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 "Zwiastowanie Maryi" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-3 z 3
    Tytuł:
    Matka Boża Dziewica w poezji Młodej Polski
    The Blessed Virgin Mary in Young Poland poetry
    Autorzy:
    Nosek, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/950420.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    Matka Boża Dziewica
    Zwiastowanie
    motyw dziewictwa Maryi w literaturze
    poezja Młodej Polski
    blessed virgin mary
    annunciation
    young poland poetry
    motif of the virginity mary of the blessed mary in literature
    Opis:
    The article analyses the motifs of the Virginity and the Annunciation of the Virgin Mary in Young Poland poetry. They appear in the writings of many poets, i.e. Maria Konopnicka, Leopold Staff, Jan Kasprowicz, Bronisława Ostrowska, Kazimiera Zawistowska, Józef Ruffer and others. The interest in the Motherhood of God in this period stemmed mostly from a general increase in religiousness but it also had its national and patriotic roots. The expansiveness of the motifs of Virginity and the Annunciation of St. Mary after 1900 was also connected with the 50th anniversary commemoration of the announcement of the doctrine of the Immaculate Conception. The changes in the world-view in the era initialized by vitalism, the fascination with spirituality, broad-sense purity, folk nature and the Franciscan philosophical trend were also significant for the poetic presentation of St. Mary.
    Źródło:
    Rocznik Teologii Katolickiej; 2015, 14, 2
    1644-8855
    Pojawia się w:
    Rocznik Teologii Katolickiej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz Matki Bożej z kościoła pod wezwaniem Wniebowzięcia Najświętszej Maryi Panny w Łodzi
    The painting of Our Lady from the church dedicated to the Assumption of the Holy Virgin Mary in Łódź
    Autorzy:
    Leszner, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/1954053.pdf
    Data publikacji:
    2004
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Łódź
    kościół pod wezwaniem Najświętszej Maryi Panny w Łodzi
    obraz Matki Bożej z Łodzi
    Niepokalane Poczęcie
    Zwiastowanie
    Wniebowzięcie
    dogmat
    ikonografia przedstawień maryjnych
    church devoted to the Assumption of the Holy Virgin Mary in Łódź
    painting of Our Lady in Łódź
    Immaculate Conception
    Annunciation
    Assumption
    dogma
    iconography of presentations of Mary
    Opis:
    Not everybody realizes that besides architectural monuments built in the previous century Łódź also owns a wonderful example of modern painting. Hidden in the neo-Gothic church dedicated to the Assumption of the Holy Virgin Mary the picture of Our Lady is one of the oldest artistic works in the town. In its long history the painting was given various titles: starting from the Dolorous or Glorious, through the Immaculate, Assumed, Merciful, to even being taken by some people for a copy of the picture of Our Lady of Ostra Brama. However, it is most often referred to as Our Lady of Bałuty, or just Our Lady of Łódź. In the work the history of the church and of the painting were followed, with paying special attention to separating legends from facts. Attempts were made to prove that the opinion about the painting in the Łódź church being a copy of the picture from Ostra Brama is unjustified; it is only the same iconographic type. It represents painting that is relatively rarely encountered in art. The bust of Mary without the Infant, with her hands crossed on the breast, expresses several truths about the Virgin. It is a sort of synthesis of three iconographic motifs: the Immaculate Conception, the Annunciation and the Assumption. The way to announcing the dogmas of the Immaculate Conception and the Assumption was especially turbulent and the process lasted from the beginnings of Christianity. Undoubtedly these truths are linked with each other. By the Assumption we also worship Mary's Immaculate Conception. Artists created paintings and sculptures presenting mariological truths. However, the iconography of these dogmas was similar, or even identical. This resulted from the very fact that they co-existed, as well as from their relatively late announcement by the Pope. The picture of the Immaculate Virgin was often changed and the moment of the Assumption was emphasized. The element that connected these two dogmas was the scene of the Annunciation, in which Mary's fiat united the Immaculate Conception, the virginal maternity and the divine Assumption of God's Mother. This is why the way of presenting Mary in the scene of the Annunciation is analogical to the pictures of the Immaculate Conception or the Assumption, in which Mary's gesture is significant: it is touching the heart or joining her hands in prayer. It is also important that Mary is presented without the Infant, owing to which the painting joins the group of scenes in which the artists had to show a composition of God's Mother without Jesus, but in spiritual communion with God the Father. The painting of God's Mother in the church dedicated to the Assumption of the Holy Virgin Mary in Łódź closely connects the Immaculate Conception to the Assumption, and also, owing to the specific position of the hands – to the Annunciation. The very fact that in Łódź since 1364 there has been a parish with such a dedication as well as the connection between these dogmas had effect on formation of such an image of God's Mother. Probably this iconographic type is derived from the Netherlandish graphic arts of the 16th century, that gradually passed to Eastern Europe. This is the way that the model could have reached Poland. The picture of God's Mother in Łódź is not a copy of the painting from Ostra Brama. They both represent a similar iconographic type, and what follows from it, they are presented in a similar arrangement. However, there are too many elements that are different to say it is a copy. It is not known who was the painter and from what school he came. He undoubtedly knew the works of Netherlandish and Italian masters, which is proven by the way Madonna was painted. There are no documents speaking about conservation of the painting, which makes it impossible to date the work precisely. It is possible that it was founded by Paweł Łódź Kubowicz in 1639, as in 1718 it was already considered miraculous.
    Źródło:
    Roczniki Humanistyczne; 2004, 52, 4; 345-366
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zwiastowanie z Mądrego jako przykład ikonografii Wcielenia
    The Annunciation of Mądre as an example of iconography of the Incarnation
    Autorzy:
    Kościółko, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/1954047.pdf
    Data publikacji:
    2004
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Zwiastowanie Maryi
    renesans w Polsce
    Sybille
    Łukasz II Górka
    Annunciation to Mary
    Renaissance in Poland
    sibyls
    Opis:
    The Annunciation from Mądre is an example of iconography of the Incarnation that appeared as eartly as the beginnings of Christian art, and through the ages it was a compilation of many various pictorial motifs. The painting of the Annunciation, kept in Kórnik, dated for 1529, was once the middle part of the altar in the parish church in Mądre. The figure of the founder, Łukasz Górka, shown at Gabriel's feet, confirms the authority of the humanist who ordered the work. The iconography of the painting connects the traditions of the medieval imaging of the Annunciation to Renaissance elements. At the background of the main scene, against the landscape, another event in Mary's cycle takes place – the Visitation to St. Elizabeth. A. Labuda points to the importance of this picture in the development of proto-Renaissance painting in Wielkopolska (Great Poland), with the complex motif of the Incarnation that introduces into the picture the Infant looking in the direction of Mary. A. Labuda has pointed to L. Górka's foundation as the Church's orthodox authority towards Lutheran ideas that had a powerful influence in the Wielkopolska region. The Annunciation is characterized by a clear and cogent iconographic program built around the mystery of the Incarnation as the crucial moment of the Salvation. In the corner of the painting God the Father, the Infant as the Son-Logos carrying the cross on his shoulders, and the dove of the Holy Spirit have been shown. This moment of the Annunciation, joined to the image of the Father, was shown in the icon of Nowogród painted in the 12th century. God was shown as the Everlasting, according to the description in the Book of Daniel 7, 9 from Isaiah's prophecy 6, which also found its pictorial interpretations in Jacop Torriti's mosaics from Santa Maria Maggiore of 1247. In the development of the presentations of Annunciation we are interested in, showing Logos descending from heaven, the art developed in the area on the Rhine was significant, since it was there that the trend of mysticism of the whole of the 15th century emphasizing divinity of Christ was consolidated. The influence of the Renaissance way of thinking can be seen in the painting owing to the sibyls, already defined by Heraclitus, Euripides, Aristophanes, Plato and many other authors whose writings were used as sources by Christian writers. Especially three sibyls were considered to be authoritative oracles: the Phrygian one from Delphi, the Eritrean one and the Hellespont one. A special significance was attributed to the sibyls' prophecies in Rome. According to the legend related by Dionysius of Halicarnassus, Tarquinius the Proud bought books with prophecies from a mysterious woman identified with Sibyl of Cumae, and from the times of Augustus the books were kept in the Jove Temple in the Capitol. Ancient prophecies were joined to the texts of Jewish prophecies, forming in this way collections of sibyls' prophecies contained in twelve books. Christian oracles speak about the coming of Messiah, and some quotations were used by the Fathers of the Church. Clement of Alexandria in his work Stromata mentions four sibyls, Phrygian, Eritrean, Egyptian and Italian, called Carmentis. Initially in Christian art only one sibyl was shown, but in the late Middle Ages and in the Renaissance period more were introduced, together with the attributes that identified them. In early Renaissance art sibyls were often shown in the context of Evangelical events, e.g. on the stalls of the Ulm Cathedral whose author was Jorg Syrlin (1467-1474).
    Źródło:
    Roczniki Humanistyczne; 2004, 52, 4; 233-262
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

      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