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Tytuł:
La cathédrale gothique et la crypte: de l’ascension à la descente
Autorzy:
Jakubczyk, Radosław
Powiązania:
https://bibliotekanauki.pl/articles/2076893.pdf
Data publikacji:
2016
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Gothic Cathedral
Crypt
Ascension
Descent
Symbolism
Opis:
The article deals with the symbolism of the Gothic cathedral and crypt in Wyspiański’s “French” letters to Rydel, Huysmans’ and Berent’s novels, and in the art from the late 19th century through the early 20th century (Monet, Rodin). The cathedral represented in the examined works becomes a symbol of the need of the human soul to free oneself from the body and fly up to heaven. The crypt is considered a space of self-reflection and refuge.
Źródło:
Kwartalnik Neofilologiczny; 2016, 4; 523-533
0023-5911
Pojawia się w:
Kwartalnik Neofilologiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Entre la danse macabre et l ’apologie de la vie, ou les vanités selon Joris-Karl Huysmans
Between the Dance of Death and the Apology of Life, or Vanities According to J.-K. Huysmans
Autorzy:
Litwinowicz, Zofia
Powiązania:
https://bibliotekanauki.pl/articles/483540.pdf
Data publikacji:
2018
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Wydawnictwo Werset
Tematy:
vanitas
Huysmans
Grünewald
Christ
cathedral
cathédrale
Opis:
In Joris-Karl Huysmans ’ works, particularly those created in the transi-tion between his decadent phase, symbolised by Down there (1891), and the period of mystical naturalism, which reaches its peak with The Cathedral (1898), it is possi-ble to trace a complete and profound evolution of the vanitas motif. This article offers an analysis of three major stages of this change. It begins with the macabre vanitas characteristic for Down there. It is interpreted in the light of Félicien Rops ’ aesthetics, which fascinates Huysmans in the 1880s, and the artistic adaptations of the tempta-tion of saint Anthony in late Middle Ages and early Renaissance. Then, the article examines Huysmans ’ approach to the Karlsruhe and the Isenheim Altar pieces by Matthias Grünewald, which marks a transition between the aesthetics of the dance of death and the mystical naturalism. The article finishes with a study of Grünewald ’s ekphraseis’ legacy : the apology of life, a new interpretation of the vanitas in The Cathedral.
Dans l ’œuvre huysmansienne, en particulier celle de la transition entre sa phase décadente, marquée par Là-bas (1891), et la période du naturalisme mys-tique, dont le fruit le plus mûr reste La Cathédrale (1898), il est possible de retracer la transformation complète et profonde du traitement de la vanitas. Le présent article propose une analyse de trois étapes de cette évolution. Il part de la vanitas macabre de Là-bas, proche de l ’esthétique de Félicien Rops, auquel Huysmans s ’intéresse dans les années 1880, et du motif de la tentation de saint Antoine dans les arts de la fin du Moyen-Âge et du début de Renaissance. Ensuite, il examine l ’approche huysman-sienne à la Crucifixion de Cassel et au retable d ’Issenheim de Matthias Grünewald, qui constitue un passage entre l ’esthétique de la danse macabre et celle du natura-lisme mystique. Finalement, il étudie le legs des ekphraseis de Grünewald : l ’apologie de la vie et un regard nouveau sur la vanitas dans La Cathédrale.
Źródło:
Quêtes littéraires; 2018, 8; 129-139
2084-8099
2657-487X
Pojawia się w:
Quêtes littéraires
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nubian cathedrals with granite columns: A view from Sai Island
Autorzy:
Hafsaas-Tsakos, Henriette
Tsakos, Alexandros
Powiązania:
https://bibliotekanauki.pl/chapters/1053076.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
church
granite columns
Nubian cathedral
Sai
Opis:
With the purpose of providing insights into the position of the church on Sai Island among the bishoprics of Christian Nubia, the paper contextualizes archaeologically well-known Nubian cathedrals with monolithic granite columns as roof supports (Old Dongola, Faras and Qasr Ibrim), presenting them against the background of historically known bishoprics from medieval Nubia and archaeologically attested episcopal churches. Four granite columns at the locality 8-B-500 on Sai Island, identified with the site of a medieval cathedral, are compared with like roof supports from other Makurian buildings of the kind to show that the church was constructed at the beginning of the 8th century AD and modeled on the Church of Granite Columns from Old Dongola.
Źródło:
Aegyptus et Nubia Christiana. The Włodzimierz Godlewski jubilee volume on the occasion of his 70th birthday; 389-410
9788323547266
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rezeptionsmodi der Gotik. Der Kölner Dom in der Lyrik des 19. und beginnenden 20. Jahrhunderts
Autorzy:
Szybisty, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/700295.pdf
Data publikacji:
2013
Wydawca:
Stowarzyszenie Germanistów Polskich
Tematy:
Cathedral of Cologne, Gothic, nationalism, nature, religion
Opis:
This paper attempts to provide a synthetic characteristic of the reception modes of Cathedral of Cologne predominating in poetry from c. 1800 to the early 20th century. The paper discusses the three basic reception modes of the Gothic – as a sacred place, as a natural style, as the German national style. The unfinished Cologne Cathedral was perceived after the Napoleonic wars as a symbol of the former glory of the German Nation. However, as the works on the completion of the building were progressing, the nostalgia about the past was gradually replaced by the national pride, which is visible in the metaphors used: in the second half of the 19th century we can observe the growing popularity of the “geological” similes (the cathedral as a mountain or rock), whose purpose is not only to reflect the “naturalness” and size of the Cologne church, but also the power of the nation which built it.
Źródło:
Zeitschrift des Verbandes Polnischer Germanisten; 2013, 2, 4
2353-656X
2353-4893
Pojawia się w:
Zeitschrift des Verbandes Polnischer Germanisten
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Działalność chórów katedralnych w Anglii na przykładzie Ely Cathedral Choir
Autorzy:
Trepte, Paul
Powiązania:
https://bibliotekanauki.pl/articles/669083.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Worcester Cathedral Choir
Collegium Novum Choir
St Edmundsbury Cathedral Choir
Ely Cathedral Choir
chór Collegium Novum
chór katedry Worcester
chór katedry św. Edmunda
chór katedry w Ely
Opis:
In his lecture, the speaker Paul Trepte presented the model of choirs functioning at Anglican Cathedrals in Great Britain. The lecture was enhanced with a live demonstration of the repertoir, vocal sounds and voice capabilities of the Choir of the Ely Cathedral assisting the speaker. Mr Trepte presented as well the methodology of running and conducting a boys’ choir, drawing on a long and rich Anglican tradition and accentuating the peculiar philosophy of educating young people through music.
W wykładzie Paul Trepte zaprezentował sposób funkcjonowania chórów w anglikańskich katedrach w Wielkiej Brytanii. Wykładowi towarzyszyła demonstracja repertuaru wykonanego przez chór katedralny z Ely, a także prezentacja możliwości wokalnych chórzystów. Paul Trepte przedstawił również metodykę ćwiczenia i prowadzenia chóru chłopięcego, opierając się na długiej i bogatej tradycji anglikańskiej, podkreślając swoistą filozofię kształcenia młodych ludzi poprzez muzykę.
Źródło:
Pro Musica Sacra; 2016, 14
2083-4039
Pojawia się w:
Pro Musica Sacra
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Śląska geneza katedry gnieźnieskiej
Silesian origins of the gothic cathedral in Gniezno
Autorzy:
Adamski, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/707100.pdf
Data publikacji:
2014
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Gniezno
Silesia
gothic cathedral
Śląsk
katedra
gotyk
Opis:
The purpose of this article is to demonstrate the nature and scope of the presence of motifs and inspirations drawn from fourteenth century Silesian architecture in the shaping of the choir (ca. 1342 – 1360) and the main body (ca. 1360 – before 1388) of the Gniezno Cathedral. We discuss both solutions of a purely workshop character (articulation of the interior, the architectural detail), testifying to the arrival in Gniezno of a building team from beyond the southern border of Greater Poland, as well as more general similarities demonstrating a comparable stylistic and compositional idea. Given the high degree of individualism the church’s architecture exhibits, our research could not offer a single answer to the question of the exact origins of the builders employed in Gniezno. It seems, however, that they were aware of the structure and detail of the cathedral and the parish church of St. Elizabeth in Wroclaw. These were landmark buildings in the history of Silesian XIV century architecture, and their influence was therefore considerable. The identified Silesian features in the shape of the church neither exhaust nor fully explain all the avenues of research linked to this unique edifice. Nevertheless, they broaden our concept of the extent and scale of the reception of models of Silesian art in medieval Greater Poland.
Źródło:
Rocznik Historii Sztuki; 2014, 39; 157-174
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Autentyzm a XIX-wieczna odbudowa katedry w Angoulême
Authenticity and the 19 th-century restoration of the cathedral in Angoulême
Autorzy:
Łużyniecka, E.
Powiązania:
https://bibliotekanauki.pl/articles/293730.pdf
Data publikacji:
2013
Wydawca:
Politechnika Wrocławska. Oficyna Wydawnicza Politechniki Wrocławskiej
Tematy:
konserwacja
katedra
Angoulême
Francja
restoration
cathedral
France
Opis:
The article deals with the 19th century reconstruction of the French cathedral in Angoulême and on this basis it presents the then approach to authentic elements in historical buildings. The restoration of the cathedral was carried out under the supervision of the French architect Paul Abadie, a disciple of Eugène Viollet-le-Duc. The building was supposed to be stylistically uniform and refer only to Gothic – all other layers and styles were insignifi cant. When reconstructing the cathedral it was believed that there existed ‘ideal’ solutions to be duplicated in the particular buildings. As a result, many modern fragments of the building were demolished and new ones were erected which had never existed before. When we look at these design decisions from a certain distance, we can conclude that the restoration doctrine popularised by Eugène Viollet-le-Duc and his disciples did not stand the test of time. From the very beginning it was the subject of sharp criticism, while nowadays it is considered to be far-reaching and often even destructive.
W artykule opisano XIX-wieczną odbudowę francuskiej katedry w Angoulême i na tej podstawie zaprezentowano ówczesne traktowanie elementów autentycznych w obiektach zabytkowych. Konserwacja katedry została przeprowadzona pod kierunkiem francuskiego architekta Paula Abadiego, ucznia Eugène’a Viollet-le-Duca. Budowla miała być jednorodna stylistycznie i nawiązywać jedynie do gotyku – wszelkie inne nawarstwienia i style były nieistotne. Odbudowując katedrę, bazowano także na przeświadczeniu, że istnieją rozwiązania „idealne”, powielane w poszczególnych obiektach. W efekcie wyburzono wiele nowożytnych fragmentów budowli i wzniesiono nowe, które nigdy wcześniej nie istniały. Patrząc na te decyzje projektowe z dystansu, można stwierdzić, że doktryna konserwatorska propagowana przez Viollet-le-Duca i jego uczniów nie przetrwała próby czasu. Od początku była poddawana ostrej krytyce, a obecnie jest uznawana za zbyt daleko posuniętą i często niszczącą.
Źródło:
Architectus; 2013, 4(36); 43-51
1429-7507
2084-5227
Pojawia się w:
Architectus
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
La conversion de Durtal dans La Cathédrale, Carrefour de métamorphoses sociales, spirituelles et sémantiques
The Conversion of Durtal in The Cathedral as a Crossroads of Social, Spiritual and Semantic Transformations
Autorzy:
Kamińska, Aleksandra
Powiązania:
https://bibliotekanauki.pl/articles/2233990.pdf
Data publikacji:
2022-12-29
Wydawca:
Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
Tematy:
conversion
The Cathedral
paradox
semantic experiments
reader
Opis:
The present paper explores Durtal’s conversion as the refusal of any fixed reference. The reflections of the hero on his personal experience, but also on the social transformations are characterised by the metaphysical seriousness and semantic experiments. The constant lexical substitution arouses the curiosity of the reader: its referential opacity is only apparent. Thus, the writer emphasizes that going beyond the beaten path requires a new mode of expression where meaning no longer depends on the rehashing of commonplaces, but relies on semantic mismatches and prolonged tensions between juxtaposed terms. Likewise, social transformations strongly disapproved of by the hero become the source of paradoxical reasoning where truth is expressed through the negativity of judgment. Nevertheless, despite the lucidity of his social and ethical judgments, Durtal remains blind to the imperfection of his own conversion. Moreover, the frequent recourse to paradox demonstrates that the protagonist is still in doubt which announce a long spiritual path of true conversion.
Źródło:
Academic Journal of Modern Philology; 2022, Special Issue, 17; 219-224
2299-7164
2353-3218
Pojawia się w:
Academic Journal of Modern Philology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Z dziejów katedry a następnie kolegiaty św. Wita w Kruszwicy. I: Katedra, potem kolegiata św. Wita do r. 1428
Autorzy:
Librowski, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/1048334.pdf
Data publikacji:
1967
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
katedra
kolegiata
Kruszwica
historia
cathedral
collegiate church
Źródło:
Archiwa, Biblioteki i Muzea Kościelne; 1967, 15; 251-269
0518-3766
2545-3491
Pojawia się w:
Archiwa, Biblioteki i Muzea Kościelne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Biblioteka katedralna w Strängnäs i jej polskie zbiory
The Cathedral Library in Strängnäs and Its Polish Collection
Autorzy:
Teodorowicz-Hellman, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/511123.pdf
Data publikacji:
2010
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
The Cathedral Library in Strängnäs
Polish Collection
Opis:
Strängnäs Cathedral, located in an old town 80 km from Stockholm, houses a rich 17th cen-tury library. In the collection are mainly spoils of the Thirty Years’ War, including Polonica. Altogether, the library stocks 2000 volumes comprising 4000 titles, most of which are writ-ten in Latin and German. In addition to theological dissertations and Bible translations are books on such subjects as law, history, philosophy, medicine, mathematics and grammar. The Polish collection, which was brought over mainly from Olomouc, is relatively small, but early and not known well. On the author’s initiative, it is now being studied within the auspi-ces of the project “Polonica in the Cathedral Library in Strängnäs”.
Źródło:
Postscriptum Polonistyczne; 2010, 1(5); 219-227
1898-1593
2353-9844
Pojawia się w:
Postscriptum Polonistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
IDENTYFIKACJA MARMURU UŻYTEGO W SARKOFAGU WŁADYSŁAWA JAGIEŁŁY W KATEDRZE WAWELSKIEJ
ORIGIN OF THE MARBLE OF THE TOMB OF KING JAGIELLO IN THE WAWEL CATHEDRAL IN KRAKOW
Autorzy:
Bromowicz, Jan
Magiera, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/537890.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
TOMB OF KING JAGIELLO (MARBLE ANALYSIS)
WAWEL CATHEDRAL
Opis:
In an attempt to identify the marble of the tomb of King Jagiello, three kinds of marbles were used as a refernce material, i.e.: Italian Ammonitico Rosso, Austrian Roter Knollenkalk and Hungarian red. Structure, texture and mineral composition were examined and SEM-EDAX analysis was done. Very limited size of the sample available disabled the use of the optical microscope. Generally, the tomb is made of red limestone with a nodular structure and sound, non porous texture. The nodules are 1 to 5 cm in diameter. This kind of a decorative limestone being succeptible to carving and polishing is traditionally called a 'marble'. Four varieties were identified in the tomb: Variety 1. Colour is red-brownish, nodules are slightly lighter than a matrix. Indistinct parallel bedding, stylolites and ammonites can also be seen. Variety 2. Generally, red-brownish in colouring, with stronger contrast between nodules (yellow-pinkish) and matrix (brown-reddish). Variety 3. Dark red-brownish. Nodules do not contrast strongly from the matrix. Variety 4. Colour is intermediate between varieties 1 and 2. Structure, texture and colour point to the Ammonitico Rosso marble as a stone applied in the tomb. Size, shape and colour of the nodules as well as colouring of the matrix make it similar to a variety that occurs in the vicinity of Verona and is called Rosso di Verona. Hungarian marbles obviously differ from that used in the tomb. Their colouring is generally darker and more brownish. Nodules are less pronounced and less contrasted from the matrix. SEM and SEM-EDAX analyses did not appear particularly diagnostic. The sample from the tomb was generally more fine grained than the reference samples thus disabling comparison of further structural and textural features. However, similarities were detected between the tomb marble and the Rosso di Verona marble, e.g. in the texture and number of genarations of the micrite, presence of clay minerals and iron oxides. Noticeable is a presence of Al, Si and K in the tomb marble, being apparently connected with clay minerals and with products of chemical weathering. All this point to the Rosso di Verona as the most probable stone applied in the tomb. Chemical composition of the marbles form the Verona area is following: Si - 5.90% CaO - 51.31% MgO - 0.14% CO2 - 40.48% Fe2O3 - 0.66 % FeO - traces Al2O3 - 0.84% Mn - traces Average porosity is less than 0.5%, and water sorption is less than 0.1% (W. D. Grimm, R. Snethlage, 1984).
Źródło:
Ochrona Zabytków; 2006, 3; 87-96
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nagrobek Łukasza Górnickiego, syna pisarza w katedrze fromborskiej
Autorzy:
Starnawski, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/1048369.pdf
Data publikacji:
1966
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
Łukasz Górnicki
Frombork
katedra
barok
nagrobek
cathedral
Baroque
Źródło:
Archiwa, Biblioteki i Muzea Kościelne; 1966, 12; 201-203
0518-3766
2545-3491
Pojawia się w:
Archiwa, Biblioteki i Muzea Kościelne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Artystyczna fundacja kanonika Johanna Jakoba Brunettiego dla katedry wrocławskiej
Art foundAtion of Johann Jakob kanon Brunetti for the Wrocław cathedral
Autorzy:
Galewski, Artur
Powiązania:
https://bibliotekanauki.pl/articles/446416.pdf
Data publikacji:
2014-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
baroque architecture
artistic patronage
cathedral chapter
Wrocław
Silesia
Opis:
The text concerns the creation of the first Baroque chapel erected at the southern aisle of the Wrocław cathedral in 1672, and its interior. The founder of the chapel was Wrocław Canon Johann Jakob Brunetti (1629–1692), who came from Massa di Carrara, Tuscany and was laid to rest in the chapel’s crypt along with his brother Johann (1646–1703), the assistant bishop. Despite its modest size the work deserves attention for its preserved decor – the altar and two epitaphs made of Dębnik marble and rich acanthus frieze, contrasting with the dome’s vault, decorated with coffers and rosettes. The applied forms indicate good knowledge of both Italian Renaissance and early Baroque traditions displayed by the designer of the work, Carlo Rossi, who came from the vicinity of Como, Lombardy. It makes the chapel an interesting work of art of dual stylistic character, which along with the chapel of St. Cross at the Church of BVM on Piasek Island, initiated the erection of further works of this type at the cathedral and at the Dominican and Premonstratensian churches in Wrocław.
Źródło:
Italica Wratislaviensia; 2014, 5; 87-105
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Influence of the Catholic Church in Cracow on the Cathedral Chapter of Vilnius from the Fifteenth through Eighteenth Centuries
Autorzy:
Kasabuła, Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/2149988.pdf
Data publikacji:
2021
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
Catholic Church
Polska
Lithuania
Cracow
Vilnius
Diocese of Cracow
Diocese of Vilnius
cathedral chapter
cathedral
bishop
prelate
canon
Opis:
Like the entire Diocese of Vilnius, the Cathedral Chapter of Vilnius drew considerably from the experience of the ecclesiastical environment of the Diocese of Cracow, which had already existed for four centuries when the Vilnius Chapter began and was establishing and organizing its own institutions and structures. Although the Diocese of Vilnius had remained part of the organizational structures of the ecclesial province of Gniezno from the beginning of the fifteenth century, it looked to Wawel and not to Wzgórze Lecha’s example. From the fourteenth century onward, Vilnius and Cracow were the capital cities of the Polish-Lithuanian state. For this reason, it was fitting that both of the dioceses, including their cathedral chapters, were organized, looked, and functioned similarly. When the local Church was being established and organized in Lithuania, Cracow naturally served as a model for Vilnius because the local church in Cracow had already existed for more than four centuries and was, therefore, more organized, dynamic, and greatly exposed to the world in every respect than the ecclesiastical environment of Gniezno. This was also due to the fact that the Diocese of Cracow was at the center of royal power: it supported the throne of the Commonwealth directly; it sanctioned the court’s actions; it provided the monarch with expert and intellectual help necessary to conduct internal politics and engage in diplomacy. It is also significant that the person responsible for establishing the Church in Lithuania was, in fact, Lithuanian—King Władysław II Jagiełło was the first Jagiellonian to ascend the Polish throne. His successors continued his policies in the religious realm in Lithuania. It is not surprising, therefore, the Jagiełłoes were solicitous to ensure that Vilnius enjoyed the proper place in the hierarchy of Polish-Lithuanian dioceses under their jurisdiction in accordance with the belief that “Vilnius annot stand out from Cracow.” The Lithuanian King Władysław II Jagiełło provided materially for the Church in Vilnius, and he ensured that the capital of the Grand Duchy of Lithuania had the proper position within the structures of the Polish-Lithuanian state, which has becoming increasingly more integrated. Although the Diocese of Vilnius drew from the Diocese of Cracow’s example, it did not blindly imitate it. After it had been established and organized, the Vilnius Cathedral Chapter was able to develop its own models, unique identity, and manner of functioning as a completely self-sufficient corporation that no longer needed to refer so strongly to the model of Cracow.
Źródło:
Rocznik Teologii Katolickiej; 2021, 20; 89-101
1644-8855
Pojawia się w:
Rocznik Teologii Katolickiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ołtarz Trójcy Świętej z pocysterskiej katedry w Oliwie. Ikonografia i zagadnienie autorstwa
The Holy Trinity Altar at Post-Cistercian Cathedral in Oliva. Iconography and the Issue of Authorship
Autorzy:
Droździecka, Olga
Powiązania:
https://bibliotekanauki.pl/articles/559441.pdf
Data publikacji:
2014
Wydawca:
Gdańskie Seminarium Duchowne
Tematy:
Oliwa
katedra
ołtarz główny
snycerka
Wolfgang Sporer
cystersi
ikonografia katolicka
Oliva Cathedral
cathedral
main altar
woodcarving
Cistercians
catholic iconography
Opis:
W katedrze oliwskiej znajduje się wybitne dzieło snycerskie – dawny ołtarz główny ufundowany przez Rafała Kosa, bratanka opata Dawida Konarskiego. Pierwsze informacje o ołtarzu, powstałym w latach 1604 – 1606, znajdują się w rocznikach klasztoru pisanych przez przeora Filipa Adlera. Czas poprzedzający powstanie dzieła obfitował w trudne wydarzenia. Na skutek postępów reformacji, konfliktów o godność opata oraz zniszczenia świątyni i opactwa w roku 1577 nastąpił kryzys gospodarczy, a dyscyplina klasztorna uległa rozprzężeniu. Proces odnowy przybrał na sile pod rządami opata Dawida Konarskiego, który przywrócił zgromadzenie do stanu świetności. Zasługą opata były też liczne fundacje i starania o godne wyposażenie katolickiej świątyni funkcjonującej w pobliżu protestanckiego Gdańska. Skomplikowany program ikonograficzny ówczesnego ołtarza głównego spełniał kontrreformacyjne postulaty dotyczące sztuki.
In the Cathedral of Oliva there is an outstanding piece of woodcarving. This is the former main altar, which was built from the foundation of Abbot David Konarski’s nephew – Rafał Kos. The first information about the altar, formed in the years 1604-1606, can be found in the monastery chronicles written by prior Philip Adler. The time before the emergence of this art work abounded in the difficult events. As a result of the progress of the Reformation, conflict among abbots and the destruction of the Abbey in 1577, there was the economic crisis and monastic discipline has been loosened. Recovery process took on the rise under the rule of Abbot David Konarski, who restored the Abbey to the state of splendor. The merit of the Abbot was also trying for an impressive facilities for the Catholic church located near by the centre of Protestants situated in Gdańsk. Complicated iconographic program of the altar meets Counter-Reformation recommendations for art. This is a unique work of art. Excellent state of preservation and no subsequent interference highlights its exceptional value.
Źródło:
Studia Gdańskie; 2014, 34; 255-275
0137-4338
Pojawia się w:
Studia Gdańskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 180

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