Wyniki wyszukiwania - Biblioteka Nauki

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Południowa Afryka - Królestwo złota i diamentów i jego ikonografia

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Pawłowska A.

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tom 13 - "Stare" i "nowe" mocarstwa w Afryce - stygmaty kulturowe, religijne, polityczne, ekonomiczne i społeczne

575-596

EN

The aim of this article is a brief introduction to the iconography of the national identity, created by the white South Africans, who are the descendants of the Dutch settlers, who are commonly known and referred to as Afrikaners in South Africa. Among the most interesting and simultaneously representative paintings and the most obvious examples that one can mention are the works done by Charles Davidson Bell (1813-1882) e.g.: Landing of van Riebeeck at the Cape of Good Hope or Zulu attack on the Voortrekker camp. A good example of a piece of art work with an air and character of a true monument-mausoleum is a monumental sculpture called the Voortrekker Monument, which was created between 1937 and 1949. This object is located in the capital of South Africa i.e. in Pretoria and it presents the events connected with the so-called Great Trek (Afrikaans: Die Groot Trek). Another very essential art work is the interior decoration of the Old Mutual building in Cape Town dating from the late 1930's. The author of the frescoes inside the building often referred to as the „Afrikaner nationalist Sistine Chapel" is Le Roux Smith (1914-1963). The outside sculpture is also connected with the iconography of Africa and it was sculptured by Ivan Mitford-Barberton (1896-1976). At present all the above-mentioned pieces of art work make up the somewhat inconvenient and embarrassing heritage of the era of apartheid.

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Motyw dziecka w prawosławnej ikonografii Chrystusa i Bogurodzicy – historia i podstawy teologiczne (wybrane przykłady dzieł)

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Sobczak J.

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2020

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tom Dzieci w kulturze duchowej Prawosławia

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nr 11

253-264

EN

The theme of a child in Christian art appears from the very beginning of its existence. Usually, it carries a meanings related to the innocence, that belongs to children, a vocation to a new, unknown Life. Works of art remind believers of the need to conform their souls to a child’s ones in order to fulfill this vocation (Mark 10: 13–16). In the context of the Orthodox Christology depiction of the Savior as a child always expresses faith in the true Incarnation of the Logos. Faith in God’s adoption of entire human nature for its divinization and salvation. With the help of art, the Orthodox Church presents the Mysteries in which Almighty God becomes a helpless child while maintaining his divine nature. Church, using artistic medias, indicates a tight connection between Incarnation of Christ and His redeeming Resurrection presented also in Eucharist.

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Pamięć lat 1912 i 2012: artystyczny plon dwóch Skargowskich rocznic (sztuki plastyczne)

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Ożóg K. S. , Opolski U.

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EN

The text deals with the fragmentary issue of Piotr Skarga’s iconography which is the artistic legacy of the anniversaries celebrated in 1912 and 2012. The remembrance of this Jesuit’s death one hundred years ago stirred up many emotions. It was visible in, for instance, mass manifestations, books, theatre performances or the creations of fine arts. In the reality of the beginnings of the 20th century, what was important was the impact of the image created by Jan Matejko as well as its ideological, virtually mystical, background. This jubilee, celebrated one hundred years ago, has left numerous traces in the arts, some of which have not been retained to this day. The medal by Witold Bieliński; the bust sculptured by Władysław Mazur and Jan Tombiński; or the exquisite bas-relief by Luna Drexler on the Lvov Latin Cathedral were characteristic of those times. However, the level of those works is contrasted with the quality and number of creations dedicated to Skarga during the last anniversary. Both the postage stamp issued by the Polish Postal Service as well as the monument unveiled at the Warsaw Catholic School are not really original. In 2012, Skarga was mentioned most frequently on the Internet, in the forms of memes, which were often obscene and inappropriate.

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Symbolika obrazu «Alegorii Bożej Opatrzności» z klasztoru Sióstr Wizytek w Krakowie

88%

Moisan-Jablonski C.

Saeculum Christianum. Pismo Historyczne

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2015

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tom 22

172-183

EN

There is an eighteenth-century painting depicting Allegory of Divine Providence in the convent of the Sisters of the Visitation in Kraków. The iconography is unique. In addition to figures of people and animals abandoning themselves to the care of Divine Providence, it also shows the seven archangels. Although the Catholic Church only recognizes three Archangels (Gabriel, Michael and Raphael), portrayals of seven archangels appeared in European art at the end of sixteenth century and in the seventeenth and eighteenth centuries, which also showed figures representing Uriel, Barachiel, Sealtiel and Jehudiel. The Reverend Ignacy Tłuczyński also mentions them in a book—on to the subject of angels and the care which angels and heavenly spirits provide to people—published in Kraków in 1677. It would be impossible to have a full understanding of the message conveyed in the Kraków painting without having knowledge of Polish eighteenth-century religious songs devoted to Divine Providence. The dominant motif—which also appears on other Polish paintings depicting Divine Providence—is the portrayal of people and animals together, to whom Providence is offering various gifts.

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Pečeti olomouckých biskupů v období 1351–1457. Typologie a ikonografie

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Krejčík T. , Psík R.

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nr 1

65-81

EN

The study is dedicated to development of the Olomouc bishop’s seals in period between 1351 and 1457 with emphasis on their iconography. From the artistic point of view the analysed seals from above stated period represent the highest quality. In the same period we can notice significant transformation of typology of used matrixes. The study shows that those changes in some cases reflect the period mentality. The authors of the article also mention reasons that could motivate the individual bishops to choose the particular iconographic type. In that sense the authors further on analyse the basic iconographic motifs. The catalogue of the Episcopal seals represents the core of the study as well as the description of the official Coat of arms evolution till the end of the 15th century.

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Przedstawienia dzieci w ikonografii witraży Adama Stalony-Dobrzańskiego

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Siemieniec A.

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2020

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tom Dzieci w kulturze duchowej Prawosławia

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nr 11

189-206

EN

Adam Stalony-Dobrzański is an Orthodox artist who significantly influenced the image of the Orthodox art in the second half of the 20th century in Poland, and at the same time contributed to the renaissance of Byzantine-Ruthenian iconography. By popularizing the form of a stained glass window as an element of the Orthodox church interiors, he extended the tradition of Eastern Christian art, finding a medium in the form of glass and lead to express the mystery of the icon. He is the author of at least 342 stained glass compositions made for Orthodox, Catholic and Protestant churches. The multitude of iconographic themes appearing in Stalony-Dobrzański’s stained glass windows – referring to the centuries-old tradition of Christian art – features representations of children. These are the scenes showing the childhood of Jesus and Mary (the Orthodox church of the Nativity of the Blessed Virgin Mary in Gródek), presentations of St. Sophia with Faith, Hope and Love (the Holy Trinity Cathedral in Hajnówka, the House of the Metropolitan in Warsaw), the image of the Guardian Angel leading a child (the Catholic church of Our Lady of the Scapular in Stalowa Wola-Rozwadów) or Christ blessing children (the Evangelical-Augsburg Church of Holy Trinity in Warsaw). A kind of iconographic novelty is introduced here with depictions of children as Unknown Saints of our time (the Orthodox church of St John Climacus in Warsaw). In the stained glass windows, we also find images of Jacinta, Francisco and Lucia – three children who witnessed the apparitions of The Blessed Virgin Mary in Fatima, recognized by the Catholic Church.

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Irlandia a Bizancjum. Ikonografia "Trzech Hebrajczyków w piecu ognistym" na krzyżach celtyckich

51%

Bulas R.

Vox Patrum

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2008

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tom 52

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nr 1

61-76

EN

The article presents illustrations of Dn 3,19-24 in first millennial art. The author shows three types of iconography and compositions this biblical history: Roman, Coptic-Nubian and Irish-Byzantine. The Roman type has character of illustrations instead two others from Christian East are symbolical.

PL

Artykuł analizuje przedstawienia wydarzeń z Dn 3,19-24 w sztuce pierwszego tysiąclecia. Autor ukazuje trzy typy ikonografii i kompozycje tej biblijnej historii: rzymską, koptyjsko-nubijską i irlandzko-bizantyjską. Typ rzymski ma charakter ilustracji, a dwie inne z chrześcijańskiego Wschodu są symboliczne.