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Wyszukujesz frazę "ikonografia XIX w." wg kryterium: Temat


Wyświetlanie 1-4 z 4
Tytuł:
Grodno Castle in the iconography from the $18^{th}$ and $19^{th}$ centuries
Zamek Grodno w ikonografii z XVIII i XIX wieku
Autorzy:
Sanik, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/2028610.pdf
Data publikacji:
2021
Wydawca:
Politechnika Wrocławska. Oficyna Wydawnicza Politechniki Wrocławskiej
Tematy:
Grodno Castle
Zagórze Śląskie
Kynsburg
Kinsberg
Kynau
iconography of 19th century
zamek Grodno
ikonografia XIX w.
Opis:
The aim of the article is to describe the image of Grodno Castle in Zagórze Śląskie in the iconography from the $18^{th}$ and $19^{th}$ centuries. The subject of the research covered graphics which were made by draftsmen and engravers at the end of the 18th and the $1^{st}$ half of the $19^{th}$ centuries, i.e., at the moment of the greatest changes in the substance of the monument. The article analyzes the state of preservation of the walls of Grodno Castle in individual representations. First of all, the analysis covered residential wings of the upper castle as well as the buildings of the lower courtyard with particular emphasis on the elements destroyed, dismantled, or rebuilt during transformations of the castle in the $19^{th}$ century. Historic, analytical, and comparative methods were applied in our research. During the analysis, it was possible to describe and indicate the non-existent fragments of the upper castle buildings. According to the author, the gable above the southern wing and the attics are particularly important. The information collected in this way may be helpful in the future when trying to reconstruct the historic roof and restore its cubature. From the 1820s to the end of the century, major changes also took place in the lower courtyard. The farm buildings were demolished, i.e. stables, a shed and a bakery building with a bathhouse. The remnants of early modern roundel bastions have been adapted to tourist needs. The described non-existent structures of the lower castle may also be helpful in the future when trying to reconstruct these buildings.
Celem artykułu było opisanie wizerunku zamku Grodno w Zagórzu Śląskim w ikonografii z XVIII i XIX w. Przedmiotem badań były grafiki wykonane przez rysowników i rytowników pod koniec XVIII i w 1. połowie XIX w., czyli w momencie największych zmian zachodzących w substancji zabytku. W artykule dokonano analizy stanu zachowania murów zamku Grodno na poszczególnych przedstawieniach. Przede wszystkim analizie zostały poddane skrzydła mieszkalne zamku górnego, a także zabudowania dziedzińca dolnego, ze szczególnym naciskiem na elementy zniszczone, rozebrane lub przemurowane w czasie przekształceń zamku zachodzących w XIX w. Podczas badań stosowano metody historyczno-analityczne i porównawcze. W trakcie analizy udało się opisać i wskazać nieistniejące już fragmenty zabudowań zamku górnego. W ocenie autora szczególnie ważny jest szczyt nad skrzydłem południowym i attyki. Zebrane w ten sposób informacje mogą być w przyszłości pomocne przy próbie rekonstrukcji historycznego dachu i przywrócenia jego kubatury. Od lat 20. XIX w. do końca stulecia duże zmiany zaszły również w obrębie dziedzińca dolnego. Rozebrane zostały zabudowania gospodarcze: stajnie, szopa i budynek piekarni z łaźnią. Na cale turystyczne zostały zaadaptowane pozostałości nowożytnych bastei. Opisane nieistniejące już zabudowania zamku dolnego mogą w przyszłości być również pomocne przy próbie rekonstrukcji tych budowli.
Źródło:
Architectus; 2021, 4 (68); 73-81
1429-7507
2084-5227
Pojawia się w:
Architectus
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
SEJMIKI POLSKIE WEDŁUG JANA PIOTRA NORBLINA. PRÓBA ROZPOZNANIA
POLISH DIETINES ACCORDING TO JEAN PIERRE NORBLIN. AN ATTEMPT AT AN ANALYSIS
Autorzy:
Kowalski, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/510196.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Biblioteka Kórnicka PAN
Tematy:
Jan Piotr Norblin (1745-1830)
Ikonografia XVIII-XIX w.
sejmiki polskie
Opis:
Jean Pierre Norblin de la Gourdaine (1745–1830), a French artist working in Poland for the princely family of Czartoryski between 1774 and 1804, made a number of drawings picturing Polish dietines. We currently know his seventeen works devoted to this topic (some of them are his own replicas) as well as three copies of his drawings (one of them is a copy of an original which remains unknown). As many as six of the above works are kept in the collections of the PAN Kórnik Library. Dietines were regional assemblies of noblemen, which, consisting of elected members of the Sejm and some other officials, decided about taxation, approved decisions of the Parliament, and existed from the 15th until the 18th centuries. They were most often held in churches. As much as their source documentation is rich, their iconography is very scant. This mainly consists of Norblin’s drawings, which for this reason are often reproduced as illustrations of historical or popular science works. They have very rarely been subject to a scientific analysis. The author shows that Norblin’s Dietines, commonly considered to be drawn on the spot, are not documentaries depicting the reality, but works which manipulate its elements. On the one hand, Norblin was an excellent observer, who could minutely reproduce the realities of the material culture of the 18th century Poland (e.g. the cut of the uniforms of the Polish army, and the kontusz robes, żupan garments, hats, and sabres used by the Polish nobility, which changed between 1774 and 1794) even in quick sketches. At the same time, however, he did not shy away from inaccuracies, which sometimes possibly originated from his fantasy, and sometimes from his biased attitude to the scenes he was drawing. For example, some of the churches shown in his drawings are combinations of various Polish structures. Later, Norblin pictured Polish dietines in Gothic churches of French origins or even utterly fantastic shapes. Additionally, the author’s analysis proves that not a single composition refers to a concrete dietine (such identifications were offered earlier), or shows a concrete moment of the proceedings. Some elements were presented in an exaggerating caricature, or even in contrast to the reality – such as the participants sitting on altars and pulpits, or debating during a Holy Mass – which has never been the case. Norblin’s attitude to the presented topic changed over time. Initially, he strove to highlight the crisis suffered by the dietine as an institution in the 18th century. It was common for the poorer nobility who had voting rights to “sell” their votes and sabres to the rich candidates for the position of a member of the Sejm, and for sessions to change into disputes and brawls. Norblin’s first drawings show mainly the latter, whereas images depicting proper sessions and the most important personalities, i.e. magnates sitting in the centre of the temples and buying votes from the noblemen, are missing. But no wonder, since the artist’s patron, Prince Czartoryski, was such a magnate. The situation changed during the reforms adopted by the Sejm between 1788 and 1792, which aimed at the strengthening of the state and the improvement of the political system, including the dietines. Both Prince Czartoryski and Norblin himself were supporters of changes. From then on, the artist focused on a more positive, republican dimension of the dietine as an institution, although he did not entirely resign from grotesque motifs. However, Russia, Prussia, and Austria soon ended the existence of the Polish-Lithuanian Commonwealth, dividing its land between themselves (1795). Dietines became a part of past history. Eleven years later (1806), on a part of the area of the ommonwealth, Napoleon Bonaparte recreated the Polish state in a rump form and provided it with a constitution, which brought dietines back, although in a very limited dimension. Norblin’s last drawings date back to this period. They were made after the artist returned to France. These last compositions contain allusions concerning Napoleon’s impact on the Polish dietine as an institution. On the other hand, they were also reminiscent of an exotic past. It was for this reason that children and grandchildren of the artist’s former patrons purchased them. In this way, the majority of Norblin’s works found their way to the Kórnik collection created by Tytus Działyński and his son Jan. Worthy of note, during the Polish uprising against Prussia between 1848 and 1849, one of the artists covered by Tytus Działyński’s patronage created a lithograph showing the meeting of the socalled Polish League, which took place at the church in Kórnik in January 1849. His composition was clearly influenced by one of Norblin’s Dietines kept at the Kórnik Library.
Źródło:
Pamiętnik Biblioteki Kórnickiej; 2017, 34; 84-148
0551-3790
Pojawia się w:
Pamiętnik Biblioteki Kórnickiej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Christ and children. Graphic inedita of Norwid
Autorzy:
Chlebowska, Edyta
Powiązania:
https://bibliotekanauki.pl/articles/17893700.pdf
Data publikacji:
2021-02-24
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Cyprian Norwid
ikonografia chrześcijańska
Jezus Chrystus
rysunek polski XIX w.
Biblia
Christian iconography
Jesus Christ
19th-century Polish drawing
Bible
Opis:
The aim of the article is to present two previously unknown drawings by Norwid, inspired by the New Testament, which have recently been added to the register of his artistic legacy. The first of the sketches Chrystus i dzieci w świątyni jerozolimskiej [Christ and Children in the Temple of Jerusalem] (1855, lost) illustrates a quotation from the Gospel of Matthew (Mt 21, 15-17). The second composition Chrystus błogosławiący dzieci [Christ Blessing Children] (1857, National Library) refers to an episode mentioned several times in the Gospels (Mt 19, 13-15; Mk 10, 13-16; Lk 18,15-17).
Źródło:
Studia Norwidiana; 2019, 37 English Version; 147-159
0860-0562
Pojawia się w:
Studia Norwidiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chrystus i dzieci. Rysunkowe inedita Norwida
Christ and children. Graphic inedita of Norwid
Autorzy:
Chlebowska, Edyta
Powiązania:
https://bibliotekanauki.pl/articles/2117464.pdf
Data publikacji:
2019-11-14
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Cyprian Norwid
ikonografia chrześcijańska
Jezus Chrystus
rysunek polski XIX w.
Biblia
Christian iconography
Jesus Christ
19th-century Polish drawing
Bible
Opis:
Artykuł ma na celu prezentację dwóch nieznanych dotychczas rysunków Norwida o tematyce zaczerpniętej z Nowego Testamentu, które wzbogaciły w ostatnim czasie rejestr spuścizny artystycznej tego twórcy. Pierwszy z omawianych szkiców to rysunek Chrystus i dzieci w świątyni jerozolimskiej (1855, zaginiony), stanowiący ilustrację cytatu z Ewangelii według św. Mateusza (Mt 21, 15-17). Druga kompozycja: Chrystus błogosławiący dzieci (1857, Biblioteka Narodowa), odnosi się do epizodu, o którym Ewangelie wspominają kilkukrotnie (Mt 19, 13-15; Mk 10, 13-16; Łk 18, 15-17).
The aim of the article is to present two previously unknown drawings by Norwid, inspired by the New Testament, which have recently been added to the register of his artistic legacy. The first of the sketches Chrystus i dzieci w świątyni jerozolimskiej [Christ and Children in the Temple of Jerusalem] (1855, lost) illustrates a quotation from the Gospel of Matthew (Mt 21, 15-17). The second composition Chrystus błogosławiący dzieci [Christ Blessing Children] (1857, National Library) refers to an episode mentioned several times in the Gospels (Mt 19, 13-15; Mk 10, 13-16; Lk 18,15-17).
Źródło:
Studia Norwidiana; 2019, 37; 145-158
0860-0562
Pojawia się w:
Studia Norwidiana
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-4 z 4

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