Wyniki wyszukiwania - Biblioteka Nauki

1

Ikonografia pieczęci kościołów parafialnych dekanatu szadkowskiego z przełomu XVIII i XIX w.

100%

Adamczewski M.

Biuletyn Szadkowski

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2006

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nr 06

69-109

2

A Fragmentary Statue of Ramesses II with a Scarab on the Head

100%

Kassem M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

|

nr 27

179–184

EN

The red granite fragmentary bust (Egyptian Museum in Cairo – CG 38104, JE 27856), coming from the Temple of Ptah in Memphis, is believed to be part of a statue of Ramesses II. However, owing to the fact that the fragment is unepigraphic and much eroded, this identification has to remain a hypothetical one. A detailed examination of iconographical and stylistic features of the statue leads the author to believe that the statue either represented Ramesses II or had been usurped by one of his successors.

3

The Theme of the Fountain-Wound in a Baroque Manuscript Meditation: The Impact of Iconography on Poetry

100%

Panasiuk J.

Colloquia Humanistica

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2016

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nr 5

EN

The Theme of the Fountain-Wound in a Baroque Manuscript Meditation: The Impact of Iconography on PoetryBehind the foundation of the monastic meditation about fountains is a concrete devotional graphic from Western Europe. It is the Dutch emblem that is the key to the interpretation of the religious text, which uses words to directly refer to a specific image. These cultural correspondences constitute a curious phenomenon. They present the spirituality as well as the mentality of seventeenth- and eighteenth-century European society. This seems to confirm, at the same time, the fact that no artistic activity is ever isolated. Motyw fontanny-ran w barokowej rękopiśmiennej medytacji: wpływ ikonografii na poezjęU początków monastycznej medytacji o fontannie stoi konkretna dewocyjna grafika z Zachodu Europy. To holenderski emblemat, będący kluczem do interpretacji tekstu religijnego, posługującego się słowami w celu bezpośredniego odwołania do owego obrazu. Te kulturowe korespondencje stanowią ciekawe zjawisko. Odsłaniają duchowość i mentalność siedemnasto- i osiemnastowiecznego społeczeństwa europejskiego. Równocześnie zdają się potwierdzać fakt, iż żadna aktywność artystyczna nigdy nie jest izolowana.

4

Widoki portretowe Krakowa czasów staropolskich w badaniach historii miasta. Obraz, znak, symbol, tekst

100%

Komorowski W.

|

EN

The article constitutes an overview of the most important views of Cracow in the Old Polish times. The keynote is the presentation of specific representations (11 views have been discussed) along with the rules of showing the city and – which is the basic thesis – their subjective interpretation in the social and political context. A view beyond the axiomatic principle of the faithfully portrayed urban space usually carried out interpretations which were more or less visualized (both by their creators and recipients). It should be read as a testimony of the epoch, exploring the circumstances of their creation and possible cultural analysis. The first of the discussed representations is the view in the work of Hartman Schedel of 1493; it is not so much the real image of the city as its sign – it corresponds to the views of the city landscape at that time. The second view, from 1537, probably by Mathias Gerung, despite being generally the faithful reflection of the reality, omits many details or distorts them. However, the first representation which faithfully presents the details is the view of 1581; however, it, in turn, deforms the urban space (which, incidentally, was a conscious choice of the creator). Two views in Civitates orbis terrarum by Georg Braun and Franz Hogenberg, published in 1617, are the most informative views presenting Cracow. The latter is the most beautiful picture of the capital city and it also became the source which was later used by the creators of the next panoramas of Cracow, who changed the prototype more or less uncritically (1619, 1696, the second quarter of the 18th century). A breakthrough in the representation of the city, rooted in modern thinking, was the “rationalist” view of 1785. Iconography, like any historical source, is subject to critical review; it should also be – for verification purposes – confronted with other archival sources. In this process, methods from the area of art history, history of architecture, urban planning and historical landscape architecture are applied. There are mutual relations between iconography and written communication; iconography can be the complement, but it can also be the main source, or even the only one.

5

A Man in a Vessel, Once More

100%

Innemée K. C.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2019

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tom XXXII

111-120

EN

In one of the paintings in the Central Church of Abdallah-n-Irqi an enigmatic element can be seen: a small figure of a man in a jar. No satisfactory explanation for this detail has been found so far. Although a parallel representation seemed to have been discovered in Banganarti, it remains a unique and problematic representation. On the basis of a renewed investigation of the iconography of martyrs in the fourth century, the author proposes a new interpretation of the man in the vessel.

6

Sobre la iconografía de Jesús Nazareno rescatado en los siglos XVII - XX (O ikonografii Jezusa Nazareńskiego Wykupionego w wiekach XVII-XX)

100%

Witko A.

Folia Historica Cracoviensia

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2004

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tom 10

EN

The art of the Order of the Most Holy Trinity attaches special importance to the motif of Ransomed Jesus of Nazareth; the theme is exclusive to works by the Discalded Trinitarians. It is refers to a wooden statue from Seville (second or third decade of the 17th century), attributed to Francisco de Ocampo or Luis de la Pena.

PL

En numerosas iglesias de España, Italia, Polonia y muchos otros países, se rinde homenaje a Cristo, presentado en una imagen extraordinariamente sugestiva conocida como Jesús Nazareno Rescatado (il. I)1. Se trata de una figura de madera que proviene de Sevilla de la segunda o tercera década del siglo XVII y se la relacionaba con Francisco de Ocampo o Luis de la Peña. Aunque esta escultura se asemeja al tipo Ecce Homo, sin embargo pertenece al género de las figuras procesionales y originariamente representaba a Jesús con la cruz a cuestas. Fue rescatada por los trinitarios descalzos de las manos mauretanas en el año 1682, adornada con el escapulario trinitario y solemnemente expuesta en Madrid. El acontecimiento originó una devoción fuerte que se extendió a todos los países en los cuales se daba la presencia de los trinitarios descalzos y hasta traspasó al otro lado del Océano.W sztuce Zakonu trynitarskiego wyjątkowe miejsce zajmuje temat Jezusa Nazareńskiego Wykupionego, wyłącznie występujący u trynitarzy bosych. Dotyczy on drewnianej figury, pochodzącej z Sewilli z drugiej lub trzeciej dekady XVII stulecia, wiązanej z Francisco de Ocampo lub Luisem de la Pena. Rzeźba ta, choć zbliżona do typu Ecce Homo, jednakże przynależy do gatunku figur procesyjnych i pierwotnie przedstawiała Jezusa z krzyżem na ramieniu. Została ona wykupiona przez trynitarskich bosaków z rąk Maurów w roku 1682 i przybrana trynitarskim szkaplerzem, uroczyście wystawiona w Madrycie, co zapoczątkowało niezwykle żywy kult, jaki ogarnął wszystkie kraje, gdzie działali trynitarze bosi, przenosząc się nawet na drugą stronę Oceanu. Do rozpowszechnienia nabożeństwa ku czci Nazareńskiego przyczyniło się kilka rycin, z których najstarszym znanym przedstawieniem jest wykonany w 1685 roku przez Marcosa Orozco madrycki miedzioryt, będący wzorem dla licznych realizacji w wielu krajach Europy. Tylko w Rzymie cieszył się popularnością schemat ukazujący popiersie Nazareńskiego w owalu, co miało swą genezę w pierwszym rzymskim przedstawieniu z San Carlino. Natomiast wyłącznie w Polsce, gdzie kult Nazareńskiego był wyjątkowo żywy, wykształcił się interesujący model ikonograficzny Trójcy Świętej, ujętej wertykalnie. W retabulach głównego ołtarza umieszczano figurę Chrystusa, ponad którą ukazywał się Bóg Ojciec a ponad nimi Duch Święty w postaci gołębicy.

7

Tematyka cygańska w polskich zbiorach ikonograficznych (wiek XIX – I połowa XX wieku) – rekonesans

100%

Kocój E. , Lechowski P. , Plebańczyk K.

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tom 13

|

nr 2

PL

The image of Gypsies in Polish collections of iconographic materials (19th century – first half of the 20th century) – reconnaissanceAt least since the Middle Ages the people of Europe have shared their space with the nomadic Gypsy people. Its long, often troublesome neighborhood resulted in the formation of two parallel, though different, stereotypical images of the Roma in European culture. In one of them one, they are portrayed negatively, as the personification of all the pejorative and demonic qualities. Two words describing Roma Stereotypes in this language context are as follows: dangerous vagrants, thieves, criminals, living without any moral rules. Under the influence of romantic ideas in European culture a different picture of the Gypsies began to take shape. According to this ideal, they were considered to be free people, living itinerant lives and in harmony with nature, free from hard work, colorful, cheerful, independent and artistic. In this paper we would like to present how the ideas existing in the nineteenth-and twentieth century culture reflected in the iconography of Roma. On the basis of Polish collections we will show the most important themes and motifs associated with the iconography and mythology of this minority. At the same time, we will try to show to what extent the European images coincided with the real culture and tradition of the Gypsies. In the analysis we will use both engravings, woodcuts, paintings, graphics press and photographs found in public collections in Tarnow, Sejny or Krakow, as well as in various private collections.

8

Widoki portretowe Krakowa czasów staropolskich w badaniach historii miasta. Obraz, znak, symbol, tekst

100%

Komorowski W.

Zapiski Historyczne

|

2019

|

tom 84

|

nr 1

135-167

EN

The article constitutes an overview of the most important views of Cracow in the Old Polish times. The keynote is the presentation of specific representations (11 views have been discussed) along with the rules of showing the city and – which is the basic thesis – their subjective interpretation in the social and political context. A view beyond the axiomatic principle of the faithfully portrayed urban space usually carried out interpretations which were more or less visualized (both by their creators and recipients). It should be read as a testimony of the epoch, exploring the circumstances of their creation and possible cultural analysis. The first of the discussed representations is the view in the work of Hartman Schedel of 1493; it is not so much the real image of the city as its sign – it corresponds to the views of the city landscape at that time. The second view, from 1537, probably by Mathias Gerung, despite being generally the faithful reflection of the reality, omits many details or distorts them. However, the first representation which faithfully presents the details is the view of 1581; however, it, in turn, deforms the urban space (which, incidentally, was a conscious choice of the creator). Two views in Civitates orbis terrarum by Georg Braun and Franz Hogenberg, published in 1617, are the most informative views presenting Cracow. The latter is the most beautiful picture of the capital city and it also became the source which was later used by the creators of the next panoramas of Cracow, who changed the prototype more or less uncritically (1619, 1696, the second quarter of the 18th century). A breakthrough in the representation of the city, rooted in modern thinking, was the “rationalist” view of 1785. Iconography, like any historical source, is subject to critical review; it should also be – for verification purposes – confronted with other archival sources. In this process, methods from the area of art history, history of architecture, urban planning and historical landscape architecture are applied. There are mutual relations between iconography and written communication; iconography can be the complement, but it can also be the main source, or even the only one.

9

„Od wschodu słońca aż po zachód jego niech Imię Pańskie będzie pochwalone”. Uwagi o programie ideowym wrocławskiego Il Gesù

100%

Wojtyła A.

Biuletyn Historii Sztuki

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2010

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tom 72

|

nr 1-2

113-147

EN

This text takes as its subject an analysis of the objectives behind the ex-Jesuit church of Wrocław University, with specific reference to the theme of glorifying God’s name. The verse contained in Psalm 113(from the rising of the sun to its setting, may Lord’s name be praised) –written in its entirety in the cartouche affixed to the keystone of the roodscreen arch, and included in the title to the main, Polish article provided the key idea behind the programme.

10

Trzecie oblicze Ofelii [rec. Katarzyna Czeczot: Ofelizm. Romantyczne zawłaszczenia, feministyczne interwencje. Warszawa: Instytut Badań Literackich PAN. Wydawnictwo, 2016, ss. 331.]

89%

Włodzyńska E.

Śląskie Studia Polonistyczne

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2018

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tom 11

|

nr 1

233-243

EN

The following analysis of Katarzyna Czechot’s book Ofelizm. Romantyczne zawłaszczenia, feministyczne interwencje [Ophelism. Romantic appropriations, feminist interventions], published in 2016, is a chronological record of ophelic images proposed by this gender studies researcher. The aim of the paper is to demonstrate Czeczot’s dialogue with the traditional representations of Shakespeare’s tragic female figure. In the review the author pays attention to the subversive potential of the subsequent chapters of the work. The portrayals of a female, and sometimes feminized, body, which are linked together by an “ophelic code”, are often interpreted as a certain kind of medium of social revolutions, of changes in human expectations and desires.

11

REFLECTANCE TRANSFORMATION IMAGING. ABOUT A PHOTOGRAPHIC METHOD FOR DOCUMENTATION AND ANALISIS OF HISTORICAL ARTEFACTS

88%

Polkowski P. L. , Witkowski P.

Muzealnictwo

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2018

|

tom 59

54-62

EN

The modern technology has been offering more and more tools for digitalisation of historical artefacts or works of art. Especially popular is a 3D visualisation, which allows to obtain a very realistic image of the subject. However, for many culture and science institutions, including museums, these tools are not easily available due to financial reasons. The discussed herein method of Reflectance Transformation Imaging (further RTI) seems to be a solution, which – being relatively inexpensive – offers a whole range of possibilities as far as documentation of historical artefacts is concerned. It allows – without the need of using a high-tech equipment – to create 2.5D images out of regular digital photographs. The way how the RTI method works has been shorty characterised in this article, at the same time presenting subsequent stages within the procedure of obtaining images. In order to show the results of this method, authors referred also to their own experience in RTI. They described images by themselves of three boulders with petroglyphs, which are in the possession of the Archaeological Museum in Poznań. The authors presented their own assessment of the RTI method – based on their achievements and the source literature – identifying its both positive and negative aspects.

12

Ікони Страстей Господніх на полотні риботицької манери малярства

88%

Kosiw R.

Studia Ucrainica Varsoviensia

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2016

|

tom 4

413-429

PL

The thesis studies fi ve icons of Christ’s Passion painted on canvas in the manner of artists from the town of Rybotychi. It traces the role of iconpainting on canvas among Rybotychi painters. To compare the manner of iconpainting, icons of Christ’s Passion on wood were examined, including one with the signature of master Jakiv from Rybotychi dated 1675. It is the only icon of that iconography and manner with the author’s signature. On the basis of its manner and iconography, an icon from the village of Velykyj Vyslok was dated to the last quarter of the 17th century. Stylistic parallels between this icon and a few other icons on wood were traced. The shape of the canvas and iconography of two icons of unknown origin (from the National Museum in Krakow and the National Museum in Peremyshl) show that Rybotychi masters used common patterns, although these icons were painted by different authors. Based on the similarity of the icon from Krakow museum to Rybotychi icons from the end of the 17th century it was dated to the same time. The other two icons of Christ’s Passion on canvas feature a graphic manner similar to the popular local woodcuts of the time. Based on a 1703 icon from Brusno Nove village, the painting of an icon of unknown origin from the National Museum in Lviv was narrowed to the end of the 17th – beginning of the 18th centuries.

13

Portraying the Literacy of Palmyra. The Evidence of Funerary Sculpture and its Interpretation

88%

Sokołowski Ł.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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nr 27

375–403

EN

Next to Edessa, Palmyra was the only example of a city in the Roman Syria where the local Aramaic dialect has never gone out of use, nor has it been displaced in inscriptions. The epigraphic material from Palmyra consists in fact of a large corpus of inscriptions. Interestingly, most of them are associated with local sepulchral art. They were typically placed on the limestone slabs decorated in high relief by portraits of the deceased citizens, usually in a form of bust, rarely a figure or stele. Approximately 145 such sculptures were taken into consideration. The Palmyrenians on these funerary portraits are often depicted with the writing attributes, such as roll and capsa, the wide and narrow tablets, poliptych and codex, schedula, double schedula, stylus, and also keys. The question arises, what meanings did these figural tombstone decorations with such attributes originally expressed? In this study the author investigates the private, sepulchral character of Palmyrene portraits, their iconographic message, their local archaeological context and epigraphic (often bilingual) data. As a result four types of symbolical representations could be distinguished: (I) Schoolboys and Students; (II) Citizens of Greek Polis and of the Roman Empire; (III) Entrepreneurs (merchants, administrators, camel drivers and meharistes); (IV) Mourners (Tomb Owners and Priests). The Palmyrene funerary busts supply an outstanding documentation of noticeable use of writing tools in the Roman East. The abundant number of funerary representations with writing attributes implies a degree of statistical importance. The broad representation of writing attributes in funerary sculpture of Palmyra provides new arguments in the discussion on the literacy in the Ancient World, or at least in the Roman Syria. Funerary reliefs examined in this study are mostly depictions of commoners who represent middle and lower strata of the Roman provincial society. Consequently, it seems that the ability to use Aramaic and Greek alphabets was not uncommon. What is more, the ability to read and write in both languages was probably fairly widespread throughout the territory of the Roman Syria.

14

Iconography of Zwiebelknopffibeln in the Art of the Late Roman Empire

88%

Tybulewicz R.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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nr 27

441–458

EN

In the Late Antiquity, the so-called cross-bow type fibulae (Germ. Zwiebelknopffibeln), finger-rings, and richly embroidered ceremonial garments (tunica and chlamys) equipped with elaborately decorated belts (baltei, cinguli), in addition to luxurious silver plates (missoria) and ivory consular diptychs constitute an indispensable element of the imperial system of gift-giving, so-called largitio, for the highest-ranking state officials. On account of their importance for the owner, they were very often depicted on pieces of the Late Roman imperial art. The majority of those depictions date from the times of the emperor Diocletian and end in the times of Justinian I (from AD 284 to 565). Cross-bow type fibulae are frequently represented on the Late Antique bas-reliefs, diptychs, mosaics, and missoria. There are a few different categories of the contexts of their occurrence. First of all, they are closely connected with the presentation of the emperor in power, portrayed alone (the Arch of Galerius, Thessaloniki), or together with his state officials, while watching chariot races in the Hippodrome and receiving the tribute of envoys representing conquered Barbarians tribes (the ‘Obelisk of Theodosius I’, Istanbul). Brooches also constitute a characteristic element of the garments of the highest-ranking officials accompanying the imperial couple in sacrificial processions with gifts for Christian churches (the Basilica of San Vitale, Ravenna). Additionally, they are shown in depictions of already or newly appointed highest-ranking dignitaries during public governance, but also of future pretenders to the highest ranks of Imperium Romanum military and civilian administration. Moreover, they appear as the main decorative element of garments of Christian Catholic church martyrs, e.g. Saint Onesiphorus (Thessaloniki), Saint Vitalis (Ravenna) and Saint Theodorus (Rome), who primarily were Roman citizens and soldiers, and died because of professing Christianity. Cross-bow fibulae constituted a characteristic measure of distinction amid the elite of the Late Roman Empire. They functioned also as indispensable attribute of the ceremonial garment of the emperor and state officials subjected to him. In the literature, throughout all of the iconographic material, only fibulae of types 3/4, 5, 5 or 6, 6, 6 or 7 and 7, according to P.M. Pröttel’s typology, are to be found.

15

Obraz Zakonu Krzyżackiego w ikonografii podręcznikowej Polski, Niemiec, Litwy i Rosji w XX wieku

88%

Lewandowska I.

Komunikaty Mazursko-Warmińskie

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2020

|

nr 1(307)

98-120

EN

The article was written on the basis of source materials gathered for the purposes of the international project “Pruzzenland [ziemie pruskie]. Porównawcza analiza regionalnych konstrukcji tożsamości w podręcznikach szkolnych Niemiec, Polski, Litwy i Rosji,” executed in the years 2010–2013 by the Georg–Eckert–Instytut in Braunschweig (Germany) and the Institute of History and International Relations at the University of Warmia and Mazury in Olsztyn in cooperation with partners in Russia (Moscow) and Lithuania (Vilnius, Kaunas). The research aims at a comparative analysis of school handbooks that were one of the most important means of shaping the identity of the young generation in the 20th and 21st centuries. A total of 740 handbooks in four languages was analysed. The resulting two monographies, one in Polish and one in German, differ slightly in terms of content but are based on the same source material. The works analyse several main topoi: Prussian landscape, specificity of Prussian tribes, battle of Grunwald, issues of religion, canon of important figures across the ages, migrations in the 20th century, history of education and contemporary Polish education regarding the region. Since both monographes do not use the available illustrative materials extensively, this text analyses the image of the Teutonic Order in handbook iconography. The library search that preceded the writing process consisted in analysing scanned pages from handbooks gathered within the project. Not all 288 handbooks included therein regarded the Middle Ages or the modern times, which chronologically encompass the operations of the Order. Some of those publications have very general titles and only browsing through them allowed for the identification that they actually regard later times.

16

Ikona Bożej Mądrości – Sedes Sapientiae. Boska Sofia w nauczaniu i ikonografii chrześcijańskiej

88%

Sebesta J.

Studia Ełckie

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2011

|

tom 13

431-450

EN

The article presents the Christian iconography, ecumenical studies, and feminist theology as the contemporary referring points of these theological studies which willingly reflect on sophiological idea. Apart from deconstruction there is a turn of wisdom in conducting the humanist studies. The sapiential way requires to investigate the profound layers of human thought which is oriented on striving for truth in its synthetic and absolute dimension. The hypostasis of divine wisdom, sometimes called Sapientia or Sophia, is an idea of wisdom which describes, deeply than the Western Ratio, what the principle of being is, what primary harmony is, what archaic peace is, all the thing which philosophers and mystics strive for.

17

The hidden treasure of Dionysus. Small portraits from eastern Adriatic stamnoid situlae

88%

Blečić M.

Studia Hercynia

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2022

|

tom 26

|

nr 1

102-116

EN

The paper presents two decorative attachments depicting Sileni from stamnoid situlae from the eastern Adriatic sites of Karin and Budva. Through formal typological classification, stylistic and comparative analysis within the broader Late Classical and Early Hellenistic art of the Mediterranean, the ‘Adriatic’ Si leni are interpreted in terms of the miniature portrait art of that time, which had a decorative expression and aesthetic value on a lavish functional object such as the stamnoid situla. As visual art is particularly stimulating and evocative, these Sileni represented an iconographically clear message as a metaphor or a metaphor as a message. The artistic striving for recognition, idealizing or caricaturing and emphasizing the emotional state are some aspects that address the portraits of the presented Sileni. Even though every reading is a subjective act, it is an idealised artistic convention of a specific place and time, with a precise mythological and cultural historical background of the remarkable toreutic achievements. It has been im pressive and essential to observers in the past, which is also evident from their prevalence in a wide variety of ‘Old World’ cultural communities.

18

Buławy średniowieczne z ul. Sławkowskiej 17 w Krakowie

88%

Puziuk J. , Tyniec A.

Materiały Archeologiczne

|

2013

|

tom 39

33-53

EN

Two almost complete maces were found in the cesspit. Paleobotanical analysis of the shafts confirmed that they have been made from the wood of a common ash (Fraxinus excelsior L.). In the collection of maces from the territory of Poland, spherical or pear-shaped heads are rarely encountered. A much more numerous collection, especially of spherical heads, was discovered in Bulgaria, Rus’, Hungary. Maces with spherical or pear-shaped heads can also be found in medieval iconographic representations. In Polish iconography: they appear in the painting and on coins. Can also be found in iconography from Spain, Italy and Armenia. Basing on archaeological and iconographic analogies, the lower chronological limit for those artefacts from Kraków can be determined in the 11th/12th century, while the upper ought to be the 2nd half of the 15th century. Is rather difficult to assume, without any doubt, that maces found in cities constituted individual weapons of their inhabitants. Military maces were primarily knight’s arms, though they could have been re-used as weapon by lower classes of society, in the same way as clubs which were used for fighting by knights, burgesses and commoners, such weapons appeared also as objects of trade exchange, or weaponry used by foreign armies while invading cities cannot be overlooked. In the case of maces found in Kraków might have served as tools in committing a crime, and being material evidence of the offence (corpus delicti) they had been left behind by the perpetrators wishing to avoid punishment for their misdeed.

19

Ptaki w średniowiecznym dramacie końca świata. Z inspiracji malowidła ściennego, odkrytego w kościele Bożego Ciała w Pręgowie koło Gdańska

88%

Jakubowska B.

Studia Elbląskie

|

2015

|

tom 16

109-121

EN

The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).

20

O sprytnych sposobach wypatrywania ducha. Przyczynek do ikonografii płynności

88%

Cichoń K.

Studia Ełckie

|

2013

|

tom 15

|

nr 3

369-392

EN

Answering the question whether it is possible to respect the spiritual, intelligi-ble, and rational while describing only what is visible, the author says yes, but only where both immaterial and material sides of the reality are objectified. One can use the intuition which once made J. W. Goethe admit in his Faust to be a “Peer of the spirit that you comprehend.” To be a peer of looks like to identify with. Identity, however, seems to be very airy. Almost like a ghost. The author then tries to “entangle” identity in matter by undertaking an attempt of liquefy-ing it. He notes that in culture the border between the spiritual and the liquid is leaky like a sieve due to linguistic metaphors. His proposal then is to archeolo-gize the human language in order to find out arguments for human intrinsic needs of imagining, speaking, and ruling over the whole which is in movement.