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 "St. Catherine church" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-5 z 5
    Tytuł:
    Zgromadzenie Sióstr św. Katarzyny i jego Reguła
    The Congregation of the Sisters of Saint Catherine and its Rule
    Autorzy:
    Jaworska, Łucja Irena
    Powiązania:
    https://bibliotekanauki.pl/articles/2144435.pdf
    Data publikacji:
    2021-12
    Wydawca:
    Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
    Tematy:
    siostry św. Katarzyny (katarzynki)
    bł. Regina Protmann
    Reguła
    Warmia
    Diecezja Warmińska
    prawo kościelne
    Sisters of St Catherine
    Blessed Regina Protmann
    Rule
    Diocese of Warmia
    church law
    Opis:
    Zgromadzenie Sióstr św. Katarzyny Dziewicy i Męczennicy (siostry katarzynki) sięga swymi początkami drugiej połowy XVI stulecia. Powstało ono w 1571 r. w Braniewie (niem. Braunsberg) na Warmii (niem. Ermland), w wyniku przemian zachodzących w Kościele po Soborze Trydenckim. Jego założycielką jest bł. Regina Protmann (†1613), która w nowo utworzonej wspólnocie sióstr połączyła kontemplację z działalnością apostolsko-czynną. Pierwsza Reguła zgromadzenia powstała dzięki wsparciu jezuitów, działających w Braniewie od 1565 roku, za aprobatą ówczesnych biskupów warmińskich (Marcin Kromer, Piotr Tylicki). W kolejnych wiekach, a zwłaszcza w XX w., te zasady życia wspólnotowego były modyfikowane, przede wszystkim ze względu na myśl Soboru Watykańskiego II.
    The Congregation of the Sisters of St Catherine the Virgin and Martyr (Sisters of St Catherine) dates back to the second half of the 16th century. It was founded in 1571 in Braniewo (ger. Braunsberg), in Warmia (ger. Ermland), as a result of changes taking place in the Church after the Council of Trent. Its founder was Blessed Regina Protmann (†1613), who combined contemplation with apostolic activity in the newly established community of sisters. The first Rule of the congregation was drafted with the support of the Jesuits, who had been active in Braniewo since 1565, with the approval of the then Warmian bishops (Marcin Kromer, Piotr Tylicki). In the following centuries, and especially in the 20th century, these principles of community life were modified, mainly due to the thought of the Second Vatican Council.
    Źródło:
    Studia Elbląskie; 2021, 22; 103-126
    1507-9058
    Pojawia się w:
    Studia Elbląskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Scena religijna wobec realizmu. Portret wotywny i portret ukryty w obrazie „Opłakiwanie” z kościoła św. Katarzyny w Braniewie
    Religious Scene Towards Realism. The Votive Portrait and the Hidden Portrait in the „Mourning” Picture from St. Catherine Church in Braniewo
    Autorzy:
    Jagla, Jowita
    Powiązania:
    https://bibliotekanauki.pl/articles/512349.pdf
    Data publikacji:
    2012
    Wydawca:
    Wydawnictwo Diecezjalne Adalbertinum
    Tematy:
    symbolism of portrait
    “Mourning” picture
    Cardinal Hozjusz
    St. Catherine church
    Braniewo
    Opis:
    The authoress analyzes the „Mourning” picture from St. Catherine church in Braniewo. In her interpretation she remarks that the whole expressive scene is dedicated to the death of Christ, which on one hand side is focused on the Lord’s Passion, but on the other – does not confine itself only to religious contents. The picture contains some kind of moralizing message due to taking advantage of possibilities delivered by the symbolism of portrait. A spectator is introduced by the artist into the epicenter of the portrayed occurrence. The painter not only spotlights himself pride-fully as an author of the work, but also indicates the direction of perception: from oppressed Christ to Cardinal Hozjusz as the founder of the picture, and an exemplary Christian.
    Źródło:
    Studia Ełckie; 2012, 14; 541-555
    1896-6896
    2353-1274
    Pojawia się w:
    Studia Ełckie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nieznane okoliczności złożenia szczątków króla Stanisława Leszczyńskiego w Petersburgu w 1857 r. w świetle relacji Bernarda i Rogera Łubieńskich na tle losów bpa Konstantego Ireneusza Łubieńskiego
    The Burial of the Remains of King Stanisław Leszczyński in Sankt Petersburg in 1857 Considering the Unknown Facts in Bernard and Roger Łubieński’s Account and the Life of Bishop Konstanty Ireneusz Łubieński
    Autorzy:
    Dąbrosz-Drewnowska, Paulina
    Powiązania:
    https://bibliotekanauki.pl/articles/1826678.pdf
    Data publikacji:
    2021-10-12
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Stanisław Leszczyński
    Stanisław August Poniatowski
    kościół św. Katarzyny w Petersburgu
    Konstanty Ireneusz Łubieński
    Tomasz Wenthworth Łubieński
    Zygmunt Szczęsny Feliński
    Bernard Łubieński
    Roger Łubieński
    Church of St. Catherine in Petersburg
    Opis:
    Artykuł przedstawia okoliczności złożenia w kościele św. Katarzyny w Petersburgu w 1857 r. trumienki ze szczątkami króla Stanisława Leszczyńskiego. Szczątki te w 1922 r. ostatecznie zostały przywiezione do Polski i złożone na Wawelu. Mimo że w historiografii zajmowano się problemem „peregrynacji” szczątków królewskich z Francji do Rosji i ich ostatecznym przywiezieniem do Polski, nieznane pozostawały okoliczności pochówku trumienki w Petersburgu, gdzie spoczęła obok trumny ostatniego polskiego króla Stanisława Augusta Poniatowskiego. Nieznane były ponadto osoby, które się do tego przyczyniły. Artykuł pokazuje rolę, jaką odegrała w tych wydarzeniach rodzina Łubieńskich, a zwłaszcza ks. Konstanty Ireneusz Łubieński, późniejszy biskup sejneński. Przedstawione losy duchownego na podstawie wspomnień rodziny i zaprzyjaźnionych duchownych pozwalają zrozumieć, dlaczego pochowanie trumienki w Petersburgu było w ogóle możliwe.
    The context of placing the coffin with the remains of King Stanisław Leszczyński in the Church of St. Catherine in Petersburg in 1857 is carried in the article. The remains finally returned to Poland and they rest in Wawel (Kraków, Poland). The history of peregrination of the remains from France to Russia and in the end to Poland is commonly known as well as their arrival to Petersburg and their burial next to King Stanisław August Poniatowski and other dignitaries responsible for their rescue. The role of the Łubieński Family and particularly the one of the bishop of Sejny Konstanty Ireneusz Łubieński in the recapture of the remains is highlighted in the article. The life of the priest traced there is based on the souvenirs of his family and his fellow priests. Thanks to their testimony it becomes clear why the burial of the remains was feasible.
    Źródło:
    Teka Komisji Historycznej Towarzystwa Naukowego KUL; 2021, 18; 41-71
    2658-1175
    2719-3144
    Pojawia się w:
    Teka Komisji Historycznej Towarzystwa Naukowego KUL
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Karchowicka Biblia Pauperum źródłem dla poznania kultury materialnej
    Karchowice Bible Pauperum source for knowledge of material culture
    Autorzy:
    Przybyłok, Arkadiusz
    Powiązania:
    https://bibliotekanauki.pl/articles/682046.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Karchowice
    kościół pw. św. Katarzyny Aleksandryjskiej
    gotyckie freski
    church st Catherine of Alexandria
    gothic frescoes
    Opis:
    In 2007, there was a discovery made in st Catherine of Alexandria church in Karchowice – a wall paintings showing scenes known from New Testament. Explorers dated them widely to 15th century but analysis of the armament and clothes restricts this dating to the end of the century. All of the biblical figures (Jesus, Apostoles and women) are wearing stylised long clothes, not similar to the fashion of that medieval time, however, torturers are dressed in a typical late 15th century way. They have over-ankle shoes, tight fitting hoses and doublets some of which have also puffed sleeves. Few of them are wearing robes with fancy cuts on the edges. The most interesting piece of cloth depicted on the paintings is the one made of a textile with tile-shaped pattern or peacock’s feathers on it. There are not only civilians on the paintings but soldiers as well. Most of their armament is reduced to few elemnents only (eg. helmet and kind of weapon), but some of soldiers are wearing full plate armours with decorative garments put on them. The most popular type of helmets here is a skull cap and ball shaped kettle hat. One of the soldiers has epaulieres with pteruges which probably should be taken as an indication of painter’s imagination. The way all figures have been depicted on the wall paintings in Karchowice seems to be premeditated. While Jesus and people around him are wearing simple clothes, Romes are dressed very excessively. Thanks to that it was possible for the illiterate viewer to distinguish which of persons on the fresco is a good or a bad one.
    -
    Źródło:
    Acta Universitatis Lodziensis. Folia Archaeologica; 2016, 31
    0208-6034
    2449-8300
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Archaeologica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    GOTYCKIE DEKORACJE MALARSKIE ELEWACJI KOŚCIOŁA PARAFIALNEGO P.W. ŚW. KATARZYNY ALEKSANDRYJSKIEJ W GOLUBIU Przyczynek do badań nad dekoracją maswerkową w architekturze Państwa Zakonnego w Prusach
    GOTHIC PAINTED DECORATIONS ON THE ELEVATION OF THE CHURCH OF ST. CATHERINE OF ALEXANDRIA IN GOLUB. A Contribution to Studies about Tracery Decoration in the Architecture of the Teutonic Order State in Prussia
    Autorzy:
    Tuliszewski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/536670.pdf
    Data publikacji:
    2006
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    CHURCH OF ST. CATHERINE OF ALEXANDRIA (GOLUB)
    GOTHIC DECORATIONS
    POLYCHROME
    TEUTONIC ORDER STATE
    Opis:
    The Gothic painted decorations of the plastered blind windows and friezes on the elevation of the parish church in Golub have been mentioned at the end of the nineteenth century by German conservators and historians of East Prussian architecture (J. Heise, A. Boetticher) in the catalogues of historical monuments written by them. Nonetheless, it was not until the research, drawings and measurements of the roof truss construction were carried out in December 2004 by the employees of ROBiDZ (Torun), that the presence of the titular painted decorations was unearthed. The discoveries were made in a rather inaccessible spot, i. e. under the roof of the chapel of the Holy Cross, covering part of the eastern axes of the northern elevation. The second stage of the measurements performed next to the bell tower disclosed remnants of identical engraved tracery decorations at the level of the fourth storey of the southern tower elevation. The excellent condition of the preserved compositions engraved on a thin layer of lime plaster made it possible to reconstruct their original form. This material, together with photographic documentation, was used for making inventory drawings based on a CAD-type programme. The documentation produced by ROBiDZ (Torun) classified four types of the originally polychromed tracery decoration. With the exception of a plastered band on the cornice, the other compositions share an identical tripartite division of the lower lancet sphere as well as a band above it, featuring a carpet pattern with a recurring four-leaf motif. Moreover, a characteristic feature of the Golub tracery is the fact that the classical three-, four- and five-leaf motifs occur next to each other, and have been executed both from petals cut out of a circle and those which are enclosed within a lancet. The presented article embarks upon an attempt at defining the provenance of the forms of the discovered compositions. A formal analysis has been unquestionably facilitated by the studies conducted by specialists as well as the conservation documentation of similar objects by, i. a. M. Poksinska and E. Pilecka. Golub, located in the territory of the Teutonic Order state, only 40 kms from Torun, must have found itself within the range of the impact exerted by this cultural centre, the second largest in Pomerania, a fact decisive for a search for analogous decorations in the buildings of Golub and its environs. We cannot exclude the probability that the described tracery should be attributed to a group of artists working not only Toruń but also in the provinces. They included representatives of various nationalities and assorted West European trends, influencing art in the region of Chełmno, Kujawy and Varmia. It must be added that the imposing number of architectural solutions and decorative motifs in the land of Chełmno makes it impossible to indicate a concrete source of inspiration for the solutions encountered in Golub. Cited analogies prove that fourteenth-century ornamental motifs were popularised in Toruń and the neighbouring regions by means of the pattern books and construction complexes which appeared in these terrains as part of a cultural exchange augmented by the intensive trade contacts maintained by the Baltic towns. The presented study does not propose an ultimate classification of all types of the tracery decorations originally executed on the elevation of the parish church in Golub. Within this context, the documented examples comprise only part of the whole repertoire of the ornamental blind windows in the church. Initial results of the examination of the chemical composition of lime mortar in the blind windows and tower cornice made it possible to identify the pigments used in the decorations, i. a. iron oxide red, ochre and plant black. The execution technology of the painted tracery could be ultimately explained after complex conservation studies. With all certainty, the tracery discovered in Golub in 2005, both engraved in plaster and painted, confirms the great popularity of this decoration technique in the state of the Teutonic Knights, used not only on sacral edifices but also on secular and town buildings. In turn, the immense variety of the types of compositions attests to the fact that the basic purpose of such ornaments was to enhance the decorativeness and prestige of the embellished objects.
    Źródło:
    Ochrona Zabytków; 2006, 1; 39-51
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

      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