Autor: Arszyńska, Joanna - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Zachowane nowożytne wyposażenie ewangelickich kościołów Diecezji Mazurskiej
Modern Furnishing Preserved in Evangelical Churches of the Masurian Diocese
Autorzy:: Arszyńska, Joanna M.
Powiązania:: https://bibliotekanauki.pl/articles/425518.pdf
Data publikacji:: 2015
Wydawca:: Parafia Ewangelicko-Augsburska w Gdańsku z siedzibą w Sopocie
Tematy:: cultural heritage
confession transformations
Lutheran art
Evangelical Church of the Augsburg Confession in Masuria
Pasym
Szczytno
Sorkwity
Kętrzyn
Dźwierzuty
Łęguty
Pasłęk
Gierzwałd
Dąbrówno
Opis:: The paper discusses the issue of historical furnishing (mainly of 17th and 18th centuries) preserved in Lutheran churches that have not changed their confession identity. Descriptions of the most interesting elements of furnishing of churches in Pasym, Szczytno, Sorkwity, Kętrzyn, Dźwierzuty, Łęguty and Pasłęk as well as in Dąbrówno and Gierzwałd are preceded with an extensive introduction explaining the assumptions of Lutheran Church art, sketchily outlining the development of Lutheran art within the area of the present Masurian diocese, and explaining the historical reasons for the today’s dispersion of Lutheran heritage in the region.
Źródło:: Gdański Rocznik Ewangelicki; 2015, 9; 62-83
1898-1127
Pojawia się w:: Gdański Rocznik Ewangelicki
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Konserwacja i restauracja ściennego tabernakulum (sakrarium o budowie skrzyniowej) z Marianki Pasłęckiej. I połowa XV wieku
Conservation and Restoration of the Church Tabernacle (Sacrarium in the Form of a Wooden Cabinet) from Marianka Pasłęcka – 1st Half of the 15th Century
Autorzy:: Gruszczyk, Natalia
Arszyńska, Joanna M.
Powiązania:: https://bibliotekanauki.pl/articles/2052179.pdf
Data publikacji:: 2014-12
Wydawca:: Muzeum "Górnośląski Park Etnograficzny w Chorzowie"
Tematy:: conservation
restoration
sacral objects
konserwacja
restauracja
obiekty sakralne
Opis:: The article concerns the issue of conservation and restoration of wooden elements of the cabinet construction of a church tabernacle and its decoration painted in the lean tempera technique. After the initial presentation of the object’s characteristics, technology of its creation, history and state of preservation, there is also a detailed description of treatment with some methods and means that were used during the conservation and restoration process. Furthermore, the work refers to some specific procedures of dealing with the strengthening of polychrome wooden boards with a weakened internal structure of wood, without the possibility of dismantling the artefact. Moreover, the article also describes the designed and implemented special aluminium outer construction that – embracing the whole church tabernacle from the outside - took over the load affecting the weakened structural joints. The description is complemented with the reference to the discussion on defining the extent of reconstruction of the Vir Dolorum painting located on the door of the tabernacle, where paint layer was damaged in more than 30%.
W artykule poruszono problematykę konserwacji i restauracji drewna skrzyniowej konstrukcji tabernakulum oraz jego dekoracji malarskiej wykonanej w technice chudej tempery. Po wstępnym przybliżeniu charakteru obiektu, technologii wykonania, historii oraz stanu zachowania, opisano proces konserwacji, zastosowane metody oraz środki. Przedstawiono konkretne procedury postępowania konserwatorskiego przy polichromowanych deskach o osłabionej strukturze wewnętrznej drewna bez możliwości demontażu zabytku na poszczególne elementy. Ponadto opisano zaprojektowaną i wykonaną aluminiową konstrukcję zewnętrzną, która obejmując całe sakrarium z zewnątrz, przejęła obciążenia oddziałujące na osłabione złącza konstrukcyjne. Dopełnienie opisu stanowi przybliżenie dyskusji dotyczącej określania zakresu rekonstrukcji malowidła Vir Dolorum znajdującego się na drzwiczkach tabernakulum, którego warstwa malarska była zniszczona w ponad 30%.
Źródło:: Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"; 2014, 2, 2; 174-191
2353-2734
Pojawia się w:: Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"
Dostawca treści:: Biblioteka Nauki

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Tytuł:: PROBLEMATYKA TECHNOLOGICZNA I KONSERWATORSKA DZIEŁ MALARSKICH XAWEREGO DUNIKOWSKIEGO
THE TECHNOLOGY AND CONSERVATION OF CANVASES BY XAWERY DUNIKOWSKI
Autorzy:: Rouba, Bogumiła J.
Arszyńska, Joanna
Doleżyńska, Ewa
Szelwach, Renata
Powiązania:: https://bibliotekanauki.pl/articles/539532.pdf
Data publikacji:: 2005
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Xawery Dunikowski
malarstwo
restauracja obrazów
konserwacja
Opis:: The reason for studying the paintings by Xawery Dunikowski was the conservation and restoration of six canvases from the large set of works by this artist, conducted by the Institute for the Conservation of Paintings and Polychromed Sculpture. The examined compositions included three canvas paintings, one collage, and two paintings on plywood, featured in the Królikarnia Branch of the National Museum in Warsaw. One of the plywood paintings was executed on both sides. Despite numerous conservation undertakings performed in the course of recent years, and encompassing not only the paintings under discussion but also the whole Królikarnia collection, so far no publications has discussed the conservation, technical construction, and execution technology of works by X. Dunikowski. The purpose of the presented operations was to offer basic knowledge which in the future will facilitate all sorts of ventures focused on the conservation, restoration and prophylactic protection of the artist’s oeuvre. The research has made possible a technical and technological analysis and an examination of the state of the preservation and conservation of the works of this prolific artist. At the same time, methods which could serve as a basis for the conservation of his whole oeuvre have been devised. The selection of paintings involved an attempt at creating a set which would present damage typical for all the Dunikowski paintings. The titular conservation and restoration posed a number of problems caused primarily by the artist’s approach to his workshop. The majority of the damage is the result of an incorrect choice of material. Certain sources indicate that Dunikowski relegated all technical issues to the sidelines, and apparently was unconcerned with the durability of his works. At the very outset, therefore, we should ask about the extent to which one should interfere in cases such as this, and the range of the ensuing conservation, as evidenced by the intense discussion about the unusual appearance of the painting entitled Abstract Composition with a Skull. It would be difficult to ascertain unambiguously whether the uneven canvas around the cardboard attached with stiff glue is the effect of the lengthy impact of atmospheric factors. Equally controversial proved to be the purposefulness of gluing and supplementing damaged corners in the Portrait of a Daughter (obverse) and the Portrait of a Girl (reverse). Since the artist painted the portraits on an already damaged base, such an undertaking would not be tantamount to a restoration of the original state, but constitute a creation. Ultimately, it was decided to opt for moderation in restoring the state of the monument according to our vision of its original condition. Certain technical and aesthetic problems are posed by the exposition of this two-sided painting, since the obverse had been executed across the rectangular plywood, and the reverse – longitudinally. The above considered examples of complex problems prove that in this particular case conservation was by no means routine. This experience made it possible to once again heighten our awareness of the fact that the conservation and restoration of modern art remain an open issue, and that questions which only at first glance appear to be of minor importance actually call for individual treatment.
Źródło:: Ochrona Zabytków; 2005, 4; 47-60
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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