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    Wyświetlanie 1-3 z 3
    Tytuł:
    EKUMENICZNY ASPEKT USPRAWIEDLIWIENIA MARYI I JEJ „ZASŁUG”
    Ecumenical Aspect of Justification of Mary and her “merits”
    Autorzy:
    Lipniak, Jarosław M.
    Powiązania:
    https://bibliotekanauki.pl/articles/595188.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego
    Tematy:
    Maryja
    grzech pierworodny
    zasługi
    Niepokalane Poczęcie
    dogmat
    Opis:
    The issue of justification of Mary and her merits has been distinguishing the Christians for ages. Both issues are serious difficulty in driving for achievement of visible unity of Christ’s disciples. History of the Church shows that dogmas defined at the Councils were rather starting point than an end of interpretation of Revelation in the Church. In the patristic period of time not only the theologians but the whole Church as well was taking part in arriving to proper interpreta- tion of the faith. Mary needed God’s mercy and has granted to this mercy in more perfect way, not ordinary as a rest of Eve’s children. She has granted to the justification beforehand, not subsequently. She was protected against the original sin, and not relieved from it. The justification of Mary is of preventive character. The Christ is, in relation to her, more perfect Mediator, because keeps her from the sin, instead – like in a case of the other Adam’s descendants – to clear of the sin.
    Źródło:
    Studia Oecumenica; 2014, 14; 167-178
    1643-2762
    Pojawia się w:
    Studia Oecumenica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jeszcze o Niepokalanym Poczęciu Najświętszej Marii Panny w twórczości Norwida
    Further comments regarding the presence of Immaculate Conception in works by Norwid
    Autorzy:
    Sawicki, Stefan
    Powiązania:
    https://bibliotekanauki.pl/articles/18029972.pdf
    Data publikacji:
    2022-09-13
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Norwid
    dogmat
    Niepokalane Poczęcie
    Maria Panna
    Tomasz Garbol
    Cyprian Norwid
    dogma
    immaculate conception
    Saint Mary
    Opis:
    Głos w dyskusji: czy Norwid właściwie rozumiał dogmat o Niepokalanym Poczęciu Najświętszej Marii Panny.
    The article joins the discussion on the question whether Cyprian Norwid properly understood the dogma of immaculate conception.
    Źródło:
    Studia Norwidiana; 2022, 40; 205-208
    0860-0562
    Pojawia się w:
    Studia Norwidiana
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz Matki Bożej z kościoła pod wezwaniem Wniebowzięcia Najświętszej Maryi Panny w Łodzi
    The painting of Our Lady from the church dedicated to the Assumption of the Holy Virgin Mary in Łódź
    Autorzy:
    Leszner, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/1954053.pdf
    Data publikacji:
    2004
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Łódź
    kościół pod wezwaniem Najświętszej Maryi Panny w Łodzi
    obraz Matki Bożej z Łodzi
    Niepokalane Poczęcie
    Zwiastowanie
    Wniebowzięcie
    dogmat
    ikonografia przedstawień maryjnych
    church devoted to the Assumption of the Holy Virgin Mary in Łódź
    painting of Our Lady in Łódź
    Immaculate Conception
    Annunciation
    Assumption
    dogma
    iconography of presentations of Mary
    Opis:
    Not everybody realizes that besides architectural monuments built in the previous century Łódź also owns a wonderful example of modern painting. Hidden in the neo-Gothic church dedicated to the Assumption of the Holy Virgin Mary the picture of Our Lady is one of the oldest artistic works in the town. In its long history the painting was given various titles: starting from the Dolorous or Glorious, through the Immaculate, Assumed, Merciful, to even being taken by some people for a copy of the picture of Our Lady of Ostra Brama. However, it is most often referred to as Our Lady of Bałuty, or just Our Lady of Łódź. In the work the history of the church and of the painting were followed, with paying special attention to separating legends from facts. Attempts were made to prove that the opinion about the painting in the Łódź church being a copy of the picture from Ostra Brama is unjustified; it is only the same iconographic type. It represents painting that is relatively rarely encountered in art. The bust of Mary without the Infant, with her hands crossed on the breast, expresses several truths about the Virgin. It is a sort of synthesis of three iconographic motifs: the Immaculate Conception, the Annunciation and the Assumption. The way to announcing the dogmas of the Immaculate Conception and the Assumption was especially turbulent and the process lasted from the beginnings of Christianity. Undoubtedly these truths are linked with each other. By the Assumption we also worship Mary's Immaculate Conception. Artists created paintings and sculptures presenting mariological truths. However, the iconography of these dogmas was similar, or even identical. This resulted from the very fact that they co-existed, as well as from their relatively late announcement by the Pope. The picture of the Immaculate Virgin was often changed and the moment of the Assumption was emphasized. The element that connected these two dogmas was the scene of the Annunciation, in which Mary's fiat united the Immaculate Conception, the virginal maternity and the divine Assumption of God's Mother. This is why the way of presenting Mary in the scene of the Annunciation is analogical to the pictures of the Immaculate Conception or the Assumption, in which Mary's gesture is significant: it is touching the heart or joining her hands in prayer. It is also important that Mary is presented without the Infant, owing to which the painting joins the group of scenes in which the artists had to show a composition of God's Mother without Jesus, but in spiritual communion with God the Father. The painting of God's Mother in the church dedicated to the Assumption of the Holy Virgin Mary in Łódź closely connects the Immaculate Conception to the Assumption, and also, owing to the specific position of the hands – to the Annunciation. The very fact that in Łódź since 1364 there has been a parish with such a dedication as well as the connection between these dogmas had effect on formation of such an image of God's Mother. Probably this iconographic type is derived from the Netherlandish graphic arts of the 16th century, that gradually passed to Eastern Europe. This is the way that the model could have reached Poland. The picture of God's Mother in Łódź is not a copy of the painting from Ostra Brama. They both represent a similar iconographic type, and what follows from it, they are presented in a similar arrangement. However, there are too many elements that are different to say it is a copy. It is not known who was the painter and from what school he came. He undoubtedly knew the works of Netherlandish and Italian masters, which is proven by the way Madonna was painted. There are no documents speaking about conservation of the painting, which makes it impossible to date the work precisely. It is possible that it was founded by Paweł Łódź Kubowicz in 1639, as in 1718 it was already considered miraculous.
    Źródło:
    Roczniki Humanistyczne; 2004, 52, 4; 345-366
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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