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    Wyświetlanie 1-2 z 2
    Tytuł:
    Assessing the Contacts between Stefan Báthory and the Serbian Monks from Hilandar Monastery on Mount Athos in the Light of a Sixteenth-Century Model Letter
    Autorzy:
    Dziadul, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/2121459.pdf
    Data publikacji:
    2022-08-08
    Wydawca:
    Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
    Tematy:
    the Serbian monks
    Mount Athos
    Hilandar
    the Orthodox Church in the Polish-Lithuanian Commonwealth
    letter writing
    Stefan Báthory
    Opis:
    The paper deals with contacts between Polish King and Lithuanian Grand Duke Stefan Báthory (1576–86) and the Serbian monks from Hilandar Monastery on Mount Athos. The contacts are presented based on a model letter found in the letter-writing manual from the Hilandar Archive (no. 153). The monks asked Báthory for the introductory and travel letters for their journey to Polish-Lithuanian Commonwealth, where they would search for new benefactors [ktetors] and financial assistance from the Ruthenian Orthodox Christians. The model letter, supported by other written sources, also sheds light on the general characteristics of contacts with Catholic Polish-Lithuanian authorities and other rulers who mediated intercultural relations between the Ruthenian Orthodox Church and the Serbian (and Balkan in general) monastic milieus. These relations had a special significance for the group (confessional-cultural) identity of the Ruthenian Orthodox Christians and their tradition in the Counter-Reformation climate due to the proselytic policy and polemical attacks in the Polish-Lithuanian Commonwealth.
    Źródło:
    Acta Poloniae Historica; 2022, 125; 155-178
    0001-6829
    Pojawia się w:
    Acta Poloniae Historica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Słowo – obraz paradygmatyczny – ikona. O intersemiotyczności w słowiańskiej kulturze prawosławnego średniowiecza
    Word – paradigmatical image – icon. About intersemiotics in Orthodox Slavonic culture of the Middle Ages
    Autorzy:
    Dziadul, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/635891.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    intersemiotics
    Slavonic Orthodox literature
    iconography
    theology
    East Christian aesthetics
    the Middle Ages
    Opis:
    This  work  deals  with  the  problem  of  intersemiotics  in  Orthodox  Slavonic  culture  in  the Middle Ages. Attention here is focused on the source, essence and ontology of correspondence of the arts. Despite the fact that in the Middle Ages word and image (icons, frescos, miniatures of manuscripts) had completely different specificity of signs, they were connected with each other on a different level of perception. According to the Church Fathers (John of Damascus, Maximus the Confessor, Basil the Great) and East Christian mysticism (Pseudo Dionysius the Areopagite), the art of the written word and visual art had the same aim and function,  because  they  referred  to  eternal  and  spiritual reality  and  to  the  divine  archetype. The ontology of the word and icon was linked to the specific version of Pseudo-Dionysius’ symbolism. Moreover, this symbolism is connected with the term – “paradigmatical image”, functioning beyond text and iconography, in the iconosphere of the Orthodox Middle Ages. Paradigmatical image becomes a specific link between a word and an icon. Of course, paradigmatical images  were  created  on  the  basis  of  Biblical  (and/or  apocryphal)  and  Patristic Byzantine texts, although they started to function  regardless of their original context. This work presents the way paradigmatical images function in Orthodox iconography and literature (the Raising of Lazarus, the Last Judgement, the Trinity).
    This  work  deals  with  the  problem  of  intersemiotics  in  Orthodox  Slavonic  culture  in  the Middle Ages. Attention here is focused on the source, essence and ontology of correspondence of the arts. Despite the fact that in the Middle Ages word and image (icons, frescos, miniatures of manuscripts) had completely different specificity of signs, they were connected with each other on a different level of perception. According to the Church Fathers (John of Damascus, Maximus the Confessor, Basil the Great) and East Christian mysticism (Pseudo Dionysius the Areopagite), the art of the written word and visual art had the same aim and function,  because  they  referred  to  eternal  and  spiritual reality  and  to  the  divine  archetype. The ontology of the word and icon was linked to the specific version of Pseudo-Dionysius’ symbolism. Moreover, this symbolism is connected with the term – “paradigmatical image”, functioning beyond text and iconography, in the iconosphere of the Orthodox Middle Ages. Paradigmatical image becomes a specific link between a word and an icon. Of course, paradigmatical images  were  created  on  the  basis  of  Biblical  (and/or  apocryphal)  and  Patristic Byzantine texts, although they started to function  regardless of their original context. This work presents the way paradigmatical images function in Orthodox iconography and literature (the Raising of Lazarus, the Last Judgement, the Trinity). 
    Źródło:
    Poznańskie Studia Slawistyczne; 2012, 2
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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