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    Wyświetlanie 1-4 z 4
    Tytuł:
    Matka Boska Szkaplerzna w ikonografii
    Our Lady of the Scapular in the iconography
    Autorzy:
    Wasilewska, Jolanta
    Powiązania:
    https://bibliotekanauki.pl/articles/1021973.pdf
    Data publikacji:
    2016-12-20
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    szkaplerz
    Matka Boża Szkaplerzna
    obraz Maryi
    ikona
    Karmel
    scapular
    Our Lady of the Scapular
    the image of Our Lady
    icon
    the Carmel
    Opis:
    One of the many representations of the Virgin Mary in the Carmelite art is Our Lady of the Scapular. It is a specific artistic image connected with the liturgy of the altar, which is also the centre around which the life of the brotherhood revolves. The cult of Our Lady of the Scapular, promoted by the Carmelites, is one of the oldest forms of Marian devotion. Over the centuries, it has achieved great popularity in all social circles. The images of Our Lady of the Scapular are represented in either Mary’s bust or her entire figure, sitting or standing, usually with the Child in her arms or on her lap, holding a sceptre in one hand, in the second a scapular or a scapular in both hands; sometimes Infant Jesus holds a scapular. Scapular images also alluded to the Immaculate Conception. If the attribute of the scapular was not painted originally, it was added later or two pieces of cloth were attached to the image (sculptures). When miraculous paintings were covered with a silver or gold dress, scapulars also appeared on a flap piece of metal. The accepted representations of Our Lady of the Scapular were used as ornaments for feretra and banners connected with brotherhoods’ celebrations. Similar images can be found in books, icons and sculptures devoted to the practice of the brotherhood of the scapular.
    Źródło:
    Archiwa, Biblioteki i Muzea Kościelne; 2016, 106; 315-331
    0518-3766
    2545-3491
    Pojawia się w:
    Archiwa, Biblioteki i Muzea Kościelne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Liturgia błogosławieństwa obrazów Jezusa Chrystusa i Najświętszej Maryi Panny
    Liturgy of Blessing of Pictures Depicting Jesus Christ and Blessed Virgin Mary
    Autorzy:
    Krakowiak, Czesław
    Powiązania:
    https://bibliotekanauki.pl/articles/2037220.pdf
    Data publikacji:
    2017
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    błogosławieństwo
    obraz Jezusa Chrystusa
    obraz Najświętszej Maryi Panny
    Msza święta
    Nieszpory
    blessing
    image
    picture
    painting
    Jesus Christ
    Blessed Virgin Mary
    Holy Mass
    Vespers
    Opis:
    Pobożność wiernych nie ogranicza się jedynie do uczestnictwa w liturgii Mszy Świętej, sakramentów i Liturgii godzin. Ważną rolę w pobożności wspólnotowej i indywidualnej, odrywają także obrazy Jezusa Chrystusa i Jego Matki, Najświętszej Maryi Panny. Zanim staną się przedmiotem kultu, owe święte wizerunki błogosławi się według określonej przez Kościół formy obrzędowej. Przez błogosławieństwo obrazy nie otrzymują od Boga specjalnej mocy, ale stają się znakiem, który kieruje myśli i serca ku Bogu. Obrazy Pana Jezusa i Matki Bożej błogosławi się poza Mszą świętą lub w czasie Nieszporów. Szafarzem błogosławieństwa obrazów jest prezbiter lub biskup. Modlitwę błogosławieństwa poprzedza liturgia słowa, która zawiera czytanie Pisma Świętego, homilię i modlitwę powszechną. W modlitwach błogosławieństwa obrazów Jezusa Chrystusa i Najświętszej Maryi Panny Kościół prosi Boga, aby modlitwa przed nimi prowadził do postępowania „śladami Pana”, czyli naśladowali Chrystusa, a wpatrując się w przykład Najświętszej Maryi Panny dzięki Jej wstawiennictwu dążyli do doskonałości.
    Piety of the faithful is not restricted only to participation in the Sunday Mass, Sacraments and Liturgy of the Hours. An important role for communal and individual piety is fulfilled by the images of Jesus Christ and His Mother, Blessed Virgin Mary. Before they become cult objects, these holy likenesses are blessed in accordance with a ritual formula prescribed by the Church. Through a blessing, such pictures do not receive a special power from God, but they become a sign which directs our thoughts and hearts towards God. Paintings depicting Jesus and Mother of God are blessed outside Mass or during Vespers. A presbyter or bishop can administer the blessing of paintings. The blessing prayer is preceded by the Liturgy of the Word, which includes a reading from the Bible, homily and the Universal Prayer. When pictures of Jesus Christ and Blessed Virgin Mary are being blessed, the Church asks God that a prayers before the pictures lead the faithful to follow in “Lord’s footsteps,” that is imitate Christ, and that by looking at the example set by Blessed Virgin Mary the faithful aspire to perfection thanks to Her intercession.
    Źródło:
    Roczniki Teologiczne; 2017, 64, 8; 31-41
    2353-7272
    Pojawia się w:
    Roczniki Teologiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Zielony Drogowskazie, na rozstajach niepewności czekająca…” – o nazwaniach Matki Bożej w „125 litaniach maryjnych” (w oprac. ks. Janusza Kumali MIC). Cz. I. Imię Matki Bożej i formacje odimienne
    „O, Green Beacon, at the crossroads of hesitation awaiting…” On the denominations of Mother of God in “125 litanies of Mary” (ed. J. Kumala) Part I. The name of Mother of God and denominal forms
    Autorzy:
    Rutkowska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/497023.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia im. Jakuba z Paradyża w Gorzowie Wielkopolskim
    Tematy:
    nazwania Maryi
    językowy obraz świata
    leksyka
    Denominations of Mary
    a linguistic image of the world
    lexis
    Opis:
    Z wezwań litanijnych i przywoływanych w nich Maryjnych imion wybrzmiewa podziw wobec wyjątkowej roli Matki Bożej w historii zbawienia oraz wdzięczność za Jej współuczestnictwo w życiu i misji Chrystusa. Różnorodność wezwań – jak zaznacza autor zbioru – ukazuje duchowe piękno Maryi, relację do Trójcy Świętej i do Kościoła, przede wszystkim zaś kreuje Maryję jako bliską każdemu człowiekowi i wszelkiemu stworzeniu pośredniczkę, opiekunkę, wstawienniczkę i pocieszycielkę oraz jako wzorzec kobiety i matki. W analizowanym zbiorze litanii odnajdujemy łącznie 655 nazwań Matki Bożej w 873 użyciach, do których zaliczamy: imię Maryja, formy Maria oraz Madonna oraz konstrukcje, których komponentem są wyżej wymienione imiona.
    Invocations in litanies and Mary’s names called upon therein resound with an admiration of the exceptional role of Mother of God in the history of salvation and gratitude for her co‑participation in the life and mission of Christ. The diversity of invocations – as it is pointed out by the author of the collection – reveals Mary’s spiritual beauty, the relationship with the Holy Trinity and the Church, but most of all it creates Mary as being close to each human and each living creature, a guardian, who has intercession for our salvation, comforter and as a paragon of woman and mother. This collection of litanies presents a total of 655 invocations of Mother of God in 873 uses which comprise: the name of Mary, forms of Mary and Madonna as well as structures that have hese names as their constituents.
    Źródło:
    Język. Religia. Tożsamość; 2018, 2(18); 107-133
    2083-8964
    2544-1701
    Pojawia się w:
    Język. Religia. Tożsamość
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz Matki Bożej z kościoła pod wezwaniem Wniebowzięcia Najświętszej Maryi Panny w Łodzi
    The painting of Our Lady from the church dedicated to the Assumption of the Holy Virgin Mary in Łódź
    Autorzy:
    Leszner, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/1954053.pdf
    Data publikacji:
    2004
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Łódź
    kościół pod wezwaniem Najświętszej Maryi Panny w Łodzi
    obraz Matki Bożej z Łodzi
    Niepokalane Poczęcie
    Zwiastowanie
    Wniebowzięcie
    dogmat
    ikonografia przedstawień maryjnych
    church devoted to the Assumption of the Holy Virgin Mary in Łódź
    painting of Our Lady in Łódź
    Immaculate Conception
    Annunciation
    Assumption
    dogma
    iconography of presentations of Mary
    Opis:
    Not everybody realizes that besides architectural monuments built in the previous century Łódź also owns a wonderful example of modern painting. Hidden in the neo-Gothic church dedicated to the Assumption of the Holy Virgin Mary the picture of Our Lady is one of the oldest artistic works in the town. In its long history the painting was given various titles: starting from the Dolorous or Glorious, through the Immaculate, Assumed, Merciful, to even being taken by some people for a copy of the picture of Our Lady of Ostra Brama. However, it is most often referred to as Our Lady of Bałuty, or just Our Lady of Łódź. In the work the history of the church and of the painting were followed, with paying special attention to separating legends from facts. Attempts were made to prove that the opinion about the painting in the Łódź church being a copy of the picture from Ostra Brama is unjustified; it is only the same iconographic type. It represents painting that is relatively rarely encountered in art. The bust of Mary without the Infant, with her hands crossed on the breast, expresses several truths about the Virgin. It is a sort of synthesis of three iconographic motifs: the Immaculate Conception, the Annunciation and the Assumption. The way to announcing the dogmas of the Immaculate Conception and the Assumption was especially turbulent and the process lasted from the beginnings of Christianity. Undoubtedly these truths are linked with each other. By the Assumption we also worship Mary's Immaculate Conception. Artists created paintings and sculptures presenting mariological truths. However, the iconography of these dogmas was similar, or even identical. This resulted from the very fact that they co-existed, as well as from their relatively late announcement by the Pope. The picture of the Immaculate Virgin was often changed and the moment of the Assumption was emphasized. The element that connected these two dogmas was the scene of the Annunciation, in which Mary's fiat united the Immaculate Conception, the virginal maternity and the divine Assumption of God's Mother. This is why the way of presenting Mary in the scene of the Annunciation is analogical to the pictures of the Immaculate Conception or the Assumption, in which Mary's gesture is significant: it is touching the heart or joining her hands in prayer. It is also important that Mary is presented without the Infant, owing to which the painting joins the group of scenes in which the artists had to show a composition of God's Mother without Jesus, but in spiritual communion with God the Father. The painting of God's Mother in the church dedicated to the Assumption of the Holy Virgin Mary in Łódź closely connects the Immaculate Conception to the Assumption, and also, owing to the specific position of the hands – to the Annunciation. The very fact that in Łódź since 1364 there has been a parish with such a dedication as well as the connection between these dogmas had effect on formation of such an image of God's Mother. Probably this iconographic type is derived from the Netherlandish graphic arts of the 16th century, that gradually passed to Eastern Europe. This is the way that the model could have reached Poland. The picture of God's Mother in Łódź is not a copy of the painting from Ostra Brama. They both represent a similar iconographic type, and what follows from it, they are presented in a similar arrangement. However, there are too many elements that are different to say it is a copy. It is not known who was the painter and from what school he came. He undoubtedly knew the works of Netherlandish and Italian masters, which is proven by the way Madonna was painted. There are no documents speaking about conservation of the painting, which makes it impossible to date the work precisely. It is possible that it was founded by Paweł Łódź Kubowicz in 1639, as in 1718 it was already considered miraculous.
    Źródło:
    Roczniki Humanistyczne; 2004, 52, 4; 345-366
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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