Autor: Dzik, Janina - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Dekoracja okazjonalna (1715) w kościele Jezuitów w Lublinie. Ze studiów nad ikonografią św. Stanisława Kostki
Occasional decoration (1715) in the Jesuit church in Lublin. Iconography of St. Stanislaus Kostka
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/1798728.pdf
Data publikacji:: 2019-10-24
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: św. Stanisław Kostka; kościół Jezuitów w Lublinie; Klemens XI
St. Stanislaus Kostka; the Jesuit church in Lublin; Clement XI
Opis:: Lublin, miasto będące siedzibą Trybunału Koronnego, stanowiło jedno z centrów szczególnej czci św. Stanisława Kostki w Rzeczypospolitej. Ośrodkiem kultu był przede wszystkim dawny kościół Jezuitów pw. św. Jana Chrzciciela i św. Jana Ewangelisty (obecna katedra), gdzie przechowywany był cudowny wizerunek młodzieńca. Odnaleziona zapiska w rękopiśmiennej kronice Archiwum Romanum Societatis Jesu przypomina o nieznanej dotychczas okazjonalnej dekoracji kościoła Jezuitów podczas uroczystości związanych z ogłoszeniem kanonizacji Stanisława Kostki w 1715 roku. Rozbudowana wielowątkowa dekoracja obrazowo-słowna koncentrowała się przede wszystkim w fasadzie, ołtarzu głównym i kaplicy świętego spajając aspekt narodowy (król polski), papieski (Klemens XI) oraz znak profetyczny, za jaki uznany został herb rodziny Albanich, z której wywodził się papież. Polski szlachcic -jezuita kreowany był od początku kultu na jednego z głównych wspomożycieli tryumfów Rzeczypospolitej. Kanonizacja Kostki stawała się więc symboliczną rękojmią oczekiwanego pokoju i stabilizacji kraju. Dlatego też dekoracja ujawniała wielkie przesłania historycznego i objawienie tajemnicy danej Polakom poprzez młodego jezuitę, podnoszącej znaczenie Rzeczypospolitej w powiązaniu z papiestwem i wiarą katolicką.
Lublin, a city that is the seat of the Crown Tribunal, was one of the centers where St. Stanislaus Kostka was especially venerated. The main center of worship was the former Jesuit church of the St. John the Baptist and St. John the Evangelist (the present cathedral), where the miraculous image of the young man was kept. The discovery of the note in the hand-written chronicle of the Romanum Societatis Jesu Archives reminds us of the occasional decoration of the Jesuit church during ceremonies connected with the announcement of the canonization of Stanislaus Kostka in 1715. The expanded multifaceted picture-verbal decoration focused primarily on the facade, main altar and chapel, bringing together the national aspect (Polish king), the papal aspect (Pope Clement XI) and the prophetic sign, for which the coat of arms of the Albani family from which the Pope came. The Polish nobleman-priest was created from the beginning of the cult to become one of the main supporters of the triumphs of the Polish State. The canonization of Stanislaus became a symbolic guarantee of the expected peace and stability of the country. That is why the decoration revealed a great historical message and a mystery given to the Poles through the young Jesuit, raising the importance of Poland in connection with the papacy and Catholic faith.
Źródło:: Roczniki Humanistyczne; 2019, 67, 4; 45-60
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Historyczny wystrój i wyposażenie kościoła parafialnego pw. Ducha Świętego w Żabnie
Historical interiors and fittings of the Holy Spirit parish church in Żabno
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/537134.pdf
Data publikacji:: 2012
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: neobarok
polska sztuka sakralna XIX w.
kościół parafialny w Żabnie
Piotr Niziński
ks. Franciszek Leśniak
ks. Bernard Preibisz
Zygmunt Grüner
August Kugler
Opis:: It happened around 1970, when as part of the action of renovating the interiors of the Holy Spirit parish church in Żabno and adapting its chancel to the requirements of the liturgy reformed after the Second Vatican Council, the Neo-Baroque uniform design and fittings of interiors were removed and irretrievably destroyed. Now it is known only from the photographic documentation made by an unknown author in the 1940s. On that basis and of the parish chronicles, the appearance of the interior of the single-nave church may be recreated, and an assessment of its historical and architectural values attempted. The interiors of the church (built in 1663-1685 by Rafał Kazimierz Makowiecki, the castellan of Kamieniec Podolski [now Kamianets-Podilskyi in Ukraine] and starost of Trembowla [now Terebovl in Ukraine]) were destroyed by fire in 1888. Repairs were undertaken by the newly appointed parish priest, Antoni Łętkowski (1852-1912), former senator of the cathedral curates of Tarnów. On his initiative a new main altar was then erected by Romuald Łapczyński, with images of Christ crucified and the Descent of the Holy Spirit by Piotr Niziński, a graduate of the Art School in Kraków. The side altars, created by a local artist Józef Sowiński, were consecrated in 1892. Also, the painting was brought to the church depicting the Virgin Mary, painted by the Tarnów artist Zygmunt Grüner (Griner), as well as the picture of St. Anthony of Padua, created by Rev. Bernard Preibisz from Tarnów. The image of the patroness of the church, St. Anne, placed in the side altar, was made by the canon and priest of the Tarnów cathedral parish, Rev. Franciszek Leśniak. A painter-woodcarver-conservationist of interiors from Lwów - Julian Kruczkowski provided the polychrome. Almost all those artists had studied in Vienna or Munich; that is probably the reason why the image of crucified Christ modelled on Van Dyck’s depiction (kept in the imperial collection in Vienna) was placed in the main altar of the church in Żabno. The patronage and interest in arts, as well as painting activity within the Tarnów diocese, is an interesting historical and cultural phenomenon. The article calls attention upon the problem of the provincial artistic community of the former West Galicia region in context of the patronage of the Church, and the issue of renovating the church along the Neo-Baroque model, in conformity with the spirit of the time and the individual features of the architectural shape of the church. For many years that art failed to receive the proper understanding of church managers, parish communities, and sometimes even the authorities of conservationist services (both those representing the church and the state).
Źródło:: Ochrona Zabytków; 2012, 3-4; 151-160
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Obraz czy figura? Uwagi o ołtarzu św. Stanisława Kostki w rzymskim kościele Sant’ Andrea al. Quirinale
A Painting or a Figure? Remarks on the Altar of Saint Stanislaus Kostka in the Church of Sant’Andrea al Quirinale in Rome
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/642445.pdf
Data publikacji:: 2018
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:: The Roman memorial altar devoted to Stanislaus Kostka (1550–1568), a Polish saint of international importance, was an exceptional example of how a modern reredos was constructed in the era of the counterreformation. Located in the Jesuit novitiate, the Church of Sant’Andrea al Quirinale is part of an unusual facility for the veneration of Kostka, which focuses on two separate entities – the chapel of the novitiate church and the monastic cell. The paper attempts to determine the role of the altar (which has undergone modifications and exhibits Kostka’s effigy) as the most significant object of worship and liturgy. Three phases can be distinguished: 1) the first reredos, resembling an altar over the saint’s grave, was constructed in about 1605 within the novitiate church of Sant’Andrea in Monte Cavallo, and rebuilt by the Jesuit Giovanni Tristano as a setting for Kostka’s image, 2) a monumental altar in the oval space of the new novitiate church, designed by Gian Lorenzo Bernini (1658–1661), who wished to have a new and suitable altar painting, as evidenced by Ciro Ferri’s design and several variants prepared by Carlo Maratta, 3) the modification of the altar related to the planned canonization – and following the rejection of the 1713 conception by the sculptor Legros – involved placing a figure of the dying Kostka and providing it with the backdrop of an altar painting. As we learn from archival sources, a prerequisite for an artwork to be accepted and exhibited was that it should inspire piety and eschew ‘devotionally ineffective’ elements. This was because a painting was believed to play an important mediatory role, since it was more effective than a sculpture in arousing religious emotions. Kostka’s charismatic piousness and his mystical sensations, regularly emphasised in the iconography, were a perfect example of deep emotional experience. According to Federico Borromeo, ‘by nature and instinct’, people can precisely sense the emotions of those they observe and can tune into their feelings. It was the Jesuits’ intention for the altar to fulfil its medial devotional efficiency, through its artistic power.
Źródło:: TECHNE. Seria Nowa; 2018, 2; 45-60
2084-851X
Pojawia się w:: TECHNE. Seria Nowa
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Obrazy wizji św. Bonawentury i św. Franciszka z Asyżu (1. poł. XVIII w.) z klasztoru Franciszkanów reformatów w Przemyślu. Nowe rozpoznanie ikonograficzne
Images of the vision of St. Bonaventure and St. Francis of Assisi (1st half of the 18th c.) from the Reformed Franciscan monastery in Przemyśl. New iconographic recognition
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/539315.pdf
Data publikacji:: 2015
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: Przemyśl
Biecz
Wieliczka
Kęty
Pińczów
Kraków
Św. Anna k. Przyrowa
Kazimierz Dolny
franciszkanie reformaci
św. Franciszek z Asyżu – ikonografia
św. Bonawentura – ikonografia
Giovanni Francesco Barbieri zwany Guercino
Antoni van Dyck
Św. Anna near Przyrów
Reformed Franciscans
St. Francis of Assisi – iconography
St. Bonaventure – iconography
Giovanni Francesco Barbieri called Guercino
Opis:: The conservation of two, late Baroque, semi-circularly closed images of nearly identical size, located in the Reformed Franciscan monastery of St. Anthony in Przemyśl, which were thought to present the Communion of Saint Francis and the Veneration of the Cross by Saint Francis, brought about interesting outcomes. It turned out that the images were previously interpreted mistakenly, as they actually present the Communion of Saint Bonaventure and the vision of Saint Francis in Vicalvi (Vision of an angel with an ampoule), typical of the Franciscan post- Trent iconography. The pattern for the image Communion of Saint Bonaventure in the Przemyśl monastery was an engraved reproduction of a painting by A. van Dyck, which was to be created by Pieter Bailliu, an engraver from Antwerp (Balliu; around 1613- after 1660). The creation referred to the Last Communion of Saint Francis by Rubens. According to Carl Justi, the main idea of the presentation was a feeling of humility and a particular dignity of Saint Bonaventure towards the Blessed Sacrament. As a young monk, he attended a mass, but felt too unworthy to receive Holy Communion every day. During the mass, an angel appeared who, after taking a particle of a Host from the hands of a priest celebrating the mass, put it into Bonaventura’s mouth, so that “he knew that it was better to receive the Eucharist with love than to refrain from it for fear”. That pattern was common in Reformed Franciscan churches. The Communion of Saint Bonaventure was created to decorate the sacristy of the church in Pińczów (signature A. N. W. and the date 1717) and as a modello stored in the monastery in Kraków for an uncreated altar picture or sacristy decoration. That scene is also presented in the sacristy of the former Bernardine (now Dominican) church in Św. Anna near Przyrów. The second picture, Vision of an angel with an ampoule, was a reproduction of an engravery by Giovanni Francesco Barbieri called Guercino, presenting the vision of Saint Francis of Vicalvi, referred to as Vision of priestly dignity. The composition, popularized by, among others, the engraveries by Giovanni Battista Pasqualini (1630), was a pattern for painted decorations in the sacristies of Reformed churches in Pińczów, Wieliczka, Kęty and Biecz. According to Raffaell Colace in the article San Francesco e l’angelo con l’ampolla, the image of the saint by Guercino can be interpreted in two ways. On the one hand, in the context of underlining the humility of the saint who considered himself unworthy of being a priest and, on the other hand – the “spotlessness” of priesthood, the value particularly emphasized by the Catholic doctrine after the Council of Trent. The discussed pictures are a typical element of equipment of the sacristies of Reformed churches in the former Lesser Poland province. They were probably connected with the function of that place, in which the liturgical celebration was prepared. It can be presumed that, in the past, the pictures could have been the equipment of the sacristy of the Przemyśl church. It seems to be confirmed by the archival files kept at Reformed Franciscan Province Archives from the 19th century, reporting “great images over the mensa in the sacristy”. The images, created by a local guild artist or an artist from the Order do not manifest significant artistic values. However, they are interesting from the point of view of iconographic values, as a reproduction – through graphic patterns – of renowned works of Guercino and van Dyck, who are among the greatest European painters. Presenting both legendary events from the life of the patriarch of the Order and the main theorist of Franciscan thought was supposed to emphasize the new, post-Trent form of devotion – veneration of Eucharistic Christ and an exceptional dignity of celebrating the Holy Mass. Perhaps the humble attitude of the monks had a moralizing significance in a form of an example for the priesthood in the Reformed Franciscan order. Thus, the presentations are of high historical and cultural importance for the research on the history of the order.
Źródło:: Ochrona Zabytków; 2015, 1; 153-166
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Recepcja grafik z cyklu maryjnego Gottfrieda Bernharda Göza w malarstwie monumentalnym kręgu lwowskiego w XVIII wieku
The reception of the engravings belonging to Gottfried Bernhard Göz’s Marian series in the monumental painting of the Lvov circle in the 18th century
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/1879791.pdf
Data publikacji:: 2015
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: grafiki Gottfrieda Bernharda Göza
malarstwo monumentalne
G. B. Göz’s engravings
monumental painting
Opis:: Inspirującą rolę dla malarstwa monumentalnego okresu rokoka w Rzeczypospolitej czasów saskich odegrał cykl graficzny dedykowany Matce Boskiej, określony jako Sub tuum praesidium confugimus, autorstwa Gottfrieda Bernharda Goza (1708-1774). Cykl grafik o charakterze dewocyj- nym wykonanych techniką punktową przedstawia dwanaście sygnowanych scen maryjnych: Niepokalane Poczęcie NMP, Narodziny Marii, Wstąpienie Marii do świątyni, Zaślubiny Marii i Józefa, Zwiastowanie NMP, Nawiedzenie Marii, Oczyszczenie Marii, a następnie wizerunków Matki Boskiej Bolesnej, Wniebowzięcie Marii. Kolejne sceny związane są z patronatem Marii - jako Królowej Różańca i Matki Boskiej Szkaplerznej, a wreszcie Jej orędownictwa. Ryciny, jak przyjmują badacze twórczości Goza, są świadectwem jego dojrzałego stylu, kształtującego się w latach 1737-1740, kiedy utworzył on „kompanię” wydawniczą wraz z braćmi Josephem Sebastianem i Johannem Baptistem Klauberami. Motywy występujące w serii wielokrotnie wykorzystywał w kompozycjach freskowych, np. na sklepieniu nawy kościoła dominikanek St. Stefan w Habsthal (1748; Górna Szwabia), w szkicu i malowidle Goza dla sanktuarium cystersów w Birnau (1748-1750). Motywy te znajdowały się również w w bawarskich sanktuariach maryjnych, jak np. Frauenchiemsee, Maria Mitleid Kapelle oraz Mater Dolorosa Kapelle, z malowidłami Balthasara Furtnera (1761), oraz w kościele w Niederaschau i w Klein Mariazell (1763-1765). Nawiązania do wspomnianej serii odnaleźć można też na terenie Słowenii - na sklepieniu Grajska kapela w Novo Celje (1758-1763). Grafiki te znane były w kręgu artystów lwowskich czynnych w XVIII wieku i posłużyły w charakterze wzoru dla licznych kompozycji figuralnych. Posługiwał się nimi przede wszystkim malarz lwowski Stanisław Stroiński (1719-1802) dla dekoracji m.in. wnętrza sanktuarium maryjnego Bernardynów w Leżajsku, w kościele Bernardynów pw. Ducha Świętego w Krystynopolu (1756-1759; obecnie Czerwonohrad, Ukraina) oraz w dekoracji kaplicy św. Anny kościoła Benedyktynek Trójcy Świętej w Przemyślu. Z cyklu rycin korzystał również malarz Gabriel Sławińskiego w dekoracji prezbiterium kościoła parafialnego pw. św. Wawrzyńca w Żółkiewce oraz na sklepieniu kościoła Paulinów pw. św. Ludwika we Włodawie. Ryciny są znaczącymi dla polskiego malarstwa wzorami ze względu na styl, technikę i oryginalne ujęcie konwencjonalnego religijnego tematu.
The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708-1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made by the stipple engraving technique presents twelve signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, the Birth of the Blessed Virgin Mary, the Presentation of Mary, the Marriage of Mary and Joseph, the Annunciation, the Visitation, the Purification, and then images of Our Lady of Sorrows, Assumption of Mary. The next scenes are connected with Mary’s patronage - as the Queen of the Rosary and with her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737-1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican sisters St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercians Monastery in Birnau (1748-1750). These motifs were also found in Bavarian Marian sanctuaries, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in the church in Niederaschau and in Klein Mariazell (1763-1765). References to the series may also be found in the area of Slovenia - on the vault of Grajska kapela in Novo Celje (1758-1763). The prints were known to the circle of Lvov artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lvov painter Stanisław Stroiński (1719-1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756-1759 (now it is Chervonohrad in the Ukraine), and in the decoration of the St Anna Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in the St Lawrence Parish Church in Żółkiewka and on the vault of the Pauline St Louis Church in Włodawa. The engravings are a significant model for Polish painting because of their style, technique and an original approach to a conventional religious subject.
Źródło:: Roczniki Humanistyczne; 2015, 63, 4; 85-110
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki

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Tytuł:: The Reception of the Engravings of Gottfried Bernhard Göz’s Marian Series in the Monumental Painting of the Lviv Circle in the 18th Century
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/1798705.pdf
Data publikacji:: 2019-10-30
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:: G.B. Göz’s engravings; monumental painting
Opis:: The Polish version of the article was published in Roczniki Humanistyczne vol. 63, issue 4 (2015). The graphic series dedicated to the Mother of God, defined as Sub tuum praesidium confugimus, by Gottfried Bernhard Göz (1708–1774) was an inspiration for the monumental painting of the Rococo period in Poland in the times of the Saxon kings. The series of engravings with a devotional character made with the stipple engraving technique presents 12 signed Marian scenes: the Immaculate Conception of the Blessed Virgin Mary, Mary’s Birth, the Presentation of Mary, Mary and Joseph’s Matrimony, the Annunciation, the Visitation, the Purification, the images of Our Lady of Sorrows, and the Assumption. Other scenes are connected with Mary’s patronage – as the Queen of the Rosary—and her intercession. The prints, as researchers of Göz’s work assume, prove his mature style that was shaped in the years 1737–1740, when he formed a publishing “company” together with the Klauber brothers, Joseph Sebastian and Johann Baptist. He used the motifs occurring in the series many times e.g. on the vault of the nave in the Dominican nuns’ St Stefan Church in Habsthal (1748; Upper Swabia), in the sketch and painting for the Cistercian monastery in Birnau (1748–1750). These motifs were also found in Bavarian Marian shrines, e.g. Frauenchiemsee, Maria Mitleid Kapelle and Mater Dolorosa Kapelle with paintings by Balthasar Furtner (1761) and in a church in Niederaschau and Kleinmariazell (1763–1765). References to the series may also be found in the area of Slovenia, i.e. on the vault of Grajska Kapela in Novo Celje (1758–1763). The prints were known to the circle of Lviv artists active in the 18th century and they were used as models for numerous figural compositions. First of all the Lviv painter Stanisław Stroiński (1719–1802) used them for the decorations, among others, of the interior of the Franciscan Marian sanctuary in Leżajsk, in the Franciscan Holy Spirit Church in Krystynopol (1756–1759 (now Chervonohrad in Ukraine), and in the decoration of St Anne’s Chapel in the Holy Trinity Benedictine Church in Przemyśl. The series of prints was also used by the painter Gabriel Sławiński in the decoration of the chancel in St Lawrence Parish Church in the village of Żółkiewka and on the vault of the post-Pauline St Louis Church in Włodawa. The engravings are a significant model for Polish painting because of their style, technique and original approach to the conventional religious theme.
Źródło:: Roczniki Humanistyczne; 2019, 67, 4 Selected Papers in English; 7-32
0035-7707
Pojawia się w:: Roczniki Humanistyczne
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Walory moralne a obrona i legitymizacja katolickiej Europy. Oprawa uroczystości beatyfikacyjnych i kanonizacyjnych Stanisława Kostki w Rzeczypospolitej Obojga Narodów
Moral values and the defense and legitimization of Catholic Europe. The setting of Stanisław Kostka’s beatification and canonization ceremonies in the Polish-Lithuanian Commonwealth
Autorzy:: Dzik, Janina
Powiązania:: https://bibliotekanauki.pl/articles/2082096.pdf
Data publikacji:: 2020
Wydawca:: Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:: Beatification ceremonies
canonization ceremonies
Early Modern religious celebrations
The Society of Jesus
Jesuits
Jesuit Order in Poland
Early Modern occasional decorations
Early Modern Polish culture
Opis:: The putting on of spectacular ceremonies finalizing the acts of beatification and canonization of Stanisław Kostka, taking place in the principal Jesuit centers of the Polish-Lithuanian Commonwealth, was an important artistic activity of modern times. The content programs of the decorations which accompanied the celebrations between 1606 and 1726, known to us from written sources, reflect the propaganda of the Kostka ceremonies. The oldest occasional decorations and outdoor shows taking place in the city of Jarosław had been organized on the initiative of his relative Anna née Kostka Ostrogska. They were organized in connection with the proclamation of Stanisław Kostka as Blessed by Pope Paul V in 1606. The theme of the decorations accentuated the importance of the moral values of this ascetic follower of the Counter-Reformation Church, while the widely used language of allegory defined his individual spiritual values and illustrated scenes from his life and miracles. However, Stanisław Kostka soon became seen as an advocate of the Polish Lithuanian-Commonwealth in its military struggles in the East, especially in the conflict with the Ottoman Porte. After the victory of Chocim (Khotyn) in 1621 he was revered as the patron saint of the Polish knighthood, and after the victory at the Battle of Chocim in 1673 he was rapidly proclaimed (in 1674) one of the main patrons of the Kingdom of Poland and the Grand Duchy of Lithuania. It was this aspect of Kostka’s promotion that was used in the decorative themes of his thanksgiving ceremonies after the closing of the beatification process and the decree of canonization by Pope Clement XI in 1714. The decorations of the Jesuit Church in Lublin, described in detail in the records of the Society of Jesus (1715), explained and glorified the new role of the young saint. His role as a guarantor of peace and stability of the Commonwealth, revealed in God’s eternal plans, was presented through astral configurations and complicated semantic systems. Kostka’s canonization, which had raised the importance of the Polish-Li- thuanian Commonwealth, as being linked to the papacy and the Catholic faith, was seen as the culmination of a great historical message and the revelation of the secret given to Poland, also recognizable through astral configuration. The military and diplomatic triumph over the Ottoman Porte was considered a breakthrough moment, opening a period of happiness achieved thanks to Kostka’s intervention and the support of Heaven. The result of a united front in the battle with a common enemy was to achieve a state of happiness that strengthened the ecclesiastical and monarchical order, an idea taken up by the decorations seen in Jarosław and Vilnius, amongst others. The ad hoc political content was moved to the sphere of the monastic political philosophy and historical theol- ogy. An allusion to the happy future that mathematicians had supposedly predicted was also included in the decorations. After the partition of Poland and the dissolution of the Jesuit order, the revival of the fading cult of Stanislaw Kostka took place in the Second Polish Republic, particularly during the jubilee celebrations of the 200th anniversary of his canonization in 1927. This was seen in the ceremony of bringing his relics from Rome to the new church in Rostków, which was attended by the President of the Republic of Poland Ignacy Mościcki. However, there was a significant change in semantics as Stanisław Kostka was now described as the patron saint of children and youth, frequent Holy Communion and felicitous vocational choices.
Źródło:: Rocznik Historii Sztuki; 2020, 45; 87-90
0080-3472
Pojawia się w:: Rocznik Historii Sztuki
Dostawca treści:: Biblioteka Nauki

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