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Wyszukujesz frazę "Orthodox Art" wg kryterium: Temat


Wyświetlanie 1-3 z 3
Tytuł:
Obraz, słowo i ornament jako nierozłączna całość w polichromii cerkwi św. Mikołaja Cudotwórcy w Michałowie autorstwa Adama Stalony-Dobrzańskiego
An Image, a Word and an Ornament as an Inseparable Whole in the Wall Paintings of the Orthodox Church of St. Nicholas the Wonderworker in Michałowo by Adam Stalony-Dobrzański
Autorzy:
Pawlicka, Inga
Powiązania:
https://bibliotekanauki.pl/articles/2169993.pdf
Data publikacji:
2021
Wydawca:
Akademia Supraska
Tematy:
Adam Stalony-Dobrzański
polichromie
sztuka cerkiewna
Michałowo
polychrome
Orthodox art
Opis:
Created in the years 1954–1955, polychrome of the church of St. Nicholas the Wonderworker in Michałowo is important work of Orthodox art. The interior decoration, both in design and execution, is an individual and complete work of Adam Stalony-Dobrzański. It reveals the most important features of his style, which crystallized in the 50’s. The paintings are filled with quotes from medieval traditions, both Byzantine and Gothic. Adam Stalony-Dobrzański introduced new interpretative qualities and made a synthesis of two traditions – the East and the West, unprecedented in contemporary sacred painting, translated into the language of modernity, and illustrated in his own, innovative way. Along the ornamental stripes of the ornamental decoration, the artist placed hand-painted sequences of letters forming inscriptions – quotations from the Holy Bible, explaining the meaning of figural representations. They complement, explain and develop the ideological meanings shown in the form of an image. The iconographic arrangement of the wall decorations, which is a transformation of the canon formed after iconoclasm in the spaces of cross-domed temples, was adapted to the architecture of the interior of the wooden church, creating a homogeneous and coherent ideological program.
Źródło:
Latopisy Akademii Supraskiej; 2021, Obraz - Słowo - Litera, 12; 265-281
2082-9299
Pojawia się w:
Latopisy Akademii Supraskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przedstawienia dzieci w ikonografii witraży Adama Stalony-Dobrzańskiego
The Presentations of Children in the Iconography of Adam Stalony-Dobrzański
Autorzy:
Siemieniec, Anna
Powiązania:
https://bibliotekanauki.pl/articles/2169987.pdf
Data publikacji:
2020
Wydawca:
Akademia Supraska
Tematy:
Adam Stalony-Dobrzański
witraże
ikonografia
sztuka cerkiewna
Stained glass
Iconography
Orthodox art
Opis:
Adam Stalony-Dobrzański is an Orthodox artist who significantly influenced the image of the Orthodox art in the second half of the 20th century in Poland, and at the same time contributed to the renaissance of Byzantine-Ruthenian iconography. By popularizing the form of a stained glass window as an element of the Orthodox church interiors, he extended the tradition of Eastern Christian art, finding a medium in the form of glass and lead to express the mystery of the icon. He is the author of at least 342 stained glass compositions made for Orthodox, Catholic and Protestant churches. The multitude of iconographic themes appearing in Stalony-Dobrzański’s stained glass windows – referring to the centuries-old tradition of Christian art – features representations of children. These are the scenes showing the childhood of Jesus and Mary (the Orthodox church of the Nativity of the Blessed Virgin Mary in Gródek), presentations of St. Sophia with Faith, Hope and Love (the Holy Trinity Cathedral in Hajnówka, the House of the Metropolitan in Warsaw), the image of the Guardian Angel leading a child (the Catholic church of Our Lady of the Scapular in Stalowa Wola-Rozwadów) or Christ blessing children (the Evangelical-Augsburg Church of Holy Trinity in Warsaw). A kind of iconographic novelty is introduced here with depictions of children as Unknown Saints of our time (the Orthodox church of St John Climacus in Warsaw). In the stained glass windows, we also find images of Jacinta, Francisco and Lucia – three children who witnessed the apparitions of The Blessed Virgin Mary in Fatima, recognized by the Catholic Church.
Źródło:
Latopisy Akademii Supraskiej; 2020, Dzieci w kulturze duchowej Prawosławia, 11; 189-206
2082-9299
Pojawia się w:
Latopisy Akademii Supraskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Adam Stalony-Dobrzański – droga ikonografa
Adam Stalony-Dobrzański – The Way of the Iconographer
Autorzy:
Stalony-Dobrzański, Jan
Powiązania:
https://bibliotekanauki.pl/articles/2169995.pdf
Data publikacji:
2021
Wydawca:
Akademia Supraska
Tematy:
Adam Stalony-Dobrzański
sztuka sakralna XX wieku
sztuka cerkiewna
20th-century sacred art
Orthodox art
Opis:
Adam Stalony-Dobrzański pushed the great tradition of the icon into the future, he broke, transformed, developed and multiplied its archaic canons. In 1932, in Harklowa in Podhale, Włodzimierz Cichoń and Adam StalonyDobrzański found historic, 15th-century polychromes. The discovery and many months of work on their conservation seem to be a moment of awakening the archaic heritage of the icon in the artist’s consciousness. While working on the polychromes in the churches of St. Catherine of Alexandria in Radom, St. Anna in Bobin, and St. Nicholas the Wonderworker in Michałowo, the artist created his own style, immersed in folk art, tradition of icon and the heritage of Western European art. Jerzy Nowosielski was a student of Adam Stalony-Dobrzański. These two artists created works full of differences, backed by the tradition and cultural heritage of both iconographers, Adam Stalony-Dobrzański was born as a mystic and Jerzy Nowosielski as a theologian.
Źródło:
Latopisy Akademii Supraskiej; 2021, Obraz - Słowo - Litera, 12; 205-241
2082-9299
Pojawia się w:
Latopisy Akademii Supraskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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