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Tytuł:
Decorating a Christmas tree in primary school
Autorzy:
SIMBARTL, PETR
TANKOVÁ, HELENA
Powiązania:
https://bibliotekanauki.pl/articles/455455.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Rzeszowski
Tematy:
Christmas decorations
primary school
Opis:
This contribution is dealing with usage options of various material types for a creation of Christmas decorations at the first level of primary school. It summarizes creation from natural materials, paper, a combination of different materials as well as modelling materials. All these types of materials were tested at primary school with children. We also show here results of chil-dren's work, that they can create themselves. It comes to combining several parts during the classes, namely the promotion of the tradition of Christmas tree decorations, Christmas traditions linked to this and intersubject relations (elementary science and social studies). By creating products, we improve children´s fine motoring and with some products we support creativity.
Źródło:
Edukacja-Technika-Informatyka; 2017, 8, 4; 147-151
2080-9069
Pojawia się w:
Edukacja-Technika-Informatyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ŻELIWNE DEKORACJE W TWÓRCZOŚCI ROMANA SZEWCZYKOWSKIEGO
CAST IRON DECORATIONS IN THE OEUVRE OF ROMAN SZEWCZYKOWSKI
Autorzy:
Białostocka, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/538473.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
CAST IRON DECORATIONS
SZEWCZYKOWSKI ROMAN
Opis:
The varied accomplishments of Roman Szewczykowski (1849-1901), craftsman, social activist, collector and teacher, deserve to be recalled. A complete record of Szewczykowski's oeuvre has still not been made. His works are scattered across Poland, and in particular within the former Russian partition area. Numerous examples of fencing designed by him are to be found in Protestant cemeteries where the unique planning of the graves and sprawling space have become the reason why the fences surround an extensive area and feature sophisticated composition forms. The Powazki cemetery is the site of numerous doors/gates of grave shrines. Designing them, Szewczykowski as a rule referred to the repertoire of historical forms and generally accepted symbols of death and new life. The diverse gate ornaments played a programme-like role and harmonised with the architecture of the shrines. The Warsaw works include objects linking Szewczykowski's oeuvre with town architecture. One of the most interesting examples is the magnificent two-wing gate which once must have led to a prosperous town house or palace, and today is one of the highlights of the park in Grochowska Street. The artist was also celebrated for small-scale works such as lamps, candlesticks, clock cases, vases, paperweights and inkwells. In October 2005 one of his vases was offered for sale by the REMPEX auction salon. Szewczykowski was one of the most outstanding Polish craftsmen of the turn of the nineteenth century. In accordance with the conception of an integration of the arts and crafts, formulated by William Morris, he was never a passive copier of styles but created his own designs and devised a floral style with a distinctive rose motif. Well aware of the demands made by the market upon professional artisans Szewczykowski signed all his works, which facilitates their identification; his output has become part of the valuable legacy of late nineteenth-century crafts. One of the greatest enemies of cast iron objects is rust, which causes irreversible damage. The fundamental purpose of all conservation in such cases is the prevention of further corrosion by, i.a. using durable anti-corrosion safety measures, and in the case of permanent damage - by recreating the missing elements and their stable installation.
Źródło:
Ochrona Zabytków; 2006, 4; 49-60
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dom jako gniazdo rodzinne w kulturze ludowej Białorusinów Białostocczyzny
Дом як радзiннае гняздо ў народнай культуры беларусаў Беласточчыны
Home as a family nest in folk culture of the Belarusians in the Bialystok region
Autorzy:
Matus, Irena
Powiązania:
https://bibliotekanauki.pl/articles/944404.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
абрады
дом
культ продкаў
аздабленне
house
ancestors’ worship
rituals
decorations
Opis:
Беднасць сялян да 60-х гадоў XIX стагоддзя, да часу вызвалення ад прыгону, спрычынiлася да таго, што дом быў трактаваны выключна ў практычным аспекце. Паляпшэнне побыту на пераломе XIX i XX стагоддзяў, а далей трагiзм бежанства, выразна садзейнiчалi працэсу ўзнiкнення культу радзiннага гнязда. На працягу гадоў змянiлася традыцыя пабудовы i аздобы дамоў: ад аскетычнага выгляду да па-майстэрску, карункова аздобленай хаты. Сумяшчалiся з тым таксама асабiстыя звычаi i абрады, звязаныя з домам i яго сярэдзiнай, якiя з часам занiклi або захавалiся ў форме парэшткаў. Заняпад традыцыйнай культуры, мiграцыя, выклiканыя эканамiчнай i грамадскай сiтуацыяй, нарэшце глабалiзацыйныя змены, адмоўна адбiлiся на сямейных традыцыях.
Peasant poverty before 1860s, before enfranchisement resulted in defining home as an attribute in hand. The creation of family nest worship progressed at the turn of the 19th century, after the tragedy of the 1915 exodus (Byezhenstvo). Building and decorating techniques changed over the years – from ascetic structures to delicately embellished cottages. There were also many customs and rituals connected with a house. Some of them disappeared over time, and some got preserved. The decline of traditional culture, economic and social migration, globalization changes had negative influence on family tradition.
Źródło:
Białorutenistyka Białostocka; 2017, 9; 319-335
2081-2515
Pojawia się w:
Białorutenistyka Białostocka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dom jako gniazdo rodzinne w kulturze ludowej Białorusinów Białostocczyzny
Дом як радзiннае гняздо ў народнай культуры беларусаў Беласточчыны
Home as a family nest in folk culture of the Belarusians in the Bialystok region
Autorzy:
Matus, Irena
Powiązania:
https://bibliotekanauki.pl/articles/2116688.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
дом
культ продкаў
абрады
аздабленне
house
ancestors’ worship
rituals
decorations
Opis:
Беднасць сялян да 60-х гадоў XIX стагоддзя, да часу вызвалення ад прыгону, спрычынiлася да таго, што дом быў трактаваны выключна ў практычным аспекце. Паляпшэнне побыту на пераломе XIX i XX стагоддзяў, а далей трагiзм бежанства, выразна садзейнiчалi працэсу ўзнiкнення культу радзiннага гнязда. На працягу гадоў змянiлася традыцыя пабудовы i аздобы дамоў: ад аскетычнага выгляду да па-майстэрску, карункова аздобленай хаты. Сумяшчалiся з тым таксама асабiстыя звычаi i абрады, звязаныя з домам i яго сярэдзiнай, якiя з часам занiклi або захавалiся ў форме парэшткаў. Заняпад традыцыйнай культуры, мiграцыя, выклiканыя эканамiчнай i грамадскай сiтуацыяй, нарэшце глабалiзацыйныя змены, адмоўна адбiлiся на сямейных традыцыях.
Peasant poverty before 1860s, before enfranchisement resulted in defining home as an attribute in hand. The creation of family nest worship progressed at the turn of the 19th century, after the tragedy of the 1915 exodus (Byezhenstvo). Building and decorating techniques changed over the years – from ascetic structures to delicately embellished cottages. There were also many customs and rituals connected with a house. Some of them disappeared over time, and some got preserved. The decline of traditional culture, economic and social migration, globalization changes had negative influence on family tradition.
Źródło:
Białorutenistyka Białostocka; 2017; 319-335
2081-2515
Pojawia się w:
Białorutenistyka Białostocka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ozdoby stroju wykonane z paciorków w kulturze wielbarskiej
Costume decorations made of beads in Wielbark culture
Autorzy:
Żyto, Kinga
Powiązania:
https://bibliotekanauki.pl/articles/681883.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
kultura wielbarska
paciorki
kolie
dekoracje
aplikacje
Wielbark culture
beads
necklaces
decorations
applications
Opis:
The main purpose of the article is to present various forms of costume decoration in Wielbark culture. The analysis was based on well-known burials with an intact arrangement of monuments in the burial cavern. On this basis, decorations made of beads were highlighted. In addition to the necklaces that adorned the area of the neck and chest, vertical compositions are particularly noteworthy, in which the beads were discovered in a line from the level of the neck to the waist level. In addition, beads were used to trim robes in the form of applications. Another type are beads decorating belt and sachets or purses.
-
Źródło:
Acta Universitatis Lodziensis. Folia Archaeologica; 2018, 33; 75-92
0208-6034
2449-8300
Pojawia się w:
Acta Universitatis Lodziensis. Folia Archaeologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
GOTYCKIE DEKORACJE MALARSKIE ELEWACJI KOŚCIOŁA PARAFIALNEGO P.W. ŚW. KATARZYNY ALEKSANDRYJSKIEJ W GOLUBIU Przyczynek do badań nad dekoracją maswerkową w architekturze Państwa Zakonnego w Prusach
GOTHIC PAINTED DECORATIONS ON THE ELEVATION OF THE CHURCH OF ST. CATHERINE OF ALEXANDRIA IN GOLUB. A Contribution to Studies about Tracery Decoration in the Architecture of the Teutonic Order State in Prussia
Autorzy:
Tuliszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/536670.pdf
Data publikacji:
2006
Wydawca:
Narodowy Instytut Dziedzictwa
Tematy:
CHURCH OF ST. CATHERINE OF ALEXANDRIA (GOLUB)
GOTHIC DECORATIONS
POLYCHROME
TEUTONIC ORDER STATE
Opis:
The Gothic painted decorations of the plastered blind windows and friezes on the elevation of the parish church in Golub have been mentioned at the end of the nineteenth century by German conservators and historians of East Prussian architecture (J. Heise, A. Boetticher) in the catalogues of historical monuments written by them. Nonetheless, it was not until the research, drawings and measurements of the roof truss construction were carried out in December 2004 by the employees of ROBiDZ (Torun), that the presence of the titular painted decorations was unearthed. The discoveries were made in a rather inaccessible spot, i. e. under the roof of the chapel of the Holy Cross, covering part of the eastern axes of the northern elevation. The second stage of the measurements performed next to the bell tower disclosed remnants of identical engraved tracery decorations at the level of the fourth storey of the southern tower elevation. The excellent condition of the preserved compositions engraved on a thin layer of lime plaster made it possible to reconstruct their original form. This material, together with photographic documentation, was used for making inventory drawings based on a CAD-type programme. The documentation produced by ROBiDZ (Torun) classified four types of the originally polychromed tracery decoration. With the exception of a plastered band on the cornice, the other compositions share an identical tripartite division of the lower lancet sphere as well as a band above it, featuring a carpet pattern with a recurring four-leaf motif. Moreover, a characteristic feature of the Golub tracery is the fact that the classical three-, four- and five-leaf motifs occur next to each other, and have been executed both from petals cut out of a circle and those which are enclosed within a lancet. The presented article embarks upon an attempt at defining the provenance of the forms of the discovered compositions. A formal analysis has been unquestionably facilitated by the studies conducted by specialists as well as the conservation documentation of similar objects by, i. a. M. Poksinska and E. Pilecka. Golub, located in the territory of the Teutonic Order state, only 40 kms from Torun, must have found itself within the range of the impact exerted by this cultural centre, the second largest in Pomerania, a fact decisive for a search for analogous decorations in the buildings of Golub and its environs. We cannot exclude the probability that the described tracery should be attributed to a group of artists working not only Toruń but also in the provinces. They included representatives of various nationalities and assorted West European trends, influencing art in the region of Chełmno, Kujawy and Varmia. It must be added that the imposing number of architectural solutions and decorative motifs in the land of Chełmno makes it impossible to indicate a concrete source of inspiration for the solutions encountered in Golub. Cited analogies prove that fourteenth-century ornamental motifs were popularised in Toruń and the neighbouring regions by means of the pattern books and construction complexes which appeared in these terrains as part of a cultural exchange augmented by the intensive trade contacts maintained by the Baltic towns. The presented study does not propose an ultimate classification of all types of the tracery decorations originally executed on the elevation of the parish church in Golub. Within this context, the documented examples comprise only part of the whole repertoire of the ornamental blind windows in the church. Initial results of the examination of the chemical composition of lime mortar in the blind windows and tower cornice made it possible to identify the pigments used in the decorations, i. a. iron oxide red, ochre and plant black. The execution technology of the painted tracery could be ultimately explained after complex conservation studies. With all certainty, the tracery discovered in Golub in 2005, both engraved in plaster and painted, confirms the great popularity of this decoration technique in the state of the Teutonic Knights, used not only on sacral edifices but also on secular and town buildings. In turn, the immense variety of the types of compositions attests to the fact that the basic purpose of such ornaments was to enhance the decorativeness and prestige of the embellished objects.
Źródło:
Ochrona Zabytków; 2006, 1; 39-51
0029-8247
Pojawia się w:
Ochrona Zabytków
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ceramika siwa i czarna pogranicza polsko-litewskiego
Pottery grey and black Polish-Lithuanian borderland
Autorzy:
Wowak, J.
Powiązania:
https://bibliotekanauki.pl/articles/169091.pdf
Data publikacji:
2014
Wydawca:
Sieć Badawcza Łukasiewicz - Instytut Ceramiki i Materiałów Budowlanych
Tematy:
ceramika
siwak
glina
czarna ceramika
zdobienia
ceramics
grey ceramics
clay
black ceramics
decorations
Opis:
Artykuł przedstawia krótką historię rozwoju garncarstwa na terenach przygranicznych Polski i Litwy, tajniki produkcji siwaków w Polsce – z uwzględnieniem jednego z największych ośrodków (Czarnej Wsi Kościelnej) – oraz czarnej ceramiki na Litwie, wyrabianej w Parku Narodowym Dzūkija, w okolicach Merkinė, nad rzeką Niemen. Szczególny nacisk położony został na metody pracy, narzędzia, sposoby zdobienia, techniki wypalania oraz sposoby produkcji ceramiki. Dokonano także omówienia wybranych twórców siwaków z Polski oraz czarnej ceramiki na Litwie. Poza tym poruszony został także problem tożsamości narodowej i przynależności etniczno-kulturowej omawianych regionów oraz kontynuacji tradycji wypalania ceramiki wśród młodego pokolenia.
The article presents a short story of potteries’ development in the borderland of Poland and Lithuania. Moreover, the secrets of production of siwak in Poland, bearing in mind one of the greatest centres, Czarna Wieś Kościelna, as well as black ceramics in Lithuania. The above mentioned black ceramics are being made in the Dzūkija National Park, nearby Merkinė, by the Niemen river. Particular stress was put on the methods of work, tools, ways of decoration, baking techniques and also new ways of ceramics’ manufacture. The selected creators of siwak in Poland and black ceramics in Lithuania have been discussed. It is worth mentioning that the problem of national identity and ethnic and cultural affiliation of presented regions and continuation of firing tradition by young generation has been shown.
Źródło:
Szkło i Ceramika; 2014, R. 65, nr 6, 6; 19-23
0039-8144
Pojawia się w:
Szkło i Ceramika
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pałac Potockich w Lublinie w świetle osiemnastowiecznych źródeł
The Potocki Palace in Lublin in the Light of Eighteenth-century Sources
Autorzy:
Gombin, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/1953439.pdf
Data publikacji:
2006
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
dekoracje
szlachta/arystokracja
pałac
portrety
Potocki
rokoko
królewski
decorations
nobility
palace
portraits
rococo
royal
Opis:
The Potocki palace in Lublin was for the first mentioned in the sources in 1734. It is not, however, on the plan of Chevalier d'Orxen of 1716, hence it was constructed between those years. It was built for Jerzy Potocki, and most probably was ready in 1730, when his sone, Eustachy, studied at the Lublin Jesuit college. There are no hints that the palace built in the times of Jerzy Potocki was something special with regard to its artistic class and scale. The magnate stayed mainly in Serniki, where he lived in a small wooden mansion of little artistic value. It is there where his sons were born. The fact that the Lublin seat was not a representative building, fit for a bigger event, is evidenced when Eustachy Potocki's wedding with Marianna née Kątska (December 1741) was organised in August Czartoryski's neighbouring palace. The construction and modernisation works in the Potocki palace, as evidenced by the sources, were conducted as late as the 1750s, already after Jerzy Potocki's death, when its owner was Eustachy. It follows from Eustachy's correspondence, now in the Main Archives of the Ancient Acts in Warszawa and in the State Archives in Kraków (the branch at Wawel), that some sentences about the Lublin palace can be found. Thus between January and the beginning of April 1755 the side pavilions were covered with a new shingle, mirrors were imported, curtains and upholstery were installed; glass, lead, calcium, and plaster were used for some unidentified works. They were all related to Eustachy's function of the marshal of the Crown Tribunal, which he took in 1754, and needed a seat appropriate to this rank. During the proceedings of the Tribunal in Potocki's palace there were festive receptions and balls: on the occasion of the king's, president's, the marshal's, or hetman Jan Klemens Branicki's nameday; another event was when a Turkish parliament member stayed in the palace, or the Tribunal's limit. Eustachy Potocki's son, Stanisław Kostka, was born in the Lublin palace. There are only circumstantial evidences as to who could design and supervise modernisation works in the palace in the 1750s. They irrefutably point to Jakub Fontana who then worked at the construction of the palace in Radzyń Podlaski. Potocki himself thought that he should be consulted about the smallest steps. We do not know at present the inventory of the Lublin palace from the times of Eustachy Potocki. The only one we have comes from 1783. According to this inventory, the floors in the Lublin palace were made of timber (in the vestibules it was made of bricks). It follows that the whole building was rather poorer, in the spirit of a gentleman's residence. The inventory does not say anything about the upholstery of the rooms on the ground floor. The rooms on the first floor were crimson, red, yellow, and blue. The “big room” was whitened in 1783. It goes without saying that this white colour meant that its new owners had a neo-classical taste, that colour could not come from Eustachy's times. It seems that in 1755 the colour green was most likely. The furniture mentioned in the inventory of 1783 is obviously a remnant of several sets from various interiors. The decisive majority of the then preserved was of similar colours: red, blue, and red-blue. We also know the other units of the yellow set. The inventory of 1783 mentions the “Big portrait of August II in golden frames.” It might have been the remaining part of a larger collection. We know that in the nineteenth century the royal portraits hang in another residence built by Eustachy Potocki – in Radzyń Podlaski, from where after the First World War they was conveyed to the National Museum in Warszawa. Most of them have been preserved up to date (the portraits of August III, Stanisław Leszczyński, August II, Sigismund I the Old, Sigismund August, Henry of Valois, Jan III Sobieski, and Władysław II Jagiełło). We have no evidential sources that there was a gallery of royal portraits in Lublin, but it goes without saying that in this type of residence there must have hung at least portraits of the then king and his wife. The portraits of August III and Maria Józefa, like August II the Strong, were among those that had been sent from Radzyń to Warszawa. Therefore it is likely that the portraits of kings in the eighteenth century hung in the Lublin palace. They were of a low artistic class that did not fit in the rococo decorations in Radzyń, but were fit for the Lublin seat of a tribunal's marshal, the seat often visited by the nobility for whom that type of works must have been uniquely dear.
Źródło:
Roczniki Humanistyczne; 2006, 54, 4; 291-305
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Reddite, quae sunt Caesaris, Caesari. Dekoracje okolicznościowe w spiskich kościołach w listopadzie 1772 roku
Reddite, quae sunt Caesaris, Caesari. Occasional decorations in the churches of the Spiš region in November 1772
Autorzy:
Staniszewska, Maria Kazimiera
Powiązania:
https://bibliotekanauki.pl/articles/2082097.pdf
Data publikacji:
2021
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
18th Century occasional decorations
18th Century religious ceremonies
Spiš artistic culture
political ceremony
state ceremony
political iconography
Opis:
The county of Spiš, consisting of enclaves within the territory of the Kingdom of Hungary, ethnically and religiously diverse, fre- quently administered by eminent personalities and situated on an important trade route, has played an important political and economic role over the centuries. The pawned towns of Spiš, which were never bought back, were the subject of claims by the southern neighbours of the Polish-Lithuanian Commonwealth until they were cut off from it in 1769 by a sanitary cordon imposed by the Imperial army. The return of the thirteen Spiš towns and the dominion of the Lubelsko-Podolinieckie province to the Kingdom of Hungary is a well-known occurrence, but tracing the detailed course of this process requires further research, in particular archival research. Bearing testament to this turbulent period are the documents preserved in Vienna’s Österreichisches Staatsarchiv related to żupan Jan Csáky de Keresztseg. The article discusses a letter from Jan Nepomucen Kirschner, parish priest in Żakowce, which describes the church decorations in major towns in the former starosty on the occasion of its incorporation into Hungary in November 1772. According to the brief account of Father Kirschner, the altars in the churches were adorned with Hungarian crowns and inscriptions citing biblical verses. Also mentioned is other archival material from the collection, which may enrich our knowledge of the course of these celebrations, such as the texts of the żupan’s speech and the townspeople’s oaths, as well as of those pieces composed in honour of Csáky, Maria Theresa and Joseph II. The discussed documents are a rare example of Spiš archival material containing descriptions of the decorations for a state ceremony in this area. According to the narrative of the ceremonial programme, the moment of incorporation of the thirteen towns and Lubowelski dominion into the Hungarian county is a triumph of justice – the lost parts of Spiš return to their rightful rulers, whose good governance will ensure peace and stability for the inhabitants of the region. The form and ideological message of the various elements of the ceremonial setting (both visual and literary) was relatively simple, probably in order to adapt it to the needs of the mass audience taking the oath of allegiance to the new authorities.
Źródło:
Rocznik Historii Sztuki; 2020, 45; 149-161
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
BOBOLANA 1938 – oprawa uroczystości związanych ze sprowadzeniem do Warszawy relikwii św. Andrzeja Boboli
BOBOLANA 1938 – the ceremonial settings of the return of St. Andrzej Bobola’s relics to Warsaw
Autorzy:
Kolendo-Korczak, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/2082099.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
canonization ceremonies
20th Century religious ceremonies
20th Century occasional decorations
state ceremony
20th Century Polish culture
Opis:
Although he was only recognized as the patron saint of Poland by the Vatican in 2002, St. Andrzej Bobola was accorded a cult follow- ing much earlier than this, and venerated as the saint protector of the Polish-Lithuanian Commonwealth. He was seen as a special defender against the threat from first Tsarist Russia, then Orthodox Russia, then the Soviet Union – the Blessed’s intercession was associated with the victory of the Battle of Warsaw in 1920. For this reason, his beatification and canonization were part of political discourse. Andrzej Bobola’s relics were originally stored in the Jesuit church in Pińsk, moved to Połock after its closure, and were taken to the Hygienic Exhibition in Moscow in 1922. Recovered thanks to the Pope’s intervention in 1924, they were taken to the Il Gesù Church in Rome. By the 1920s, Polish church authorities were already making efforts to canonize Andrzej Bobola and return his relics to Poland. Several Polish cities tried to obtain the saint’s remains, including Vilnius, Warsaw, Pińsk and even Janów Poleski. The canonization, which took place on 17 April 1938, in particular the ceremonial return of the relics of St. Andrzej Bobola to Warsaw in June 1938, took the form of a great religious and patriotic demonstration. It was accompanied by numerous ceremonies in which the highest church and state authorities participated, with extensive paratheatrical scripts, as well as specially designed decorations and music composed for the occasion. The press reported these in great detail, constituting a fascinating case of an event of both great religious significance and broad political context.
Źródło:
Rocznik Historii Sztuki; 2020, 45; 185-195
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Acceptance of Foreign Orders by the President of the Republic of Poland with Regard to Polish Legal Regulations and Practice of Bestowal and Acceptance of Decorations
Przyjmowanie przez Prezydenta RP obcych orderów, na gruncie polskiej regulacji prawnej i praktyki orderowej
Autorzy:
Wiszowaty, Marcin Michał
Powiązania:
https://bibliotekanauki.pl/articles/941120.pdf
Data publikacji:
2017
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
President of Poland
Orders
Decorations
Sweden
Royal Order of the Seraphim
Prezydent RP
Ordery
Odznaczenia
Szwecja
Order Św. Serafinów
Opis:
The first orders had been established and awarded by monarchs long before the republican concept of presidency was developed. The many powers which presidents took over from monarchs include, inter alia, the awarding (and revoking) of state honours. The issue, usually regarded as marginal, does not appeal to constitutional law scholars. Poland’s legal regulations concerning orders are hardly precise (this being particularly true as far as the constitutional law is discussed) and the fact gives rise to many practical problems concerning application of the country’s constitution and statutes from the field, quite frequently going beyond the matters of orders in the strict meaning of the phrase. One of the questions of the kind, not having become an object of interest to legal scholars so far, is the acceptance by the President of the Republic of Poland of foreign orders and distinctions received either within his capacity as the supreme representative of the State in international relations or as a private individual. The picture resulting from an analysis of practice and theory of order-related issues is hardly a coherent one. The following paper – besides due presentation – aims at sharpening the somewhat blurry image.
Prezydenckie prawo do nadawania orderów i odznaczeń określane jest powszechnie jako jedno z „tradycyjnych uprawnień głowy państwa”. Pierwsze ordery ustanowili i nadawali monarchowie, w czasach przed nastaniem instytucji prezydenta. Wśród wielu uprawnień, które prezydenci przejęli od monarchów znalazło się m.in. właśnie nadawanie (i pozbawianie) orderów i odznaczeń państwowych. Zagadnienie to, traktowane na ogół jako marginalne, ze względu na jego głównie symboliczny charakter, nie wzbudza dużego zainteresowania doktryny prawa konstytucyjnego. Regulacja prawna dotycząca zagadnień orderowych, szczególnie w jej konstytucyjnej części nie jest precyzyjna, co rodzi wiele interesujących kwestii praktycznych dotyczących stosowania konstytucji i ustaw, nierzadko wykraczających poza ścisłą tematykę orderową. Jedną z takich kwestii, która do tej pory nie znalazła się w obszarze zainteresowań doktryny i zasługuje na omówienie jest przyjmowanie przez Prezydenta RP obcych orderów i odznaczeń oraz ich status jako odznaczeń uzyskiwanych w ramach pełnionej funkcji najwyższego przedstawiciela państwa w stosunkach międzynarodowych, czy przez osobę prywatną. Z analizy praktyki i teorii zagadnień orderowych wyłania się niespójny obraz. Niniejsze opracowanie ma na celu odtworzenie i rozjaśnienie tego obrazu i uzupełnienie dorobku doktryny o kilka tez i spostrzeżeń dotyczących interpretacji przepisów konstytucji i ustaw odnoszących się do tytułowej materii.
Źródło:
Przegląd Prawa Konstytucyjnego; 2017, 6 (40); 283-298
2082-1212
Pojawia się w:
Przegląd Prawa Konstytucyjnego
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rzeźby ogrodowe z fabryk Feilnera i Marcha w kolekcji Muzeum Pałacu Króla Jana III w Wilanowie - przyczynek do opracowania
Garden sculptures from the factories of Feilner and March in the collection of the Museum of King Jan IIIs Palace at Wilanów
Autorzy:
Zając, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/1998214.pdf
Data publikacji:
2019
Wydawca:
Muzeum Pałacu Króla Jana III w Wilanowie
Tematy:
Tobias Christoph Feilner (1773–1839)
Ernst March (1798–1847)
August Potocki (1806–1867)
Wilanów
garden decorations
ceramic/terracotta sculptures
Opis:
According to extant sources, in the 1840s and 1850s August Potocki bought a group of ceramic objects from two of the most renowned Prussian factories of that time: the first one owned by Tobias Christoph Feilner, in Berlin, the second - by his pupil Ernst March, in Charlottenburg. Most of those objects decorated the private garden by the southern wing of the palace, the others - other parts of the gardens, some of them were positioned in the interiors. The paper, which is a contribution to the elaboration of the collection of ceramic garden sculptures from the Museum of King Jan III's Palace at Wilanów, presents an overview of the history of both factories in which these purchases were made, and analyses the archival, bibliographic and iconographic sources connected with the collection from Wilanów. The paper is complemented by a catalogue of preserved sculptures and archaeological shards.
Źródło:
Studia Wilanowskie; 2019, XXVI; 245-304
0137-7329
2720-0116
Pojawia się w:
Studia Wilanowskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rok 1933. Oprawa obchodów 400. rocznicy urodzin Stefana Batorego i 250-lecia Odsieczy Wiedeńskiej na Kresach Wschodnich
1933. The ceremonial setting of the 400th birthday of Stefan Batory and the 250th anniversary of the Relief of Vienna in the Borderlands
Autorzy:
Zgliński, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/2082100.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
20th Century religious ceremonies
20th Century occasional decorations
state ceremony
political iconography
historical politics
20th Century Polish culture
Opis:
The year 1933, which marked the 15th anniversary of Polish independence, also saw the celebrations of the 400th birthday of Stefan Batory and the 250th anniversary of the Relief of Vienna led by King Jan III Sobieski. Both events allowed for a wide campaign of pro- paganda for the Sanation movement’s updated political programme, clad in historical analogies, especially in the context of Eastern policy. For this reason, the ceremonies organized in the Borderlands, a particular lieux de mémoire associated with great kings, who were seen in official historical politics as natural harbingers of Józef Piłsudski, took on a special character. This provided an excellent opportunity for the propaganda of the Polish civilizing mission in the East and the promotion of the idea of Poland as a superpower. The main ceremonies com- memorating Stefan Batory were organized in Grodno, where the monarch died in the historic castle in 1586. These celebrations, broadcast by radio and widely reported by the press, were attended by President Ignacy Mościcki and many national and local dignitaries, ministers, senators, deputies, voivodes, bishops, generals etc. Lavish occasional decorations, saturated with specific symbolism, were set up as modern- ized late 16th-century architectural stylizations. The activities of the Grodno Castle reconstruction committee were officially inaugurated on the 350th anniversary of Batory’s death. Even more magnificent were the two-day festivities commemorating the Victory at Vienna organized in Olesko, which overshadowed the central celebrations in Kraków. The programme of the ceremony proclaimed that “a deed of European importance – by King Jan III and the then-superpower Poland – must be reflected by a programme of celebrations of its 250-year anniver- sary on a superpower scale”. An extensive open-air spectacle was organized with the participation of thousands of extras, including soldiers in historical costumes, several hundred fire brigades, scouts and aviation squadrons. Particularly spectacular was the especially arranged musical performance combined with night illuminations. These celebrations were enhanced by other accompanying events such as the Star Automobile and Motorcycle Rally and the sightseeing rally On the Trail of Sobieski. In other Borderland towns such as Tarnopol the jubilee was celebrated on a smaller scale, where a number of outdoor events were organized under the umbrella name Harvest Festival of King Jan III and the Arrival of the Austrian Emperor’s Legation with a Request for the Relief of Vienna.
Źródło:
Rocznik Historii Sztuki; 2020, 45; 171-183
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O wizualizacji konfliktu politycznego z połowy XVIII wieku. Sprawa podziału ordynacji ostrogskiej w dekoracjach okazjonalnych
On the visualization of political conflict in the mid-18th century. The division of the Entail of Ostrog in occasional decorations
Autorzy:
Gombin, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/2082101.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
18th Century occasional decorations
18th Century political history
state ceremony
political iconography
18th Century Polish culture
visual strategies
Opis:
One of the most important functions of 18th-century occasional decorations was to communicate current political issues. The artistic setting of ceremonies related to political events can of course be analyzed as an independent entity but may also be studied as a fragment of a larger message that encompasses prints, literature and political ceremony. The present article will adopt the latter approach, and analyze the political message of the 1750s on the subject of the division of the Entail of Ostrog, resulting from the so-called “Transaction of Kolbuszowa” in 1753. This event, which had a huge impact on political rela- tions of the time, was also of key importance to the chief players of the period as well as their artistic initiatives (for example J. K. Branicki, who became the Great Crown Hetman after Józef Potocki’s death). The theme of the Entail of Ostrog can be seen in the artistic settings of ceremonies related to the activities of the Senatorial Commission, as well as in those related to two terms of the Crown Tribunal, which in 1754 and 1755 was overshadowed by the consequences of the Kolbuszowa transaction. The above-mentioned bodies acted on behalf of the entire Polish-Lithuanian Commonwealth; therefore, ideas of political unity and total consensus were emphasized in the decorations. In this way, specific decisions were legitimized. Occasional decorations made reference to the Gigantomachy, understood as an internal conflict, and stressed the importance of overcoming internal enemies for the sake of state unity. Banquets were also of great importance in conveying this message, not only because participation alone was seen as a manifestation of belonging to a certain community, but also because the ideological content of the table decorations presented the political values of the guests and served as a commentary on current political issues.
Źródło:
Rocznik Historii Sztuki; 2020, 45; 139-147
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Siedemnastowieczne listwowe dekoracje sklepienne w Polsce i ich europejski kontekst
Seventeenth-Century Panel Vault Decorations in Poland and their European Context
Autorzy:
Krasny, Piotr
Kurzej, Michał
Powiązania:
https://bibliotekanauki.pl/articles/38711316.pdf
Data publikacji:
2024
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
stuccos
panel vault decorations
early modern architecture
Renaissance
17th-century architecture
sztukaterie
listwowe dekoracje sklepienne
architektura nowożytna
renesans
architektura XVII w.
Opis:
 W starszej literaturze panowało przekonanie, że sztukateryjna dekoracja sklepień z początku XVII w., stosowana głównie na Lubelszczyźnie, jest przejawem rodzimych tendencji artystycznych. Z czasem dostrzeżono występowanie takiego rozwiązania poza granicami państwa polsko-litewskiego, nie zwrócono jednak uwagi na jego genezę, której można doszukiwać się w budowlach wznoszonych przez Rafaela i jego współpracowników. Wydaje się, że moda na takie dekoracje wynikała z ich skojarzenia ze sztuką antyczną, dzięki któremu szybko stały się one popularne w państwach południowoniemieckich i Królestwie Czeskim. Przy obecnym stanie badań nie da się wskazać, skąd konkretnie pochodzi taka formuła dekoracji architektonicznej i jak dotarła na ziemie Rzeczypospolitej. Można jednak powiedzieć, że nie był to rodzimy wynalazek, lecz rozwiązanie, którego zastosowanie świadczyło o świadomości tendencji występujących w architekturze europejskiej.
The view prevalent in older literature on the subject was that the early 17th-century stucco decoration of vaults, used mainly in the Lublin region, was a manifestation of native artistic tendencies. With time, the occurrence of a similar solution outside the borders of the Polish-Lithuanian state was noticed, but no attention was paid to its origins, which may be sought in the buildings erected by Raphael and his collaborators. It seems that the fashion for such decorations resulted from their being associated with ancient art, owing to which they quickly became popular in the South German states and the Kingdom of Bohemia. The current state of research does not allow us to specify the route by which this formula of architectural decoration reached the lands of the Commonwealth of Poland and Lithuania, but it can be assumed that it was not a local invention, but an architectural element whose use demonstrated an awareness of trends in European architecture.
Źródło:
Biuletyn Historii Sztuki; 2024, 86, 2; 77-110
0006-3967
2719-4612
Pojawia się w:
Biuletyn Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
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