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Tytuł:
Oblicze stylistyczne figuralnej dekoracji rzeźbiarskiej kościołów wizygockich na tle rzeźby europejskiej i bliskowschodniej od VI do VIII w.
Stylistic Face of the Visigothic Figurai Sculpture
Autorzy:
Głowa, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1953691.pdf
Data publikacji:
2005
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
sztuka wizygocka
rzeźba wczesnośredniowieczna
San Pedro de la Nave
Quintanilla de las Vinas
Visigothic art
early-medieval art
San Pedro de la Mave
Opis:
The Visigothic figurai sculpture, being part of the aesthetics of the early-medieval European art, at the same time shows its similarity to the Middle Eastern fine arts. Especially close analogies - manifested both in the stylistic level and the iconographie one - can be found in Syria, Armenia, Georgia and Palestine. This is connected with the major problem of the presence of “Syrians” in the Visigothic Spain.
Źródło:
Roczniki Humanistyczne; 2005, 53, 4; 185-206
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Mentis oculos levavit”. Obrazowe aspekty mistyki Doroty z Mątów
“Mentis oculos levavit”. The pictorial aspects of the mysticism Dorothy’s of Montau
Autorzy:
Jakubek-Raczkowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/2167814.pdf
Data publikacji:
2013-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
medieval art
women mystics
vision
image
The State of the Teutonic Order in Prussia
Dorothy of Montau
Opis:
The medieval iconography of Dorothy of Montau is exceptionally scanty. The oldest image of her is dating back to the late 15th century, and the possible reception of her visions in the art remains a hypothesis, despite of their creative suggestibility, that could have influenced the artistic creation. On the other hand, many of her visions reveal the dependence on earlier imagery sources, that with use of knowledge of artistic phenomena can be recognized. This is the task for art historian. Such research is of great potential, as the revelations of Dorothy include sensual aspect (characteristic of the Late-medieval feminine mysticism), sensitivity for pictorial details and evidences for her individual sense of beauty. The paper analyses visual aspects of Dorothy’s mysticism, above all basing on treatises of Johannes von Marienwerder: Liber de festis, Septililium, Vita latina. Discussed are types of revelations, their imagery elements and the way of their perception and description by the Prussian visionary. Considering those revelations against the background of sacral iconography demonstrates close associations between mystical experience and the experience of the image. It can be seen in the relations between the description of events, persons (appearance, attributes, garment), places, motifs and the popular iconography (Adoration of the Magi, Coronation of the Virgin etc.). The relationship between contemplation of the vision and the emotional reception of devotional images can be also reconstructed. The key for the interpretation of the sources and meaning of Dorothy’s visions is the consideration in context of scholastic epistemology and ars memorativa as well as from the point of view of anthropology of image (external image / sight – internal image / eye – mystic as medium). By this analysis the mental power and mnemonic function of religious imagery can be proved. The questions for character of revelations have to stay unanswered (supernatural mystical vision, appearing in the mind of visionary as the images that are easy to assimilate for her? Subjective realisation of the “dialogue with image” in her imagination through external images? Subconscious choice of those elements from the whole revelation, that were possible to recognize, understand and explain?). Thus, her religious experience, described using canonical sacral images, is a part of phenomenon of mutual relations of art and mysticism in the late Middle Ages.
Źródło:
Studia Elbląskie; 2013, 14; 307-326
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Concordia Novi et Veteris Testamenti w zestawieniach ilustracji: uderzenia młotków Tubal-Kaina oraz wbijania gwoździ w ręce i nogi Chrystusa podczas krzyżowania
The Concordia Novi et Veteris Testamenti in its juxtaposition of illustrations: the hitting of the hammers of Tubal-Kaina and the hammering of the nails into the hands and feet of Christ during the crucifixion
Autorzy:
Kobielus, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/1890608.pdf
Data publikacji:
2013
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
sztuka średniowiecza
pasja
kowal
Tubal-Kain
medieval art
passion
blacksmity
Opis:
In the Gospels relating the passion of Christ, there is no description of the act of nailing Him to the cross with nails, but there are clearly other biblical testimonies that nails were used for the crucifixion. In many representations, parallel to the nailing of the members of Christ to the cross or raising it with His body, we find placed alongside it, the scene of hammering iron with hammers by Tubal-Kain for the purpose of drawing out the appropriate tones. He hits on the anvil, while Jubal makes a notation of the tones. With this type of illustration, the sound of the hammers during the crucifixion of Christ meets with the sound of the hammers hitting the anvil. Hence, painting and music meet in the iconography of the crucifixion of Christ. It was a sort of Concordia Novi et Veteris Testamenti. In showing this prefiguration, there is also a going back to the history of Pythagoras. It was also an example for the functioning in the Middle Ages, and still later in the Renaissance, of the formulation of the Concordia divi Moysi et divini Platonis.
Źródło:
Roczniki Humanistyczne; 2013, 61, 4; 5-28
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Metamorfozy miejsca. Mechanizm przemiany wyobrażeń o przestrzeni Rzymu w średniowieczu
Metamorphoses of places. The mechanism of change in the image of medieval Roman space
Autorzy:
Kwapis, Olaf
Powiązania:
https://bibliotekanauki.pl/articles/2012481.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Rzym średniowieczny w sztuce
tablice z Augsburga
indulgentia plenaria
Mirabilia Urbis Romae
przemiany miejsca − Rzym wyobrażony
medieval Rome in art
Augsburg tablets
transformations of a place − imagined Rome
Opis:
The longevity of items and objects of architecture favours changes in their function. What remains is the memory of a place and works of art, which charge a given space with emotions. In human awareness, they lay the foundations of cultural identity. The memory in question has accumulated both in the works of visual art and in writings, delivering a testimony to the transformations of the image of Rome. Therefore, the present article covers the essential artistic and cartographic images of medieval Rome, instances of mythologisation and metamorphoses of space, as well as the city’s history as viewed through the prism of art. The evoked and discussed historic literary sources include Mirabilia Urbis Romae, or a collection of silva rerum tales by Giovanni Rucellai, Il zibaldone quaresimale (a record of a journey to obtain indulgence undertaken in 1450). Literary metamorphoses are interpreted in the context of the findings of art history. In a similar manner, changes in the imagined vision of Rome are laid out on the example of a cycle of 15th-century paintings by Hans Holbein the Elder, Hans Burgkmair and Master who signed with initials L.F. Executed for a monastery in Augsburg, the cycle presented seven station churches and was a kind of biblia pauperum, which adopted the orm of a painted story of a pilgrimage to Rome. The cycle proved to become a fostering and building force behind the process of spiritual metamorphosis of the place carried out by visual means.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2013, 3(6) cz.2; 89-100
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dekoracja drzwiczek sakramentarium w Mątowach Wielkich jako przyczynek do rozważań nad pobożnością eucharystyczną ludu wiejskiego w średniowiecznych Prusach
Decoration of the sacrament house door in Mątowy Wielkie as a contribution to the research on the Eucharistic piety in the medieval prussian countryside
Autorzy:
Grabowska-Lysenko, Alicja
Powiązania:
https://bibliotekanauki.pl/articles/2154348.pdf
Data publikacji:
2014-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
Medieval art
art history
sacrament house
Eucharist
Cult of the Eucharist
Mątowy Wielkie/Groß Montau
Corpus Christi
State of the Teutonic Order in Prussia
Opis:
This paper is an attempt to show the main forms of the Eucharistic piety in the Prussian countryside in the Middle Ages on the basis of analysis of the sacrament house in Saint Peter and Paul church in Mątowy Wielkie (Groß Montau). This work will be compared with other objects from the area of the former Teutonic Order State. The iconographic program of the sacrament house door is known today from the historical description, archival photos and the copy of the door, which is kept in the church in Mątowy Wielkie. Originally it consisted of the picture of the Man of Sorrow, placed on the obverse, and the presentation of the priest with the monstrance on the back of the door. The analysis of the iconography of this object in the context of its function allows to draw some conclusions about forms of worship of the Blessed Sacrament widespread in the Prussian countryside: individual adoration of the Eucharistic Christ in the consecrated Host or in His images, as well as Theophoric processions, mostly related to the celebration of Corpus Christi. This work seems to be a testimony to the religious climate in the Prussian Church in the first half of the 15th century and to the role of the clergy in the transformations of the religiosity of the laity, taking place in this time.
Źródło:
Studia Elbląskie; 2014, 15; 189-205
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Relikwiarzowy” program architektoniczny fary św. Katarzyny w Brodnicy
Birds in the medieval drama of the end of the world
Autorzy:
Adamski, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/2151010.pdf
Data publikacji:
2015-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
medieval art
iconography
last judgement
bestiary
animal – bird
Opis:
The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).
Źródło:
Studia Elbląskie; 2015, 16; 109-121
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ptaki w średniowiecznym dramacie końca świata. Z inspiracji malowidła ściennego, odkrytego w kościele Bożego Ciała w Pręgowie koło Gdańska
Birds in the medieval drama of the end of the world
Autorzy:
Jakubowska, Bogna
Powiązania:
https://bibliotekanauki.pl/articles/2151009.pdf
Data publikacji:
2015-12
Wydawca:
Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
Tematy:
medieval art
iconography
last judgement
bestiary
animal – bird
Opis:
The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).
Źródło:
Studia Elbląskie; 2015, 16; 109-121
1507-9058
Pojawia się w:
Studia Elbląskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wisdom Has Built Her House (Proverbs 9, 1–6). The History of the Notion in Southern and Eastern Slavic Art in the 14th–16th Centuries)
Autorzy:
Brzozowska, Zofia
Powiązania:
https://bibliotekanauki.pl/articles/682334.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Sophia
Divine Wisdom
Book of Proverbs
medieval Slavic art
Opis:
Sophia’s banquet (Divine Wisdom’s banquet) – this type of iconography is an illustration of a specific passage of the ninth chapter of the Old Testament Book of Proverbs: Wisdom hath built herself a house (Prov 9, 1-6). That text became widespread in Old Russian literature within liturgical books containing passages of the Old Testament. Also the comment of Anastasius Sinaites for Proverbs 9, 1-6 was translated into Old Church Slavonic. Iconographic images of the Wisdom’s banquet scene should be considered as a phenomenon typical of South Slavic wall paintings from the period of fourteenth century. Later on, the discussed motif became popular in Old Russian art and began to appear on the East Slavic icons.
Źródło:
Studia Ceranea; 2015, 5; 33-58
2084-140X
2449-8378
Pojawia się w:
Studia Ceranea
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Personifikacje cnót w dramacie liturgicznym Ordo Virtutum Hildegardy z Bingen i na romańskich kolumnach kościoła św. Trójcy w Strzelnie
Personification of virtues in liturgical drama Ordo Virtutum by Hildegard of Bingen and on the Romanesque columns of the St. Trinity Church in Strzelno.
Autorzy:
Wiąckiewicz (OSB), S. Debora (Justyna)
Powiązania:
https://bibliotekanauki.pl/articles/514030.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
Tematy:
Hildegard of Bingen
Ordo Virtutum
Strzelno
medieval art
Opis:
Composed by Hildegard of Bingen in the Rhine-Hessen region in the middle of the 12th century, the liturgical drama Ordo Virtutum depicts a symbolic internal struggle for the fate of the soul between the virtues and the devil and is originally transposed into the language of low-relief found in the church owned by the Canonesses Nuns conventn in Strzelno, a little town situated on the border of Kujawy and Wielkopolska regions in Poland. The aim of this article is to present how two visions of the same concept complement each other in an intriguing way, although they are expressed by two separate, yet merging languages of music linked with the text and low relief. Most of the musical and literary personifications of both Ordo Virtutum and low reliefs featuring figures in Strzelno are still comprehensible, despite being created eight centuries ago. They introduce the audience to the world of medieval sermons, theological treatises, lectures on ethics and moral theology. Both works show a holistic vision of the world, held by people of the medieval era. In that vision what is spiritual, mystical and elusive for the outward physical senses intertwines and is closely linked with what is tangible, material and directly perceptible. Hildegard’s music praised not only the works of God but also the virtues as deeply human attributes, linked with effort and choices of a free human being, capable of establishing a relationship with God. The column of virtues in Strzelno introduces to the sacred sphere a multitude of figures that become an icon of widely accessible perfection. It seems that both artists aimed at educating their audience as beauty was supposed to ennoble by giving the strength to the truth so that it could lead to good, also the ultimate good — God.
Źródło:
Kwartalnik Młodych Muzykologów UJ; 2016, 4(31); 24-56
2956-4107
2353-7094
Pojawia się w:
Kwartalnik Młodych Muzykologów UJ
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
«Najszlachetniejszy ze wszystkich znaków własnościowych». Na marginesie lektury książki Arkadiusza Wagnera: Superekslibris polski. Studium o kulturze bibliofilskiej i sztuce od średniowiecza do połowy XVII wieku, Toruń 2016.
«The noblest from among all bookplates». Commentaries to the Book by Arkadiusz Wagner The Polish Supralibros. The study on Bibliophile Culture and Art from Medieval Ages up to the mid 17th Century, Toruń 2016
Autorzy:
Cubrzyńska-Leonarczyk, Maria
Powiązania:
https://bibliotekanauki.pl/articles/471929.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Warszawski. Wydział Dziennikarstwa, Informacji i Bibliologii
Tematy:
bibliology
history of art
tegumentology
provenance research
supralibros
bibliophily
Poland since medieval ages up to the mid of 17th century
bibliologia
historia sztuki
tegumentologia
badania proweniencyjne
superekslibris
bibliofilstwo
Polska od średniowiecza do połowy XVII w.
Opis:
The article results from a critical lecture of the book, written by the art historian and bibliologist Arkadiusz Wagner from Toruń 2016. This is the first in Polish academic literature complete monography of supralibros within the Polish Crown and the Great Duchy of Lithuania, since medieval ages up to the mid of 17th century. Wagner describes Pollish history of «the noblest of all bookplates» within a context of bibliophile culture and art in Poland and Europe. Author of the review refers critically to the structure and geographical scope of the text (omission of the Pomerania and Silesia), to the definition of „supralibros” or other terms used by A. Wagner. However, she concluded that her remarks do not detract value of the book, which seems to stay valid in next decades and become a fundament of further researches.
Źródło:
Z Badań nad Książką i Księgozbiorami Historycznymi; 2017, 11; 453-470
1897-0788
2544-8730
Pojawia się w:
Z Badań nad Książką i Księgozbiorami Historycznymi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Étienne Gilson in The Universal Encyclopedia of Philosophy
Autorzy:
Sochoń, Jan
Powiązania:
https://bibliotekanauki.pl/articles/507636.pdf
Data publikacji:
2018-12-30
Wydawca:
International Étienne Gilson Society
Tematy:
Étienne Gilson
Thomas Aquinas
medieval philosophy
existential Thomism
atheism
literature
art
Christian philosophy
metaphysics
realism
Universal Encyclopedia of Philosophy
Opis:
The article aims at presenting the life and work of Étienne Gilson (1884–1978)—a historian of philosophy, medievalist, renewer of the scholastic tradition, proponent of a return to the original doctrine of St. Thomas Aquinas, and philosopher. It is focused on selected areas of Gilson’s philosophical interest, such as: medieval philosophy, the history of philosophy, existential Thomism, atheism, literature and art. In the final analysis, Gilson appears as a firm advocate of philosophical realism which makes it possible to find a way out of contradictory explanations of the world, and allows man to live in openness to the voice of God’s revelation that constantly flows from reality.
Źródło:
Studia Gilsoniana; 2018, 7, 4; 689-708
2300-0066
Pojawia się w:
Studia Gilsoniana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Iconographic Variations of St. Eustace Hunting Composition in the Medieval Georgian and French Sculpture
Сцены охоты Св. Евстафия Плакиды в средневековых грузинских и французских рельефах
Autorzy:
Goderdzishvili, Nino
Powiązania:
https://bibliotekanauki.pl/articles/1994377.pdf
Data publikacji:
2018-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Iconography
Medieval Art
Hunting Scenes
Sculpture.
иконография
средневековое искусство
сцены охоты
скульптура
Opis:
The theme of hunting occupies an important place in a diverse iconographic repertoire of relief sculpture in medieval Christian art. Hunting compositions of St. Eustace were very popular both in Eastern and Western Christian arts. We find relief scenes with images of hunter-horsemen in different forms and interpretations in continuity from the VI–VIIth to the XVIth centuries in Georgia. Georgian Christian art presents a specific visual representation – a hunter and its victim – which is mainly represented in St. Eustace Placida’s compositions. Hunters and victims, archers are present in Western European art, especially in the XIIth–XVIth centuries France. But here, along with Placida’s hunting, episode of St. Hubert’s hunting is also relevant. The scene of the vision of St. Hubert narrated in literary sources is similar to that of the vision of St. Eustace. Iconographic schemes of the compositions depicted on the cathedrals are also analogous, with slight differences. It is worth of note that various approaches have been formed in the artistic and stylistic resolution of the compositions of St. Eustace due to different historical conditions and local traditions.
В разнообразном иконографическом репертуаре рельефных скульптур средневекового христианского искусства тема охоты занимает значительное место. То же самое можно сказать и о кавказском христианском искусстве, но композиции охоты св. Евстафия Плакиды в рельефных скульптурах сохранило грузинское искусство. Святой Евстафий пользовался популярностью и в западноевропейском, особенно, во французском христианском искусстве. Главная тема настоящей статьи – грузинские и западноевропейские рельефные образцы, так как в обоих в средневековом христианском искусстве большое внимание уделено сюжетам, связанным со Св. Евстафием Плакидой. Сцены охоты Св. Евстафия в разных формах и интерпретациях встречаются в Грузии почти во все века, начиная с VI–VII и до XVI века. Во Франции сцены охоты Плакиды встречаются в XII–XVI веках, и параллельно актуальна охота Святого Губерта. Рассказанная в литературных источниках сцена явления Губерта подобна сюжету о явлении Св. Евстафия. Аналогичны, с небольшими различиями, и иконографические схемы изображенных на храмах композиций. В настоящей статье рассмотрены распространенные в средневековом грузинском и французском искусстве сцены охоты Св. Евстафия и Св. Губерта. На основании иконографического, стилистического и смыслового анализа найденных образцов мы постараемся сгруппировать подобные композиции, выделить их основные характеристики и свойства. Комплексное изучение материала представит грузинские рельефные скульптуры в широком, географическом контексте и в контексте истории мирового искусства.
Źródło:
Studia Orientalne; 2018, 2(14); 147-180
2299-1999
Pojawia się w:
Studia Orientalne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Badania nad sztuką średniowieczną w Polsce po roku 1989
Research on Medieval Art in Poland after 1989
Studien zur mittelalterlichen Kunst in Polen nach 1989
Autorzy:
Horzela, Dobrosława
Walczak, Marek
Powiązania:
https://bibliotekanauki.pl/articles/666110.pdf
Data publikacji:
2019
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
Geschichte der Kunstgeschichte
Mittelalterforschung
Methodologie der Kunstgeschichte
Mittel- und Osteuropa
1989
the history of art history
medieval studies
art history methodology
Central and Eastern Europe
Opis:
The geopolitical changes in Central and Eastern Europe which began in 1989 influenced also changes in the status of the field of history. In an attempt to change the perception of the field, a turn to the Middle Ages could be observed, as the times of prosperity in the Kingdoms of Bohemia, Hungary and Poland could serve as an excellent foundation for building a national identity. Thus, the authors propose a complex picture of historically and artistically oriented Medieval Studies in Poland against the backdrop of the situation in Central and Eastern Eu‑ rope, trying to ascertain how and to what extent the events of 1989 influenced the status and development of the discipline. Thirty years after the Yalta Conference, what can be observed is a gradual process of opening the discipline onto new methodologies and technological changes, as well as realizing its capabilities, which were hitherto suppressed by the oppressive political system. The natural generational change contributes to solidifying practices which the youngest generation of art historians takes for granted. However, the influences of inertia, deeply-rooted complexes and post-mortem victory of communist propaganda cannot be omitted. For the ma‑ jority of academic centers in Poland, it is virtually paradigmatic to talk about art in a very nar‑ row geographical context, accompanied by the tendency to isolate phenomena with clear ties to the European context. Too often is art in Poland seen as an expression and a consequence of its peripheral status, while almost overlooking the uniqueness and originality of many artistic phenomena. Moreover, a vision of Poland as a homogenous entity in its contemporary borders persists in the subconscious of the society, which constitutes a serious hindrance in the spread‑ ing of knowledge and is often used as a tool in historical politics. In addition, it should be noted that, unfortunately, many good practices, such as the obligation of familiarity with the entirety of the literature on the subject, begin to disappear, perhaps in connection with the “publish or perish” mentality and the need to fulfill the obligations towards the academic institution. Para‑ doxically, then, the political upheaval of 1989 brought in the discipline of art history, as well as the field of humanities as a whole, both positive as well as detrimental changes.
Źródło:
Średniowiecze Polskie i Powszechne; 2019, 11; 262-297
2080-492X
2353-9720
Pojawia się w:
Średniowiecze Polskie i Powszechne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Concordia Novi Et Veteris Testamenti in its Juxtaposition of Illustrations: the Hitting of the Hammers of Tubalcain and the Hammering of the Nails into the Hands and Feet of Christ During the Crucifixione
Autorzy:
Kobielus, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/1806830.pdf
Data publikacji:
2019-10-23
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
medieval art; passion; blacksmith; Tubalcain
Opis:
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 61 (2013), issue 4. In the Gospels relating the passion of Christ, there is no description of the act of nailing Him to the cross, but there are clearly other biblical testimonies that nails were used for the crucifixion. In many representations, parallel to the nailing of the members of Christ to the cross or raising it with His body, we find placed alongside it, the scene of hammering iron with hammers by Tubal-Kain for the purpose of drawing out the appropriate tones. He hits on the anvil, while Jabal makes a notation of the tones. With this type of illustration, the sound of the hammers during the crucifixion of Christ meets with the sound of the hammers hitting the anvil. Hence, painting and music meet in the iconography of the crucifixion of Christ. It was a sort of Concordia Novi et Veteris Testamenti. In showing this prefiguration, there is also a going back to the history of Pythagoras. It was also an example for the functioning in the Middle Ages, and still later in the Renaissance, of the formulation of the Concordia divi Moysi et divini Platonis.
Źródło:
Roczniki Humanistyczne; 2018, 66, 4 Selected Papers in English; 37-61
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
I quattro elementi nell’iconografia medievale del Giudizio Universale? Una nuova proposta iconografica per la lettura del mosaico della parete ovest a Torcello (Venezia, Italia) – parte I
Four elements in the medieval iconography of the Last Judgement? New iconographic interpretation of the mosaic of the western wall of basilica on Torcello island – part I
Autorzy:
Krauze-Kołodziej, Aleksandr
Powiązania:
https://bibliotekanauki.pl/articles/1791424.pdf
Data publikacji:
2020-08-25
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
ikonografia porównawcza
cztery żywioły
sztuka średniowieczna
Torcello
nowa interpretacja
comparative iconography
four elements
medieval art
new interpretation
Opis:
Cztery żywioły w średniowiecznej ikonografii sądu ostatecznego? Propozycja nowej interpretacji ikonograficznej dekoracji mozaikowej ze ściany zachodniej bazyliki na Torcello – część i Artykuł ma na celu przedstawienie problematyki skupionej wokół niektórych elementów wczesnośredniowiecznej ikonografii czterech żywiołów stanowiących integralną część sceny Sądu Ostatecznego. Wybrany problem został pokazany na bazie przedstawienia ze ściany zachodniej Bazyliki Wniebowzięcia Najświętszej Maryi Panny na wyspie Torcello (Włochy). Autorka stawia pytanie o możliwe występowanie i symboliczne znaczenie czterech żywiołów w wyżej wymienionej mozaice, porównując ją z innymi przedstawieniami Sądu Ostatecznego z tego samego i wcześniejszego okresu. Na podstawie przesłanek wynikających z gruntownej analizy ikonograficznej przedstawienia, dokonanej we wcześniejszych publikacjach oraz rozprawie doktorskiej, autorka proponuje nową hipotezę interpretacyjną zarysowaną przez obecność ikonografii czterech żywiołów jako symbolu pierwotnego aktu stworzenia w przedstawieniu Sądu Ostatecznego.
The article aims to present the issues concentrated on early medieval iconography of the four elements being an integral part of the scene of the Last Judgment. The selected problem was shown basing on the representation from the western wall of the Basilica of the Assumption of the Mary on the island of Torcello (Italy). The author poses a question about the possible occurrence and symbolic significance of the four elements in the abovementioned mosaic, comparing it with other representations of the Last Judgment from the same and the earlier period. Basing on a thorough iconographic analysis of the representation present in her earlier publications and the doctoral dissertation, the author presents a new interpretation hypothesis outlined by the presence of the iconography of the four elements as a symbol of the original act of creation in the Last Judgment.
Źródło:
Roczniki Humanistyczne; 2020, 68, 4; 237-257
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 21

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