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    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:
    Wierzę Panu Bogu jak dziecko – sakralizacja potoczności w poezji księdza Jana Twardowskiego
    „I Believe God Like a Child” – A Sacralization of Colloquial Language in the Poetry of Jan Twardowski
    Autorzy:
    Rybka, Małgorzata
    Sławek, Jolanta
    Powiązania:
    https://bibliotekanauki.pl/articles/1953852.pdf
    Data publikacji:
    2005
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    potoczność
    słownictwo wspólnoodmianowe
    językowy obraz Boga
    językowy obraz Matki Bożej
    kolokwializmy
    potoczna frazeologia
    tropika lingwistyczna
    mimetyzm formalny
    mimetyzm gatunkowy
    mimetyzm pragmatyczny
    informality
    vocabulary of common flexion
    the linguistic image of God
    the linguistic image of Our Lady
    colloquialisms
    colloquial phraseology
    linguistic tropics
    formal mimesis
    genre mimesis
    pragmatic mimesis
    Opis:
    There are many elements of colloquial speech in poetry of Jan Twardowski which belong to different subsystems of a language, such as: lexics and semantics, phraseology and syntax. A large amount of lexics includes words with antropocentric meaning which exist in every variant of language. But the major part of the lexics is colloquialisms with emotional meaning. The most often they have expressive and pragmatic function. Imitating oral language has also an impact on the structure of Jan Twardowski’s poetry. The poet uses colloquial elements for breaking language conventions and in this way he creates a new kind of metaphisical poetry. Using colloqiualisms apart from elements becoming from other variants of language causes an increase of semantic potention of this poetry. It also creates a new perspective that is not charateristic for the linguistically homogenious texts and enables this poetry to get to the larger amount of readers, including even these who don’t believe in God.
    Źródło:
    Roczniki Humanistyczne; 2005, 53, 6; 129-149
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dzieje ikony Matki Bożej Nowodworskiej w czasach nowożytnych
    The History of the Icon of Our Lady of Novy Dvor in Modern Times
    Autorzy:
    Barysenka, Volha
    Powiązania:
    https://bibliotekanauki.pl/articles/2130745.pdf
    Data publikacji:
    2022-09-29
    Wydawca:
    Akademia Ignatianum w Krakowie
    Tematy:
    ikona Matki Bożej Nowodworskiej
    cudowny wizerunek
    monaster nowodworski
    Jan Szczyrski
    Rzeczpospolita
    The icon of Our Lady of Novy Dvor
    miraculous image
    monastery in Novy Dvor
    Jan (Ivan) Szczyrski
    the PolishLithuanian Commonwealth
    Opis:
    Artykuł jest poświęcony cudownej ikonie Matki Bożej Nowodworskiej, która w XVII w. i w pierwszej połowie XVIII w. znajdowała się w prawosławnym monasterze w Nowym Dworze koło Pińska (Białoruś, obwód brzeski). Analizie poddano ikonografię ikony na podstawie dwóch rycin autorstwa Jana Szczyrskiego. Na jednej z nich obok wizerunku Marii z Dzieciątkiem widoczny jest napis w języku cerkiewnosłowiańskim, a na drugiej – łacińskim. Przytoczono opis cudownej ikony i zawieszek wotywnych zawarty w wizytacji cerkwi z roku 1719, jak również związane z nią legendy. Omówiono kwestię czasu wywiezienia ikony z Nowego Dworu.
    The article is devoted to the miraculous icon of Our Lady of Novy Dvor, which was located in the Orthodox Monastery in Novy Dvor (Belarus, Brest Oblast) from the 17th until the first half of the 18th century. It considers the iconography of the icon based on two engravings by Jan (Ivan) Szczyrski. On one of them, next to the image of Mary and Child there is an inscription in the Church-Slavonic language and on the other – in Latin. The article contains a description of the icon and votives based on an inventory of 1719. It also considers legends associated with the icon and the time when the icon was salvaged from Novy Dvor.
    Źródło:
    Perspektywy Kultury; 2022, 38, 3; 137-150
    2081-1446
    2719-8014
    Pojawia się w:
    Perspektywy Kultury
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Obraz Najświętszej Maryi Panny w pieśniach do Matki Bożej Nieustającej Pomocy
    The Picture of Our Lady in the Songs to Our Lady of God of Perpetual Succour
    Autorzy:
    Ropiak, Słąwomir
    Powiązania:
    https://bibliotekanauki.pl/articles/460427.pdf
    Data publikacji:
    2013
    Wydawca:
    Warszawska Prowincja Redemptorystów
    Tematy:
    Ikona
    Matka Boża Nieustającej Pomocy
    Obraz
    Pieśni maryjne
    pobożność ludowa
    Icon
    Our Lady of God of Perpetual Succour
    image
    songs of the Virgin Mary
    folk godliness
    die Ikone
    die Göttliche Mutter der Unaufhörlichen Hilfe
    das Bild
    Lieder zu Maria
    die Volksfrömmigkeit
    Opis:
    Service to Our Lady of God of Perpetual Succour has been known in Poland since 1869 and due to Redemptorist Fathers it is reborn at present. As a result of research on the content of the church songs to worship Our Lady of God of Perpetual Succour a theological picture of the Holy Virgin Mary functioning in folk piety characteristic for this type of service has appeared. Our Lady of God of Perpetual Succour is beautiful in her picture. Her beauty surpasses other creatures. She is both Queen Mother and Virgin with a loving face and anxious eyes. Our Lady is our Mother helping us continuously. She is a sensitive and carrying Mother, extremely successful in offering help. Her helpful hands and intercession in God cause that as a loving Mother she is an escape and hope for Her worshippers. The picture of Our Lady of God of Perpetual Succour in the songs is correct but not full. On one hand it is in accordance with the statement of the Vatican Council that Church uses in its summons to Blessed Virgin the following titles: Advocate, Succour Mediator but on the other hand this picture requires a supplement in the songs with ecclesiotypical content.
    Źródło:
    Studia Redemptorystowskie; 2013, 11; 274-293
    1731-710X
    Pojawia się w:
    Studia Redemptorystowskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Od heretyckiego mauzoleum do katolickiego sanktuarium. Nowe badania kaplicy Matki Bożej przy kolegiacie kórnickiej
    Autorzy:
    Kowalski, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/2016271.pdf
    Data publikacji:
    2020-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Stanisław Górka
    Augustyn Szeps
    Teofila z Działyńskich Szołdrska-Potulicka
    kaplica kopułowa
    Henryk Horst
    nagrobki renesansowe
    Obraz Matki Boskiej Śnieżnej
    wota
    ex-wota
    Teofila Szołdrska-Potulicka née Działyńska
    dome chapel
    renaissance tombstones
    Image of Our Lady of the Snow
    votive offerings
    ex-votive offerings
    Opis:
    Kaplica Matki Boskiej Różańcowej Kórnickiej powstała pierwotnie jako protestanckie mauzoleum, wzniesione w latach 1584–1603 z fundacji Stanisława Górki (zm. 1592), dokończone przez jego siostrzeńca Jana Czarnkowskiego, który przekazał kościół katolikom. Trzy nagrobki wykonali Henryk Horst oraz jego współpracownicy lub naśladowcy. W latach 1735–1737 dawne mauzoleum przekształcono w kaplicę maryjną, w której umieszczono słynący cudami obraz Matki Boskiej. Zachowane wota, fundowane przez szlachtę, burmistrzów, mieszczan i chłopów, pochodzą z czasów od połowy XVII wieku do lat ostatnich. Ołtarz cudownego obrazu wykonali z fundacji mieszczańskiej w latach 1777–1783 Augustyn Szeps, rzeźbiarz z Poznania i miejscowy stolarz Fryderyk Dera. Kaplica od końca XVIII wieku przyjęła też na powrót funkcję nekropoli właścicieli Kórnika – rodu Działyńskich.
    The parish in Kórnik was established in 1437 thanks to the founders and owners of the town, the Górka family. Probably at the same time the parish church, then still under construction, was consecrated and the bishop of Poznań, Uriel Górka, established a college of canons in 1495. In the mid-sixteenth century, the Górkas converted to Protestantism and gave the church to dissenters. As they then lost their right to burial in the ancestral chapel at the Poznań cathedral, the last member of the family, Stanisław Górka, built a mausoleum in the form of a domed chapel at the parish collegiate church, where his brothers Łukasz and Andrzej, and ultimately also Stanisław himself, were buried (+1592). The architectural structure of the mausoleum is still legible, despite the subsequent liquidation of the dome and changes in the shape of the window openings. In 1584, Stanisław made an agreement with Henryk Horst, a Lviv sculptorfrom the Netherlands, to make three tombstones. The differences in the form of the preserved figures do not allow us to determine whether Horst fulfilled his obligation by carrying out these works with the help of his associates, or whether he made only one tombstone, and the other two come from the beginning of the 17th century, when the chapel was completed by his Catholic nephew Jan Czarnkowski – the foundation plaque bares date 1603. The researchers’ opinions as to the authorship of the statues are divided. Czarnkowski gave the church back to his fellow believers. The tombstones have not been preserved in their entirety. The alabaster and marble figures of the dead, the alabaster bas-relief of the Allegoric Crucifixion and the crucifix and several other fragments that are located in various places of the church. Some of them were made of alabaster from a quarry near Lviv, some of alabaster from the Netherlands. The allegorical crucifixion is entirely a Dutch import. A large number of sandstone and alabaster details, probably from the architectural frames of the tombstones, is kept in the basement of the Kórnik Castle (today the Kórnik Library of the Polish Academy of Sciences). After the church was regained by Catholics, they set up the sanctuary of the miraculous image of Mary in the type of Our Lady of the Snow. Initially, the painting was located in the altar next to the pillar adjacent to the entrance to the chapel. In 1677 a rosary brotherhood was established with him. The cult of the miraculous image of the Mother of God is evidenced by the sources and a group of magnificent silver votive offerings and ex-votives from the 17th and 18th centuries, the oldest of which, given by nobility, is dated 1650. The younger votive offerings and ex-votive offerings come from the last quarter of the 17th century and later centuries. The 17th and 18th century votive offerings are signed with the names of several mayors of Kórnik and the neighboring Bnin, as well as local craftsmen and peasants from the neighboring village of Pierzchno, in which there was a branch church. It was possible toidentify a few contractors, who were goldsmiths active in the 18th century in Poznań. In the years 1735–1737, the then owner of the Kórnik estate, Teofila Szołdrska-Potulicka née Działyńska, carried out a major renovation of the church and the chapel, which was now designated as a center of Marian cult. Two of the tombstones were moved to the chancel, and a sail vault was built instead of the dome. In 1739, an altar was installed, which incorporatedthe miraculous painting, accompanied by a seven-teenth-century painting of St. Lawrence in the second storey of the retable. However, the present altar setting with the oil-painted curtain of the main painting, showing the handing over of the Holy Rosary by Mary to Saint Dominik, comes from 1777–1783. It was made by the Poznań sculptor Augustyn Szeps (Schoeps) and the local carpenter Fryderyk Dera, and it was founded by the court tailor Józef Pudelewicz and the writer of the Kórnik estates, Józef Matelski, who belonged to the local burgher families. After Teofila’s death, in the last years of the 18th century, her son commissioned the construction of a new sacristy with a founder’s box. At that time, the entire complex of the chapel, sacristy and lodge was combined into one block with a common facade, which hides its internal heterogeneity. Apart from minor changes made in the nineteenth century, the present shape of the chapel and its furnishings reflect the conditionsin the second half of the eighteenth century. From the end of the 18th century, the chapel became a necropolis for the next owners of Kórnik.
    Źródło:
    TECHNE. Seria Nowa; 2020, 5; 133-160
    2084-851X
    Pojawia się w:
    TECHNE. Seria Nowa
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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