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    Wyświetlanie 1-9 z 9
    Tytuł:
    O kulcie Matki Bożej w zakonie krzyżackim
    On the veneration of the Mother of God within the Teutonic Order
    Autorzy:
    Rozynkowski, Waldemar
    Powiązania:
    https://bibliotekanauki.pl/articles/22876869.pdf
    Data publikacji:
    2023-12
    Wydawca:
    Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
    Tematy:
    zakon krzyżacki
    kult Matki Bożej
    święta maryjne
    ołtarze maryjne
    wizerunki maryjne
    ornaty maryjne
    the Teutonic Order
    veneration of the Mother of God
    Marian feast days
    Marian altars
    Marian images
    Marian chasubles
    Opis:
    W historię zakonu krzyżackiego bardzo intensywnie wpisana jest postać Najświętszej Maryi Panny. Spotykamy Ją już w samej nazwie wspólnoty, mówimy bowiem o Zakonie Szpitala Najświętszej Maryi Panny Domu Niemieckiego w Jerozolimie. Odwołanie do Matki Bożej stanowiło więc ważny aspekt tożsamości krzyżaków. W artykule przywołano kilka przejawów kultu maryjnego: święta maryjne, ołtarze maryjne, wizerunki oraz ornaty, których używano podczas liturgicznych obchodów maryjnych. Zostały one ukazane głównie w świetle zachowanych inwentarzy wyposażenia kaplic znajdujących się w krzyżackich domach zakonnych.
    Blessed Virgin Mary played a prominent role in the history of the Teutonic Order. We meet her even in the name of this religious corporation - Order of the Hospital of Saint Mary of the Teutonic House in Jerusalem. Referring to the Mother of God was an important aspect of self-identity of the Teutonic Knights. The paper provides a number of examples of Marian worship: Marian feasts, altars, images and chasubles used in liturgical Marian celebrations. They are presented in the light of preserved inventories of chapels which existed in monastic houses of the Teutonic Order.
    Źródło:
    Studia Elbląskie; 2023, 24; 7-17
    1507-9058
    Pojawia się w:
    Studia Elbląskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ikonografia ołtarzy i malowideł ściennych kościoła św. Józefa przy klasztorze Karmelitów Bosych w Wadowicach
    Iconography of altars and wall paintings Church of St. Joseph at the Monastery of Discalced Carmelites in Wadowice
    Autorzy:
    Żmuda, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/2216096.pdf
    Data publikacji:
    2022
    Wydawca:
    Wadowickie Centrum Kultury im. Marcina Wadowity
    Tematy:
    iconography
    Wadowice
    Carmel
    Carmelites
    monastery
    saints
    blessed
    God’s servants
    altars
    paintings
    images
    ikonografia
    Karmel
    Karmelici
    klasztory
    święci
    błogosławieni
    słudzy Boży
    ołtarze
    obrazy
    Opis:
    This article concerns the iconography of the interior of the church located at the Monastery of Discalced Carmelites in Wadowice. It discusses individual images found on the altars and on the wall paintings in this temple. It presents a wealth of iconographic and biographical content hidden behind the representations of saints, blesseds and servants of God related to the history and spirituality of Carmel.
    Źródło:
    Wadoviana. Przegląd historyczno-kulturalny; 2022, 25; 172-207
    1505-0181
    Pojawia się w:
    Wadoviana. Przegląd historyczno-kulturalny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Katedra w Łowiczu i jej kamieniarskie zabytki
    Cathedral Basilica in Łowicz and its stony craft monuments
    Autorzy:
    Ruszkowski, M.
    Wiszniewska, J.
    Powiązania:
    https://bibliotekanauki.pl/articles/2075870.pdf
    Data publikacji:
    2018
    Wydawca:
    Państwowy Instytut Geologiczny – Państwowy Instytut Badawczy
    Tematy:
    Łowicz
    kamienie w bazylice Catedralnej
    ołtarz
    nagrobki
    epitafia
    stones in Catedral Basilica
    altars
    tombstones
    epitaphs
    Opis:
    Cathedral Basilica dedicated to the Assumption of the Blessed Virgin Mary and Saint Nicholas in £owicz is a pearl among the monuments of Mazovia and the £owicz region. It has been one of the most important centers of worship in Poland since the 12th century. Synods and political meetings of great importance to the history of our country were held within its walls. Visiting the cathedral, one intimidates the richness of the temple interior. Monumental altars, chapels in the aisles, tombstones, epitaphs and liturgical vessels made of colourful rocks allow us to fully admire the artistry of sculpture and architecture masters. Among the other temples, it is distinguished by the fact that it also plays the role of a mausoleum of the Primate and Archbishop of Poland. The twelve of them were buried in the catacombs of the church. The treasury and museum also store the relics of St. Wojciech and St. Wiktoria, the patron of the city of£owicz and and £owicka Diocese from 1992. Thanks to the Cathedral history, beautiful stony craft monuments inside and relics of Polish Saints, the church is called the Primates Basilica or the Wawel of Mazovia.
    Źródło:
    Przegląd Geologiczny; 2018, 66, 7; 437--443
    0033-2151
    Pojawia się w:
    Przegląd Geologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kariki Jogijara i wedyjska tradycja wznoszenia ołtarzy ofiarnych w Kerali
    Karikas of Yogiyar and the Vedic Sacrificial Tradition in Kerala
    Autorzy:
    Nowicka, Olga
    Powiązania:
    https://bibliotekanauki.pl/articles/914930.pdf
    Data publikacji:
    2017-12-18
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Vedic sacrificial tradition
    śrauta ritual
    agnicayana
    Kerala
    Nambudiri
    Vedic altars
    fire ritual
    Opis:
    The article concerns a hitherto little known Sanskrit text called Karikas of Yogiyar  a medieval commentary to Baudhayanaśulvasutra (ca. 5th century BC). The text in question deals with the  construction of the Vedic altars specific to the Keralan sacrificial tradition. It is attributed to the ascetic Yogiyar from the village Taikkat Mana (Edappal), who probably lived around 16th or 17th century.  Karikas of Yogiyar are presumably the only known independent śulvasutra commentary in Sanskrit of the post-Vedic period.
    Źródło:
    Studia Azjatystyczne; 2017, 3; 133-144
    2449-5433
    Pojawia się w:
    Studia Azjatystyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Usłyszałem jeden głos od czterech rogów złotego ołtarza, który jest przed Bogiem – w kręgu fenomenów dźwiękowych Apokalipsy św. Jana
    “AND I HEARD A VOICE FROM THE FOUR HORNS OF THE GOLDEN ALTAR WHICH IS BEFORE GOD” – IN THE SPACE OF SOUNDS IN THE BOOK OF REVELATION
    Autorzy:
    Nowińska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/490142.pdf
    Data publikacji:
    2016
    Wydawca:
    Instytut Teologiczno-Pastoralny im. św. bpa Józefa Sebastiana Pelczara
    Tematy:
    głos
    ołtarz
    rogi ołtarza
    spotkanie
    Bóg
    człowiek
    ofiara
    panowanie
    voice
    altar
    altar’s horns
    meeting
    God
    men
    sacrifice
    ruling
    Opis:
    The sentence fwnh.n mi,an evk tw/n Îtessa,rwnÐ kera,twn tou/ qusiasthri,ou tou/ crusou/ tou/ evnw,pion tou/ qeou/ is only in the Book of Revelation. There is no precisely information about the source of that voice nor in what way it’s unite with the altar. More: Rev 16,7 describe the altar as speaking one. The biblical meaning of qusiasth,rion connected it with God, His carries of men, cult, His – and human desire of meeting. Also the altar’s horns were signs of God’s power, directed to securing the world. The anointing them by the blood of sacrifices symbolized entrusting, offering the whole life to God. All of these thoughts and the context of Rev 9,13 proclaim that God take the human sacrifice, describe before and overwhelmed problems of the world and more: every human in every condition. He is an active and even the evil is under His control, so He – like an altar in the Old Testament – is a city for escape. The motive of voice suggest that it’s connected with the process of communication between God and men.
    Źródło:
    Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej; 2016, 23; 229-245
    1234-8880
    Pojawia się w:
    Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wątek składania ofiar w dekoracji budowli sakralnych Dura Europos
    The scene of offering in the sacral art of Dura Europos
    Autorzy:
    Skupińska-Løvset, Ilona
    Powiązania:
    https://bibliotekanauki.pl/articles/612857.pdf
    Data publikacji:
    2015
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    Odkrycie Europos Dura
    historia polityczna miasta
    wielokulturowość
    religie i miejsca kultu
    ołtarze ofiarne
    malowidła nawiązujące do ceremonii składania ofiar
    prace wykopaliskowe i restauracyjne
    discovery of Europos Doura
    political history of the fortress
    multicultural character
    excavations
    religions and cult places
    visualizations of offerings to various deities
    stone altars and religious sculpture illustrating offering ceremonies
    Opis:
    Dura Europos, or as proposed today Europos Dura, was a fortified settlement on the border between the Roman Empire and the East. The archeological discoveries reflected the character of the settlement – the fortified agglomeration grouped at the military camp. After its fall Europos Dura was covered by desert sand only to be discovered in the XXth century. Archaeological research has disclosed documentation of its multicultural character. This paper points to the fact of coexistence of various religions in late antiquity Europos Dura. Paintings and sculptures discovered in situ indicate that scene of offering was a favorite subject in the sacral art of Europos Dura, independent of religion. The ceremony of incense burning constitutes the dominant form of offering regarding visualizations of this important ceremony.
    Źródło:
    Vox Patrum; 2015, 64; 393-402
    0860-9411
    2719-3586
    Pojawia się w:
    Vox Patrum
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kościół pw. św. Wawrzyńca w Luzinie – sakralna perełka na terenie Kaszub
    Church of St. Lawrence in Luzino - Sacred Jewel in the Kashubian
    Autorzy:
    Darznik, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/559603.pdf
    Data publikacji:
    2014
    Wydawca:
    Gdańskie Seminarium Duchowne
    Tematy:
    Kościół
    Luzino
    św. Wawrzyniec
    norbertanki
    Marsz Śmierci
    Kaszuby
    ołtarze
    barok
    zabytki
    Church
    St. Lawrence
    Norbertine Sisters
    Death March
    Kashubian cultural region
    altars
    baroque
    monuments
    Opis:
    Kościół pod wezwaniem św. Wawrzyńca można śmiało uznać za sakralną perełkę na terenie Kaszub. W 2013 roku kościół i wierni świętowali 770 rocznicę założenia. Obecny kościół, drugi z kolei, powstał na miejscu drewnianego, w XVIII wieku. Był on wielokrotnie przebudowywany i dekorowany. Posiada bogate wyposażenie – szczególną uwagę należy zwrócić na dwa krucyfiksy, świecznik z XVII wieku i ołtarze, główny i dwa boczne. Ołtarz główny pochodzi z XVIII wieku. W środku jest wnęka, która mieści w sobie rzeźbę Madonny gotycko stylizowaną. Boczne barokowe ołtarze są ozdobione obrazami z wizerunkami św. Wawrzyńca, Matki Boskiej Nieustającej Pomocy, św. Józefa oraz św. Jana. Na łuku tęczowym znajduje się płaskorzeźba upamiętniająca ewakuację więźniów z obozu Stutthof, którą wykonał Edmund Sztyfter w 1971 roku z okazji beatyfikacji ojca Kolbego. Niestety, w wyniku zmian, które następowały na przestrzeni istnienia kościoła, zostały utracone (usunięte) cenne malowidła naścienne – w środku budynku – oraz zdobnictwo ścian zewnętrznych, jak i wiele innych pięknych elementów.
    It is safe to say that St. Lawrence’s Church in Luzino is a real gem of the Kashubian region. In 2013, the believers celebrated the 770th anniversary of its foundation. The present church was built in the place of previous one made of wood, from the 18th century. It has been frequently rebuilt and decorated. It still owns a rich equipment, due to this fact, the particular attention should be paid to the candlestick from the 18th century, two crucifixes and the altars, the main and two side. The main altar dates back to the 18th century. In the interior of the church, there is a bay where is situated the Gothic-like sculpture of the Madonna. The baroque, side altars were decorated with the pictures of saints depicting Our Lady of Perpetual Help, St. Lawrence, St. Joseph and St. John. On the arch, there is a bas-relief commemorating the evacuation of prisoners from the Stutthof concentration camp, which was made by Edmund Sztyfter in 1971 on the occasion of the beatification of Maximilian Kolbe. Unfortunately, as a result of changes that have followed over a span of church existance the precious wall paintings inside the building and the ornamantation of exterior walls disappered, as well as many other precious elements.
    Źródło:
    Studia Gdańskie; 2014, 35; 225-230
    0137-4338
    Pojawia się w:
    Studia Gdańskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bł. Dorota z Mątów Wielkich w pomezańskim Kwidzynie (1391–1394–XXI w.)
    Blessed Dorothy of Montau in the pomezanian Kwidzyn (1391/1394–21st c.)
    Autorzy:
    Wiśniewski, Jan
    Powiązania:
    https://bibliotekanauki.pl/articles/2166750.pdf
    Data publikacji:
    2013-12
    Wydawca:
    Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
    Tematy:
    Kwidzyn (Marienwerder)
    Dorothy of Montau
    recluse
    cult of Dorothy
    canonisation
    raising to the altars
    grave of blessed Dorothy
    Opis:
    Dorothy of Montau moved to Kwidzyn in 1391 and stayed at the house of women who were servants at the cathedral. Following her confession to rev. John of Marienwerder, she spent most of the day praying and mortifying herself. She refused to eat. It was already then that she started having visions, such as visions of Hell and Purgatory. She was then allowed to receive the Holy Communion more frequently and finally to build a hermitage (reclusory) adjacent the cathedral, where she wanted to devote herself entirely to the Creator, on the model of women mystics of the “devotio moderna” movement (her visions were described in the “Seven Graces” [Septililium] by father John of Marienwerder). On 2 May 1393 Dorothy was walked to the reclusory, where she found the right conditions and place to develop her contacts with God. She believed that “the soul becomes like God when (…) God, who is a form of the soul, imprints himself strongly in the intellect, feelings, that is in the will and memory.” This union required frequent consumption of the Eucharist, which Dorothy was encouraged to by Lord Jesus, and she accepted him with a great piety and awe. Father John accepted as genuine Dorothy’s revelations, including those about the condemnation of the Master of the Order Konrad von Wallenrod and punishment in Purgatory. Dorothy died on 25 June 1394 and on 30 October her body was laid in a special grave. Immediately documentation was sent to the Pope asking him for her elevation to the altars, as the faithful informed the chapter of miraculous healings through the intercession of Dorothy. Within a year, until 7 May 1405, 257 witnesses testified to Dorothy’s holiness and 112 accounts of miracles through the intercession of “blessed” Dorothy were reported. Her cult has continued ever since. The canonisation process did not even start because the documents were lost in Rome, so in 1486, the Pope ordered that notarised true copies of the original canonization process documents be submitted again. This time, lack of money prevented its completion. Despite this, the cult of “saint Dorothy” continued among the people of Pomezania, also in publications, and thus in 1636, bishop Jan Lipski ceremonially resumed in Kwidzyn the public worship of Dorothy. However, it was not until 1933 that the bishop of Warmia M. Kaller, supported by the synod of Gdansk, made a request to Rome for the elevation of Dorothy of Montau to the altars. Finally, on 9 January 1976, Pope Paul VI approved the cult of Dorothy shown to her from times immemorial. The mortal remains of blessed Dorothy were never found, because they were removed from the tomb in 1544. However, in 2007 a brick crypt was discovered in the bottom part of the of the Pomezanian cathedral presbytery, which could have been the original place of entombment of blessed Dorothy of Montau.
    Źródło:
    Studia Elbląskie; 2013, 14; 271-288
    1507-9058
    Pojawia się w:
    Studia Elbląskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zabytkowy wystrój i wyposażenie pomezańskiego kościoła katedralnego w Kwidzynie
    Historic ornaments and furniture of the Pomesanian Cathedral in Kwidzyn
    Autorzy:
    Wiśniewski, Jan
    Powiązania:
    https://bibliotekanauki.pl/articles/2165723.pdf
    Data publikacji:
    2013-12
    Wydawca:
    Wyższe Seminarium Duchowne Diecezji Elbląskiej w Elblągu
    Tematy:
    Pomesanian cathedral
    historic equipment: altars
    confessionals
    epitaphs
    listed wall paintings: scenes from the life of Jesus and saints
    gallery of Pomesanian bishops and grand masters of the Teutonic Order
    Opis:
    The post-war hosts of the Pomesanian cathedral in Kwidzyn (since 1254) (oo. Franciscans Conv., then diocese priests) salvaged the monuments it housed. The cathedral was constructed between 1320 and 1355. It was the burial place of the three “condemned” grand masters (their graves were discovered in 2008) and the blessed Dorothy of Montau. Inside are preserved 32 (some in fragments) tombstones and epitaphs of Pomesanian bishops and dignitaries of the Teutonic Knights Order dated from the 14th to the 18th century and seven baroque tombstones; the mosaic of the St. John in the vat of boiling oil dated at ca. 1380 above the side entrance; the gallery of 17 Pomesanian bishops in the upper sanctuary, which was painted in the late 15th century; mural paintings on the side aisle walls of the main body of the church (biblia pauperum, although nowadays the main idea behind the paintings is not precise); oak throne of Hiob von Dobeneck (†1521 r.), an outstanding humanist, wooden pulpit from 1643, the main altar from around 1690 (now in the choir of the Chapter) Groeben family chapel form 1705 including the equipment; the organ front from the 2nd half of the 19th century, the present brick altar and pulpit from the 2nd half of the 19th century, the so-called 2 confessionals from 1715 with a canopy, the granite baptismal font from the 18 century; wooden crucifix from the 19th century and the Stations of the Cross made from artificial stone; three stained-glass windows of the 2nd half of the 19 century, two bells from 1512 and 1583, these objects of worship are high-class works of art. Just after the war was over, the historic equipment of the cathedral was protected from further damage. Subsequently, the cathedral parish commune carried out systematic conservation and renovation of the monuments (mural paintings were discovered). In this way, the cultural legacy, which is used again by Roman-Catholics after the Protestant period, has been saved for future generations. Finally, during the reforms following the Second Vatican Council, the equipment of the presbytery in the central aisle was adapted to the modernised service. Thus, the place of worship which the Pomesanian Cathedral has been and continues to be, is a “living” church, which has been adapted to the changing needs of worship (the cathedral of the bishop of Pomesania, the seat of the cathedral chapter, the city parish). After the diocese was converted to Protestantism, the interior was adapted to the evangelical style of worship (Protestants, Bohemian Brethren), and some of the interior decorations were damaged then. However, in the 19th century extensive renovation works of the cathedral were undertaken. These works have continued until now.
    Źródło:
    Studia Elbląskie; 2013, 14; 63-83
    1507-9058
    Pojawia się w:
    Studia Elbląskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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