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Tytuł:
Wystawa „Rośliny i zwierzęta. Atlasy historii naturalnej w epoce Linneusza”, zorganizowana w Muzeum Pałacu Króla Jana III w Wilanowie, 6 maja - 15 sierpnia 2021 roku
Exhibition ‘Plants and animals. Atlases of natural history in the age of Linnaeus’ organised at the Museum of King Jan III’s Palace at Wilanów, 6 May – 15 August 2021
Autorzy:
Gołąbek, Marta
Powiązania:
https://bibliotekanauki.pl/articles/2057720.pdf
Data publikacji:
2021
Wydawca:
Muzeum Pałacu Króla Jana III w Wilanowie
Tematy:
plants
animals
exhibition
Wilanów
Maria Sibylla Merian
overseas
garden
systematics
the Scientific Library of the Polish Academy of Arts and Sciences and the Polish Academy of Learning
Institute of Systematics and Evolution of Animals of the Polish Academy of Sciences
International Cultural Centre
Opis:
The announcement discusses the temporary exhibition titled 'Plants and animals. Atlases of natural history in the age of Linnaeus' which was organised at Museum of King Jan III's Palace at Wilanów between 6 May and 15 August 2021. The exhibition was the second edition of the exhibition originally organised by the International Cultural Centre in Cracow, the Scientific Library of the Polish Academy of Arts and Sciences and the Polish Academy of Learning in Cracow, together with the Library of the Institute of Systematics and Evolution of Animals of the Polish Academy of Sciences. The author of the text discusses the tenets of the authors of the scenario, the division of the narrative and the arrangement of the items in the new space, i.e. the interiors at the first floor of the Wilanów Palace, a former entre cour et jardin residence.
Źródło:
Studia Wilanowskie; 2021, XXVIII; 369-387
0137-7329
2720-0116
Pojawia się w:
Studia Wilanowskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Udział Instytutu Historii Architektury i Konserwacji Zabytków w procesie odnowy Krakowa
Autorzy:
Kadłuczka, A.
Powiązania:
https://bibliotekanauki.pl/articles/217506.pdf
Data publikacji:
2003
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
Teatr Stary w Krakowie
konserwacja
Rynek Główny w Krakowie
Kraków
zespół pałacowo-ogrodowy
Instytutu Historii Architektury i Konserwacji Zabytków
Old Theatre in Krakow
conservation
Main Market
palace
garden
Institute of History of Architecture and Monument Preservation
Źródło:
Wiadomości Konserwatorskie; 2003, 13; 78-81
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Stan zachowania historycznych ogrodów Czech, Niemiec i Anglii
State of Preservation of Historical Gardens in the Czech Republic, Germany and Great Britain
Autorzy:
Liszewski, M.
Powiązania:
https://bibliotekanauki.pl/articles/1186551.pdf
Data publikacji:
2006
Wydawca:
Uniwersytet Przyrodniczy we Wrocławiu
Tematy:
ogród
sztuka ogrodowa
historia
Czechy
Niemcy
Anglia
garden
gardening art
history
preservation
Czech Republic
Germany
Great Britain
Opis:
Gardening art is an important element of national culture. It often consolidates and unites societies of various nations. It also provides historical continuity in the history of separate countries. We can see it for ourselves while traveling around neighbouring countries: The Czech republic, Germany and Great Britain. The place worth seeing in our southern neighbours is a Baroque garden situated in the former health resort of Kuks, where the most celebrated representatives of mid-European aristocracy and the world of art spent their time between the 17th and 18th century. On the other hand the great family of French aristocratic elite - Rohans settled in the Czech Paradise. Royals of Austria and France visited their estate and admired this most beautiful park in the English style. Czech Prague can pride itself on marvelous architectonical works of art from the Renaissance period, i.e. Belveder on Hradcan hill. In Großsedlitz near Dresden is situated the most wonderful garden of King Augustus the Strong - Saxon Elector and King of Poland. The most celebrated architects and designers of European gardens of those times, such as : Heinrich Brühl, Matthäus Daniel Pöppelmann, or Carl Friedrich Pöppelmann worked for the Saxon court. In the capital of Prussia - Berlin, we can find the traces of work by famous French garden designers, S. Godeau and J.P. Lenné, who created the palace - garden set - Charlottenburg. In the times of Prussian prosperity, the castle and Rococo garden of Sanssouci in Potsdam was created. The spiritual capital of England still remains Canterbury together with its medieval Cathedral, but Windsor and Hampton Court Palace can be seen as a symbol of laic authority. Queen Victoria made Windsor, the old Gothic fortress, her main abode and there she buried her husband, Prince Albert. The castle is surrounded by great Windsor park. Hampton court had its blooming period during the Tudor reign. The Pond Gardens and The Knot Gardens are examples of gardens from the times of Henry VIII. The Privy Garden is an original garden set in the Dutch style modeled on a private garden of William II. But the best known garden-park set in England is London Kew Gardens also known as the Royal Botanic Gardens. About 50.000 plant species were gathered in a 120 ha park, and such famous architects as Chambers and Nesfield took part in its creation. London Greenwich Park and French Versailles are connected by the name of a famous garden designer - Le Nôtre. We can conclude from that short trip around Europe that gardening art had no borders, and it's inspirations were common to the sponsors and creators from those days irrespective of their origin.
Źródło:
Architektura Krajobrazu; 2006, 3-4; 96-101
1641-5159
Pojawia się w:
Architektura Krajobrazu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
School and kindergarten gardens as a place of education. History and contemporary design trends
Ogrody szkolne i przedszkolne jako miejsce edukacji. Historia i współczesne tendencje projektowe
Autorzy:
Jagiełło, Marzanna
Malkusz, Grzegorz
Szostek, Sebastian
Powiązania:
https://bibliotekanauki.pl/articles/1835690.pdf
Data publikacji:
2021
Wydawca:
Politechnika Wrocławska. Oficyna Wydawnicza Politechniki Wrocławskiej
Tematy:
school garden
nursery garden
education
school architecture
ogród szkolny
ogród przedszkolny
edukacja
architektura szkół
Opis:
This article presents the history of school and kindergarten gardens in the context of changing educational programs and social needs in a global review that also takes into account Poland. It was based on source texts and rich literature on this issue, including its historical, didactic and socio-ecological aspects. Next, contemporary layouts of this type are presented, and then innovative architectural and spatial solutions are discussed. This was done by means of the presentation of the selected projects developed for educational facilities functionally connected with gardens, mainly schools, but also kindergartens. Some of them have already been implemented. Some still remain at the concept stage. All of them present the direction of changes in the approach to designing educational facilities for children, being a response to contemporary didactic and social challenges.
W artykule przedstawiono, w przeglądzie światowym uwzględniającym również Polskę, historię ogrodów przyszkolnych oraz przedszkolnych w kontekście zmieniających się programów edukacyjnych i potrzeb społecznych. Oparto ją na tekstach źródłowych oraz bogatej literaturze dotyczącej tego zakresu badań, obejmującej zagadnienia historyczno-dydaktyczne oraz społeczno-ekologiczne. Przedstawiono też współczesne założenia tego typu, a następnie omówiono nowatorskie dla nich rozwiązania architektoniczno-przestrzenne. Zaprezentowano wybrane projekty opracowane dla obiektów edukacyjnych połączonych funkcjonalnie z ogrodami, głównie szkolnymi, ale także przedszkolnymi. Część z nich została już zrealizowana. Niektóre pozostały na etapie koncepcji. Wszystkie prezentują kierunek zmian w podejściu do projektowania obiektów edukacyjnych dla dzieci, stanowiący odpowiedź na współczesne wyzwania dydaktyczne i społeczne.
Źródło:
Architectus; 2021, Nr 2 (66); 27-38
1429-7507
2084-5227
Pojawia się w:
Architectus
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sacrum of nature in the composition of the Budapest Városliget urban park evolution of space composition aspects in a 2 century - long history
Sacrum natury w kompozycji parku miejskiego Városliget w Budapeszcie aspekty ewolucji kompozycji przestrzennej w dwóch wiekach - długa historia
Autorzy:
Szilagyi, K.
Fekete, O.
Powiązania:
https://bibliotekanauki.pl/articles/131704.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
urban public park
planting design
landscape garden
composition
Budapest
Városliget urban park
publiczny park miejski
projektowanie roślin
ogród krajobrazowy
kompozycja
park miejski Városliget
Budapeszt
Opis:
She (Nature) is an eternal present. Past and future are unknown to her. The present is her eternity. She is beneficient. J.W.von Goethe. Goethe is speaking about the ever-lasting value and importance of Nature. Even in today’s luminous, rushing and digital world, Goethe’s faithful idea and the theory of Christian Hirschfeld, which brought to life the 18th-century urban public park movement, represents a value. Though the citizens’ use and habits are varied in every age and region, society, the individuals need physical and spiritual recreation offered by urban parks. The overall goal of the research is to highlight the role of natural elements and urban landscape character in space composition means on the example of the two centuries old historic urban park in Budapest, the Városliget, one of the very first urban public parks. Main research questions: What are the main landscape and nature structures and elements that define the composition? What are the main changes in compositional means in the long evolution of the park in the stress of urban development and social change? Can we find universal design means for the general park use forms or does the local spirit play the dominant role in public park design? This study focuses on the composition means over time, in the transformation process of the Budapest Városliget, from the first landscaping and replantation of the swampy area in the outskirt of Pest town at turn of 18–19th century when Nature and her humanized garden and park forms became increasingly recognized as means and purposes of spiritual, physical and societal renewal. The research is based on analyses of ecological, landscape aspects and features, of social, public and political input into planning and building that affected the composition and the construction of the urban public park. The analyses focus on the significant momentums of park evolution, while observations focus on the relations between changing social and landscape aspects in the design and planning process.
She (Nature) is an eternal present. Past and future are unknown to her. The present is her eternity. She is beneficient. J.W.von Goethe. Goethe mówi o wiecznej wartości i znaczeniu natury. Nawet w dzisiejszym pospiesznym i zdigitalizowanym świecie, idea Goethego oraz teoria Christiana Hirschfelda, która ożywiła ruch miejskiego parku publicznego w XVIII wieku, stanowi wartość. Pomimo, iż sposób użytkowania i nawyki mieszkańców miast różnią się w zależności od wieku i regionu, społeczeństwo i jego poszczególne jednostki potrzebują fizycznego i duchowego wypoczynku, oferowanego przez parki miejskie. Głównym celem badań jest podkreślenie roli naturalnych elementów i charakteru krajobrazu miejskiego w kompozycji przestrzennej, na przykładzie dwustuletniego historycznego parku miejskiego Városliget w Budapeszcie - jednego z pierwszych publicznych parków miejskich. Główny problem badawczy brzmi: jakie są główne krajobrazowe i naturalne struktury i elementy definiujące kompozycję? Jakie główne zmiany w kompozycji wpłynęły na długą ewolucję parku w zachodzącej presji rozwoju miasta i zmian społecznych? Czy możemy odnaleźć uniwersalne metody projektowania dla ogólnego użytkowania parku oraz czy lokalny duch miejsca pełni rolę dominanty w projektowaniu parku publicznego? Badania koncentrują się na znaczeniu czynnika kompozycji, zmieniającego się pod wpływem czasu, w procesie transformacji Városliget w Budapeszcie, od pierwszego zagospodarowania i wprowadzenia nasadzeń na bagnistym obszarze na obrzeżach miasta Peszt na przełomie XVIII i XIX w., kiedy natura i jej kulturowe ogrody i formy parków stawały się coraz częściej uznawane za środki i cele duchowej, fizycznej oraz społecznej odnowy. Badania opierają się na analizie ekologicznych i krajobrazowych aspektów i cech społecznych, publicznych i politycznych, w planowaniu i budowaniu, które wpłynęły na kompozycję i konstrukcję publicznego parku miejskiego. Analizy skupiają się na istotnych momentach ewolucji parku, podczas gdy obserwacje koncentrują się na relacjach pomiędzy zmieniającymi się aspektami społecznymi i krajobrazowymi w procesie projektowania i planowania.
Źródło:
Teka Komisji Urbanistyki i Architektury Oddział PAN w Krakowie; 2018, 46; 723-731
0079-3450
2450-0038
Pojawia się w:
Teka Komisji Urbanistyki i Architektury Oddział PAN w Krakowie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Puławy – miasto powstałe z ogrodu „Fundacja Wspierania Historycznego Ogrodu Puławskiego” w programie zrównoważonego rozwoju
Puławy - the city arisen from a garden "Fundation of Support for the Historical Garden of Puławy" within the programme of sustainable development
Autorzy:
Wołk, A.
Karpiński, W.
Giedrojć, I.
Powiązania:
https://bibliotekanauki.pl/articles/1185240.pdf
Data publikacji:
2002
Wydawca:
Uniwersytet Przyrodniczy we Wrocławiu
Tematy:
Puławy
ogród pałacowy
rozwój zrównoważony
historia
garden-palace
sustainable development
history
Opis:
Puławy is a unique city, which was created on a basis of the garden - palace set up. It was designed by Tylman van Gameren in 1671 for Stanisław Herakliusz Lubomirski. The design is based on the 8 km long axis. During 330 years of existence of this set up on the Vistula river its basic spatial outline was not changed. The family of Prince Czartoryski, who were the owners of Puławy from 1 731, landscaped the garden into its present shape. Thanks to the fascinations of Princess Izabela with 'English gardens', Pulawy became the closest example of her experiment with introducing the rules of this style on the elements of a regular garden. The book "Various thoughts on the manner of garden layout" was a theoretical interpretation of the rules propagated by her in landscape design. The downfall of Czartoryski's fortune and the confiscation of Puławy estate affected the further development of the garden. During the period of Russian annexation of Puławy the institute of agriculture and forest research was established here and the garden played the role of an auxiliary farm. After the World War II the profile of the institute changed and the garden ceased to have the research function. Now it belongs to the first class culture monuments and is under the supervision of the State Monument Protection Service. The location of the garden as well as the fast development of the city imposed on the garden a function of a park. In order to prevent the demolition of this landscape monument the Foundation of Support for the Historical Garden of Puławy was brought into existence in 1997 and was formally registered in 2002. The Founders are: - the Institute of Soil Science and Plant Cultivation, "High School of Puławy, - the Municipality of the Town of Puławy - Gmina Miasto Puławy, - the Research Institute of Pomology and Floriculture, Apiculture Division, - the Roman-Catholic Parish of the Ascention of the Saint Mary, - Nitrogen Factory - Zaklady Azotowe 'Puławy' S.A., - one private person. The aim of the Foundation is to restore the former splendour of the garden - its unique landscape layout. For the sake of proper planning the following indications for the spatial policy are being employed: - protection and sensible landscaping of the environment through developing of coherent system of protected areas in the surroundings of Puławy, it's blending into processes of socio-economic development of the city and the elimination of harmful effects of various factors on the environment, - protection of cultural heritage and its integration with actions for environment protection as well as preservation of the favourable features of historically developed, valuable and yet functional - landscape layout of the city.
Źródło:
Architektura Krajobrazu; 2002, 3-4; 34-39
1641-5159
Pojawia się w:
Architektura Krajobrazu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przywołanie zapomnianej Arkadii - ogrodów rezydencjonalnych Hrabstwa Kłodzkiego
Recalling the forgotten Arcadia - the residential gardens of Kłodzko County
Autorzy:
Leniartek, M. K.
Powiązania:
https://bibliotekanauki.pl/articles/1186902.pdf
Data publikacji:
2008
Wydawca:
Uniwersytet Przyrodniczy we Wrocławiu
Tematy:
ogród
Kłodzko
rezydencja
historia
garden
residential garden
history
Opis:
The present article attempts to reveal the meaning of the residential gardens of the former Kłodzko county, presently lost and forgotten, in order to shape their unique image. The compositional features of these gardens as well as the metaphoric and symbolic contents enclosed in them are a reflection of styles and fashions of the epochs in which they were created and later evolved. They are also an expression of individual needs, ambitions and views of the patrons as well as the architects and gardeners who created them, and also a source of inspiration for artists of different arts. Spatial features and landscape values of former garden foundations also constituted a vital motive in the process of shaping the feeling of local and regional autonomy of previous generations and they play the same role today. The natural, historical, educational and also sociological values of the gardens confirm the necessity for research on their resources, protection, revalorization or restitution, and also enriching them with new contents comprising their material and immaterial heritage.
Źródło:
Architektura Krajobrazu; 2008, 4; 45-53
1641-5159
Pojawia się w:
Architektura Krajobrazu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problematyka rewaloryzacji południowej części Parku Miejskiego w Kaliszu w świetle materiałów archiwalnych
The issue of revalorisation of the southern part of the Municipal Park in Kalisz in the light of archival materials
Autorzy:
Ławniczak, Grażyna
Powiązania:
https://bibliotekanauki.pl/articles/1927121.pdf
Data publikacji:
2019
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
historia ogrodów
konserwacja i restauracja
konserwacja ogrodów
ogrody
parki miejskie
Kalisz
garden history
conservation and restoration
garden conservation
gardens
municipal parks
Opis:
Przy tworzeniu projektów rewaloryzacji zabytkowych parków i ogrodów niezbędne jest zapoznanie się ze wszystkimi dostępnymi archiwaliami. Sięgnięto do nich również w związku z ogłoszonym w 2016 r. konkursem pn. „Opracowanie koncepcji rewaloryzacji Parku Miejskiego w Kaliszu”. Znaczący, dotąd nieopracowany materiał do historii parku znajduje się w dokumentach Naczelnika Powiatu Kaliskiego z lat 1834-1849 w Archiwum Państwowym w Kaliszu. Zawierają one szczególnie cenne spisy drzew i krzewów sporządzone w 1846 r. przez zatrudnionego w parku ogrodnika Antoniego Wodziczkę. Park Miejski w Kaliszu był od początku ogrodem publicznym, utworzonym i rozbudowywanym z myślą o mieszkańcach, co znajduje wyraz w źródłach historycznych i literaturze wspomnieniowej. Bierze on swój początek z połączenia ogrodów pojezuickich i pastwisk miejskich w 1793 r. W latach 1824-1825 przy placu ćwiczeń Korpusu Kadetów powstało miejsce nazywane „spacerem”. Jednym z etapów rozwoju przestrzennego tego obszaru było założenie gospodarstwa ogrodniczego w latach 40. XIX w., poza parkiem publicznym – powstał staw z wyspą (1843) i postawiono Dom Szwajcarski (1844) o funkcji mieszkalnej, który w przyziemiu pełnił też rolę oranżerii. W strukturze gospodarstwa ogrodniczego znalazł się również ogród botaniczny. W kolejnym etapie rozbudowy parku, po 1846 r., zazieleniano teren przy rzece Prośnie i za jej odnogą w kierunku gospodarstwa ogrodniczego. Jednocześnie założono park w stylu angielskim przy nowo wykopanym kanale Bernardyńskim (1841-1842). Tereny zielone parku, choć powstawały w różnych latach, tworzyły jednolitą strukturę już około 1873 r. W tymże roku zlikwidowano naturalną odnogę Prosny, stano¬wiącą granicę najstarszej części parku, w to miejsce wykopano prosto biegnący przekop istniejący do dzisiaj. Projekt rewaloryzacji południowej części Parku Miejskiego w Kaliszu w świetle przedstawionych w artykule archiwaliów powinien obejmować zaznaczenie obszaru dawnego gospodarstwa ogrodniczego, tak by zatarciu nie uległ przekaz o funkcji, jaką pełniło ono w rozbudowie terenu i utrzymaniu parku.
When creating projects aimed at revalorisation of historic parks and gardens, it is essential to familiarise oneself with all available archival materials. Such materials were also consulted in connection with the announced competition titled “Development of a project aimed at revalorisation of the Municipal Park in Kalisz” in 2016. Important materials connected with the park’s history which have yet to be elaborated can be found in the documents of the Head of the Kalisz County from the years 1834-1849 at the State Archives in Kalisz. They contain invaluable inventories of trees and shrubs prepared in 1846 by a gardener who worked at the park, Antoni Wodziczko. Since the beginning, the Municipal Park in Kalisz has been a public garden, created and expanded with the residents in mind, which is reflected in historical sources and memoirs. Its origins can be traced back to the connection of post-Jesuit gardens and municipal pastures in 1793. In the years 1824-1825, a place called “the promenade” was created by the Corps of Cadets’ drill ground. One of the stages of spatial development of this complex consisted of creation of a horticultural farm in the 1840s outside the public park – a pond with an island was constructed (1843) and the residential Swiss House was erected (1844), which also served as a conservatory on the ground floor. The horticultural farm also included a botanical garden. At the next stage of expansion of the park, after 1846, the area by the Prosna River and its distributary was greened in the direction of the horticultural farm. At the same time, an English landscape park was formed near the newly-dug Bernardyński Channel (1841-1842). The park’s green areas, while created in different years, formed a uniform structure as early as in 1873. In this year, the natural distributary of the Prosna River, which constituted a border of the oldest part of the park, was filled in and a straight-running trench was excavated in its place, which exists to present day. In the light of the archival materials presented in the article, the project aimed at revalorisation of the southern part of the Municipal Park in Kalisz should envisage that the area of the former horticultural farm is marked, so that the function it served in the context of area expansion and park maintenance is not forgotten.
Źródło:
Ochrona Zabytków; 2019, 1; 113-148
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Powązki: szkoła uczuć i historii. Wychowanie młodych Czartoryskich
Powązki: school of feelings and history . Education of the Czartoryski children
Autorzy:
Whelan, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/707020.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Powązki
Czartoryscy
garden
ogród
Opis:
The article considers the Powązki garden and reconstructs the activities which took place there from its first season in 1772, to its destruction in the war of 1794. The garden was established by Princess Izabela Czartoryska (1746–1834) on the outskirts of Warsaw and functioned as the summer retreat for the Czartoryski family. Powązki should be considered as the first Polish landscape garden, even though the king Stanisław August Poniatowski begun the royal Łazienki in 1764. It took him however twenty years to arrive at a finished state. By then Powązki had already established itself as a major public space, the most celebrated one of thirty other landscape gardens which swiftly appeared in the vicinity of Warsaw. Not only was Powązki the first one in Poland-Lithuania, its dates of creation 1770–1771 predate the development of the French hameau and ferme ornée types, while the comparison with the English ornamental Woburn Farm shows Powązki as much richer in function and imaginative associations. While the fame of the garden as one the most beautiful Polish landscape gardens lived on, successive generations of scholars and biographers have denigrated it to the category of carefree abandonment in leisure, apparently characteristic of its owner and her waning world. This interpretation was complicated by the fact that Princess Izabela Czartoryska later established a second, even more famous garden in Puławy (1784–1834), her family estate 120 km from Warsaw, where she promoted patriotic themes and styled herself as the mother of the Polish nation, no less. Czartoryska’s family bridged the divide between leisure (Powązki) and patriotic virtue (Puławy) by promoting a myth of the sudden transformation, where one garden was created by an indulgent and empty-headed socialite, while the other by a matron, founder of the first Polish national museum. The article focuses on the activities which went on in Powązki, in particular it reconstructs the educational efforts Princess Czartoryska directed towards her children: Teresa, Maria, Adam Jerzy, Konstanty and the youngest Zofia. This approach allows us to recreate the most elusive fabric of the garden, the intention of its use, where the activity actually dictates the visual form. The figures in the garden can be seen living in an aesthetically designed space, drawing simplicity from rustic huts, walking the artificial ruins, engaging in farming and gardening, and presenting verses from pastoral poetry in intimate, private theatricals. At this moment in time Princess Izabela Czartoryska had a complete control over the young characters, and was removed from the usual formal constraints of courtly life. It is evident that considering the very young age of the children, the visual language of gesture and the design of the landscape had to dominate. The eldest surviving son Adam Jerzy Czartoryski remembered his early years in Powązki as the happiest of his life. From 1772 he spent long summer months there with only his mother, his siblings and a small number of family friends for company. Princess Izabela Czartoryska set a precedent in publicly endorsing a Rousseau inspired model of an emotionally engaged mother. What is important, she created Powązki not only as a private Elysium, as Adam Jerzy remembered, but also as a space for public presentation, frequented by the king and open to the scrutiny of large numbers of the nobility, the inhabitants of Warsaw, and to anyone who procured an entry ticket for a private visit. In this perspective, the culture of leisure in Powązki shows itself as a mode of communication designed to present a coherent agenda, which was aimed as much at the wider public as at the Czartoryski children. Czartoryska’s garden connected the pastoral pursuits with historical analogies to Republican Rome and underpinned them with moralizing examples of virtue from the works Charles Rollin. In effect, Powązki revolved around a didactic programme, commented on principles of moral living, on the family’s role as enlightened citizens and on the current state of Poland. The ‘Powązki poets’ under the Czartoryski patronage – Adam Naruszewicz, Franciszek Karpiński and Franciszek Dionizy Kniaźnin placed the garden within the classical pastoral as a pleasant and virtuous place. They styled its adult inhabitants as enlightened shepherds protecting their flock of the nation. The children figured as the inheritors of their parents’ ideals. The poet Adam Naruszewicz presented the two year old Adam Jerzy as a wise Amor making wreaths to honour his male line, already at this young age learning appropriate attitudes in the language of symbols. Naruszewicz consciously based himself on the poetic imagery of Salomon Gessner, the most influential poet of the new pastoral. Gessner’s works not only took over the imagination of Polish poets, they were regarded as particularly useful for teaching children moral examples. Educators saw in them a suitable model for an exemplary relationship between children and their parents, a format for the expression of innocent feelings and as an endorsement of an ideal of living in nature as a source of happiness. Czartoryska favoured Gessner’s works above all others and most likely included them in the children’s performances of pastoral poetry. Adam Jerzy particularly enjoyed these private theatrical entertainments. They formed a part not only of his own upbringing but also that of his mother’s. During Izabela’s childhood in Wołczyn, her governess Madame Petit followed the influential educational theories of Charles Rollin, author of Traité des études, Histoire Ancienne and Histoire Romaine. Rollin was an advocator of a respectful and tender attitude to children and an enthusiastic believer in the value of visualizations from ancient history. Madame Petit took over the charge of the next generation and used the same books and methods in their education, as she did with Czartoryska. Both Izabela and her husband Adam Kazimierz attached a singular importance to the educational qualities of theatre and saw the art of public self presentation as a culturally constructive form of communication. During the decade before the establishment of Powązki the Czartoryskis participated in the founding of the National Theatre and supported its short-lived activity. Izabela was an accomplished actress in her own right, Adam Kazimierz coached the actors in the art of expressive gesture, wrote plays for the public theatre and for the students of the School of Cadets. He encouraged his students to read and to visualize pastoral poetry and to assimilate its ideals of virtue. A drawing Izabela commissioned from her artist Jean Pierre Norblin demonstrates the primacy of gesture as a means of emotional exchanges in Powązki. Following the accidental death of the eldest daughter Teresa, the Princess chose to memorialize herself and the children in a mourning ritual. Only restrained gestures signify the internalized emotions. Instead, the expressive strength of the presentation shifts onto the viewer, who needs to draw on his own experiences in order to identify himself with the subject and emotionally participate in the scene. This type of presentation falls into the theories of distanced, selfconscious, and internalized expression promoted by Diderot and popularized by Rousseau, and shows the interactions in Powązki as highly stylized and emotionally charged exchanges. The children learned to imitate the Gessnerian pastoral ideal not only in theatrical visualizations; they were able to experience it directly. They lived in a little hameau in the pleasure grounds, each in a little modest cabin with a garden, while their mother inhabited a larger thatched log house. Czartoryska turned over half of the one hundred hectare estate into an arable farm and followed an example of her father Jan Jerzy Flemming and her grandfather Michał Czartoryski in an exemplary land management. The productive part of the ferme ornée entered the pleasure grounds. Sheep and cattle grazed near the cabins, while fishing in the ornamental lake combined the useful with the beautiful and presented a subject for paintings by Jean Pierre Norblin. The Czartoryski children visited the farms; they also learned to grow plants in their own gardens as part of their daily routine. While many contemporary writers praised the benefits of work in the garden for young children, Czartoryska added to gardening an emotional dimension. She taught her children to express their feelings through planting and to connect them with the attachment to people and to land. Emotional planting in Powązki became a form of communication which the family continued throughout their lives. Charles Rollin’s Histoires added a historically moralizing element to the Gessnerian ideal. Rollin associated the events of the past with personal qualities of people. His virtuous kings, generals and heroes in the times of peace invariably exchanged their swords for ploughs and vine knives and continued as shepherds of their people. For Adam Jerzy and his younger brother Konstanty these were the role models which they could enact, absorb and build on in a manner appropriate for their age. The design of Powązki extended the sphere of rural, pastoral associations by the introduction of the vernacular architectural elements and classical sculptural references: Polish rustic cabins, Roman ruins, medieval buildings and classical statues of Pastoral Poetry, Virtue and Diana the Hunter. Deer roamed the place; their presence connected the new landscape garden with the Polish traditional estate. Czartoryska leased additional statues at the times of fêtes and engaged in performances involving laying the wreaths and garlands of flowers on altars of gratitude, in a manner reminiscent of compositions by Boucher, Greuze or Gessner. Paintings by Jean Pierre Norblin record a close identification of the inhabitants of Powązki with the imagined past: the figures touch the statue of Virtue and wander in the proximity of a classical tomb. The children drew naturally on the connection between the Polish vernacular, antiquity and the pastoral: the girls performed Polish dances dressed in Greek clothes; Adam Jerzy danced a cossack and played on arcadian bagpipes. The musical activities continued the associations with the ancients. Rollin argued, using historical examples, that teaching of music refined peoples’ characters and gathered individuals into a charitable, gentle and pious society. The background for the activities taking place in Powązki was a set of ruins in front of Czartoryska’s hut – identified here as the copies of the Arch of Septimus Severus, the column of Focas and the Temple of Vespasian and Titus. They were presented in a half buried state, just as they appeared at the time on Campo Vaccino in Rome. A short distance from the garden ruins stood a copy of the Theatre of Marcellus, a building which like the Roman original no longer functioned as a theatre, but contained stables and habitable rooms. Significantly there was no theatre building in Powazki, instead performances took place in open air. Rollin and eighteenth century historians endowed the performances sub Jove with qualities of simplicity and social equality characteristic of the Republican period. In contrast, the ruined remnants of the Imperial Rome commented on the temporal nature of the authoritarian rule, and together with performances on the grass pressed the message of the Czartoryski republican orientation. In this interpretation the visual programme of Powązki sets itself in opposition to the design devised by the king Stanisław August Poniatowski for the interiors of the royal castle which referenced the rule of Octavian. As Powązki functioned not only as a private retreat but a space open to the scrutiny of Warsaw and nobility from the whole Commonwealth, especially at the time of large scale theatrical productions, fetes, fairs and fireworks displays, these meanings received a public dimension. The ‘entirely Polish and republican’ education the children, shows itself therefore as a matter of private and public concern. This article puts to rest the pervasive notion that the culture of leisure carried no other meanings than self-serving indulgence and entertainment. Instead, the garden shows itself as the public space intended partly as the exposition of the educational methods of bringing up children and the space visualising the family’s political orientation within, what’s important, leisurely activities.
Źródło:
Rocznik Historii Sztuki; 2014, 39; 223-247
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Porcelanowy ogród. Flora w ceramice europejskiej XVIII–XX wieku
Porcelain Garden. Flora in the European Ceramics from the 18th to the 20th Century
Autorzy:
Grzejszczak, Ł.
Powiązania:
https://bibliotekanauki.pl/articles/167924.pdf
Data publikacji:
2017
Wydawca:
Sieć Badawcza Łukasiewicz - Instytut Ceramiki i Materiałów Budowlanych
Tematy:
porcelana
motywy dekoracyjne
porcelana europejska
historia
Chiny
Japonia
porcelain
decorative motifs
European porcelain
history
China
Japan
Opis:
Ojczyzną porcelany są Chiny, gdzie produkowana była już w czasach dynastii Han (206 p.n.e.–220 n.e.) i udoskonalona za panowania dynastii Tang (618–906) i Song (960–1279). W Europie porcelana pojawiła się dopiero po upływie stuleci. Pierwsze wiadomości zawierała relacja Marco Polo z podróży do Chin. A do XVI w. zaczęły docierać obiekty eksportowane przez Portugalczyków i Holendrów. Wzbudzały zachwyt kolekcjonerów i dostarczały inspiracji. Od XV w. podejmowano prace zmierzające do wynalezienia europejskiej porcelany. Udało się to z chwilą założenia w 1710 r. Królewskiej Manufaktury Porcelany w Miśni, a później dość licznych wytwórni m.in.: w Wiedniu, Berlinie, Nymphenburgu, Ludwigsburgu, Sèvres oraz polskich w Korcu i Baranówce. Dekoracje wczesnych wyrobów naśladowały porcelanę chińską i japońską, a jednym z popularnych motywów – malowanych emaliami ceramicznymi – były formy floralne, w tym kwiaty mające w sztuce orientalnej znaczenie symboliczne. Artykuł prezentuje historyczny rozwój form i rodzajów motywów kwiatowych wykorzystywanych w dekoracji wyrobów ceramicznych. Omówiono różnorodne źródła inspiracji motywami florystycznymi i zmieniającą się stylistykę dekoracji, która odpowiadała aktualnym prądom artystycznym (od rokoka do art deco).
The homeland of porcelain is China, where it was produced in the times of the Han Dynasty (206 B.C.–220 A.D.) and improved during the reign of the Tang Dynasty (618–906) and the Song Dynasty (960–1279). In Europe, porcelain appeared only after centuries. The first news came with Marco Polo’s account of his trip to China. In the 16th century objects exported by the Portuguese and the Dutch appeared. They aroused delight among the collectors and provided inspiration. From the 15th century work aimed at inventing European porcelain was undertaken. The success came with the foundation of the Royal porcelain factory in Meissen in 1710, and subsequently with quite a number of manufactories in Vienna, Berlin, Nymphenburg, Ludwigsburg, Sèvres and Polish factories in Korzec and Baranówka. Decoration of the early products imitated Chinese and Japanese porcelain, and one of the popular motifs – painted with ceramic enamels – were floral forms, including flowers having symbolic meaning in Oriental art. The article presents the historical development of the forms and types of floral motifs used in the decoration of ceramic products. It discusses various sources of inspiration evoked by floristic motifs, and the changing style of decoration, which corresponded to the current artistic styles (from rococo to art deco).
Źródło:
Szkło i Ceramika; 2017, R. 68, nr 1, 1; 11-14
0039-8144
Pojawia się w:
Szkło i Ceramika
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Park dworski w Zalesiu, obecnie w Rzeszowie – historia i stan współczesny
Manor park in Zalesie, nowadays in Rzeszów – history and the current state
Autorzy:
Stompor-Chrzan, E.
Powiązania:
https://bibliotekanauki.pl/articles/107099.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Rzeszowski. Wydział Biologiczno-Rolniczy
Tematy:
zabytkowe ogrody
park na Zalesiu w Rzeszowie
układ kompozycyjny ogrodów
historical gardens
park in Zalesie in Rzeszów
composition of the garden
Opis:
Celem artykułu jest przedstawienie wiarygodnego opisu założenia dworskoparkowego w Zalesiu. W skład tego założenia wchodził m.in. ogród pierwszy przy dworze z XVIII wieku oraz ogród drugi założony pod koniec XIX wieku, zlokalizowany na północ od dworu. Zasób wiadomości o kompozycji ogrodowo-przestrzennej z lat 30. XX w. oparto na korespondencjach: Romana Gumińskiego (ostatniego właściciela Zalesia) z autorką i prof. Stefana Gumińskiego (brata Romana) z dr Izabelą Miczyńską (byłym pracownikiem naukowo-dydaktycznym Akademii Rolniczej w Krakowie) oraz na szkicu parku autorstwa Stefana Gumińskiego. Pozyskane informacje stanowią źródło badawcze umożliwiające odtworzenie pierwotnego wizerunku parku zlokalizowanego na Zalesiu, w jednej z dzielnic Rzeszowa. Mogą one też być przydatne przy rewaloryzacji parku.
The purpose of the article is to show the reliable description of the manor park in Zalesie. In this area were included inter alia: the first garden by the manor, from the 18th century and the second garden, set up at the end of 19th century, located to the north of the manor house. The information about the composition of the area from the 1930s, are based on exchange of letters between: Roman Gumiński (the last private owner of Zalesie) and the author; prof. Stefan Gumiński (Roman’s brother) and Ph. D. Izabela Miczyńska (the former employee of Agriculture Academy in Kraków). Important source was also the sketch of the park by Stefan Gumiński. Collected information is the research source, which help to recreate the original image of the park, located in Zalesie, in one of the districts of Rzeszów. They could be also useful by the revalorization of the park.
Źródło:
Topiarius. Studia krajobrazowe; 2017, T. 2; 145-162
2449-9595
2543-926X
Pojawia się w:
Topiarius. Studia krajobrazowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
OGRÓD RÓŻANY W ZABYTKOWYM PARKU W ŁAŃCUCIE. HISTORIA I DZIEŃ DZISIEJSZY
THE ROSE GARDEN IN THE HISTORICAL PARK IN ŁAŃCUT. HISTORY AND THE PRESENT DAY
Autorzy:
Koza, Wiesław
Powiązania:
https://bibliotekanauki.pl/articles/537496.pdf
Data publikacji:
2005
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
ogród różany
Park w Łańcucie
układ kompozycyjny parku
historyczny kształt ogrodu
rekonstrukcja Ogrodu Różanego
Opis:
The Rose Garden established at the turn of the nineteenth century by the Potocki family underwent multiple transformations. Its zenith coincided with the 1930s. Magnificently composed and enhanced by means of unique examples of sculpture, it constituted a valuable example of the art of gardening. The second half of the twentieth century, however, proved to be less conducive – the composition arrangement and outfitting were altered upon several occasions. The total reconstruction of the garden, carried out at the beginning of the twenty first century, restored its original character and appearance. The Rose Garden in the historical park in Łańcut, extraordinary and enchanting during the early twentieth century, slightly neglected in the second half of that century, and splendidly restored at the beginning of the twenty first century, invites visitors for tours.
Źródło:
Ochrona Zabytków; 2005, 1; 89-96
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Od Ogrodu Hesperyd do „Cytrusomanii” w ogrodach europejskich władców w XVI-XVIII wiek - Symbolika i historia uprawy roślin cytrusowych
From the garden of Hesperides to “Citrus mania” in the gardens of European rulers in XVI-XVIII centuries - the history and symbolic use of citrus plants
Autorzy:
Malawski, Seweryn
Powiązania:
https://bibliotekanauki.pl/articles/1879794.pdf
Data publikacji:
2015
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
ogrody
Medyceusze
August II
cytrusy
oranżeria
gardens
Medici
citrus
orangery
Opis:
Historia uprawy roślin cytrusowych sięga czasów starożytnych, jednak to w dobie renesansu zyskały one szczególne znaczenie jako element sztuki ogrodowej. Wtedy też zaczęto wykorzystywać nie tylko ich użytkowy charakter, ale również wartości dekoracyjne i znaczenie symboliczne. Pierwsze udokumentowane wykorzystanie cytrusów do celów propagandowych miało miejsce w ogrodzie Medyceuszy w Castello nieopodal Florencji. W okresie tym owoce cytrusów utożsamiano z mitycznymi „złotymi jabłkami” Hesperyd, fakt ten wykorzystany został przez ród Medyceuszy w tworzeniu ogrodu o politycznym przesłaniu. Wspaniałą kolekcję roślin kubłowych, w tym cytrusów, posiadał również w Wersalu król Francji Ludwik XIV. W okresie tym oranżeria i parter pomarańczowy stały się znaczącym eremem ogrodowej kompozycji i programu. Wielkim miłośnikiem uprawy roślin cytrusowych był także elektor saski i król Polski August II Mocny. Podobnie jak Kosma I Medyceusz, utożsamiał się on z mitycznym Heraklesem, a w swych ogrodach w Dreźnie i Warszawie zgromadził olbrzymią kolekcję tych roślin - zwłaszcza pomarańczy gorzkiej. Uprawą cytrusów pasjonował się również ostatni król Polski, Stanisław August Poniatowski, a także car Aleksander II, który odkupił część kolekcji Augusta oraz wybudował nową oranżerię w parku łazienkowskim w Warszawie w celu jej utrzymywania.
The history of growing citrus plants dates back to ancient times but in the Renaissance era they gained particular importance as an element of garden art. At that time they became popular for their decorative and symbolic significance, as well as their originally intended purpose. The first documented use of citrus fruit as “garden art” took place in the garden of the Medici at Castello near Florence. During this period, citrus fruits were identified with the mythical “golden apples” of Hesperides. This fact was used by the Medici family in the garden to create a political message. The great collection of container plants including citrus was also held in Versailles, by French King Louis XIV. From that time the conservatory and orange parterre have become a sig- nifi cant element of garden composition and program. The Elector of Saxony and the King of Poland - August II the Strong was also a great lover of citrus fruits. Similar to Cosimo I de’ Medici, he identified himself with the mythical Heracles, and in his gardens in Dresden and Warsaw amassed huge collections of those plants - especially the bitter oranges which bear “golden” fruits. The last Polish king, Stanislaw August Poniatowski, was fascinated by citrus cultivation, as was Tsar Alexander II, who repurchased part of August II collection and built a new orangery in Lazienki Park in Warsaw for its maintenance.
Źródło:
Roczniki Humanistyczne; 2015, 63, 4; 59-84
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O historii, cytatach z przeszłooeci i nowoczesnych krajobrazach. Nowe w starym i nowe - w ogrodach i parkach historycznych i współczesnych
About History, Quotations from the Past and Modern Landscapes. The Old in the New - in Historic and Modern Gardens and Parks
Autorzy:
Zachariasz, A.
Powiązania:
https://bibliotekanauki.pl/articles/1188032.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Przyrodniczy we Wrocławiu
Tematy:
historia
krajobraz
ogród historyczny
park
history
landscape
historic garden
modern garden
Opis:
A garden is a testimony to the uniqueness of culture in time and place. Works of garden art quickly absorb new trends and fashions, are open to inspirations. The modern ones are often characterized by their diversity and an ability to stimulate different senses. The article presents landscapes created from anew - historical and modern gardens - unique 'living' objects of cultural heritage. It describes restoring hundred years old gardens and parks, and more modern ones, to their former glory. Examples of historical objects variously reconstructed and revalorized are given. Gardens which changed their function and are geared to receive a broader public, as well as those which commemorate the past. The second aspect addressed in the article is using historic models and references to the past in creating new landscapes, and also how this contributes to their educational value.
Źródło:
Architektura Krajobrazu; 2011, 4; 4-17
1641-5159
Pojawia się w:
Architektura Krajobrazu
Dostawca treści:
Biblioteka Nauki
Artykuł
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