Wyniki wyszukiwania - Biblioteka Nauki

1

THE PICTURE OF THE HOLY VIRGIN MARY OF TRAKAI AND ITS IMITATIONS

100%

Sinkunaite L.

Makslas Vesture un Teorija

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2005

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tom 4

26-32

EN

The article deals with the sacred picture of the Holy Virgin Mary of the Trakai Parish Church in Lithuania. It was the most famous picture in the Grand Duchy of Lithuania up to the very end of the 18th century. Its origin and history is surrounded by various legends. Possibly the oldest imitation is the Mary of the Varniai Cathedral created in the 16th century; others include Mary of the Trakai Gate of the wall of Vilnius old town and in Aglona Church in Latvia. The image of the Holy Virgin Mary of Trakai is a variant of Hodegetria iconographical type with its own peculiarities, while the individualisation that occurs in the imitations of this picture takes on a different and sometimes distinctive character.

2

Kultūras mantojums un politiskā ideoloģija: Rīgas Māras baznīcas izdaiļošanas projekts. 20. gadsimta 30. gadi

88%

Grosmane E.

Makslas Vesture un Teorija

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2014

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tom 17

36-45

EN

The article deals with the political and ideological conditions in the early 1930s that encouraged the eviction of the Riga Dom Cathedral’s German congregation, renaming the church as Māra’s Church and the elaboration of a project to give the building a Latvian character. The political situation after World War I and the power vacuum in the Eastern Baltic region created favourable conditions for the foundation of an independent state and shake off the dominant German and Russian influences. Initially the state institutions did not interfere in art processes. However, quite early on, an increasing tendency emerged to extol the significance of Latvian national identity as opposed to the contribution of other ethnic groups to the local culture. This attitude rapidly consolidated in the 1930s and had a negative effect on the current art, architecture and cultural heritage. Latvian national self-esteem grew incompatible with the city’s largest church belonging to a German congregation. The renaming of the church allows us to follow this process. German historians of architecture called it St. Mary’s Dom Cathedral (Der Dom zu St. Marien) while already since 1923, the Latvian press of the day began to call it after the pagan deity Māra. The next step to strengthen national self-consciousness and search for national identity was a press announcement that the interior of Māra’s Church had to be given a Latvian appearance. Information on the competition is scarce. Only one applicant is known whose submission was published in the magazine ‘Atpūta’ (Leisure) on 17 November 1933. The main author of the sketches was Professor Jānis Kuga of the Latvian Academy of Art. The artist has attempted to follow the instructions set down by the commission, synthesising religious symbols with themes from the history of Latvia. However, the ambitious plan of the Latvianised Dom turned out to be too much in discord with the status of the medieval monument and was never realised.

3

Ikonostas

75%

Misijuk T.

ELPIS

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2011

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tom 13

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nr 23-24

193-202

EN

The paper indicates a complex meaning of the iconostasis both in sacred art and liturgics of the Orthodox Church. Selected examples illustrate a process of historical development of the iconostasis, contemporary variety of forms and its influence on worship celebrated in the Orthodox church.

4

Struktura symboliczna architektury światyni: Wprowadzenie do teologii wyrazu sztuki sakralnej

75%

Uścinowicz J.

ELPIS

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2011

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tom 13

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nr 23-24

139-180

EN

Symbol has always been an intrinsic part of a person. The human being - homo religiosus - is by nature also a homo symbolicus, who thinks and feels symbolically, who lives symbolically. In the domain of sacrum, in the temple, life is realized through holy symbols. In the past, this was directly reflected in the architecture and in the art of all religions. They have their special compensation in the temple and vice versa; the temple is a concrete manifestation of the function of a symbol. Thanks to them, art could manifest itself, could naturally pass from the level of aesthetics to the level of religion. Nowadays we face a kind of crisis of symbol in the sphere of art, certain reluctance towards symbols. The language of symbols seems to be dying out. Two - thousandth years of history of Christianity proved that a main criterion of a value of church architecture was not based on architectural precursors. This architecture was sacred because it was a carrier of a 'truth of God' and - like a liturgical mysterion and iconography art - it was a theological comment. It was a codified language of the transposes of religions essences and orders, into the form of architectural expression. This was in a East Christianity and this happens there up to this day. One of the proofs to confirmate this thesis is an example of dome. It has been in existance since the beginning of forming the traditional architecture structure of the orthodox temple; it manifested symbolical and archetype essence - as an interior space and as an exterior form. In the history of architecture as well as the history of religion it had precisely defined symbolic meanings. They designated its significance in the temple, they gave rise to its long duration in the history, and eventually they gave it a status of an essential element, an everlasting witness of Divine mystery'. Presentation of this essence and orders constructs indispensable context to a value of the contemporary copulas solutions, in the range of preservation the traditional status of copula in the orthodox temple. In short draft, across calling of form of dome and her hermeneutical partition was tried to appear rule of working of symbolism of sacred arts and her possibilities as special kind of theology of artistic word in architecture. A person's life is marked with symbols. There is no lay art and all crises of art are not so much of aesthetic nature as of religious character. They are caused by disappearing symbolism, and, consequently, by debasement of the sense of mystic sacrum. We need tradition and the canons, we need to be reminded of holy symbols. If the sacral art is to provide an authentic description of teophanic reality and, at the same time, if it is to be a source of all human metaphysical experience and not only intellectual speculation or a mere naturalistic representation of things, we have to find a way of regaining harmony with former symbols. 'Beauty shall redeem the world' - as Fiodor Dostoyevsky rightly said. In art, redemption is realized by holy symbols. Thanks to them 'Mute art is able speak' (St. Gregory of Nyssa).