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Wyświetlanie 1-15 z 32
Tytuł:
Robert Samsel, Świętość i święci wyniesieni na ołtarze przez papieża Jana Pawła II jako paradygmat teologiczny, edukacyjny i zjednoczeniowy
Autorzy:
Jaskóła, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/2040974.pdf
Data publikacji:
2019
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Opis:
Recenzja książki: Robert Samsel, Świętość i święci wyniesieni na ołtarze przez papieża Jana Pawła II jako paradygmat teologiczny, edukacyjny i zjednoczeniowy, Wydawnictwo „Scriptum”, Kraków 2018, ss. 367.
Book Review: Robert Samsel, Świętość i święci wyniesieni na ołtarze przez papieża Jana Pawła II jako paradygmat teologiczny, edukacyjny i zjednoczeniowy,  Scriptum, Cracow 2018, pp. 367.
Źródło:
Studia Nauk Teologicznych PAN; 2019, 14; 228-233
1896-3226
2719-3101
Pojawia się w:
Studia Nauk Teologicznych PAN
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ołtarze z cudownymi wizerunkami w twórczości braci Polejowskich
Altars with Venerated Images in the Artistic Output of the Polejowski Brothers
Autorzy:
Dworzak, Agata
Powiązania:
https://bibliotekanauki.pl/articles/642459.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:
Despite the fundamental work by Andrzej Jozef Baranowski which discusses the veneration of holy Marian images in the former Polish Republic, the influence of holy paintings on the artistic initiative still remains underrated, primarily in terms of the furnishing of sanctuary churches. It must not be forgotten that the celebrations with these images were the reason behind numerous interior modernisations, the replacements of furnishings and fittings – mainly altars – and the translocations of paintings, veneration and anniversary celebrations. In the Ruthenian Voivodeship, these actions resulted in a series of most superb artistic realisations in the 18th century Polish Republic, such asthe central altars in the parish church in Hodowica, the Franciscan church in Przemyśl, the Dominican church in Podkamień, or the Latin Cathedral in Lviv. Since the majority of these are directly or indirectly linked to brothers Piotr and Maciej Polejowski, it is worth making an attempt to analyse the schemes and compositional solutions they had worked out. On the one hand, there will be structures designed by Piotr Polejowski, which expand and ‘distend’ church presbyteries, creating a multiplied frame for holy paintings (the altar of the Franciscan church in Przemyśl and in the Latin Cathedral in Lviv) accompanied by elaborate and complex iconographic programmes. The second trend entails reredoses designed by Maciej Polejowski, openwork, two-panel screens and high pedestals with gates upfront, complemented with free-standing pillars and sculptures in the clearances, behind which the very reredos with the holy painting can be seen. This design was implemented in the Bernardine screens in Opatow and Zaslav. Thus, we face two trends in designing altars by the Polejowski Brothers, and sensu largo within the Lviv art in the second half of the18th century. Piotr Polejowski’s reredoses – with their impacting monumentality, abundance of decorations and multiplicity of articulations, directly continuing Meretynean patterns from Horodenka– are contrasted with Maciej Polejowski’s ‘light’, two-panel, openwork compositions that so skilfully applied light effects and played with the audience through their backstage-like design and overlapping of sets aimed at exposing the holy image.
Źródło:
TECHNE. Seria Nowa; 2018, 1; 205-222
2084-851X
Pojawia się w:
TECHNE. Seria Nowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Stan kanonizacyjnych spraw historycznych polskich kandydatów na ołtarze
The State of Canonizational Cases of the Historical Polish Candidates for Altars
Autorzy:
Wysocka, Bernadeta
Powiązania:
https://bibliotekanauki.pl/articles/1871697.pdf
Data publikacji:
2019-11-13
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Opis:
The paper discusses the issue how to define the legal and actual state of the historical cases of Polish candidates for altars. According to Decretum generale of the Congregation for Canonization of 7th February 1983, the proceedings should be conducted “in the spirit of the new law”, which means with the use of the norms of John Paul II's legislation. The results of particular cases relied, therefore, on the actual and legal definition. The paper outlines first the legal and canonical criteria, and then, on the basis of the documents from the postulatory archives, defines the state of cases being at the diocesan and Roman levels. The evidential material as regards ten Polish cases has been subjected to analysis. Some of them are well advanced; others, and all of them are different, may soon be positively solved.
Źródło:
Roczniki Nauk Prawnych; 2001, 11, 2; 65-87
1507-7896
2544-5227
Pojawia się w:
Roczniki Nauk Prawnych
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ekonomiczna kalkulacja? Ołtarze iluzjonistyczne XVIII wieku na terenie Słowacji
Economic Calculation? 18th Century Illusionistic Altars in the Territory of Today’s Slovakia
Autorzy:
Kolbiarz Chmelinová, Katarína
Powiązania:
https://bibliotekanauki.pl/articles/642439.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:
The majority of the 18th century altars in Central Europe are objects made of polychromed wood, stucco, or stone. There are, however, other altars whose retabula – as a whole or predominantly – take the form of a wall painting. The basis for these works is a spatial and material illusion, which imitates the presence of a real reredos within the painting, and in some cases even the imagined space around it. The beginnings of the monumental, architecturally illusionistic murals in Central European art are undoubtedly connected with the Viennese activity of Andrea Pozzo in the early 18th century, and his famous treatise entitled Perspectiva pictorum et architectorum. The principia of new formal achievements, instilled in the Habsburg capital, subsequently radiated ontowall painting, including the illusionistic altars of various kinds and constructed at different timeswithin neighbouring countries. In Slovakia, painted, illusionistic altars have not so far been the subject of systematic research. Over the centuries, numerous such altars have either been destroyed or preserved in a truly terrible condition. Thus, this article is the first to present a summary view on such types of works in the region, with the elaboration of a new, basic, chronological and typological order. The initial part of the article is devoted to the presentation of the fewdirect reflections of Pozzo’s works, which were created in the first half of the 18thcentury. The review begins with the works by Christoph Tausch (Banska Štiavnica), Pozzo’s protegeand assistant, which are known only from archival citations and references. The next stage of the development of illusionistic altars, dated to the mid-18thcentury, is represented by a set of six wall paintings from temples in the Banska Štiavnica Calvary between 1744 and 1751. These works, referring to Pozzo’s achievements and the Viennese art, were created by Anton Schmidt (1713-1773), a graduate of a local art academy. On the one hand, the paintings had been ordered from a leading regional artist, and on the other hand, the applied technique entailed a pragmatic reduction in time, costs, and the occupied space within the temples. Broadly speaking, however, illusionistic altars had not gained popularity by the first half of the century, unlike in Austria, Bohemia and Silesia, and they were created in an updated form, including the latest artistic trends of the time. The apogee of the whole process dates to the last three decades of the 18thcentury and includesthe works that cultivated both solutions representinglate Baroque and Rococo styles, and the features of early Classicism. Model examples are the painted decorations within the presbytery of the church of the Pauline Fathers in Šamorin from 1778, initialled with the monogram of F.S. (and made in accordance with an older model, patterned on the work by Paul Heineken), and a series of illusionistically painted retabulain the Premonstratensian church in Košice, created in the late 18th century by Erasmus Schrott (1755-1804), who was closely linked to Viennese circles. A further part of the article discusses a group of miscellaneous works – at times simpler and cheaper – which graced a series of parish churches. The introduction,in the territories of today’s Slovakia, and the subsequent growth in popularity of a particular type of altar retabulum, created by means of a wall-painting technique (mainly fresco-secco) dates to the 18th century, with its apogee in the final three decades of the century. Typologically, it was dominated by tectonic reredoses, with various degrees of complexity – from simpler variants of aediculae, through a pillared niche and a colonnade, to Apsisaltar. Sometimes, these are also imitations of canopy-type altars or altars with an applied motif of a canopy in the central axis or in the topping. Occasionally, there are also imaginations of an illusionistically painted ceremonial drapery in the background. In the case of illusionistic altars, just like for the remaining types of architectural wall painting, an important role at the designing stage was played by architectonic treatises and patterns. In the said territory, particular popularity was enjoyed by Andrea Pozzo’s treatise, with others including the works by Heineken, Galli-Bibiena and Schubler. It must also be stated that after the second half of the 18th century, no major changes were implemented, and the older patterns and models, already rooted in the tradition, were chiefly updated by means of more modern ornaments. It was not until the last three decades of the century that the post-Pozzo tradition began to recede at the expense of simpler structures which complied more aptly with the spirit of the incoming Classicism. In the entirety of the illusionistic painting – both decorations of vaults and retabula – an important role was played by the Viennese centre of art, and not only in reference to the territories of today’s Slovakia, but also to Central and East-Central Europe. A significant number of wall-painting authors remain unknown,and as far as the issue of orders is concerned, it is impossible to ignore the fact that these works were most popular among the representatives of the Roman Catholic Church. It is also quite obvious that painted altars were more inexpensive, less time-consuming to complete, and easier to undergo modifications in due course. Illusionistic altars, created in the northern part of the former Kingdom of Hungary in the 18th century,had numerous imitations in the subsequent century. The last part of the paper presents the continuation of the tradition, including historicising works illustrated with an example of the work of the Franciscan painter Konrad Švestka (1833-1907).
Źródło:
TECHNE. Seria Nowa; 2018, 1; 147-176
2084-851X
Pojawia się w:
TECHNE. Seria Nowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ołtarze okazjonalne wznoszone w czasie procesji Bożego Ciała w kolonialnym Cusco
Ceremonial Altars Constructed for Corpus Christi processions in the colonial city of Cusco
Autorzy:
Kubiak, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/642449.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:
During the colonial period, the celebration of secular and religious feasts became a crucial element of socio-religious life in Latin America. Such festivals were one of the tools that facilitated evangelisation. Additionally, it should be remembered that any religious holiday in colonial Peru and Mexico, especially in the areas dominated by the indigenous peoples, constituted a cultural blend of Catholic customs (brought from Europe by the Spanish) and the traditions of native Indian tribes. The feasts celebrated in the 17th and 18th centuries can be divided into one-time and cyclic. The former included beatifications and canonisations, enthronements, proclamations, and exequies, while the recurring celebrations were connected with the liturgical year and particular Marian and Christological devotions, or related to individual saints, thus having a rather local character. This paper focuses on the architecture of procession altars erected in Cusco for the celebrations of Corpus Christi in the colonial period, the first celebration of which, according to Inca Garcilaso de la Vega, took place in 1555. Its procession intended to celebrate the triumph of the new religion brought from Spain, while still observing local traditions. This festival was and still remains one of the most important events of the liturgical year. Another important event was the incorporation of Corpus Christi into the 1572 Ordinances of Viceroy Toledo for the City of Cuzco (Ordenanzas del virrey Toledo para la ciudad del Cuzco). The most significant source materials facilitating the research on Cusco’s ceremonial architecture include paintings of the time, and the preserved archival documentation and chronicles. Among the former, the most useful is the famous series of works portraying a Corpus Christi procession, which are believed to have been painted in the final quarter of the 17th century, at the request of Bishop Manuel de Mollinedo y Angulo. Even though some paintings only show procession figures carried on carts, others present sculptures of saints mounted on andas and carried by cargadores, with altars and triumphal arches in the background. The most important source documentation includes agreements concluded between benefactors and contractors stored in Archivo Reginal del Cusco. Other helpful materials are the church inventories preserved in the archbishop’s archives, church construction logbooks (libros de fabrica) and documents related to confraternities operating at various churches in Cusco, which can be accessed in Archivo Arzobispal del Cusco. Based on these materials, it was possible to conduct an analysis of the ceremonial architecture in Cusco, taking into account the following three aspects: the form and the building materials of the researched objects, and their iconography. The altars erected in Cusco for the purposes of Corpus Christi processions had a predetermined form. The vast majority were pyramidal compositions with lavish ornamentations, whose aim was not only to add splendour to religious celebrations, but also to manifest the wealth and religious piety of the originators, benefactors, and also the artists themselves. Most materials used to construct and decorate procession altars were already known in Europe, including miscellaneous types of fabrics, textiles and expensive silver and tortoiseshell, but occasionally also such typically Andean materials as maguey (ligneous parts of the agave used in sculpting figures) and feathers. The dominating iconographic motif presented in the altars is related to the establishment, worship and triumph of the Blessed Sacrament, with the major representations including the Eucharistic Adoration and the Last Supper, the Crucifixion, the Eucharist, the Defence of the Eucharist, scenes from the Transfiguration of Jesus, and images of the Christ Child. These and other altar representations are based on famous painting compositions popular among the representatives of the Cusco School.
Źródło:
TECHNE. Seria Nowa; 2018, 2; 61-108
2084-851X
Pojawia się w:
TECHNE. Seria Nowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Imágenes y retablos de las cofradías de Buenos Aires colonial
Images and altars of fraternities in colonial Buenos Aires
Wizerunki i ołtarze konfraterni kolonialnego Buenos Aires
Autorzy:
González, Ricardo
Powiązania:
https://bibliotekanauki.pl/articles/2177052.pdf
Data publikacji:
2014-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Opis:
The article concerns the issue of religious fraternities in colonial Buenos Aires: their existence and functioning as well as their influence on church furnishing in the region. Discussion begins with a short description of fraternities as religious institutions with emphasis placed on their social and culture-forming aspect. The article then presents a historical outline of the fraternities functioning in Buenos Aires: from the first ones, which appeared as early as in the late 16th century (Fraternity of Our Lady of the Rosary, 1586), to the late colonial ones originating from the 19th century (Fraternity of Souls in Purgatory, 1804). The text also describes chapels belonging to the fraternities and images associated their functioning as well as altars which were placed inside.
Artykuł dotyczy problemu istnienia i funkcjonowania bractw religijnych w kolonialnym Buenos Aires i ich wpływu na wyposażenie tamtejszych świątyń. Rozważania rozpoczyna krótka charakterystyka konfraterni jako instytucji religijnych z podkreśleniem ich aspektu społecznego i kulturotwórczego. Przedstawiony został rys historyczny bractw funkcjonujących w Buenos Aires od pierwszych, które pojawiły się już w końcu wieku XVI (Matki Boskiej Różańcowej, 1586), po późnokolonialne, pochodzące już z końca XVIII, a nawet z XIX stulecia (Dusz Czyśćcowych, 1804). Opisane zostały kaplice przynależne bractwom oraz wizerunki związane z funkcjonowaniem konfraterni i ołtarze, w których zostały umieszczone.
Źródło:
Sztuka Ameryki Łacińskiej; 2014, 4; 13-59
2299-260X
Pojawia się w:
Sztuka Ameryki Łacińskiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 32

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