Wyniki wyszukiwania - Biblioteka Nauki

1

THE DEVELOPMENT OF THE SIGN OF THE ANCIENT EGYPTIAN GODDESS SESHAT DOWN TO THE END OF THE OLD KINGDOM: ANALYSIS AND INTERPRETATION. PART THREE

100%

Magdolen D.

Asian and African Studies

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2006

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tom 15

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nr 1

55 - 72

EN

Two parts of this study published in the previous volumes of this journal contain a corpus of the signs of the goddess Seshat consisting of the basic description and characteristics of this sign. More than eighty references were found in the iconographic and epigraphic records dated to the Archaic and Old Kingdom Periods. Part Three published in this volume encloses this study, and presents the results of the investigation including an attempt to interpret the sign of the goddess Seshat.

2

Hudebníci v průvodech olomouckých biskupů

100%

Sehnal J.

Hudební věda (Musicology)

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2007

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tom 44

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nr 2

153-166

EN

Based on depictions and chronicle reports, the work focuses on participation of the horn-blowers and timpanists in the processions organised upon the occassion of bishops' entries to Olomouc between 1664-1748. Six of bishop's horn-blowers rode horses or went on foot near the bishop dressed up in beautiful costumes. Units of attending townsfolk, and municipal guards were acompanied only by drummers, or, eventually, by a piper playing the transverse flute. Town's musicians played wind instruments from the tower gallery. The ceremony went on with ringing bells, mortar cannonade, and volley fire from the cannons and muskets. Such processions were typical for the bishops of the Baroque period. After mid-eighteenth century they lost their pompous fashion or were not taking place through danger by war.

3

Photography as a Historical Source, Selected Problems

100%

Barzycka A.

Historyka studia metodologiczne

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2006

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tom 36

105-117

EN

The article discusses the question of photography as a historical source, in particular understood as an iconographic source. It touches the problem of historical iconography as well as unwritten sources in history. Research on photographs aims to understand them as a specific type of iconographic sources, or indeed sources of a new type defined as visual sources. Theoretical refections on the nature of photography (according to J. Berger, R. Barthes, M. Michalowska), semiotic theory (according to Ch. S. Peirce), the concept of representation and presentation were used. Photographs are presented from various points of view.

4

MARIAN MOTIFS IN TRADITIONAL GENRES: LEGEND SONGS AND PAINTINGS ON GLASS (Marianske motivy v tradicnych zanroch: Legendicke piesne a malba na skle)

80%

Urbancova H.

Slovenský národopis (Slovak Ethnology)

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2008

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tom 56

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nr 4

399-418

EN

The Marian motifs in legend songs and in paintings on glass result from the complex relations established by the model, actual style context, subjective experience and expressive means of the medium. They are associated with the active reception of the Marian cult in a traditional environment as well as with the reflection of biblical and apocryphal themes. They are integral part of narratives (legends-tales) and are also formed into iconographic types (pictorial representations). Besides a narrow circle of parallel themes and pictorial types they are only complementary in both genres (media); complementation is also the way how to render them. They are components of folk belief as the two modes of formulating religious images.

5

CONTRIBUTO ALL’ICONOGRAFIA DI ANTINOOS

80%

PINTAUDI R.

Eirene. Studia Graeca et Latina

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2012

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tom 48

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nr 1-2

37-41

EN

First edition of a drawing by Dominik Kindermann (1739–1817), representing the statue of Osiris – Antinoos in the Museo Gregoriano Egizio (Vatican). The original is kept in The Accademia Fiorentina di Papirologia, Florence, Italy now.

6

CURIOUS COLLECTION OF CURIOUS DEATHS IN THEATRUM MORTIS HUMANAE TRIPARTITUM BY JOHANN WEICHARD VALVASOR: CONTEXT, SOURCES, INVENTION

80%

Germ T.

ARS

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2015

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tom 48

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nr 1

49 – 63

EN

Theatrum mortis humanae tripartitum (1682) by the Carniolan polymath Johann Weichard Valvasor (1641–1693) can be classified under the genre of allegorical moral-didactic poetry, very popular in the Baroque age. The chapter Varia genera mortis, where 35 death cases are presented in short epigrams by Valvasor and illustrated with engravings made after the original drawings of Slovenian draughtsman Johann Koch, has so far not been an issue of scholarly research, despite its interesting iconography. The article focuses on the iconography of the Varia genera mortis, its artistic context and its genesis. For the first time the direct literary sources of author’s inspiration are identified and his relation to the tradition of the Renaissance and Baroque genre of picturesque death stories established.

7

NOTES ON THE ICONOGRAPHY OF ATTACKING LIONS IN ANCIENT GREECE AND CYPRUS

80%

FLOURENTZOS P.

Eirene. Studia Graeca et Latina

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2012

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tom 48

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nr 1-2

42-48

EN

The study focuses on several examples of representations of the theme of attacking lions and its importance both in Cyprus and Greece. It can be observed on artefacts of bronze, pottery, stone etc. It dates mainly in the Cypro-Classical period when this particular theme became popular, often adopted by Phoenician rulers of the ancient town of Kition on the island of Cyprus.

8

12.–13. gadsimta bronzas bļodas ar gravējumiem

80%

Grosmane E.

Makslas Vesture un Teorija

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2019

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tom 23

15-25

PL

The rich material of bronze items produced by local masters on the territory of medieval Latvia testifies to a high level of metalworking skills. The diversity of artefacts increased during this period, as imported objects were often used as samples for local imitations. Bronze bowls are part of the applied arts that flourished in the course of these two centuries; they are common in various European regions and have caught the interest of art historians not so much due to their form but because of the iconography of their engravings. All bowls are made of tin bronze. Their forms are quite similar. They consist of a slightly thickened round base from which thinly forged sidewalls rise up to 5–6 cm, and an upper edge about 1 cm wide. The diameter of bowls is about 20 to 30 cm. These vessels could be either decorated or plain but their classification is based on the content of the interior engravings. Bowls are largely held in the collections of the Riga History and Navigation Museum and the Latvian National History Museum; in addition, two fragments of bronze bowls from Latvia are in the Museum für Vor- und Frühgeschichte Berlin. Riga is the place where the most impressive and luxurious bowls have been discovered – precious items imported from Europe, featuring high-quality execution of the vessel and its décor. These artefacts could have ended up in Riga in the late 12th or early 13th century when the most active contacts formed with the potential centres of their origin – Lower Saxony and North Rhine-Westphalia. The total number of bronze bowls found in Latvia so far is eight to nine (some fragments are hard to define): five of them are engraved, four appear to lack engraving, although such a conclusion has emerged due to their fragmentary condition. The bowls are similar with regard to their form but they do not make up a homogenous group. Two bowls found in Riga stand out for their narrative message: the so-called superbia with surrounding vices and the procession of knights; both are thought to be imported. These items belong to high-quality pieces in the context of Latvia but also reflect characteristics typical of mass production.

9

LOST IN TRANSLATION. THE ICONOGRAPHIC TRADITION AND VISUAL TRANSFORMATION OF AN ANTIQUE FABLE

80%

Konečný L.

ARS

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2011

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tom 44

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nr 2

215-221

EN

The article concentrates on how the motif of the antique fable “Heracles and the Ox-Driver” transformed in a series of artefacts by Giovanni Castrucci, Lodovico Pozzoserrato and Pirro Ligorio from the 16th and 17th centuries. It demonstrates how at times the courses and interpretations of iconographic themes can be complex and difficult to trace, and how easily one can be swayed to conclude that a case is so simple and straightforward that there is in fact nothing to resolve.

10

Figurae absurdae et inelegantes? Ikonografia medalionów all’antica w drugim wydaniu Kroniki wszytkiego świata Marcina Bielskiego (1554)

80%

Jaworski P.

Rocznik Biblioteki Narodowej

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2012

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tom 43

87-111

EN

As early as three years after the first release of Marcin Bielski’s Kroniki wszytkiego świata by Helena Unglerowa press, a new edition was prepared at Hieronim Szarfenberg’s press in Cracow. It was completed by the author and was given a new graphic design. Similarly to the editio princeps, there were all’antica medallions presenting monarchs, which were used to illustrate the lives of biblical figures. Later, thanks to Hieronim’s widow, Elżbieta Fetrówna, all of these were added to the press run by Mateusz Siebeneicher (whom she married in 1557), and were used again in a third edition, released by this press in 1564. The medallions made for Hieronim Szarfenberg, in which the drawing of a person was placed in a double circle (or sometimes in three or more), were set in relief against a white background by black contour lines and an inner drawing. They consisted of 33 profiles, cut by a Cracovian wood engraver who was inspired by illustrations in Huttich’s Imperatorum et caesarum vitae, released by Balthazar Amoullet’s press in Lyon in 1550. The iconography of Amoullet’s woodcuts – being in fact another version of all’antica medallions in the style of Fulvio – was either authentically based, or just stylized on real coins. Similarly to the all’antica medallions in Unglerowa’s woodcuts, the second edition of Kroniki wszytkiego świata did not have figure identifications in the medallions, thus making them reusable. The busts placed in Bielski’s work were based on medallions from Lyon, which were not considered to be of a high artistic value, and were made carelessly by a Cracovian copyist. Moreover, some of them were changed so drastically that without comparing them with Amoullet’s original woodcuts, it is very hard to find a connection with antique coin iconography. We might conclude that the decision made by Szarfenberg to use woodcuts from Amoullet’s press as a graphic model in illustrating the second edition of Marcin Bielski’s Kroniki wszytkiego świata was dictated rather by the accessibility of the Lyon books in Cracow, than by a real knowledge of modern typographical techniques used in illustrating chronicles and biographies of the Caesars.

11

PRÍCESTNÉ STĹPY NA ORAVE OD ZAČIATKU 18. PO ZAČIATOK 20. STOROČIA

80%

Čajka M.

Studia Historica Nitriensia

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2019

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tom 23

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nr 1

67 – 90

EN

The contribution deals with the columns by the roads with religious figural compositions in Orava region. We assess the preconditions for the origin and development of their creation, especially the strong counter-reform process in the area. The basis of the study is the extensive mapping of objects in the field, the determination of their basic formal, structural and stylistic features, more accurate localization as well as the processing of their iconographic program. From the time point of view, we focus on the period starting 1705, when the oldest column in Trstená was built, until 1917, when the newest column in Horná Zubrica is dated. We have divided this framework definition into three shorter stages, in which we describe individual realizations and evaluate their characteristic features.

12

MOJE DOTYKY A PRÁCA S IKONOGRAFIOU

80%

Kovačevičová S.

Etnologické rozpravy (Ethnological Disputes)

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2006

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tom 13

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nr 1

78-81

EN

The article presents authoress' personal view on the importance of iconography in ethnology. It deals with the starting points of ethnographical analysis of visual sources, its results and its reception in the contemporary scientific context. At the same time she points out that the iconographical document should be examined within the cultural-historical context of its origin and functions (i.e. the overlapping of visual folk art and visual art of different styles). In the conclusion the authoress deals with the contemporary perspectives of the use of the iconic sources.

13

“HIC JASON NOVUS INCOLA JASOVIANAE PHOEBUS ADOREAE“ – EINIGE BEMERKUNGEN ZUM IKONOGRAPHISCHEN PROGRAMM DER BIBLIOTHEK VON JASOV

80%

Balážová B.

ARS

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2014

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tom 47

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nr 1

70 – 83

EN

The Jasov monastery library, which originally contained more than 80,000 volumes, represents the only partially preserved baroque monument of this type today in Slovakia. Although the current library furnishings including racks and metal gallery frames dates back to the end of the 19th century, the original library hall with vault fresco paintings, completed in 1776 by the painter Johann Lucas Kracker (1719-1779), has been preserved. The vault fresco of the monastic library was completed on July 2, 1776, ten years after the sanctification of the Premonstratensian Church of St. John the Baptist. The fundamental iconographic framework of the Jasov library frescoes was based on the vault frescoes of the main hall (Prunksaal) of the imperial library in Vienna (Hofbibliothek) realized in the years 1726-1730 by Daniel Gran (1694-1757), following the libretto by Conrad Adolph von Albrecht, and celebrates mainly Andreas Anton Sauberer, the first abbot of Jasov.

14

Psałterz Floriański z punktu widzenia historyka sztuki

80%

Śnieżynska-Stolot E.

Rocznik Biblioteki Narodowej

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2011

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tom 42

87-92

EN

This article describes the first part of the Sankt Florian Psalter, dated in the history of art at the end of the fourteenth century. The floral borders and colouring of the manuscript make a distant reference to the Czech and Silesian illuminations from the end of the fourteenth century. The artistic level, both in terms of the style and technique of the illuminator, is amateurish and differs from the manuscripts illuminated at that area, as well as from the few examples of illuminations in Krakow. However, because of the picture, which are astrological images that were widespread in Europe, the Psalter is a unique work in Poland. The coat of arms of the Hungarian Anjou (fol. 50v, 53v), the letters mm, and the crest on the fol. 53v (the Polish eagle with a horseshoe in its beak) clearly link this manuscript with queen Jadwiga, wife of Wladyslaw Jagiello. Work on the Psalter was abruptly halted due to the unexpected death of the young queen on July 17, 1399, and was completed for another owner. The principal maker of the Psalter, who transcribed the text, authored the large and small initials, picture and figural fillings between the lines, was probably Bartlomiej from Jaslo, who also copied liturgical books for the queen. Another maker working for the queen was a miniaturist named Peter, who painted the figures of angels holding the coats of arms, the coats of arms alone, and the letters mm. The Sankt Florian Psalter is one of the many pious undertakings of queen Jadwiga, whose personality was shaped by the devotio moderna trend, based on combining vita activa et contemplativa. The letters mm, which occur on the monuments of queen Jadwiga's foundation, served a mnemonic and apotropaic function - as did the letters of different alphabets in the Middle Ages. They encoded the queen's life motto (2 Timothy 2,16 and 3,12, John 15,20, Phil 3,20), and could also serve as a talisman, necessitated by the infertility of the queen.

15

VANISHED RENAISSANCE ILLUMINATIONS

80%

Sarovcova M.

Umění (Art)

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2007

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tom 55

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nr 5

374-386

EN

This article is devoted to a pair of late 18th-century archival sources - the earlier one, dated 1781, is by Ambroz Strahl and the later one, dated 1785 and titled 'Materialia ad historiam urbis Brodae Bohem(icalis)', is by Antonin Hill - which had heretofore stood as a far from depleted fountainhead of information on the painted decorations of 16th-century illuminated manuscripts in the margins of scholarly interest. Both sources offer - following a critical reappraisal - reliable descriptions of the contents of eight illuminated manuscripts originating in Cesky Brod and Litomerice and focused on codicological descriptions of their contents and particularly of individual illuminations. A section dealing with illuminations determines their iconography, codicological background and contains detailed descriptions of coats of arms and guild emblems, with supplementary dating provided. In the context of the descriptions, references are made to particular archival sources in connection with those who commissioned and donated the manuscripts. Both sources, with detailed descriptions of illuminated manuscripts, extend in a fundamental manner our knowledge on the existence of a great many illuminated musical sources, which - with the exception of four illuminated manuscripts - have not been preserved. In the case of the descriptions of the four preserved manuscripts, their crucial significance in evaluating the original extent of their painted decorations and the iconographic programme of cut out of 19th-century illuminated folios so as to order these musical sources and their original bindings according to a more exact chronology has been made evident.

16

MOTHERLAND CRUCIFIED: THE IMAGE OF COUNTRY AND COLLECTIVE MEMORY IN HUNGARY

80%

Weaver E. B.

Sprawy Narodowościowe

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2005

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nr 27

23-39

EN

The use of the Christian symbolism of crucifixion is hardly exceptional to post-Trianon Hungarian irredentist imagery, for it is common to self-pitying nationalist imagery in much of the Christian world. However, Hungary's unique historical development made the crucifixion of a male figure less evocative to Hungarian irredentist image makers. Though tradition called for gender-neutral or female representations of Hungary, Hungarian nationalists still felt compelled to evoke the Passion of Christ while simultaneously stressing the Mary-like nature of the country. They created a powerful, if heretical set of imagery placing the motherland in the role of Christ. This imagery continues to be evoked in Hungarian nationalist discourse today.

17

'Still Life with a Squirrel' by Andreas Stech from the Collections of the National Museum in Gdansk

80%

Zaslawska D.

Ikonotheka

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2004

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nr 17

67-90

EN

The only extant independent still life with fruit by Andreas Stech (1635-1697) - 'Still Life with a Squirrel', originating from the historical collection of the Gdansk merchant Jacob Kabrun, is the highlight of the Painting Gallery at the National Museum in Gdansk. The foundation of the iconological interpretation of this canvas is a depiction of the temptations of life and the suggestion how to avoid them. In particular, the presence of permanent Christological symbols: grapes, bread, a jug and a cup of wine betray the Christian message of the painting. The motif of a basket, a frequent Baroque allegory of the autumn harvest season, could be interpreted as a symbol of the two forms of Eucharistic nourishment. The Gdansk painter borrowed, albeit indirectly, the whole motif of the plaited basket of grapes and the squirrel from a late work by Frans Snyders: 'Still Life with a Squirrel and a Wan-li Bowl' from 1650-1657, part of the collections of the Princes von Liechtenstein in Vaduz. A workshop repetition of a variant of the canvas from Vaduz is the 'Still Life with Fruit and a Squirrel' at the Prado, emulated in a painting which served Stech as a model for the Gdansk 'Still Life with a Squirrel', today in a private collection in Germany. The selection of the majority of the remaining motifs of the Stech still life was inspired by the refined solutions applied by the Dutch painters of that period. The 'Still Life with a Squirrel' by Stech, executed in 1657 as a 'meisterstück', testifies to the ambitions harbored by the young artist and an attempt at equaling Dutch and Flemish painters. The canvas is an example of creative and noble aemulatio. As a higher form of imitation it comprises specific rivalry with the patterns available to the artist and not a simple process of copying universally employed motifs. The author displayed his painterly erudition and created an anthology of still life conventions, at the same time building his own allegory, legible in Gdansk conditions. Despite the assorted workshop faults discerned in the 'Still Life with a Squirrel' by Andreas Stech the canvas remains an indubitably successful emulation.

18

THE QUEEN WANDA MYTH IN GRAPHIC ARTS IN 16th-19th CENTURY

80%

Widacka H.

Roczniki Biblioteczne

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2007

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tom 51

85-101

EN

The dramatic fate of the legendary Polish queen, Wanda, daughter of King Krak (Grakch), the ruler of Cracow, was reflected in iconography that includes portraits and historical scenes depicting the heroine's death and the recovery of her body from the Vistula river. The earliest images are the anonymous wood engravings in Maciej Miechowita's 'Chronica Polonorum' (1521) and in Marcin Bielski's 'Polish Chronicle' (1597) as well as two copperplates by Tomasz Treter ('Reges Poloniae' or the so-called Treter's Eagle, 1588, and another that is part of the 'Regum Poloniae Icones' series, published in 1591), copied by various European publishers (Arnold Mylius, 1594; Salomon Neugebauer, 1620). From 1852 comes a two-colour lithograph 'The Royal Castle and the shades of Krakus and Wanda' made in Lvov by Teofil Zychowicz and printed there at Marcin Jabłonski's factory. It was based on Michal Stachowicz's mural made between 1819 and 1821 at the Archbishops of Cracow Palace (destroyed by a fire in 1850). Between 1844 and 1946 in Paris a Lvov painter, Korneli Szlegel, painted an oil depicting Wanda's death and made two lithographs from it. In Warsaw, Aleksander Lesser painted 'The Death of Wanda' (1855), a painting that became a model for a tableau vivant presented on the stage of 'Teatr Wielki' in Warsaw in 1871, a wood engraving illustration of which (drawing by Lesser, engraving by Andrzej Zajkowski) was published by the Warsaw 'Klosy' in 1871. Probably the most popular among all those images was an oil painting by Maksymilian Antoni Piotrowski 'The Death of Wanda' (1859), copied by the author himself (with the copy now in the Museum of the Opole Silesia in Opole) an popularised by a two-colour lithograph printed at the Winckelmann & Sons press in Berlin under the imprint of Daniel Edward Friedlein from Cracow. This faithful though anonymous copy was subsequently included in Lucjan Siemienski's 'Album of Polish painters at the Exhibition of the Friends of Fine Arts Society in Cracow' (1860). The are no distinguished works among the graphic depictions of Wanda; similarly, there are no important Polish and foreign names among their authors (with the majority of works remaining anonymous).

19

Ikonografia antykizujących wizerunków władców w pierwszym wydaniu Kroniki wszytkiego Świata Marcina Bielskiego (1551)

80%

Jaworski P.

Rocznik Biblioteki Narodowej

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2011

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tom 42

205-229

EN

In the typographical resources of the first edition of Marcin Bielski's (1495-1575) Kronika wszystkiego swiata ('Chronicle of the whole world'), which appeared in 1551 in Krakow in the printing house of Helena Unglerowa, we find rulers' images in woodcuts in the all'antica style. This group is dominated by the profiled representations extracted - in the spirit of the Italian Renaissance woodcut - from a black background and incorporated into medallions surrounded by decorative wreaths. The placing in Bielski's 'Chronicle' of images of rulers, related to Roman monetary prototypes, made on the basis of Strasbourg woodcuts from the Craton Mylius publishing house, may be regarded as one of the first accurate uses of the ancient style for the portraits of Roman emperors in the history of the fine arts in Poland. The medium through which ideas inspired by the ancient portraits of the emperors came to Bielski's work, is De Caesaribus atque Imperatoribus Romanis opus insigne published by Johannes Cuspinianus in 1540 in Strasbourg by the publishing house of Craton Mylius. The graphic content of De Caesaribus, enriched by several new images, was taken from the Chronicum abbatis Urspergensis by Konrad of Lichtenau, published in the same publishing house three years earlier. The iconographic elements of this edition were indirectly derived from the Illustrium imagines by Andrea Fulvio, published in 1517 in Rome. This work contained images in medallions from which the printer Wolfgang Köpfel in Strasbourg later drew heavily, using the arrangement and workmanship of images of the Roman emperors and their family members. Subsequent illustrated editions of the emperors' biographies by Johannes Huttich (1525-1534). gained an enormous popularity. In Krakow's intellectual environment not only was the chronicle of Konrad of Lichtenau, published by Mylius, known, but also graphic patterns popularised by Fulvia and Huttich, a perfect example of which is the frieze with busts of Roman emperors, empresses and princesses in medallions, which decorates the galleries of the castle on Wawel and which bestow the decorations with a specific ideological meaning. Antique coins, imported from Italy, had the same effect, as did those that in ancient times were in abundance at Barbaricum sites, including the Polish lands, and were discovered for example in Galicia, but especially in the vicinity of Krakow, creating a part of various private collections. One can assume that placing a recognized monetary iconography of antiquity in Bielski's work would have generated great interest in Krakow.

20

ANCIENT LEGACY IN SERVICE OF MONEY. A COMMENT ON SCULPTURAL DECORATIONS OF THE MORTGAGE BANK OF THE BOHEMIAN KINGDOM IN PRAGUE

80%

PRAHL R.

Eirene. Studia Graeca et Latina

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2012

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tom 48

|

nr 1-2

116-121

EN

The article exemplifies typical possibilities of use of the classical patterns during the late 19th century. This period was marked by a broad exploitation of the ancient heritage in its lively surviving parts. The sculpted decoration of façade of the Mortgage bank’s building could be a good example of it. It added some well articulated notions to the classical repertory, responding to the contemporary developments of economics. The main decoration of the building’s façade merged different elements to mediate a message of owners of the bank to both its clients and broader public. The use of classical repertory’s elements included their intentional fusion. The rhetoric of the bank façade’s decoration culminated in a sculpted personification of “Capital”. This sculpture mixed elements of an image of Roman imperator/victor with Fortuna in a sophisticated and inventive way. It covered a reality of modern market economics with its turbulencies by an image of a both powerful and supportive being to create an attractive sign of the bank.