three Viennese classicists: J. Haydn, W.A. Mozart and L. van Beethoven. Composed by them religious music bears the features of instrumental music of the period, as well as signs of secular vocal and instrumental music. The composers of the Romantic period are fulfilled in the form of a classical type of cantata mass or a symphony mass. In Poland in the field of religious music marked S. Moniuszko. Nowadays, the example of the composer inspired by religious contents is Krakow composer J. Łuciuk, forming based on Gregorian chant, biblical and liturgical texts, inspired by the person and the pontificate of John Paul II and the Marian theme. He confirms this, saying, “Poetry and literature, as faith and prayer, are inextricably linked with what I write. Always important and inspiring was the reflection associated with the reading of Scripture, liturgical texts, lives of the saints and papal documents”.
    The issue of religious inspiration in the music is complex and multifaceted, rooted in the vast area of faith (internal, deeply personal) and art. In the present study was undertaken reflection on two kinds of inspiration: biblical, liturgical or religious text in general and sacred music motives and precisely liturgical.First, a significant source of inspiration is own singing of the Catholic Church – Gregorian chant, which in the Middle Ages was the main stream of sacred music, and became a source of development of polyphony, as its cantus firmus. Culmination of the polyphony development was the work of P. Palestrina. From the religious inspiration drew the composers of all eras in the history of music. In the Baroque period developed next to a popular mass such forms as oratory, its particular variant – passion and cantata. Also the form of instrumental music, especially organ (J.S. Bach, J.F. Handel). In the classicism religious music formed mainly three Viennese classicists: J. Haydn, W.A. Mozart and L. van Beethoven. Composed by them religious music bears the features of instrumental music of the period, as well as signs of secular vocal and instrumental music. The composers of the Romantic period are fulfilled in the form of a classical type of cantata mass or a symphony mass. In Poland in the field of religious music marked S. Moniuszko. Nowadays, the example of the composer inspired by religious contents is Krakow composer J. Łuciuk, forming based on Gregorian chant, biblical and liturgical texts, inspired by the person and the pontificate of John Paul II and the Marian theme. He confirms this, saying, “Poetry and literature, as faith and prayer, are inextricably linked with what I write. Always important and inspiring was the reflection associated with the reading of Scripture, liturgical texts, lives of the saints and papal documents”.
    Źródło:
    Tarnowskie Studia Teologiczne; 2013, 32, 2
    2391-6826
    0239-4472
    Pojawia się w:
    Tarnowskie Studia Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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