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    Wyświetlanie 1-4 z 4
    Tytuł:
    Zwizualizowany imperializm i narodowa identyfikacja. Kilka przykładów kościelnego malarstwa w Gruzji od 1801 do 1918 roku
    Visualised imperialism and national identity. Some examples of the church painting in Georgia between 1801 and 1918
    Autorzy:
    Khosroshvili, Tamar
    Powiązania:
    https://bibliotekanauki.pl/articles/689145.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    sztuka nowożytna
    sztuka chrześcijańska
    kościelne malarstwo naścienne
    studia postkolonialne
    odrodzenie narodowe
    art of the early modern period
    Christian art
    church wall paintings
    Postcolonial studies
    national revival
    Opis:
    In different periods, Christian wall paintings have visualised various attitudes towards programmes, images and iconographies that were closely linked with the religious identities of communities. Following the emergence of nationalism in Georgia in the mid-19th century, wall paintings of this period also began to respond to national identity. The chronological limits of this article are determined by crucial events in the history of the country, such as the conquest of East Georgia by the Russian Empire in 1801 and the proclamation of the independence of the Democratic Republic of Georgia in 1918. Between these two events, a number of church paintings was created throughout Georgia. Some of them fully intended to promote the Russian imperial identity and served to consolidate the power of the Empire over the conquered country. While others, reflected the ideas and aspirations of Georgian nationalism. They are very different from the medieval examples displaying a growing interest in national saints and the events of Christian Georgian history. This paper is focused on the most significant examples.
    W różnych okresach chrześcijańskie malarstwo naścienne wizualizowało różnoraki stosunek do programów, obrazów, ikonografii i było blisko połączone z religijną identyfikacją społeczeństwa. Pod wpływem rozwoju nacjonalizmu w Gruzji w połowie XIX w. malarstwo naścienne również zaczęło odpowiadać potrzebom identyfikacji narodowej. Ramy czasowe artykułu zakreślają najważniejsze wydarzenia z historii tego kraju, takie jak podbój Wschodniej Gruzji przez Imperium Rosyjskie w 1801 r. i proklamowanie niepodległości przez Demokratyczną Republikę Gruzji w 1918 r. Pomiędzy tymi dwoma wydarzeniami w Gruzji powstało wiele malowideł sakralnych. Niektóre z nich miały na celu promowanie poczucia przynależności do Rosji i służyły konsolidacji władzy imperium nad podbitym krajem. Inne odzwierciedlały idee i aspiracje gruzińskiego nacjonalizmu. Różniły się one od średniowiecznych realizacji, ukazując wzrastające zainteresowanie narodowymi świętymi i wydarzeniami z historii gruzińskiego chrześcijaństwa. W artykule omówiono najbardziej znaczące ich przykłady.
    Źródło:
    Przegląd Nauk Historycznych; 2019, 18, 2; 247-261
    1644-857X
    2450-7660
    Pojawia się w:
    Przegląd Nauk Historycznych
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    W sprawie proponowanych nowych ustaleń na temat kościoła pofranciszkańskiego w Toruniu
    On the Proposed New Findings Regarding the Post-Franciscan Church in Toruń
    Autorzy:
    Nawrocki, Zbigniew
    Powiązania:
    https://bibliotekanauki.pl/articles/2197800.pdf
    Data publikacji:
    2022-09-30
    Wydawca:
    Towarzystwo Naukowe w Toruniu
    Tematy:
    Toruń
    Middle Ages
    Church of the Assumption of the Blessed Virgin Mary in Toruń
    Franciscans
    matroneum
    organ
    Protestants
    wall paintings
    communication within the church
    Opis:
    The text constitutes a commentary on the text by Monika Jakubek-Raczkowska and Juliusz Raczkowski, published in Zapiski Historyczne, with regard to the dating of the final expansion of the Church of the Assumption of the Blessed Virgin Mary in Toruń to the present form, which extended the church to include the earlier southern wing of the monastery. Based on various evidence (including information that King Casimir the Great is reported to have listened to the organ allegedly located in the northern matroneum of the completed church in 1343), the above-mentioned authors put forward the hypothesis that the expansion may have been carried out in the first half of the 14th century, that the church had already had its present-day three-nave structure, and that the two analysed fragments of paintings, which are located in the niches of the northern wall of the matroneum, are part of a once large composition related to its medieval function within the church. The author of this commentary upholds the findings of his own research published in print in 1966, that the final expansion of the church took place in a later period, while the paintings of the presentday matroneum, analysed by Monika Jakubek-Raczkowska and Juliusz Raczkowski, did not ornament the matroneum, but a room or rooms upstairs in the monastery’s south wing.
    Źródło:
    Zapiski Historyczne; 2022, 87, 3; 123-132
    0044-1791
    2449-8637
    Pojawia się w:
    Zapiski Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nowe ustalenia w zakresie funkcji i wystroju empory kościoła pofranciszkańskiego w Toruniu
    New Findings Concerning the Function and the Furnishing of the Matroneum in the Post-Franciscan Church in Torun
    Autorzy:
    Jakubek-Raczkowska, Monika
    Raczkowski, Juliusz
    Powiązania:
    https://bibliotekanauki.pl/articles/1059242.pdf
    Data publikacji:
    2020-03-31
    Wydawca:
    Towarzystwo Naukowe w Toruniu
    Tematy:
    middle ages
    franciscans
    torun
    church of the assumption of the holy virgin mary in torun
    matroneum
    wall paintings
    Opis:
    The article addresses the original function of the matroneum in the former Franciscan Church of the Assumption of the Holy Virgin Mary in Torun. These remarks are the result of the latest discoveries and technological research. The matroneum, situated above the cloister in the northern nave of the church, was built during the reconstruction of the church to its present form. Based on a dendrochronological examination, the matroneum was secured with a wooden railing in the 1350s and later. Due to a lack of written sources, the functions of the matroneum are not determined in scholarly publications. It may have been used as an oratory for friars. The authors analyse the architectural shape of the matroneum, take into account its original communication with the church and monastery and the remains of its furnishing. The study of the architectonic structure and the staircase that now leads from the nave to the matroneum allows to determine that it was constructed only in the eighteenth century. In the Middle Ages, the matroneum was connected to the monastery through a passage that is now bricked up, and to the ground floor of the church it was connected through an older, thirteenth-century staircase tower. A convenient, direct communication between the matroneum and the dormitory, the fact that the monastery was not directly connected to the presbytery, and the fact that the church choir was rebuilt at the end of the fourteenth century reinforce the theory that the matroneum was used for liturgical purposes. The authors also discuss the previously unknown polychrome relics inside the matroneum. These are, respectively, a relic of a fourteenth-century heraldic representation with the head of an ox and a remnant of a figural scene on the northern wall from the last quarter of the fourteenth century. Both paintings have been subjected to in-depth research, including non-destructive methods (XRF, UV and IR). The first of the paintings, probably the coat of arms of a burgher family, may be a proof that the laymen had access to the interior of the matroneum. The second painting reinforces the assumption of the authors regarding the liturgical use of this place.
    Źródło:
    Zapiski Historyczne; 2020, 85, 1; 163-186
    0044-1791
    2449-8637
    Pojawia się w:
    Zapiski Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kaplice czy kaplica? O zawiłych dziejach kaplic(y) św. Bartłomieja i św. Jadwigi w gdańskim kościele Najświętszej Maryi Panny i o ich znaczeniu dla badań nad średniowiecznymi elementami wystroju
    On the Complex History of the Chapel(s) of St. Bartholomew and St. Hedwig in St. Mary’s Church in Gdańsk and their Significance for Research on Medieval Decorative Elements
    Autorzy:
    Grabowska-Lysenko, Alicja
    Powiązania:
    https://bibliotekanauki.pl/articles/2197828.pdf
    Data publikacji:
    2022-03-31
    Wydawca:
    Towarzystwo Naukowe w Toruniu
    Tematy:
    Gdańsk
    St. Mary’s Church in Gdańsk
    parish church
    chapel
    medieval art
    reredos
    wall paintings
    Opis:
    According to the findings of the research into the history of St. Mary’s Church in Gdańsk, in its eastern part, behind the main altar, three liturgical centres operated in the Middle Ages: the Chapels of the Holy Sepulchre and of St. Bartholomew, which divided the wide architectural space on the axis of the temple, as well as the Chapel of St. Hedwig, located to the south of them. In the latter, a set of wall paintings and a reredos have survived to the present day, the aspects of which have been analysed mainly in relation to the scanty information on the history of this chapel. The example of the decoration of a chapel referred to as ‘Chapel of St. Hedwig’ shows how important, from the point of view of historical and artistic research, it is to use written sources, both those contemporary to the created works of art, and those from a later period. An in-depth analysis of various source materials related to the history of the chapels mentioned above, especially documents related to the Chapel of St. Bartholomew, founded in 1451, has made it possible to establish that in fact there were formerly only two chapels behind the main altar: The Chapel of the Holy Sepulchre (later also called the Chapel of St. Gertrude) and – on the southern side – the Chapel of St. Bartholomew, which as early as at the beginning of the 16th century was commonly referred to as the Chapel of St. Hedwig. Putting this issue in order will make it easier to analyse the objects found in the Chapel of St. Bartholomew/Hedwig in a more comprehensive manner – as a group of works that are the effect of a more uniform concept, and it will enable a more precise dating of the works, which in turn may serve as a starting point for further research into the artistic environment of mid-15th century Gdańsk.
    Źródło:
    Zapiski Historyczne; 2022, 87, 1; 27-62
    0044-1791
    2449-8637
    Pojawia się w:
    Zapiski Historyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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