Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Ogród" wg kryterium: Temat

  Lista filtrów
Wyrównaj
Wyświetlanie 1-15 z 234
Tytuł:
Pałac i ogród Prezydenta Rzeczypospolitej Polskiej przy Krakowskim Przedmieściu w Warszawie
The palace and garden of the President of Poland at Krakowskie Przedmieście street in Warsaw
Autorzy:
Laskowska-Adamowicz, Małgorzata
Popławska-Bukało, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/535415.pdf
Data publikacji:
2013
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
pałac i ogród Koniecpolskich
pałac Radziwiłłów
pałac Namiestnikowski
pałac Rady Ministrów
pałac Prezydenta Rzeczypospolitej Polskiej
ogród wczesnobarokowy
ogród barokowy
ogród rokokowy
ogród krajobrazowy
ogród modernistyczny
ogród współczesny
Opis:
The intention of the article is to present to readers the Palace of the President of the Republic of Poland with its garden. This ensemble is a well-known monument, valuable for the culture of our country. It is located on a Warsaw Scarp, embedded in the landscape of the downtown. Its rich history dates back to the seventeenth century and is associated with many personages, including Stanisław Koniecpolski and Michał Kazimierz II Radziwiłł. The palace and park complex represents a unique historical and natural value, which has been the reason for bringing it under protection. While the palace itself has been broadly described in the monograph by art historians Zbigniew Bania and Tadeusz Stefan Jaroszewski, the garden inextricably linked to it has not been a subject of extensive study and publications. Therefore, the authors of this paper, after having presented the history of the palace, analyse in more detail the shape and the design of the garden: from early baroque until present times. The primary difficulty they encounter is the modest and uncertain source base. Translated by Małgorzata Laskowska-Adamowicz
Źródło:
Ochrona Zabytków; 2013, 1-4; 37-60
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ogród sensoryczny
The sensor garden
Autorzy:
Pawłowska, Krystyna
Powiązania:
https://bibliotekanauki.pl/articles/87925.pdf
Data publikacji:
2008
Wydawca:
Polskie Towarzystwo Geograficzne
Tematy:
ogród sensoryczny
ogród
garden
sensory garden
Opis:
Każdy ogród w pewnym sensie jest ogrodem sensorycznym, ponieważ odbieramy go wszystkimi zmysłami. Nie zawsze jednak zdajemy sobie z tego sprawę, ponieważ zazwyczaj percepcja wzrokowa jest tak intensywna, że na niej skupiamy całą naszą uwagę. Niemniej wrażenia odbierane słuchem, węchem, dotykiem i smakiem towarzyszą zawsze postrzeganiu wzrokowemu; niekiedy je wzbogacając, a niekiedy zakłócając harmonię obrazu. Mianem ogrodu sensorycznego określa się kompozycję tak zaprojektowaną, aby bodźce pozawzrokowe były użyte celowo i to w większym natężeniu niż zwykle. Jest to szczególnie ważne w odniesieniu do użytkowników niewidomych, ale ta podstawowa funkcja nie wyklucza szerokiego użytkowania ogrodów sensorycznych przez wszystkich. Można, więc powiedzieć, że obserwowana na świecie moda na tworzenie ogrodów sensorycznych oznacza generalne skupienie uwagi twórców na efektach adresowanych do innych niż wzrok zmysłów. Podobne tendencje pojawiają się również w dziełach z dziedziny tzw. Land Art1 (sztuka przekształcania krajobrazu dla celów czysto artystycznych) i Public Art2 (sztuka przeznaczona do stałego eksponowania pod gołym niebem w parku, na placu lub ulicy). Zmysł słuchu wykorzystujemy w ogrodzie słuchając szumu strumieni, fontann, kaskad, wodospadów, wiatru w gałęziach, śpiewu ptaków, szelestu jesiennych liści czy chrzęstu żwiru pod nogami itp. Gdy zapada zmrok krajobraz dźwiękowy ogrodu staje się bardziej wyrazisty jakby głośniejszy niż poprzednio. Gdy mniej widzimy, zaczynamy więcej słyszeć, nasłuchiwać, odbierać dźwięki, które przedtem uchodziły naszej uwadze. Teraz one pomagają nam orientować się w przestrzeni i pozwalają zrozumieć choćby w niewielkim stopniu, jak odbierają przestrzeń niewidomi. Trzask złamanej gałązki, ktory za dnia byłby zupełnie nieważny, teraz ostrzega nas, że ktoś lub coś nadchodzi. Zadziwiająca niekiedy orientacja niewidomych w przestrzeni możliwa jest między innymi dzięki perfekcyjnemu używaniu zmysłu słuchu. Dzięki niemu takie ważne dla orientacji pojęcia jak: przed – za, bliżej – dalej, pod – nad są dla nich zrozumiałe bez percepcji wzrokowej. Ogrody sensoryczne zazwyczaj oferują wrażenie nie tylko dla oczu i uszu, ale także dla innych zmysłów. Bodaj najpopularniejsze są tak zwane ogrody zapachowe, które bywają częścią wielu ogrodów botanicznych lub parków publicznych na świecie, np. Brooklyn Botanic Garden w Nowym Jorku. Dźwięk jako tworzywo w kompozycji ogrodu to prawdziwe wyzwanie dla projektantów. Oprócz naturalnych odgłosów pobudzanych siłą wody i wiatru, wydawanych przez ptaki i inne zwierzęta, można uwzględnić w projekcie specjalne ogrodowe instrumenty do uruchamiania przez użytkowników, szczególnie dzieci: dzwony, struny, fujarki, bębny itp. Dźwięki mogą wydawać nawierzchnie, mostki, fontanny itp. Park może być wyposażony w informację dźwiękową. Nie można też zapominać o muzyce granej czy odtwarzanej chętnie w scenerii ogrodowej. W tej dziedzinie z pewnością jest jeszcze wiele do wymyślenia i zrealizowania.
In a sense, every garden is a sensory garden, as we grasp it with all the senses. A fact we do not always realise, as in most cases our visual perception is so intensive that we focus all our attention on this single sense. Nevertheless, the sensations received by the faculties of hearing, smelling, touching, and tasting accompany the visual perception at all times: sometimes enriching it, and every so often breaking the harmony of the image. The notion of the sensory garden defines a composition designed so that the non-visual stimuli were used purposefully and to a greater intensity than standard. It is of special importance when we consider the visually impaired user, yet this basic function does not exclude the broad use of sensory gardens by all and sundry. It may therefore be said that the globally noticeable trend to create sensory gardens means in general focusing of the creators’ attention on those impacts of the garden that are addressed to senses other than sight. The sense of hearing is used in a garden for listening to the murmur of the fountains, streams, cascades or waterfalls, whistling of wind in the branches, birdsong, the rustle of autumn leaves, the crackle of gravel under the foot, etc. At nightfall, the sonic landscape of the garden comes more to the fore, becoming more pronounced and louder than before. The less we see, the more we begin to hear and to listen to, picking the sounds that earlier would have escaped our attention. Now they let us become oriented in the space, at the same time letting us understand at least to a small degree how the blind perceive space. Now the crack of a broken twig that in daylight would be entirely insignificant warns us that someone or something is coming closer. The special orientation of the visually impaired that at times amazes us is possible, among other reasons, thanks to the wonderful use of the faculty of hearing. It is thanks to hearing that the visually impaired find such notions as before–behind, closer–farther, under–over, etc. – so very important for orientation understandable without visual perception. In most cases sensory gardens offer sensations for more senses than just the eye and the ear. Possibly the most popular are the so-called fragrance gardens that form parts of numerous botanical gardens and public parks all over the world. Sound in the capacity of the material in garden composition is a true challenge for the designer. Besides the natural sounds, whether activated by the force of the water and/or wind or issued by birds and other animals, the design may include special garden instruments to be triggered or operated by the user, and especially by children: bells, strings, reed pipes, drums, etc. The sounds issue from surfaces, bridges, fountains, etc. Moreover, the park may be furnished with sonic information. Not to forget the live or recorded music eagerly played in garden scenery. There is definitely plenty to imagine, invent, and implement in the field. An example of an eminent work of the art of gardening making a very special use of the sonic layer is Greenacre, one of New York’s so-called pocket parks. This tiny park huddled amongst skyscrapers is a true oasis of greenery, offering authentic relaxation achieved, among other features, thanks to the perfect use of the murmur of its waterfall. An example of a major development including the sonic element is the design of the sensory garden in Niepołomice developed as a diploma project at the Institute of Landscape Architecture of the Krakow University of Technology. It is a garden composed of five parts, each of which is addressed to a different sense. Thus one of it is the sonic garden encompassing plenty of original effects available to us through the sense of hearing.
Źródło:
Prace Komisji Krajobrazu Kulturowego; 2008, 11; 143-152
1896-1460
2391-5293
Pojawia się w:
Prace Komisji Krajobrazu Kulturowego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Parsonage gardens – attempted recreation of historic functional and spatial layouts
Ogrody plebańskie - próba odtworzenia dawnych układów funkcjonalno-przestrzennych
Autorzy:
Wilkosz-Mamcarczyk, Magdalena
Olczak, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/100236.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Rolniczy im. Hugona Kołłątaja w Krakowie
Tematy:
parsonage garden
church garden
utility garden
ogród plebański
ogród przykościelny
ogród użytkowy
Opis:
The article is devoted to gardens that were once the property of parsons – in this article, defined as parsonage gardens. They were part of church garden compounds, however, compared to other forms and projects of sacred greenery, they without a doubt attract much less attention. This translates into the fact that this particular term is not used in the literature of the subject, despite the fact that examples of such forms of green spaces can be found in Poland. In the article, we attempt to present parsonage gardens as having both utility and decorative functions, and representing a high degree of harmonization between man-made greenery and the surrounding natural and cultural landscape. The study analysed the shape and layout of such gardens, and their functional and spatial program against the background of the current status of three selected objects from southern Poland, each in a different state of preservation.
Artykuł poświęcony jest ogrodom stanowiącym niegdyś własność plebana - w artykule zdefiniowanym jako ogrody plebańskie. Wchodziły one w skład zespołów ogrodów przykościelnych, jednak na tle innych założeń zieleni sakralnej poświęca się im zdecydowanie mniej uwagi. Przekłada się to na fakt, iż sformułowanie to nie jest stosowane w literaturze przedmiotu, mimo tego, że na terenie Polski można znaleźć przykłady tego typu założeń. W artykule podjęto próbę przedstawienia ogrodów plebańskich jako ogrodów użytkowo-ozdobnych, które prezentują wysoki poziom zharmonizowania ukształtowanej przez człowieka zieleni wraz z otaczającym ją krajobrazem naturalno - kulturowym. W badaniach przeanalizowano kształt ogrodów, program funkcjonalno - przestrzenny na tle aktualnej sytuacji trzech wybranych obiektów z południowej Polski, z których każdy zachowany jest w innym stanie.
Źródło:
Geomatics, Landmanagement and Landscape; 2019, 4; 137-144
2300-1496
Pojawia się w:
Geomatics, Landmanagement and Landscape
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kamień w ogrodzie i alpinarium
Stone in the garden and rockery
Autorzy:
Lorenc, M. W.
Janusz, M.
Powiązania:
https://bibliotekanauki.pl/articles/1186940.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Przyrodniczy we Wrocławiu
Tematy:
kamień
ogród
alpinarium
ogród skalny
stone
garden
rockery
Opis:
Different kinds of rocks are used as building materials or decorative stones. Stones are commonly used in the construction of buildings, roads, and pathways, and in the making of rockeries in both public and private areas. In the case of rockeries, it is very important to create a replica of some natural environment. There is a natural relationship between a rock, its weathering and any related soils. Depending on the chemical composition of the rock, soils will have a more acid or basic character. The chemical character of soils, and climatic conditions, are reflected in the plant species that occur. Rockeries should reflect these relationships. Thus the kind of rocks used in their construction is extremely important. Moreover, it is not only chemistry but even the rock colors that should be considered. Rock color influences the colors of soils. The temperatures of soils depend on color too, particularly on sunny summer days. This it is not without significance if, for example, a plant which in its natural environment grows on white limestone is planted on black limestone. Roads, pathways, steps, the borders of pools, etc., are other important elements in many gardens and rockeries. All of these should also involve natural stone with a color corresponding to the character and color of their surroundings. Natural processes result in the decay of rocks in both the natural environment and in gardens and rockeries. In towns, decay is more pronounced because of the air pollution and the lack of proper ventilation. Decay processes (deterioration) caused by anthropogenic pollution facilitate the activity of micro organisms that can be very destructive for rocks. Hydrophobization, commonly applied to decorative stones in architecture, can be also applied in small garden-architecture in order to inhibit plant growth in those parts of rockeries which are intended should not be covered with plants - even where the rock would permit the easy migration of water.
Źródło:
Architektura Krajobrazu; 2009, 2; 57-64
1641-5159
Pojawia się w:
Architektura Krajobrazu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
OGRÓD PRZY OBIEKCIE SAKRALNYM W KRAJOBRAZIE MIASTA
Garden Surrounding the Sacral Building in the City Landscape
Autorzy:
Kaczyńska, Małgorzata
Sikora, Dorota
Powiązania:
https://bibliotekanauki.pl/articles/509228.pdf
Data publikacji:
2017
Wydawca:
Akademia Finansów i Biznesu Vistula
Tematy:
ogród
kościół
ogród kościelny
Warszawa
garden
church
churchyard
Warsaw
Opis:
Przedmiot badań opisanych w niniejszym artykule stanowią 22 ogrody przy obiektach sakralnych, położone w południowej części Warszawy, ze szczególnym uwzględnieniem ich kontekstu przestrzennego. Ogrody te są zróżnicowane pod względem skali, rangi obiektu, któremu towarzyszą, czasu założenia i sposobu osadzenia w lokalnym układzie urbanistycznym, co daje możliwość wyciągnięcia wniosków co do obecnej ich roli w krajobrazie miasta. Stwierdzono, że 19 świątyń wraz z ogrodami to wyraźne dominanty, wpływające na kształtowanie ładu przestrzennego, budowanie poczucia tożsamości lokalnej i ułatwiające orientację w mieście, 5 zespołów sakralnych ma charakter zabytkowy. O uznaniu ich za zabytki przesądziły ich wartości historyczne, artystyczne i naukowe, których zachowanie leży w interesie społecznym, sprzyjając budowaniu tożsamości lokalnej i ponadlokalnej. Tereny zieleni przy przebadanych obiektach sakralnych są też ważnym składnikiem systemu terenów zieleni miejskiej, zwiększając potencjał przyrodniczy miasta i zapewniając mieszkańcom Warszawy korzystne warunki wypoczynku wśród zieleni.
The scope of the research described in the article were gardens surrounding 22 parish churches located in the southern Warsaw. The aim of the research was to analyse their spatial context. The analysed gardens had different scale, church rank, time of origin and different location in the local urban complex. The results of the research allowed to recognize contemporary role of these gardens in the landscape of the city. It was found that the 19 analysed churches and their surrounding gardens are visible dominants in the city landscape. They influence shaping of the spatial order and the sense of the local identity and also facilitate orientation in the city. Within the analysed area 5 sacral complexes have the monumental character. They have become historical monuments because of their historical, artistic and scientific values and their preservation is the important social issue as they favour local and extralocal identity creation. The green areas surrounding the analysed sacral buildings are the important element of the urban green areas system. They increase natural potential of the city and provide convenient conditions for outdoor leisure and recreation of the Warsaw inhabitants.
Źródło:
Zeszyty Naukowe Uczelni Vistula; 2017, 57(6) Architektura; 5-16
2353-2688
Pojawia się w:
Zeszyty Naukowe Uczelni Vistula
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Powązki: szkoła uczuć i historii. Wychowanie młodych Czartoryskich
Powązki: school of feelings and history . Education of the Czartoryski children
Autorzy:
Whelan, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/707020.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Powązki
Czartoryscy
garden
ogród
Opis:
The article considers the Powązki garden and reconstructs the activities which took place there from its first season in 1772, to its destruction in the war of 1794. The garden was established by Princess Izabela Czartoryska (1746–1834) on the outskirts of Warsaw and functioned as the summer retreat for the Czartoryski family. Powązki should be considered as the first Polish landscape garden, even though the king Stanisław August Poniatowski begun the royal Łazienki in 1764. It took him however twenty years to arrive at a finished state. By then Powązki had already established itself as a major public space, the most celebrated one of thirty other landscape gardens which swiftly appeared in the vicinity of Warsaw. Not only was Powązki the first one in Poland-Lithuania, its dates of creation 1770–1771 predate the development of the French hameau and ferme ornée types, while the comparison with the English ornamental Woburn Farm shows Powązki as much richer in function and imaginative associations. While the fame of the garden as one the most beautiful Polish landscape gardens lived on, successive generations of scholars and biographers have denigrated it to the category of carefree abandonment in leisure, apparently characteristic of its owner and her waning world. This interpretation was complicated by the fact that Princess Izabela Czartoryska later established a second, even more famous garden in Puławy (1784–1834), her family estate 120 km from Warsaw, where she promoted patriotic themes and styled herself as the mother of the Polish nation, no less. Czartoryska’s family bridged the divide between leisure (Powązki) and patriotic virtue (Puławy) by promoting a myth of the sudden transformation, where one garden was created by an indulgent and empty-headed socialite, while the other by a matron, founder of the first Polish national museum. The article focuses on the activities which went on in Powązki, in particular it reconstructs the educational efforts Princess Czartoryska directed towards her children: Teresa, Maria, Adam Jerzy, Konstanty and the youngest Zofia. This approach allows us to recreate the most elusive fabric of the garden, the intention of its use, where the activity actually dictates the visual form. The figures in the garden can be seen living in an aesthetically designed space, drawing simplicity from rustic huts, walking the artificial ruins, engaging in farming and gardening, and presenting verses from pastoral poetry in intimate, private theatricals. At this moment in time Princess Izabela Czartoryska had a complete control over the young characters, and was removed from the usual formal constraints of courtly life. It is evident that considering the very young age of the children, the visual language of gesture and the design of the landscape had to dominate. The eldest surviving son Adam Jerzy Czartoryski remembered his early years in Powązki as the happiest of his life. From 1772 he spent long summer months there with only his mother, his siblings and a small number of family friends for company. Princess Izabela Czartoryska set a precedent in publicly endorsing a Rousseau inspired model of an emotionally engaged mother. What is important, she created Powązki not only as a private Elysium, as Adam Jerzy remembered, but also as a space for public presentation, frequented by the king and open to the scrutiny of large numbers of the nobility, the inhabitants of Warsaw, and to anyone who procured an entry ticket for a private visit. In this perspective, the culture of leisure in Powązki shows itself as a mode of communication designed to present a coherent agenda, which was aimed as much at the wider public as at the Czartoryski children. Czartoryska’s garden connected the pastoral pursuits with historical analogies to Republican Rome and underpinned them with moralizing examples of virtue from the works Charles Rollin. In effect, Powązki revolved around a didactic programme, commented on principles of moral living, on the family’s role as enlightened citizens and on the current state of Poland. The ‘Powązki poets’ under the Czartoryski patronage – Adam Naruszewicz, Franciszek Karpiński and Franciszek Dionizy Kniaźnin placed the garden within the classical pastoral as a pleasant and virtuous place. They styled its adult inhabitants as enlightened shepherds protecting their flock of the nation. The children figured as the inheritors of their parents’ ideals. The poet Adam Naruszewicz presented the two year old Adam Jerzy as a wise Amor making wreaths to honour his male line, already at this young age learning appropriate attitudes in the language of symbols. Naruszewicz consciously based himself on the poetic imagery of Salomon Gessner, the most influential poet of the new pastoral. Gessner’s works not only took over the imagination of Polish poets, they were regarded as particularly useful for teaching children moral examples. Educators saw in them a suitable model for an exemplary relationship between children and their parents, a format for the expression of innocent feelings and as an endorsement of an ideal of living in nature as a source of happiness. Czartoryska favoured Gessner’s works above all others and most likely included them in the children’s performances of pastoral poetry. Adam Jerzy particularly enjoyed these private theatrical entertainments. They formed a part not only of his own upbringing but also that of his mother’s. During Izabela’s childhood in Wołczyn, her governess Madame Petit followed the influential educational theories of Charles Rollin, author of Traité des études, Histoire Ancienne and Histoire Romaine. Rollin was an advocator of a respectful and tender attitude to children and an enthusiastic believer in the value of visualizations from ancient history. Madame Petit took over the charge of the next generation and used the same books and methods in their education, as she did with Czartoryska. Both Izabela and her husband Adam Kazimierz attached a singular importance to the educational qualities of theatre and saw the art of public self presentation as a culturally constructive form of communication. During the decade before the establishment of Powązki the Czartoryskis participated in the founding of the National Theatre and supported its short-lived activity. Izabela was an accomplished actress in her own right, Adam Kazimierz coached the actors in the art of expressive gesture, wrote plays for the public theatre and for the students of the School of Cadets. He encouraged his students to read and to visualize pastoral poetry and to assimilate its ideals of virtue. A drawing Izabela commissioned from her artist Jean Pierre Norblin demonstrates the primacy of gesture as a means of emotional exchanges in Powązki. Following the accidental death of the eldest daughter Teresa, the Princess chose to memorialize herself and the children in a mourning ritual. Only restrained gestures signify the internalized emotions. Instead, the expressive strength of the presentation shifts onto the viewer, who needs to draw on his own experiences in order to identify himself with the subject and emotionally participate in the scene. This type of presentation falls into the theories of distanced, selfconscious, and internalized expression promoted by Diderot and popularized by Rousseau, and shows the interactions in Powązki as highly stylized and emotionally charged exchanges. The children learned to imitate the Gessnerian pastoral ideal not only in theatrical visualizations; they were able to experience it directly. They lived in a little hameau in the pleasure grounds, each in a little modest cabin with a garden, while their mother inhabited a larger thatched log house. Czartoryska turned over half of the one hundred hectare estate into an arable farm and followed an example of her father Jan Jerzy Flemming and her grandfather Michał Czartoryski in an exemplary land management. The productive part of the ferme ornée entered the pleasure grounds. Sheep and cattle grazed near the cabins, while fishing in the ornamental lake combined the useful with the beautiful and presented a subject for paintings by Jean Pierre Norblin. The Czartoryski children visited the farms; they also learned to grow plants in their own gardens as part of their daily routine. While many contemporary writers praised the benefits of work in the garden for young children, Czartoryska added to gardening an emotional dimension. She taught her children to express their feelings through planting and to connect them with the attachment to people and to land. Emotional planting in Powązki became a form of communication which the family continued throughout their lives. Charles Rollin’s Histoires added a historically moralizing element to the Gessnerian ideal. Rollin associated the events of the past with personal qualities of people. His virtuous kings, generals and heroes in the times of peace invariably exchanged their swords for ploughs and vine knives and continued as shepherds of their people. For Adam Jerzy and his younger brother Konstanty these were the role models which they could enact, absorb and build on in a manner appropriate for their age. The design of Powązki extended the sphere of rural, pastoral associations by the introduction of the vernacular architectural elements and classical sculptural references: Polish rustic cabins, Roman ruins, medieval buildings and classical statues of Pastoral Poetry, Virtue and Diana the Hunter. Deer roamed the place; their presence connected the new landscape garden with the Polish traditional estate. Czartoryska leased additional statues at the times of fêtes and engaged in performances involving laying the wreaths and garlands of flowers on altars of gratitude, in a manner reminiscent of compositions by Boucher, Greuze or Gessner. Paintings by Jean Pierre Norblin record a close identification of the inhabitants of Powązki with the imagined past: the figures touch the statue of Virtue and wander in the proximity of a classical tomb. The children drew naturally on the connection between the Polish vernacular, antiquity and the pastoral: the girls performed Polish dances dressed in Greek clothes; Adam Jerzy danced a cossack and played on arcadian bagpipes. The musical activities continued the associations with the ancients. Rollin argued, using historical examples, that teaching of music refined peoples’ characters and gathered individuals into a charitable, gentle and pious society. The background for the activities taking place in Powązki was a set of ruins in front of Czartoryska’s hut – identified here as the copies of the Arch of Septimus Severus, the column of Focas and the Temple of Vespasian and Titus. They were presented in a half buried state, just as they appeared at the time on Campo Vaccino in Rome. A short distance from the garden ruins stood a copy of the Theatre of Marcellus, a building which like the Roman original no longer functioned as a theatre, but contained stables and habitable rooms. Significantly there was no theatre building in Powazki, instead performances took place in open air. Rollin and eighteenth century historians endowed the performances sub Jove with qualities of simplicity and social equality characteristic of the Republican period. In contrast, the ruined remnants of the Imperial Rome commented on the temporal nature of the authoritarian rule, and together with performances on the grass pressed the message of the Czartoryski republican orientation. In this interpretation the visual programme of Powązki sets itself in opposition to the design devised by the king Stanisław August Poniatowski for the interiors of the royal castle which referenced the rule of Octavian. As Powązki functioned not only as a private retreat but a space open to the scrutiny of Warsaw and nobility from the whole Commonwealth, especially at the time of large scale theatrical productions, fetes, fairs and fireworks displays, these meanings received a public dimension. The ‘entirely Polish and republican’ education the children, shows itself therefore as a matter of private and public concern. This article puts to rest the pervasive notion that the culture of leisure carried no other meanings than self-serving indulgence and entertainment. Instead, the garden shows itself as the public space intended partly as the exposition of the educational methods of bringing up children and the space visualising the family’s political orientation within, what’s important, leisurely activities.
Źródło:
Rocznik Historii Sztuki; 2014, 39; 223-247
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Jeszcze o badaniach ogrodów i parków zabytkowych z zastosowaniem metody archeologicznej
Autorzy:
Gromnicki, J.
Powiązania:
https://bibliotekanauki.pl/articles/218614.pdf
Data publikacji:
2007
Wydawca:
Stowarzyszenie Konserwatorów Zabytków
Tematy:
ogród
rewaloryzacja
garden
revaluation
Opis:
W numerze 19. z 2006 roku „Wiadomości Konserwatorskich” ukazał się artykuł Tadeusza Morysińskiego przedstawiający możliwości archeologii w odtwarzaniu pierwotnego stanu rozplanowania założeń ogrodowych, głównie na przykładzie prac w Wilanowie. Były one prowadzone w latach 2003-2006 z ramienia Krajowego Ośrodka Badań i Dokumentacji Zabytków, pod kierunkiem doświadczonego archeologa, mgr Andrzeja Gołembnika, autora szeregu prac archeologicznych, m.in. badań zamku w Pułtusku, w Gdańsku oraz w Norwegii, w których autor artykułu, jak wynika z tekstu, również uczestniczył1. Omawia też w swym artykule pokrótce badania Andrzeja Koli z Uniwersytetu im. Mikołaja Kopernika w Toruniu, prowadzone w ogrodzie pałacu Branickich w Białymstoku, oceniając jednak ich wyniki jako nie w pełni przydatne do poznania układu pierwotnego założenia tego ogrodu, jakkolwiek podkreśla fakt, że po raz pierwszy w Polsce byłyby one wykorzystane w realizacji projektu rewaloryzacji.
In issue 19 2006 " Preservation News" published an article by Tadeusz Morysińskiego showing possibilities of archeology in reconstructing the original state of the layout of garden, mainly on the example of the work in Wilanów. They were conducted in 2003-2006 on behalf of the National Centre for Research and Documentation of Monuments , under the guidance of an experienced archaeologist , MA Andrew Gołembnika , the author of a number of archaeological work , including Research castle in Pultusk , in Gdansk and in Norway, where the author of the article , as stated in the text , also uczestniczył1 . Also discusses in his article briefly survey Andrzej Kola from the University - Nicolaus Copernicus University in Torun, held in the garden of the palace Branickich in Bialystok , but assessing their results as not fully useful to know the original assumptions of the garden, however, highlights the fact that for the first time in Poland, they would be used in the restoration project .
Źródło:
Wiadomości Konserwatorskie; 2007, 22; 39-46
0860-2395
2544-8870
Pojawia się w:
Wiadomości Konserwatorskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ignacy Krasicki w ogrodzie
Ignacy Krasicki in the garden
Autorzy:
Doktór, Roman
Powiązania:
https://bibliotekanauki.pl/articles/2012185.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
ogród
Ignacy Krasicki
garden
Opis:
Ignacy Krasicki was not merely the most distinguished writer of the Polish Enlightenment, but also “the prince of poets” − to use a phrase from the period. He occupied a prominent position in the hierarchy of the Catholic Church, as the bishop of the Warmia region in north-eastern Poland and archbishop of Gniezno. He was a passionate and highly competent art collector. His collection included numerous and diversified works of art: pieces of sculpture, painting, drawing and engraving. Moreover, Krasicki was a dedicated gardener. His episcopal residence at Lidzbark (Heilsberg) in Warmia was surrounded by an exquisite English garden. According to many of his contemporaries, it was the most beautiful garden in this part of Poland, if not in Europe. Krasicki’s passion for gardening was, in part, a result of his family roots in landed gentry. But, unquestionably, it was also due to the fashion of the period. His garden, surrounding what used to be a castle of the Teutonic Knights, was, in a certain measure, a retreat for Krasicki, an exile (after the first partition of Poland Krasicki became a Prussian subject). In Polish history he was one of the first spiritual predecessors of the great exiles and expatriates from the period of Romanticism. Last but not least, his Warmian garden was a realm of beauty which is created like a grand lyric.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2011, 1(4); 177-190
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Analysis of Water-Designning Art for Chinese Classical Private Gardens South of the Yangtze River
Analiza sztuki projektowania założeń wodnych dla chińskich klasycznych prywatnych ogrodów na południe od rzeki Jangcy
Autorzy:
Hui, X.
XingYao, X.
Powiązania:
https://bibliotekanauki.pl/articles/1189711.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Przyrodniczy we Wrocławiu
Tematy:
ogród wodny
sztuka
projektowanie
ogród
Chiny
water garden
art
design
China
garden
Opis:
Prywatne ogrody na południe od rzeki Jangcy stają się klasyką chińskiej sztuki ogrodowej z powodu inteligentnych technik projektowania założeń wodnych. Techniki te naśladują naturę i w połączeniu z krajobrazem tworzą charakterystykę projektowania założeń wodnych "dużych, rozdzielających i małych, łączących". Przebiega to poprzez artystyczny proces, który zachowuje rozsądną skalę wielkości, tworząc układy naprzemienne, dynamiczne lub statyczne. W artykule posłużono się przykładami ogrodów, the Humble Administrator's Garden, the Garden of Pleasant and the master of-Nets Garden, w których analizowano zasadę zależności układu przestrzeni wodnej od wielkości ogrodu. W konkluzji stwierdzono, że duży, prywatny ogród stanowi formę budynków otoczonych wodą; istnieje tu zależność budynki - woda. Natomiast małe, prywatne ogrody występują w postaci dwóch typów, w których: 1) duża przestrzeń wodna znajduje się w centrum ogrodu i jest otoczona ścisłą zabudową, 2) przestrzeń wodna przenika się z budynkami i stanowi ich połączenie.
Źródło:
Architektura Krajobrazu; 2012, 4; 4-10
1641-5159
Pojawia się w:
Architektura Krajobrazu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gry i zabawy realizowane na przyrodniczej ścieżce zmysłów
Games and plays executed on nture course of sensem
Autorzy:
Madrawska, M.
Powiązania:
https://bibliotekanauki.pl/articles/881763.pdf
Data publikacji:
2007
Wydawca:
Szkoła Główna Gospodarstwa Wiejskiego w Warszawie. Leśny Zakład Doświadczalny. Centrum Edukacji Przyrodniczo-Leśnej w Rogowie
Tematy:
Park Narodowy Ujscie Warty
edukacja przyrodniczo-lesna
zajecia pozaszkolne
scenariusz lekcji
gry dydaktyczne
ogrod dydaktyczny
Ogrod dydaktyczny Przyrodniczy Ogrod Zmyslow
Źródło:
Studia i Materiały Centrum Edukacji Przyrodniczo-Leśnej; 2007, 09, 1[15]
1509-1414
Pojawia się w:
Studia i Materiały Centrum Edukacji Przyrodniczo-Leśnej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ARCHEOLOGIA W PROCESIE REWALORYZACJI OGRODÓW TRUDNE POCZĄTKI
ARCHAEOLOGY IN THE REVALORISATION OF GARDENS DIFFICULT BEGINNINGS
Autorzy:
Morysiński, Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/538229.pdf
Data publikacji:
2005
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
archeologia
rewaloryzacja ogrodów
archeologia ogrodowa
ogród Branickich
ogród w Wilanowie
park w Wilanowie
Opis:
Conservation dealing with palace-garden complexes must be preceded by comprehensive studies involving representatives of several fields of science: architects, landscape architects, historians, art historians, geodesists, botanists, documentalists and archaeologists. The revalorisation of the Hampton Court Gardens was a symptomatic example of the cooperation of landscape architects, art historians and archaeologists. The excavations conducted by Brian Dix produced extraordinary results, and contributed to a complete and satisfactory realisation of the undertaking. In Poland, archaeologists tend to take part in ventures of this type much too rarely, but each year excavations are becoming increasingly frequently appreciated as a source of knowledge about garden and park premises expands; they are also employed in revalorisation projects. The first instance of using archaeological sources in implementing revalorisation projects relating to a garden premise consisted of the excavations initiated in 1997 in the Branicki Gardens in Białystok. The most prominent and largest-scale archaeological initiatives include the excavations conducted since 2003 by the staff of the National Centre for the Study and Documentation of Historical Monuments in the palace-park premise in Wilanów. Practical research renders possible the creation and testing of models of complex interdisciplinary studies resorting to newest technologies. Great emphasis is placed on registering all the stages of the work as well as programme-like integrated documentation prepared by all the participants. The active presence of archaeologists in the revalorisation of parks and gardens permits the verification of source material and supplies data about, i. a. the original spatial and compositional layout of parks and gardens, the plants and their planning, as well as types of garden outfitting and its distribution. Most important, it facilitates the creation of revalorisation projects concurrent with the historical message.
Źródło:
Ochrona Zabytków; 2005, 3; 57-70
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wołyński raj techniczny. Tymon Zaborowski i „ogród przedziwny” ruskiego czarownika Jamedyka Bluda bohatera poematu bohaterskiego „Zdobycie Kijowa”
The Volhynian technical paradise. Tymon Zaborowski and the “extraordinary garden” of a Ruthenian sorcerer Jamedyk Blud, the hero of a heroic poem „The capture of Kiev”
Autorzy:
Stankiewicz-Kopeć, Monika
Powiązania:
https://bibliotekanauki.pl/articles/2012183.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
ogród
Krzemieniec
Tymon Zaborowski
garden
Opis:
A heroic poem The Capture of Kiev (1818) by Mickiewicz’s contemporary, Tymon Zaborowski, the graduate of the Volhynian Gimnasium (based on Boleslaw the Valiant’s Kiev expedition) appears to be an interesting record of literary imagination as well as aesthetic and cultural awareness of the author of the transitional period. This reflection primarily refers to these fragments of the poem which concern the Ruthenian sorcerer Jamedyk Blud − the teacher of Vladimir the Great’s sons and an ally of Yaroslav in the battle with Polish people, as well as his extraordinary island-garden. Jamedyk Blud’s island presented in The Capture of Kiev is not only an idyllic depiction of a paradise on earth, another mythological vision of the Fortunate Isles, or a Volhynian Arcadia −poetically realized according to the principles of the contemporary art of gardening. Blud’s extraordinary island created by Zaborowski has another nature since it is also the “garden of experiments”, the “garden of technical tests”. This kind of vision results from technical, mechanical and physical fascinations held by Zaborowski and his friends from Kremenets. From today’s perspective, it is this technical aspect of Jamedyk Blud’s residence that appears to be a particularly interesting record of Zaborowski’s wide-ranging fascinations as for the author of the transitional period.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2011, 1(4); 205-217
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Róże dla osłów. Topika ogrodowa w „Hortulus elegantiarum” Wawrzyńca Korwina
Roses for asses. Garden topos in „Hortulus elegantiarum” by Wawrzyniec Korwin
Autorzy:
Buszewicz, Elwira
Powiązania:
https://bibliotekanauki.pl/articles/2012197.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
ogród
topos
Wawrzyniec Korwin
garden
Opis:
Lorenz Rabe, a 15/16th century Silesian humanist and teacher known by his Latin name, Laurentius Corvinus, wrote a number of poems and schoolbooks in Latin. Among his works was Hortulus elegantiarum, containing a collection of hints on elegant Latin style and its examples. The manual, whose editio princeps appeared in 1502, was dedicated to the students of the Jagiellonian University. It had around 25 editions. The main purpose of this paper is to discuss the preface and the afterword to the Hortulus in the context of loci communes concerning the garden metaphor. In Corvinus’ Hortulus the metaphor may be read in different ways: as a book, a pupil’s mind or author’s creative invention. The first way is used in Corvinus’ afterword and preface, whose palimpsest structure (evoking Apuleius’ Metamorphoses) emerges from the analysis included in the main part of the article. Two other ways of application of the metaphor are connected with Corvinus’ dedicatory poem to Cracow students. The dedication is briefly discussed at the end of the paper.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2011, 1(4); 13-25
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ogrody (i parki) Tadeusza Różewicza. Przemiany zdegradowanego toposu
Tadeusz Różewicz’s gardens and parks. Transformations of the degraded topos
Autorzy:
Wójcik, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/2012198.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
ogród
topos
Tadeusz Różewicz
garden
Opis:
The subject of the article is the topos of garden (over time replaced more and more with that of a park) as presented in the broadly viewed poetry of Tadeusz Różewicz. The comparative context for the description of manifold meanings and functions of this topos is composed of references to the poetry of garden lyric masters i.e. Leopold Staff, Bolesław Leśmian, Jarosław Iwaszkiewicz. The reconstruction of the complexity of garden topos allows seeing it as one of the most important figures in Tadeusz Różewicz’s poetry, as it is the figure of reflection on the condition of spirit and the state of culture in the 20th century.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2011, 1(4); 283-296
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 234

Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies