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Wyświetlanie 1-2 z 2
Tytuł:
Przedstawienie Litanii Loretańskiej w ołtarzu Najświętszej Marii Panny z klasztoru Reformatów w Poznaniu
Representation of the Litany of Loreto in the Altarpiece of the BVM in the Franciscans of Primitive Observance Monastery in Poznań
Autorzy:
Sulewska, Renata
Powiązania:
https://bibliotekanauki.pl/articles/642429.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:
Following the 1758 replacement of the altarpieces in the church of the Franciscans of Primitive Observance in Poznań, one more retable was made in 1763, this time for the monastery. It was placed in the ‘lower cloister’, next to the entrance to the refectory. The retabulum intended for the monastery has not survived and is known only from a description included in The Chronicle of the Franciscans of Primitive Observance in Poznań (Kronica Reformatow poznańskich). The altarpiece was dedicated to the Blessed Virgin Mary, and its imagery encompassed the symbols that presented invocations from the Litany of Loreto, commencing with the Kyrie eleison, to the Lamb of God. Presumably, the set of symbols in the Poznań retable, which corresponded to individual invocations, was not based on a single source. Even if it were possible to determine one such source, however, the altarpiece was significantly modified by the introduction of symbols of a ‘local’ origin, such as the representation of the Polish eagle with a crown in his beak, referring to the invocation Regina Regni Poloniae, or the image of a woodworking plane and a bell that symbolized invocation Mother most admirable. This last image referred back to events that had taken place in the Poznań monastery and could not have been correctly interpreted without information contained in The Chronicle. Symbols and emblems recorded in the text offer a point of departure for reconstructing the Poznań retabulum. In general, these retables can be divided into two major types. The first one has an architectonic organization enriched with sculpted symbols or cartouches with relief designs applied to the frame or supported by sculpted figures placed in the structure. The second type is represented by non-architectonic retables where imagery is incorporated into an ornamental frame. As can be inferred from the description in The Chronicle, the altar dedicated to the BVM within the Franciscan monastery belonged to the former type. This description also makes it possible to reconstruct the retable – an aedicula with towering structures on both sides and an elaborate crowning section. All its elements – the structure and the complementing representations – had a symbolic meaning. Given the complexity of applied solutions (imposed by its content and symbolism) and its elaborate form, the Poznań altar dedicated to the BVM differed from other retables that were constructed in Franciscan churches in the territories of Greater Poland in the second half of the 18th century, most of them modelled on the retables in the Franciscan church in Boćki.
Źródło:
TECHNE. Seria Nowa; 2018, 1; 107-132
2084-851X
Pojawia się w:
TECHNE. Seria Nowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Warszawskie uroczystości pogrzebowe królów i ich rodzin w XVI i XVII wieku. Ceremoniał, przestrzeń, oprawa plastyczna
Warsaw funeral ceremonies of kings and members of the royal family in the 16th and 17th centuries – places and artistic settings
Autorzy:
Sulewska, Renata
Powiązania:
https://bibliotekanauki.pl/articles/2082120.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Opis:
John III. In addition to the lying in state, Warsaw’s funeral ceremonies also involved the transport of the royal remains to the place of burial. Several types of conducts took place there – conducts bringing the bodies into the city; private conducts; conducts carrying the bodies into the Royal Castle in case of deaths in suburban residences; conducts taking body parts to the place of burial; conducts of family members who were buried in the city. The most official and lavish funeral processions were those carrying the royal bodies to Krakow. The ceremony of moving the coffins out of Warsaw took place according to a repetitive scenario and order, and the convoy followed a fixed route. The ceremony began with prayers, masses and speeches said by the body in the castle’s hall, its courtyard or, less frequently, in one of the churches in Warsaw where the coffin was temporarily deposited. They were followed by a procession that travelled to the city walls and then to Ujazdów, where the first station was designated. Krakow’s funeral processions differed in the number of participants in particular groups, and the presence of deputies and ensigns with banners not only of the Kingdom and Grand Duchy of Lithuania, but also of voivodeships and districts. The ministers and officials carrying the signs of their office were more numerous than in Warsaw. Krakow’s conducts were also distinguished by the presence of the “figures” in the robes of rulers and the archimus. Warsaw is also connected with burials of parts of royal bodies (organs). In the basement of the Jesuit Church are the hearts of Constance of Austria and Cecilia Renata, in the Church of the Visitation Sisters the heart of Ludwika Maria Gonzaga, at the Camaldolese that of Michał Korybut Wiśniowiecki, and in the Capuchin church the heart of John III. The city was also associated with the exposi- tion and sometimes the burial of some of the royal children or their organs. The last royal burial of the 17th century Polish-Lithuanian Commonwealth, the funeral of Jan III Sobieski in the Capuchin church, took place entirely in Warsaw. Apart from the Warsaw churches connected with the burial of body parts or family members, other funeral ceremonies but without the presence of the body, took place in other churches in the city, its suburbs and the district of Prague. Throughout the entire funeral period masses and prayers for the dead were said there, and sometimes a special decoration was prepared in their interiors. This was common with many other cities and churches of the Polish-Lithuanian Commonwealth.
Źródło:
Rocznik Historii Sztuki; 2019, 44; 179-203
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
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