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Wyświetlanie 1-3 z 3
Tytuł:
Elementy uzbrojenia na kaflach renesansowych z założeń dworskich w Kozłowie
Armour elements portrayed on the stove tiles from Renaissance manor complexes in Kozłów
Autorzy:
Zdaniewicz, Radosław
Powiązania:
https://bibliotekanauki.pl/articles/941969.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
kafle płytowe
uzbrojenie
ikonografia
nowożytność
stove tiles
arms and armour
iconography
Early Modern Period
Opis:
During archaeological excavations conducted on the site of the relics of manor houses in Kozłów, Silesia province, an impressive set of stove tiles has been discovered. Some of the tiles’ facings were decorated with representations that are interesting iconographic sources for the study of early medieval arms. The first tile was discovered in the remains of the manor from the late 15th and 16th c. Facing of this tile is decorated with a side profile of the rider’s head in a closed helmet with a crest. Visual presentation is not so detailed and not all the details of surface texture are sharp. The portrayed helmet is probably a tournament example called the frog face helm. Its bell is crowned with an extensive crest, which is an oval with short and long feathers modeled in different directions. At the back of the bell there are ribbon like mantlings visible. Due to the lack of large part of the tile it is difficult to determine whether the visible crested helm was a part of a heraldic motif or whether it was connected with representations of knightly culture such as tournament scenes for example. The first possibility seems more likely. The second tile was found in layers associated with the manor which functioned in the 16th century. The presentation on the facing of tile refers to a series of woodcuttings created by the German renaissance painter Georg Pencz, gathered under one title of Twelve Heroes of the Old Testament. These works were inspired by the text of the poem by Hans Sachs from 1531. The author was glorifying the heroic exploits of the twelve heroes from the Old Testament: Joshua, Gideon, Jephthah, Samson, Jonathan, David, Abia, Azah, Josaphat, Amazia, Hezekiah and Judas Maccabeus, portraying them as symbols of the defenders of Christianity. Facing of the tile from Kozłów is ornamented with the image of Juda’s king Amazia. Similar to a Pencz’s graphic, he has been presented in an armour with his head and torso slightly turned to the left. The whole scene was made with high attention to the details, which allows us to make some valuable observations on the components of the armour. The helm is a close helmet with bevor and gorget, depicted with a lifted visor. The torso is protected with a bulging breastplate with fauld attached below. The arm is covered with a massive overlapping breastplate pauldrons and bulging rerebrace. In the lower part, at the height of faulds, there is a visible fragment of a sword hilt, one and a half or two-handed, topped with an oval pommel. A similar suit of armour, often called Maximilian armour, was used in Europe since the 1630s. Armour of this type was popular at that time in Silesia as well, what is indicated by the numerous tombstone representations.
Źródło:
Acta Universitatis Lodziensis. Folia Archaeologica; 2013, 29
0208-6034
2449-8300
Pojawia się w:
Acta Universitatis Lodziensis. Folia Archaeologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przedstawienia rękawic płytowych na Poliptyku Grudziądzkim
Plate gauntlets portrayed on the Altarpiece from Grudziądz
Autorzy:
Sokoliński, Adam
Powiązania:
https://bibliotekanauki.pl/articles/941975.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
rękawice płytowe
ikonografia
uzbrojenie
późne średniowiecze
plate gauntlets
iconography
arms and armour
Late Middle Ages
Opis:
Hand defenses from the early 1420s consisted of plate gauntlets whose elements were riveted to the leather base. First mentions about gauntlets created from small metal plates appeared in the last decade of the 13th c. One of gives a description about gauntlets made by the armourers in Paris in 1296, which were made in the same manner as coat-of-plates. Metal plates were riveted to the textile or leather base or between layers of material. In form they were familiar to the pieces which can often be seen on illuminations or tombstones from first quarter of the 14th c. in Western Europe. They remained in common use until the third quarter of this century. Around the year 1350 demi-gauntlets similar in shape to hourglass appeared. They were usually created from one piece of metal. They protected the wrist and had usually anatomically formed metacarpus. Fingers were protected by small overlapping metal scales riveted to the leather stripes which were attached to the gauntlet’s metacarpus. After the year 1370, demi-gauntlets became the dominant form of hand protection.
Źródło:
Acta Universitatis Lodziensis. Folia Archaeologica; 2013, 29
0208-6034
2449-8300
Pojawia się w:
Acta Universitatis Lodziensis. Folia Archaeologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Notes on the Combat Scene on Tang-e Sarvak III rock relief
Uwagi o scenie bitewnej na reliefie Tang-e Sarvak III
Autorzy:
Skupniewicz, Patryk N.
Powiązania:
https://bibliotekanauki.pl/articles/2033827.pdf
Data publikacji:
2021-12-28
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
Parthian rock reliefs
Elymaean rock reliefs
Sasanian rock reliefs
Iranian rock reliefs
Parthian arms and armour
Sasanian arms and armour
Composition formulae
Partyjskie reliefy skalne
Reliefy skalne Elymaidy
Sasanidzkie reliefy skalne
Irańskie reliefy skalne
Uzbrojenie partyjskie
Uzbrojenie sasanidzkie
Formuły kompozycyjne
Opis:
The article examines the Parthian rock relief Tang-e Sarvak III from two perspectives: as a source of information on the military equipment, and as representation of the victorious mounted combat genre in ancient Iranian art. As a result of this analysis of the military equipment a picture emerges of a the warrior dressed in a metallic cuirass with central opening, a scale gorget of the old, Achaemenid style, segmented sleeves and lamellar trousers or leggings. His horse is barded in a lamellar caparison, with a longer apron in front which covers mount’s chest and partially his legs. The warrior has the archery equipment typical for the late Parthian period, which strongly differs from early Parthian and Sasanian archery equipment. In the course of an analysis of the form of the composition, several possibilities of reconstruction of the missing part of the relief have been proposed. At the same time, the possibility of a large battle scene with a multitude of participants has been excluded as not matching the visual language of the era
Artykuł dokonuje analizy partyjskiego reliefu skalnego Tang-e Sarvak III z dwóch punktów widzenia: jako źródła bronioznawczego, dostarczającego danych o przedstawionym wyposażeniu bojowym, oraz z perspektywy historyczno-artystycznej, mającej na celu badanie rozwoju motywu zwycięskiego jeźdźca w sztuce starożytnego Iranu. W wyniku dokonanej analizy wyposażenia bojowego tworzy się obraz wojownika odziane go w metalowy kirys otwierany pośrodku tułowia, łuskowy kołnierz starego, jeszcze achemenidzkiego typu oraz folgowe rękawy i lamelkowe spodnie lub nogawice. Jego wierzchowiec oladrowany jest lamelkowym kropierzem z rodzajem lamelkowego fartucha chroniącego pierś konia i jego nogi. Wojownik ma ze sobą późnopartyjski sprzęt łuczniczy który różni się zarówno od wczesno-partyjskiego, ajk i wczesno-sasanidzkiego. W wyniku analizy kompozycyjnej zaproponowano kilka propozycji rekonstrukcji brakującej części reliefu. Jednocześnie wykluczono możliwość wielo-postaciowego, dużego założenia bitewnego, jako nie znajdującego analogii w języku wizualnym epok
Źródło:
Acta Archaeologica Lodziensia; 2021, 67; 117-145
0065-0986
2451-0300
Pojawia się w:
Acta Archaeologica Lodziensia
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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