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    Tytuł:
    Bizantyńskie freski w sandomierskiej katedrze: królewski dar na chwałę Bożą czy odblask idei unii horodelskiej?
    Autorzy:
    Smorąg-Różycka, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/640694.pdf
    Data publikacji:
    2014
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    bizantyńsko-ruskie malowidła, katedra w Sandomierzu, Anna Cylejska, Władysław Jagiełło, unia kościelna
    Opis:
    Byzantine frescoes in the Sandomierz cathedral: a royal gift for the greater glory of God or a reflection of the idea of the Union of Horodło? The subject of our deliberations is the ideological significance of the Byzantine frescoes founded by Ladislaus Jagiello and preserved until the present day in the Sandomierz cathedral. The origin of the polychrome should be traced to the period of the king’s marriage to Anna of Cilli, whose coat-of-arms is to be found in the row of coats-of-arms discovered during the conservation work conducted in the cathedral in the years 2008–2011. The very fact that Anna’s coat-of-arms had been placed within the row of coats-of-arms of the Kingdom of Poland, should be viewed in a wider perspective as a pictorial testimony of the royal legacy after king Casimir the Great and the continuity of the Piast monarchy under Jagiello’s rule. Thanks to an analysis of the content of the scenes as well as their arrangement, the authoress distinguishes two main axes of interpretation of the content of the paintings – the historical-eschatological image of theophany and the royal foundation. The polychromes gave testimony to the existence of two Christian cultures united within a single state organism, whereas the placing of the paintings and foundation plaques in within the space of the presbytery, proves that they fulfilled an important role as propaganda tools during the visits of the most illustrious guests of the kingdom. 
    Źródło:
    Prace Historyczne; 2014, 141, 2
    0083-4351
    Pojawia się w:
    Prace Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miejsce ekfrazy w bizantynistycznej historiografii artystycznej
    The place of ekphrasis in Byzantine art history
    Autorzy:
    Smorąg Różycka, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/613056.pdf
    Data publikacji:
    2018
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Ekphrasis
    ekfraza Michała Psellosa
    wizualizująca treści dogmatycznych
    Michael Psellos’ ekphrasis
    visualising dogmatic content
    Opis:
    In Byzantium, writing ekphrases was one of the standard literary skills, developed during school instruction. Yet, in Byzantine art history, the analysis of Byzantine ekphrases had long been beyond the scope of researchers who favoured rather the iconographic and formal comparative methods. It was not until the discovery of the role of rhetoric in the shaping of pictorial formulae and iconographic programmes of paintings, by H. Maguire, that the importance of ekphrases was fully recognised – especially as far as interpretation of the contents of art works and the understanding of mechanisms governing the development of iconographic and compositional programmes that ‘defied’ the canon were concerned. The examples of ‘reversed’ compositional schemes in the Christ’s Entry into Jerusalem scene in the Church of the Virgin at Daphni or the Holy Myrrhbearers at the Sepulchre in the Mileševa Monastery, discussed in the present paper, considered within a broad context of architectural space and the liturgy, have demonstrated that the Byzantine artist was able to freely shape his pictorial formulae while looking for new ways of visualising dogmatic content, especially in the period after the Iconoclastic Controversy (726-843). An example of Michael Psellos’ ekphrasis of an image of the Crucifixion further proves that also Byzantine writers were faced with a similar problem of finding adequate forms for expressing dogmatic content in keeping with the literary canon. In his description of the image, Psellos not only identified its particular elements (schemata) but also referred to the experience and knowledge of the recipient who was supposed to be able to discern in the picture also the reality that could not be represented using artistic means. Thus, the above affinity between the artistic and literary stances seems to release the researchers of Byzantine art from strict adherence to stereotypical interpretations in keeping with the methodological canon.
    Źródło:
    Vox Patrum; 2018, 70; 471-484
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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