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Tytuł:
„Odnawia się młodość twoja jak orła” (Ps 103 [102], 5) . Motyw orła z krzyżem w dziobie na późnoantycznej tkaninie z Egiptu w kolekcji Władysława Czartoryskiego
Autorzy:
Głowa, Anna
Powiązania:
https://bibliotekanauki.pl/articles/2158111.pdf
Data publikacji:
2022-09-15
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
późnoantyczne tkaniny z Egiptu
kolekcja Władysława Czartoryskiego
moty orła w sztuce starożytnej i wczesnochrześcijańskiej
późnoantyczna kultura materialna
Late Antique textiles from Egypt
Władysław Czartoryski collection
eagle in ancient and Early Christian art
Late Antique material culture
Opis:
W artykule przeprowadzona została analiza formalna, interpretacja ikonograficzna i ikonologiczna przedstawienia orła na mało znanej późnoantycznej tkaninie z Egiptu w Muzeum Narodowym w Krakowie. We wprowadzeniu zarysowuję kontekst jej pochodzenia, następnie przechodzę do analizy formalnej dekorującego ją wyobrażenia i do wskazania analogii zarówno wśród innych zachowanych tkanin z tego okresu, jak i innego rodzaju zabytków późnoantycznych z terenów Egiptu i Nubii. Aby zrozumieć znaczenie motywu orła w sztuce tej epoki w ogóle, a w szczególności na tkaninach, najpierw omawiam w oparciu o źródła pisane i ikonograficzne symbolikę tego ptaka w świecie starożytnym i wczesnochrześcijańskim, a następnie znaczenie dekoracji na ubiorach i tkaninach domowego użytku w epoce późnego antyku. Motyw orła i towarzyszących mu atrybutów okazuje się wielowymiarowym i możliwym do odczytania w różnych kluczach symbolem, ilustrującym wielokulturowość późnoantycznego świata. 
The paper presents a formal analysis as well as an iconographic and iconological interpretation of the representation of an eagle on a little-known Late Antique textile from Egypt stored at the National Museum in Krakow. In the introduction, I outline the context of its origin, then move on to a formal analysis of the image decorating it and to indicate parallels both among textiles and other types of late antiquities from Egypt and Nubia. In order to understand the meaning of the eagle in the art of this era in general, and on textiles in particular, I first discuss, based on written and iconographic sources, the symbolism of this bird in the ancient and Early Christian world, and then the importance of decorations on clothing and household textiles in the late antiquity. The motif of the eagle and accompanying it attributes turns out to be a multidimensional symbol that can be read in various keys, illustrating the multiculturalism of the Late Antique world.
Źródło:
Vox Patrum; 2022, 83; 343-366
0860-9411
2719-3586
Pojawia się w:
Vox Patrum
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Garden of the Soul and an Interpretation of the Life: The Hypogeal Painting of Garden Room of the Villa of Livia
Autorzy:
Caneva, Giulia
Powiązania:
https://bibliotekanauki.pl/articles/2175167.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
Hypogeal Painting
Źródło:
Sztuka i Dokumentacja; 2022, 26; 41-49
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Biodiverse Poems, Posthuman Poets: Gardens in/as Imperial Roman Poetry
Autorzy:
Liney, Nicolas
Powiązania:
https://bibliotekanauki.pl/articles/2175169.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
Roman poetry
posthuman
Źródło:
Sztuka i Dokumentacja; 2022, 26; 83-98
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Biodiversity in the Ancient Roman World, the Villa of Livia
Autorzy:
Corrado, Crispin
Powiązania:
https://bibliotekanauki.pl/articles/2171490.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
Źródło:
Sztuka i Dokumentacja; 2022, 26; 51-55
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Botanical Imperialism and Metamorphic Biodiversity: Livia and Ovid
Autorzy:
Myers, K. Sara
Powiązania:
https://bibliotekanauki.pl/articles/2171486.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
laurel
interpretation
symbolism
Ovid
Metamorphoses
Fasti
originality
Źródło:
Sztuka i Dokumentacja; 2022, 26; 69-72
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Creation, Re-Creation and Understanding of the Villa of Livia in Prima Porta
Autorzy:
Morganti, Giuseppe
Powiązania:
https://bibliotekanauki.pl/articles/2171493.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
reconstruction
representation
interpretation
Źródło:
Sztuka i Dokumentacja; 2022, 26; 32-37
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dziecięca ikonografia księżniczek Okresu Amarneńskiego
Autorzy:
Kloska, Maria Monika
Powiązania:
https://bibliotekanauki.pl/articles/1023884.pdf
Data publikacji:
2018-07-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
child in Ancient Egypt
children in Amarna Period
princesses in Amarna Period
art in Amarna Period
iconography in Amarna Period
Meritaten
Maketaten
Ankhesenpaaten
Neferneferuaten
Neferneferure
Setepenre
Neferneferuaten Nefertiti
Opis:
This article explains the characteristic style of princesses representations in Amarna Period art. This high essential aspect (in literally way) shows full of love relations between family members from Akhetaten. Children iconography in ancient Egypt remained rather persistent, however, pictures showing Meritaten, Maketaten, Ankhesenpaaten, Neferneferuaten, Neferneferure and Setepenre stand alone not only by details, but also by scenes in which princesses have been presented. The royal daughters are often shown naked or in robes looking like delicate tied with sash in waist or under bust dress belonging to their mother Nefertiti. Though girls – regardless of age – have always been portrayed with the sidelock of youth. The reliefs representing Amarna princesses and their parents deviate significantly from fixed and formal style of iconography which is characteristic for periods before and after Akhenaten’s reigns. The girls have been shown not only in family scenes enjoying a good time  with their parents, but also accompanying the royal couple in scenes of tribute from Nubia and Syria, in the scenes of killing enemies of Egypt and in the heart-touching mourning scenes. The representations of the six daughters of Akhenaten and Nefertiti, besides being the symbol of the spouses’ fertility, also performed an important religious function – the girls together with their parents and the god Aten created the divine Ennead just like the model of the nine gods from Heliopolis. The reliefs showing Amarna family seem to present real feelings and emotions of the royal couple and their children, although it could have a propagandist character.
Źródło:
Folia Praehistorica Posnaniensia; 2017, 22; 85-110
0239-8524
2450-5846
Pojawia się w:
Folia Praehistorica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia kurtyny teatralnej
The History of the Theatrical Curtain
Autorzy:
Kuczyńska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1945482.pdf
Data publikacji:
2007
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
kurtyna teatralna
starożytność
średniowiecze
nowożytność
sztuka nowoczesna
dekoracja
dzieło sztuki
theatrical curtain
ancient times
Middle Ages
modernity
modern art
decoration
work of art
Opis:
This paper outlines the history of the theatrical curtain that reaches back to ancient times. It also attempts to define its function and formulate a definition of this genre of art. In the Roman theatre there were two kinds of curtains: one that separated a part (Lat. siparium) or the whole of the stage from the audience (the so-called auleum). The historical evolution of the basic function of the curtain tended to enrich and elevate its meaning. The curtain should be regarded as an integral element of the theatrical interior, an individualised element and relatively autonomic. It was ornamented with woven, embroidered or painted representations. It also played a symbolic role, i.e. “the border of two worlds”: reality (on the part of the viewer) and illusive fiction (on the part of the theatrical action). The nineteenth and twentieth centuries saw some changes in the way to understand the “theatrical character”. As a result of them, the role of the curtain also changed. It became a part of the conception of stage design for a concrete performance. Eventually, the avant-garde of the twentieth century postulate to make the theatre “come closer to life”, therefore it questioned the division of the two “worlds” in general, and eliminated the curtain.
Źródło:
Roczniki Humanistyczne; 2007, 55, 4; 121-150
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kolos rodyjski: gdzie stał i jak był wykonany
Autorzy:
Wujewski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/909481.pdf
Data publikacji:
2019-05-07
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
art of ancient Greece
Hellenistic period
Colossus of Rhodes
problems of location and construction technique
Opis:
Colossus of Rhodes: Where It Stood and How It Was Made The author, just as Ursula Vedder, who has expressed the same opinion recently, has been long sure that the place where the Colossus of Rhodes was located was the acropolis of the town of Rhodes. The paper includes also some arguments that have not been presented by the German scholar. At first, some source information concerning the Colossus has been briefly summarized. For instance, the expression in APV, 171 (Overbeck 1543), ou gar hyper pelagos monon anthesan alla kai en ga, may be understood as confirming its location in the acropolis: “it stood not only close to the sea, but also on the earth.” In fact, there it would have loomed over the land and the sea, and, as big as it was, it could be seen from a distance. The text by Philo of Byzantium is not credible, as it was written quite late. Then the problem has been analyzed critically. As regards the legend of Colossus bestriding the entrance to the harbor, one may add to the already listed counterarguments that for static reasons a piece of sculpture shaped that way would have needed a third footing attached to the sea bottom at the harbor entrance, which would have made the ships’ access to the harbor difficult. Besides, such a pose of a god would have seemed a little indecent. A hypothesis that situates the Colossus at the end of a pier in the Mandraki Bay, preferred by many scholars, also has its weak points. Placed there, the construction site would have been too small, particularly that construction took at least twelve years, and it would have been difficult to move building materials along the narrow and long pier which under such circumstances could not be used as part of the harbor. According to Strabo (XIV, 2, 5) the harbor was accessible only to authorized personnel. Was it then a good location for a work of art intended to glorify the people of Rhodes? Even if the Colossus had been accessible there, it would have been visible only in a shortened perspective, in frog’s eye view. Still, the most important was the problem of proper display of the statue. Placed on the pier, it would have to turn its back either to the town, or to the sea, and in both cases connotations would have been unwelcome. Such details were essential for ancient Greeks. For static and constructional reasons, one must also reject a hypothesis that the Colossus put his palm over the eyes, as if examining the horizon. If it is true that the relics of the statue remained for several hundred years intact, they would have blocked access to the harbor since most probably they would have fallen into the sea. Besides, would the iron elements have resisted corrosion well enough to be recognizable? Placed on the pier, the Colossus would have been invisible to the crews of ships approaching the town from the west and the same would have been true had it been situated at the present location of the palace of the Great Masters of the Knights Hospitaller. The placement of the statue in the sanctuary of Helios at the present corner of Sofouli and Khimaras streets is also improbable, since the area is really small and the Colossus would not have made a prominent component of the town skyline. Hence, the acropolis must have been the most convenient place, just as in other Greek towns, particularly in Athens where it was the site of the city patron’s worship. Some scholars argue that the temple in the acropolis was dedicated to Apollo, but when the Colossus was constructed Apollo was commonly identified with Helios who was the most important patron of the island. The statue, with his face turned to the east – the town and the sea – might have stood near that temple (ill. 1-2), towering over it. From the west, the steep rock of the acropolis practically made it impossible to watch the Colossus from the western shore, while from the sea it was visible only as a silhouette, an orientation point for the approaching ships (ill. 3), particularly if it was gilded like the statue of Athena Promachos in Athens. This can actually be the origin of the legend that the Colossus of Rhodes was also a lighthouse. Situated in the acropolis, the statue would have been visible both from the town and the sea on both sides of the island. If the damaged Colossus remained intact for centuries, it was because removing it from the acropolis was much more difficult than removing from the wharf. The noun “colossus” originally meant “something towering” (cf. Colossae and Colophon, towns upon hills). The other part of the paper focuses on the technology of construction. Some scholars were too eager to draw from Philo’s description conclusions about the Colossus’ structure and the building methods applied. If the statue had stood at the end of the pier, most likely it would not have been hilled up since the area was too small. Due to the pressure of dirt, boarding such an embankment (A. Gabriel’s claim) would have required 40-45 meter long struts for which there was no room. Moreover, with each subsequent raising of the embankment the struts would have to be multiplied and made much longer, which would have been both costly and technologically challenging. With each new layer of dirt, founding furnaces would have to be removed (as, according to Gabriel, they were located on the embankment) and then put back. A high embankment would have required the use of gigantic ladders, unstable and dangerous. What is more, it would have made it impossible to control the form of the work in progress. All that would have been irrational, while ancient Greeks do not really deserve such a charge. In the author’s opinion, the Colossus was erected within a wooden scaffolding. Founding particular elements of the statue on site was rather unlikely. An external dirt coat would not have helped since there was no clay core inside it, which would have made the alloy’s cooling speed radically unequal. Partial casting is also unlikely as it would have required a 1:1 model (30-35 meters high). Had the model been smaller, errors in calculating detailed measurements would have been inevitable. The author believes that the Colossus of Rhodes was made of hammered bronze sheets riveted to the inner metal skeleton. Such a technique made vertical transportation easier and allowed the constructors to correct the process of montage by bending the sheets whenever necessary. It cannot be excluded that the heads of the rivets and lines of contact between the sheets were masked with solders that did not require much alloy, although in higher sections of the statue the wind would have cooled it quite rapidly. The noun “colossus” did not originally imply a gigantic size but only a slightly archaic look of the sculpture so that the Colossus of Rhodes might have been somewhat similar to very ancient and artistically primitive stiff statues of Helios. On the other hand, it might have alluded to the mythic Telchins who were the first to make statues of gods. (For static reasons, contrapposto was out of the question in the statues of that size, besides it would have been impossible to fill its interior with stones.) Another aspect of making the Colossus look archaic was the use of a modified technique of sphyrelaton. In the author’s opinion, the base of the statue and maybe its higher parts as well, up to the level of ankles, contained carefully sized and braced blocks of stone. They were drilled through to hold the lower ends of the metal internal skeleton made according to the schema of a spatial grid, perhaps used on that occasion for the first time in history. Such a fixture protected the Colossus from the wind pressure so effectively that it remained standing for dozens of years, being vulnerable to earthquakes. The fallen Colossus must have looked like a debris of rods and tin, while the stones from the fixture could be seen in the “abyss” (Plinius), below the level of the ankles, where the structure was actually bent (it must have been bent there rather than at the level of the knees, since looking inside the ruin was easy: the ankles were situated about two meters above the base.) The third footing point might have been camouflaged with some attribute (a spear or a torch). It cannot be excluded that originally Chares had been planning a statue half the final size, similar to the previously known colossal pieces of sculpture, but the pride of the people of Rhodes, emulating Athenians, made them want a Colossus twice as big (Sextus Empiricus, pros mathem., VII, 107 n.). Making the statue look archaic and using an old technology plus some innovations allowed Chares to make their extravagant wish come true. The archaic look might have been achieved thanks to a reference to some old statue of Helios, which perhaps could be found in the neighboring temple. The torso might have been topped with the head, cast separately, although the trouble with placing it so high makes one doubt it. 
Źródło:
Artium Quaestiones; 2018, 29; 289-320
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Livia’s Garden: a Paradise for the Table
Autorzy:
di Schino, June
Powiązania:
https://bibliotekanauki.pl/articles/2171488.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
human-plant relationship
Prosecco
horticulture
figs
banquet of the gods
Źródło:
Sztuka i Dokumentacja; 2022, 26; 57-62
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mistress of the poet’s heart : On reading Lesbia’s iconography
Autorzy:
Łajkosz, Roksana Maria
Powiązania:
https://bibliotekanauki.pl/articles/2138825.pdf
Data publikacji:
2022-09-27
Wydawca:
Uniwersytet Wrocławski. Instytut Historii Sztuki
Tematy:
Catullus
Lesbia
Lesbia’s sparrow
Lesbia’s iconography
antique reception
ancient poetry in art
Opis:
This paper takes an issue of iconography of Catullus character – Lesbia. It discusses examples of artworks from the 18th and 19th centuries. The study of art pieces’ formal aspects and their comparing analysis with the poetic background are essential to determine and characterise the reception of Lesbia’s motive in art. The discussed theme is also related to the way of her representation. It is seen not only in the context of visual interpretation of poetry but also as referencing to ancient art. The problem with Lesbia’s images is considered on two levels. On the one side, it is connected with Catullus’s poems, especially Carmina 2 and 3. Two types of her images appear – “playing with pet sparrows” and “weeping over sparrow death”. On the other side of the artwork two ways of her depiction are visible. These are with Catullus’ companion and as single portrayed. They include her images as a child, young girl, and adult woman. Among them Lesbia is presented as indifferent towards lovers’ courting, flirting, or struggling with loss and death. In that context, her iconography is not only a reference to the poetic background but also it is read as an interpretation of her character by Classicism and Neoclassicism artist.
Źródło:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2022, 64, 2; 32-51
1896-4133
Pojawia się w:
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Motyw syreny w sztuce sepulkralnej starożytnej Grecji
The motif of the siren in the sepulchral art of Ancient Greece
Autorzy:
Tatara, Magda
Powiązania:
https://bibliotekanauki.pl/articles/27312188.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
siren
psychopomp
funerary art
ancient Greece
sculpture
stele
syrena
sztuka nagrobna
starożytna Grecja
rzeźba
stela
Opis:
Syreny znane były w starożytnej Grecji jako pół-ludzie, pół-ptaki. Wzmianki o nich odnaleźć można w źródłach pisanych o tematyce dotyczącej bogów i bohaterów. W sztuce syreny pojawiają się w różnorodnych formach. Liczne zabytki pochodzą ze sztuki sepulkralnej starożytnej Grecji, dlatego celem niniejszej pracy jest analiza motywu syreny właśnie w tym kontekście. Korzystając ze źródeł pisanych oraz opracowań w tekście przedstawiono informacje na temat: pochodzenia syren, ich wyglądu i atrybutów, historii w których pojawiają się syreny (przykładowo: w podróży Odyseusza czy wyprawie Argonautów). Następnie krótko zarysowany został rozwój ikonografii syren w sztuce starożytnej Grecji w różnych epokach. Zasadnicza część dotyczyła analizy oraz interpretacji wizerunków syren z konkretnych zabytków, związanych z tematyką śmierci.
Sirens were known in ancient Greece as half‐human, half‐bird. Mentions of them can be found in written sources with themes concerning gods and heroes. In art, sirens appear in a variety of forms. Since numerous monuments derive from the sepulchral art of ancient Greece, the purpose of this article is to analyse the motif of the siren in this very context. Using written sources and studies, the article presents information on the origin of sirens, their appearance and attributes, and stories in which sirens appear (for example, in the voyage of Odysseus or the expedition of the Argonauts). Then, the development of the iconography of sirens in ancient Greek art during different eras is briefly outlined. The central part of the text is concerned with the analysis and interpretation of images of sirens from specific monuments related to the theme of death.  
Źródło:
Res Gestae. Czasopismo Historyczne; 2023, 16; 15-34
2450-4475
Pojawia się w:
Res Gestae. Czasopismo Historyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Orszak Dionizosa: Waza Townleya i jej poznańskie kopie
Autorzy:
Rosół, Rafał
Powiązania:
https://bibliotekanauki.pl/articles/2028238.pdf
Data publikacji:
2021-12-28
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
sztuka starożytna
starożytne wazy marmurowe
mitologia grecka
religia grecka
recepcja tradycji starożytnej
Ancient art
Ancient marble vases
Greek mythology
Greek religion
Reception of the Ancient tradition
Opis:
At the main entrance to the Adam Mickiewicz Park in Poznań, there are two identical stone vases with ancient motives. The author indicates that they are not merely neoclassical works from the beginning of the 20th century, but copies of the famous Townley Vase dating back to the Roman times. Then, he focuses on the retinue of Dionysus on the main frieze of the vase and discusses all ten figures occurring in it.
Źródło:
Collectanea Philologica; 2021, 24; 173-183
1733-0319
2353-0901
Pojawia się w:
Collectanea Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Outside Prima Porta, and Within - Instances of Biodiversity
Autorzy:
Kneller, Margaret
Powiązania:
https://bibliotekanauki.pl/articles/2171487.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Villa of Livia
Prima Porta
Museo Nazionale Romano
Palazzo Massimo
ancient Rome
Golden Age
frescos
herbarium
contemporart art
biodiversity
Źródło:
Sztuka i Dokumentacja; 2022, 26; 63-67
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Phoenix and Delphinus Salvator: The History of the Forgotten Images of Early Christian Iconography
Feniks i delphinus salvator. Historia zapomnianych wyobrażeń ikonografii wczesnochrześcijańskiej
Autorzy:
Kałużny, Józef Cezary
Powiązania:
https://bibliotekanauki.pl/articles/1038415.pdf
Data publikacji:
2020-12-20
Wydawca:
Akademia Ignatianum w Krakowie
Tematy:
historia Kościoła starożytnego
dzieje sztuki
feniks
delphinus salvator
Christus Delphinus Salvator
history of the ancient church
history of early Christian art
phoenix
Opis:
Art in the 3rd and 4th centuries underwent transformations and adapted certain representations which were typical of ancient iconography to the new needs and tasks of Christian art. Among the abundant examples of this process, many continue to be popular and recognizable, such as the representation of Hermes Kriophoros, which evolved to become Christ the Good Shepherd, or the sleeping Endymion, which became part of the “Jonah cycle.” The adaptation of patterns from antiquity for the purposes of Christian iconography was both popular and quite common, but only a fraction of the representations developed in that period survive today. This paper discusses the representations that have been forgotten. Relying on the examples of the phoenix and the dolphin-rescuer, the paper analyzes factors that affected the partial (phoenix) or complete (delphinus salvator) disappearance of images which were typical of early Christian art and which relied on ancient imagery.
W sztuce III i IV wieku dochodziło do transformacji i dostosowania niektórych przedstawień ikonografii antycznej do nowych potrzeb i zadań, jakie stawiała przed nimi sztuka chrześcijańska. Przykłady można mnożyć, zaczynając od tych bardziej znanych i do dziś rozpoznawalnych, jak chociażby przedstawienie Hermesa Kriophorosa, które ewoluuje do figury Chrystusa Dobrego Pasterza, czy śpiącego Endymiona, które wejdzie w skład tzw. cyklu Jonasza. Zjawisko akomodacji wzorców antycznych dla potrzeb ikonografii chrześcijańskiej było wówczas działaniem popularnym i dość powszechnym, ale jedynie część z powstałych w tym czasie przedstawień przetrwała do dzisiaj. Właśnie takim zapomnianym wyobrażeniom poświęcono poniższe rozważanie, gdyż na przykładzie przedstawień feniksa i delfina ocalającego prześledzono czynniki, które wpływały na częściowy – feniks, lub całkowity – delphinus salvator, proces zanikania niektórych obrazów sztuki wczesnochrześcijańskiej, bazujących na wzorcach antycznych.
Źródło:
Perspektywy Kultury; 2020, 30, 3; 9-26
2081-1446
2719-8014
Pojawia się w:
Perspektywy Kultury
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 26

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