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Wyświetlanie 1-7 z 7
Tytuł:
In Gold and Silver: Panoramas of Gdańsk on Coins and Medals in the 17th and 18th centuries
Autorzy:
Kizik, Edmund
Chabros, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1070558.pdf
Data publikacji:
2018-12-31
Wydawca:
Towarzystwo Naukowe w Toruniu
Tematy:
Gdańsk
medallist
political iconography
symbolism of the city panorama
17th–18th centuries
Opis:
Despite the lush development of painting in late medieval Gdańsk (the second half of the 15th – the first half of the 16th) no realistic depictions of the city or its part have survived. The first realistic panoramic view of Gdańsk was made relatively late, just before 1573. It was published in Cologne in 1575 and again in the following year in the atlas by Georg Braun and Frans Hogenberg, Civitates orbis terrarum. The novelty of Braun and Hogenberg found many followers in Gdańsk, who from the 1590s until the third decade of the 17th c. created their own original panoramic views, characterized by a much greater accuracy and faithfulness to the details of their city. The veduta of Gdańsk (221 x 35.3 cm) made in 1592/1593 by Anton Möller the Elder, was followed in 1599 by a painting version, nowadays lost, which was a gift for Venice. In 1617 Aegidius Dickmann created a panoramic view of Gdańsk with an album of 14 views of streets and districts. This image in a miniaturized form finally found its way to commemorative medals, an innovation in this part of Europe. It appeared for the first time in a 30-ducat donatywa, or a coin-medal commemorating King Sigismund III Vasa, made by Samuel Amman and Herman Han in 1617. This panorama shows a harbour city belted with powerful fortifications, with its characteristic churches, and ships on the horizon; the king is portrayed on the reverse. Apart from making the city famous, the coins with Gdańsk vedutas emphasized that in the political alliance with the King of Poland, this mighty city is equal. It is in these coins that Gdańsk paid an annual tax amounting to 2,000 Hungarian florins due to the Polish kings. The panoramic view of Gdańsk was repeatedly recorded on occasional medals and gift coins. There are at least 32 medals of this type, out of which as many as 27 were minted in the 17th c.; the remaining 5 come from 18th c. Most commonly, these were golden donatywas, sometimes commemorative historical medals minted in gold and silver, e.g. to commemorate the peace concluded in Oliwa in 1660. The last medals with the views of Gdańsk date back to 1754 and were minted to commemorate the 300th anniversary of incorporation of Prussia to the Crown, and to 1760 which was the date of the 100th anniversary of the peace of Oliwa. Other great cities of Royal Prussia only sporadically ordered such works. The gold and silver medals of Gdańsk with the city’s panorama were complemented by the panegyric image of a proud, mighty city invoked by writers – “laus urbis” or “in honorem Magistratus Gedanensis”. In the 17th c. the City Council generously rewarded such writers. In the 18th c. a weakening city seemed to be spending less money on propaganda purposes. After the occupation of Gdańsk by Prussia in 1793 these kinds of medals were not minted anymore.
Źródło:
Zapiski Historyczne; 2018, 83, 4; 91-114
0044-1791
2449-8637
Pojawia się w:
Zapiski Historyczne
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:
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:
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:
Політична іконографія vs потестарна імагологія: евристичний потенціал, методологічні рамки та дослідницькі центри
Political Iconography vs Potestary Imagology: Research Centers, Heuristic Potential and Methodological Frameworks
Autorzy:
Левченко, І.К.
Powiązania:
https://bibliotekanauki.pl/articles/22682139.pdf
Data publikacji:
2022-10-27
Wydawca:
National Academy of Sciences of Ukraine. Institute of World History
Tematy:
політична іконографія
потестарна імагологія
візуальні студії
Абі Варбург
Мартін Варнке
Міхаіл Бойцов
зображення
образ
political iconography
poster imagology
visual studies
Abi Warburg
Martin Warnke
Mikhail Boytsov
image
Opis:
Метою статті є дослідження евристичного потенціалу, методологічних рамок та дослідницького спрямування двох (суб)дисциплін – політичної іконографії та потестарної імагології. Наукова новизна полягає в розкритті недостатньо вивчених історичною наукою аспектів розвитку політичної іконографії та постерстарної імагології, зокрема на прикладі українській історіографії на сучасному етапі (1991–2022).  Методологія дослідження передбачає дотримання принципів науковості, розвитку, системності, історизму та історіографічної традиції. Методами дослідження є загальнонаукові методи аналізу, синтезу, узагальнення та дедукції, а також історичні методи, зокрема історико-генетичний, історико-системний та метод джерелознавчої критики. Джерельну базу дослідження складають тексти Мартіна Варнке, Абі Варбурга, Алоїза Ріґля, Міхаіла Бойцова, у яких частково чи повно обґрунтовано термінологічний апарат історії мистецтв, візуальної історії, політичної іконографії та потестарної імагології. З’ясовано, що дослідження в рамках політичної іконографії в Україні майже відсутні, проте активного розвитку набули дослідження із застосуванням методів імагології, потестарної імагології, історичної імагології. Потестарна імагологія, запропонована М. Бойцовим, продовжує дослідження з філології, компаративної лінгвістики та політичної історії. Проблематика потестарної імагології охоплює перш за все проблеми іншування (алієнації), механізмів створення та функціонування стереотипів, образів влади, впливів образів на суспільство. Політична іконографія, запропонована М. Варнке на поч. 1990-х рр., є логічним продовженням варбургової іконографії, історії мистецтв та візуальних студій. Визнаючи головним політичним центром не наративні, а візуальні джерела, дослідники політичної іконографії аналізують комунікативний простір, у якому образ (нім. bild) є самостійним актором, що реалізовує власні політики. Завдяки образам відбувається семіологізація простору та перетворення його на політичний простір.
The purpose of the article is to study the heuristic potential, methodological framework and research direction of two (sub)disciplines – political iconography and post-war imagology. The scientific novelty consists in revealing aspects of the development of political iconography and post-modern imagology that have not been sufficiently studied by historical science, in particular on the example of Ukrainian historiography at the current stage (1991–2022). The research methodology involves adherence to the principles of scientificity, development, systematicity, historicism, and historiographical tradition. Research methods are general scientific methods of analysis, synthesis, generalization, and deduction, as well as historical methods, in particular historical-genetic, historical-systemic, and the method of source criticism. The source base of the research consists of the texts of Martin Warnke, Abi Warburg, Alois Riegl, Mikhail Boytsov, in which the terminological apparatus of art history, visual history, political iconography, and post-historical imagology is partially or fully substantiated. It has been found that there are almost no studies in the framework of political iconography in Ukraine, but studies using the methods of imagology, post-historical imagology, and historical imagology have gained active development. Post-test imagology, proposed by M. Boytsov, continues research in philology, comparative linguistics, and political history. The problems of post-war imagology cover, first of all, the problems of alienation, the mechanisms of creating and functioning of stereotypes, images of power, and the effects of images on society. Political iconography proposed by M. Warnke at the beginning 1990s, is a logical continuation of Warburg iconography, art history and visual studies. Recognizing that the main political center is not narrative, but visual sources, researchers of political iconography analyze the communicative space in which the image (German: bild) is an independent actor that implements its own policies. Thanks to the images, the space is semiologized and transformed into a political space.
Źródło:
Проблеми всесвітньої історії; 2022, 19; 176-188
2707-6776
Pojawia się w:
Проблеми всесвітньої історії
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Il panegiristico ‘arco trionfale’ di Jan Zamoyski quale immagine speculare del modello classico del ‘vir bonus’
Panegyrical “arco trionfale” of Jan Zamoyski as an Artistic Mirror of a Classical Model of “vir bonus”
Autorzy:
Kucharczyk, Olga
Powiązania:
https://bibliotekanauki.pl/articles/37503642.pdf
Data publikacji:
2023
Wydawca:
Akademia Ignatianum w Krakowie
Tematy:
Zamoyski Jan
panegyrical iconography
civic and political virtue
moralistic allegory
citizen
moralism
antiquity
philosophy
Opis:
L’“Arco trionfale” inciso da Giacomo Lauro intorno al 1601–1603 è forse l’incisione dell’epoca più distinguibile associata a Jan Zamoyski (1542–1605), che presenta un’immagine del Cancelliere e Gran Etmano della Corona. Riferimenti all’incisione sono apparsi in quasi tutti gli studi dedicati all’arte moderna polacca, nei testi sul mecenatismo artistico del grande Cancelliere e negli studi sull’arte nei contesti della politica, della propaganda e della glorificazione. Nella maggior parte dei casi, un’analisi del concetto è stata superficiale, benché la lastra di rame presenti profondi contenuti, fino ad oggi tuttavia rimasti ignorati. Il suo programma iconografico estremamente erudito dovrebbe essere interpretato attraverso il prisma della cultura antica e della filosofia morale del ciceronismo, dell’aristotelismo o dell’interpretazione didattica e morale di Platone ed Isocrate. Nell’incisione possiamo trovare numerosi motivi che si riferiscono all’educazione morale civica basata sulla regola della virtù stoica, la necessità di esercitarsi nel servizio e nella difesa della patria, la dottrina della “guerra giusta” così come l’antico topos del pax et bellum. Sono inoltre evidenti nell’immagine gli elementi dell’etica, della scienza dello stato e della tradizione polacca della teoria giuridica. L’arco trionfale di Jan Zamoyski costituisce uno specchio parenetico della sua vita e delle sue virtù come “Cittadino esemplare” ed “ideale servo della stato”, semplicemente vir bonus.
“Arco trionfale” engraved by Giacomo Lauro in circa 1601–1603 is perhaps the most distinguishable period print associated with Jan Zamoyski (1542–1605), presenting an image of the Chancellor and Grand Hetman of the Crown. References to the print appeared in almost all studies dedicated to Polish modern art, in texts on the great Chancellor’s artistic patronage and in studies on art in the contexts of politics, propaganda and glorification. More often than not, an analysis of the concept was superficial, although the copperplate presents profound, though hitherto unrecognised content. Its highly erudite iconographic programme ought to be interpreted through the prism of ancient culture and the moral philosophy of Ciceronianism, Aristotelianism or the didactic and moral interpretation of Plato and Isocrates. We find in the print numerous motifs referring to moral civic education based on the rule of Stoic virtue, the need to exercise oneself in the service and defence of one’s homeland, the doctrine of “just war” as well as the ancient topos of pax et bellum. Readily apparent in the image, there are also elements of ethics, the science of the state and the Polish tradition of legal theory. The triumphal arch of Jan Zamoyski constitutes a parenetic mirror of his life and virtues as an “exemplary citizen” and an “ideal civil servant,” simply vir bonus.
Źródło:
Perspektywy Kultury; 2023, 41, 2/1; 105-128
2081-1446
2719-8014
Pojawia się w:
Perspektywy Kultury
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Plakat polityczny w chorwackiej ikonosferze
Political Poster in the Croatian Iconosphere
Autorzy:
Darasz, Zdzisław
Powiązania:
https://bibliotekanauki.pl/articles/636088.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
art of margins
political poster
Croatian iconography
visual culture
anthropology of picture
montage of pictures
Opis:
The titular problem of Croatian political poster, regarded as an art of margins, is treated by the author, according to the order of chapters, in four main aspects: historical, aesthetic, socio-political, and cultural one. The development of poster art, correlated with national history in 19th and 20th century Croatia, is presented in the chapter “In the vapour of history”. In the next chapters some particular sections of the searching field are described. These sections are as follows: technique of montage of the pictures, modern iconoclastic practices, chaos vs. order, and the place (“From margin to centre”).
Źródło:
Poznańskie Studia Slawistyczne; 2020, 18; 283-289
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-7 z 7

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