Temat: klasztor bernardynów w Leżajsku - Katalog OPAC zbiorów

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Tytuł:: Zapis nutowy - malowidło ścienne - w klasztorze Bernardynów w Leżajsku
NOTATION MUSICALE — PEINTURE MURALE DU COUVENT DES BERNARDINS A LEŻAJSK
Autorzy:: Cichorzewska-Drabik, Maria
Węcowski, Jan
Powiązania:: https://bibliotekanauki.pl/articles/539574.pdf
Data publikacji:: 1969
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: klasztor bernardynów w Leżajsku
zapis nutowy – malowidło ścienne
malowidło nutowe
Opis:: Au cours des trav au x de conservation dans le couvent des Bernardins à Leżajsk on a découvert une curieuse notation musicale ancienne. C’est une peinture murale rep ré sen tan t trois systèmes à 4 lignes avec les notes d ’une monodie chorale. L ’inscription musicale rep ré sen tan t le type de notation romaine (nota quadrata) a été exécutée probablement p a r le moine Andrzej Rozdowski (mort en 1696). On y trouve les schémas connus des h u it tons de psaumes (Octo Toni Psalmorum) ainsi que des exemples choisis de l ’hymnographie. L ’originalité de ce vestige historique consiste dans le fait, q u ’on y trouve plusieurs variantes intéressantes non connues du choral romain. Très caractéristiques sont également les divers genres d ’inscriptions, les remarques pratiques e t les notes mnémotechniques facilitant l ’étude et p erm e ttan t de re te n ir les variantes psalmodiques. L ’ oeuvre je tte quelque lumière su r la théorie et la p ra tiq u e d ’exécution de la monodie chorale en Pologne. La peinture est exécutée par la technique à la chaux su r enduit de mortier sable-chaux en deux couleurs: les signes musicaux — noire, les tex te s -te rre de sienne. Après la reconstruction des petites pertes, la peinture a été conservée par une émulsion aqueuse de polyacetate de vinyle.
Źródło:: Ochrona Zabytków; 1969, 2; 147-149
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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Tytuł:: KONSERWACJA XVII-WIECZNYCH MALOWIDEŁ W CELACH NOWICJACKICH KLASZTORU OJCÓW BERNARDYNÓW W LEŻAJSKU
CONSERVATION OF SEVENTEENTH-CENTURY MURALS IN THE NOVITIATE CELLS OF THE BERNARDINE MONASTERY IN LEŻAJSK
Autorzy:: Obruśnik, Andrzej Efrem
Powiązania:: https://bibliotekanauki.pl/articles/536843.pdf
Data publikacji:: 2009
Wydawca:: Narodowy Instytut Dziedzictwa
Tematy:: klasztor w Leżajsku
klasztor Ojców Bernardynów
malowidła ścienne
polichromia
fresk suchy
konserwacja malowideł
Opis:: One of the essential recent phenomena in the conservation of historical monuments in Poland was the discovery of seventeenth-century murals in the novitiate cells of the Bernardine monastery in Leżajsk. The murals embellish seven interiors with a cross vault, placed along a second- -storey corridor of the western wing of the building. For centuries they had been concealed under later layers lime, sand-lime finish, paint and plaster. The characterstic feature of the murals is great stylistic diversity. The themes of the figural depictions are religious or allegoric, accompanied by plant-geometrical inscriptions. The south wall of cell no. 1 is decorated with traces of a landscape sequence including a figure of a monk, while the west wall – with a drawing of a monk and on the window embrasure – a monogram of the Holy Family. The north wall features the Madonna and Child surrounded by angels, a town panorama and, in many places, fragments of geometric ornaments. The east wall of cell no. 2 displays horizontally arranged lines, a figure of St. Margaret and within the door embrasures – the Golgotha with a figure of Satan and an emblem of death. The south wall contains a figural and genre scene as well as a wreath with the monogram ”IHS”. The west wall features a symbol of the Name of Mary and an outline of a clock. The north wall is decorated with a text of a prayer, fragments of a wreath, a genre scene and a figure of a man. Cell no. 3 displays a predominance of geometrical ornaments. The west wall shows the contour of a Latin cross and a figure of Franciscan, the west wall – a figure of a (statuesque) woman, and the south and north walls – inscriptions and individual figural accents as well as monograms of the names of Jesus and Mary. The east wall of cell no. 4 is adorned with a painted portal, a cornice and a motif of flowers in vases. The upper part of the south wall preserved fragments of inscriptions and a radial gloria with the monogram “IHIS”. The motifs on the west wall include the Golgotha, a clock face and three rosettes. The upper part of the north wall contains a Marian emblem surrounded with a nimbus and flanked by bouquets of flowers in vases, while the lower part is composed of a scene with a monk portraying in front of a cross. In cell no. 5 angels had been painted above the door, with an allegory of death to the left of the door, a figure of monk and an owl within the door embrasures, and the Crucifixion encircled by relics of lesser scenes. The west wall preserved a depiction of the five wounds of Christ while the north wall features fragments of angels and the emblem ”IHS”. Each wall has an inscription along the ceiling arch. The east wall in cell no. 6 is covered with figural, plant-ornament motifs, inscriptions and monograms of Christ and the Mother of God. The left door embrasure is embellished with a figure of a Franciscan, while the south wall has a Marian monogram encircled with a decorative rosette, a wreath, a Latin inscription and lesser monograms. Similar elements are to be found on the west wall. The upper part of the north wall shows two monograms of Christ, a Marian monogram and a monogram of St. Joseph, while the lower one – two wall hangings, a rosette and lesser monograms and genre scenes. In cell no. 7 murals are extant on the east wall. Legible elements include the inscription ”MEMENTO MORI”, fragments of plant-geometrical ornaments and architectural motifs. The murals were executed in the al secco technique. Due to extensive gaps produced by repairs, redesigning and mechanical damage, their state of preservation is highly unsatisfactory. The examination revealed 23 technological strata and 14 chronological ones. The first stage of conservation consisted of disclosing the murals, their fixation, the removal of putties and the reinforcement of the structure of the base as well as supplementing, cleaning and introducing the uniform colour of the original plaster. In the case of certain gaps conservators applied retouching. Niches in the north walls and window embrasures were restored in all cells. The mural in cell no. 1 on the left door embrasure was lifted off the wall by means of the stacco method due to threats connected with repairconstruction undertakings. A fragment with a mural on the east wall to the left of the door in cell no. 3 was removed in a similar way and placed on the west wall. After the conservation, the group stratigraphy of the murals revealed eight technological layers. The titular murals deserve further thorough studies.
Źródło:: Ochrona Zabytków; 2009, 1; 12-37
0029-8247
Pojawia się w:: Ochrona Zabytków
Dostawca treści:: Biblioteka Nauki

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