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    Tytuł:
    W poszukiwaniu sztuki rodzimej. Dyskusja wokół recepcji ruskiego malarstwa sakralnego końca XIX i początku XX wieku w Galicji Wschodniej
    Looking for native art. A discussion on the reception of the Ruthenian church painting of the end of the 19th century and the beginning of the 20th century in Eastern Galicia
    Autorzy:
    Rudenko, Ołech
    Powiązania:
    https://bibliotekanauki.pl/articles/1954060.pdf
    Data publikacji:
    2004
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    sztuka ruska
    Galicja Wschodnia
    kultura
    dyskusja
    bizantyński
    rodzimość
    ikona halicka
    Ruthenian art
    Eastern Galicia
    culture
    discussion
    Byzantine
    nativeness
    Halicz icon
    Opis:
    The article shows research for the sources of the Ruthenian art at the break of the 19th century that became the basis for formation of the Ukrainian art. To form one's own art it was necessary to use the models from the past epochs, i.e. to refer to history. Native art needed not only contents, but also formal iconographic types and motifs that could be followed by Ukrainian painters. Historiographic reception of Ruthenian art, and first of all reaching for the art of the 15th-17th centuries, provided responses to those needs and shaped the vision of native painting with national values, based on religious tradition. In the discussion we are dealing, when we take under consideration literature in two languages, Polish and Ukrainian, with works written on “two different sides” with respect to national interests of the authors who fought for ideas confirming their national identity in the press, in reviews of exhibitions and in monographic works, in which thinking about particular works often led to very interesting general considerations of religious and national art; with the texts written by native art lovers expressing their admiration of its originality, as well as by works written by professional researchers, like M. Sokołowski or W. Podlacha. The Polish side begins this intensive discussion in connection with staging the Archeological Exhibition in 1885. Then the Ukrainian side, especially after the Archeological-Bibliographical Exhibition put on by the Stauropigial Institute in Lvov in 1888, speaks more frequently about this issue and looks for an explanation that would be proper for its own culture. The discussion resulted in distinguishing the native old-Ruthenian art that formed the foundations for the national art. It also showed that the Ruthenian painting had overcome the Byzantine canon, and under the influence of the West it started to develop in an original way. This was appreciated and it discovered possibilities for an artistic creative individuality, and using the achievements of the icon and the Halicz painting it also paved the way towards a revival of the Ukrainian art.
    Źródło:
    Roczniki Humanistyczne; 2004, 52, 4; 419-450
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Piotr Piotrowski, Awangarda w cieniu Jałty. Sztuka w Europie Środkowo-Wschodniej w latach 1945-1989, Dom Wydawniczy Rebis, Poznań 2005, s. 502
    Autorzy:
    Cześniak-Zielińska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/26850749.pdf
    Data publikacji:
    2009
    Wydawca:
    Akademia Zamojska
    Tematy:
    Central and Eastern Europe
    art
    modernism, avant-garde
    Yalta
    neo-avant-garde
    social realism
    Europa Środkowo-Wschodnia
    sztuka
    modernizm
    awangarda
    Jałta
    neoawangarda
    realizm socjalny
    Źródło:
    Facta Simonidis; 2009, 2, 1; 313-317
    1899-3109
    Pojawia się w:
    Facta Simonidis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Konserwacja obiektów sztuki sakralnej Kresów Wschodnich Rzeczypospolitej
    Conservation of objects of sacred art in the eastern borderlands
    Autorzy:
    Smaza, Janusz
    Powiązania:
    https://bibliotekanauki.pl/articles/539302.pdf
    Data publikacji:
    2010
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    sztuka sakralna
    budowle sakralne
    kresy
    kresy wschodnie
    wschodnia Rzeczypospolita
    niewłaściwa adaptacja
    dzieje powojenne
    profesjonalne prace konserwatorskie
    prace restauratorskie
    światowej klasy wartości artystyczne
    kolegiata żółkiewska
    Żółkiew
    Dziedzictwo Kulturowe
    Ochrona Dziedzictwa Narodowego poza Granicami Kraju
    materialne dziedzictwo Kresów
    Opis:
    The tumultuous history of World War II along with its political outcomes have not only lead to moving borders of the Republic of Poland, but also to losing a considerable part of its territory. The lands which were the source and the breeding ground for multicultural tangible and intangible values remained beyond the eastern border. While direct military activities did not lead to the destruction of many temples, the period of fratricidal combat, particularly in Volhynia, fuelled chiefly with hatred and anger, caused vast destruction. Another period was the rule of the Soviet authorities, whose main goals included fighting religion, as well as its entire tangible heritage. The forms and the intensity of fighting varied: temples were being closed, blown up or transformed into factories, power stations, prisons, bakeries, warehouses (usually for artificial fertilizers, oftentimes stored loose), mills, stables, department stores, gymnasiums, offices, apartments, concert halls, or museums of atheism and religion; this was connected with the removal of crosses, towers and domes. Frequently, reconstructions were so extensive that today it is very difficult to recognise that they were once sacred buildings. The furnishing of temples, which often was at the highest artistic level in the world, suffered the cruellest fate. Usually, it was barbarically removed and burnt. Immense geopolitical changes in East-Central Europe in the early 1990’s brought independence to many countries, which undertook a number of regulations enabling the return of temples to their rightful owners. This process, very vigorous in the first period, has almost ceased in recent years. Restoring fairly original appearance to the recovered temples required a huge sacrifice, and oftentimes heroism. First of all, protective, repair, and construction works had to be conducted, in many instances without adequate knowledge. The restoration of the sacred interior designs of the temples was done on a random basis. While the way of proceeding with the restorations was somewhat justified at the time, the activities in recent years, including among others, the inappropriate reconstruction of furnishing, have resulted in a loss of the last remaining values. They have been replaced with mediocrity and tackiness. Professional restoration works have been carried out only in few cases. The reasons for this are varied, on the one hand, among others, the lack of funds, the lack of adequate identification and the preparation of objects in such a vast territory, and on the other hand, the lack of partners. Presently, works on the appropriate professional level are being conducted almost in every scope and discipline at several dozen temples. They are carried out by highly experienced specialists from Polish schools. The works which have been conducted for the last 22 years in the 17th century collegiate church in Zhovkva, Ukraine, constitute one of such exceptions. They have been carried out by students and graduates of Polish schools: the Academy of Fine Arts in Warsaw and the Academy of Fine Arts in Kraków, as well as the Nicolaus Copernicus University in Toruń at the faculty of conservation and restoration of sculpture and architectural structure, and occasionally conservation and restoration of painting, or historic textiles. The works have been conducted in various forms: as holiday internships (month long) or MA theses (in case of the Academy in Warsaw), and the most difficult conservation issues are solved by international committees of specialists and are rendered by certified conservators and restorers of works of art based on the contract for specific task (it has only been several years that this form has contributed to a significant acceleration of the state of completing the restoration of the temple), and also as a form of volunteer work. This last form of activity (increasingly popular) requires highly qualified specialists who undertake full responsibility for the conducted works. Moreover, specific regulations exist which pertain to carrying out restoration works on historical monuments. The assistance, especially financial, of the Department of National Heritage, existing as a part of the Ministry of Culture and National Heritage, or the Centre of Polish Cultural Heritage Abroad at the Association “Polish Community”, as well as the Senate of the Republic of Poland and various foundations, has decidedly increased the number of works rendered on the highest professional level in the world serving the preservation of heritage of the eastern borderlands. It is, regrettably, still “a drop in the ocean”.
    Źródło:
    Ochrona Zabytków; 2010, 1-4; 85-94
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Letnia akademia w Marburgu poświęcona historii badań nad barokiem w okresie zimnej wojny
    Marburg Summer Academy dedicated to Cold War Baroque studies
    Autorzy:
    Kłoda, Emilia
    Powiązania:
    https://bibliotekanauki.pl/articles/560118.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    historiografia historii sztuki
    sztuka baroku
    Europa Środkowo-Wschodnia
    badania na sztuką po II wojnie światowej
    letnia akademia
    historiography of art history
    Baroque art
    East-Central Europe
    studies on art after WW 2
    summer academy
    Opis:
    The summer academy “Art History in the Cold War. Methods, scope of interests, systems of value” was organised by The Humboldt University of Berlin at The Herder Institute in Marburg on 7–14 September 2014 within the international research project “Asymmetrical art history? Research and mediation of ‘precarious’ monuments in the Cold War” chaired by Prof. Michaela Marek. The project is focused on analyses of art history texts written in East Central Europe in the time of Cold War. There were seven research coordinators and twelve participants from nine countries (The Czech Republic, Germany, Hungary, Italy, Lithuania, Poland, Portugal, Slovakia and Ukraine). The summer academy became a forum for exchange of concepts between representatives of various disciplines – history, art and architecture history, philosophy and cultural studies. The main elements of the summer academy were topic sections that based on the knowledge of the texts which had been sent in earlier (“What is Marxist art history?”, “Programmatic character of art history after the communists’ takeover”, “Sacral buildings. Religion – power – form?”, “Italy as a starting point – significance of Italian roots”, “Histories of artists – strategic personalisation?”). The schedule of the summer academy also appointed time for group work based on archive and library sources accessible within the place. A few visiting lectures were also held in the evenings. During the last day recapitulation an attempt to analysing relations among the researchers and their mutual influence, access at translations of specialist reading, decontextualisation of monuments, and unappreciated role of popular scientific publications and exhibitions in shaping our image of Baroque occurred to be the most important issues.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2015, 2(36); 122-127
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bezpieczeństwo wschodniej granicy
    Autorzy:
    Elak, Leszek.
    Współwytwórcy:
    Akademia Sztuki Wojennej. Instytucja sprawcza Wydawca
    Data publikacji:
    2019
    Wydawca:
    Warszawa : Akademia Sztuki Wojennej
    Tematy:
    Straż Graniczna (1991- )
    Wojsko Polskie (1944- )
    Granice
    Sztuka wojenna
    Wojna hybrydowa
    Wojska lądowe
    Wojska obrony terytorialnej
    Współdziałanie wojsk
    Monografia
    Opis:
    Bibliografia, netografia na stronach 215-226.
    Dostawca treści:
    Bibliografia CBW
    Książka
    Tytuł:
    Podział świata sztuki i jego zniesienie
    Autorzy:
    Grzegorz, Dziamski,
    Powiązania:
    https://bibliotekanauki.pl/articles/487878.pdf
    Data publikacji:
    2019-08-04
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    WESTERN ART
    EASTERN ART
    THIRD GENERATION OF AVANT-GARDE
    ART MARKET
    SZTUKA ZACHODNIA
    SZTUKA WSCHODNIA
    TRZECIA GENERACJA AWANGARDY
    RYNEK SZTUKI
    Opis:
    A starting point is the division of the world of art onto Western and East- ern, and the question whether this division is still relevant after 1989? The Western world of art was equated with the market, the Eastern with ideol- ogy. Does the Eastern art have to join the Western world of art? Will the term avant-garde of third generation allow to better describe the transi- tion of art in real socialism countries? Does avant-garde in the times of post-modernist’s pluralism exist?
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2019, 27; 68-87
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Siły Zbrojne RP wobec wyzwań i zagrożeń XXI wieku
    Siły Zbrojne Rzeczypospolitej Polskiej wobec wyzwań i zagrożeń XXI wieku
    Współwytwórcy:
    Mróz, Paweł. Redakcja Autor
    Michalski, Włodzimierz (1947- ). Autor
    Elak, Leszek. Autor
    Kustra, Witold. Autor
    Malinowski, Zdzisław (logistyka). Autor
    Akademia Sztuki Wojennej. Instytucja sprawcza
    Wydawnictwo Akademii Sztuki Wojennej. Wydawca
    Data publikacji:
    2019
    Wydawca:
    Warszawa : Wydawnictwo Akademii Sztuki Wojennej
    Tematy:
    Wojsko Polskie (1944- )
    Konflikt na Wschodniej Ukrainie (2014- )
    Logistyka wojskowa
    Siły lądowe
    Siły morskie
    Siły powietrzne
    Siły zbrojne
    Sztuka wojenna
    Opracowanie
    Opis:
    Bibliografie, netografie, wykazy aktów prawnych przy rozdziałach.
    Dostawca treści:
    Bibliografia CBW
    Książka
    Tytuł:
    Architektura i sztuka liturgiczna jako antidotum na desakralizację. Studium twórczości artystycznej M.I. Rupnika SI
    Architecture and Liturgical Art as an Antidote to Desacralization. A Study of Artistic Creativity by M.I. Rupnik SI
    Autorzy:
    Kimsza, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/2035074.pdf
    Data publikacji:
    2020-05-29
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    architektura sakralna
    sztuka liturgiczna
    ikona
    chrześcijański Wschód
    duchowość wschodnia
    sacred architecture
    liturgical art
    icon
    Christian East
    Eastern spirituality
    Opis:
    Współczesna architektura i sztuka sakralna zatraciły swoje pierwotne ukierunkowanie na korzyść nieczytelnych i wieloznacznych form. W ten sposób sztuka sakralna, w pewnym sensie, przesłała być rzeczywistością pomagającą w kontakcie człowieka z Bogiem, albo jak chcieli teoretycy sztuki sakralnej, narzędziem sprowadzającym Boga na ziemię. Tendencjom tym próbuje zaradzić o. Marko I. Rupnik, słoweński jezuita, teolog i ikonograf, założyciel Centrum Aletti – instytutu teologii i sztuki, promującego ideę „chrześcijańskiego oddechu dwóch płuc”, łączenia tradycji wschodniej i zachodniej, jaka tworzyła doktrynę niepodzielonego Kościoła. Efektem myśli teologicznej Rupnika jest sztuka liturgiczna, która – wpisana w architekturę – tworzy przestrzeń spotkania się człowieka z Bogiem.
    Contemporary architecture and sacred art have lost their original instinct in favor of illegible and ambiguous forms. In this way, sacred art, in a sense, sent the message to be a reality that helps man in contact with God, or, as the theorists of sacred art wanted, a tool that brings God down to earth. These tendencies are being remedied by Fr. Marko I. Rupnik, a Slovenian Jesuit, theologian and iconographer, founder of the Aletti Center – an institute of theology and art, promoting the idea of “the Christian breathing of two lungs”, combining the Eastern and Western traditions, which formed the doctrine of the undivided Church. The effect of Rupnik’s theological thought is liturgical art, which, inscribed in architecture, creates a space for human meeting with God.
    Źródło:
    Roczniki Teologiczne; 2020, 67, 5; 109-115
    2353-7272
    Pojawia się w:
    Roczniki Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-10 z 10

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