Wyniki wyszukiwania - Biblioteka Nauki

1

Świątynia Nowego Narodu Wybranego. Sanktuarium Najświętszej Marii Panny Nowej Ewangelizacji i św. Jana Pawła II w Toruniu

100%

Marchlewski W. , Zgliński M.

Konteksty - Polska Sztuka Ludowa

|

2020

|

tom 74

|

nr 1-2 (328-329)

396-413

EN

For centuries, socio-historical events have always been reflected in art. The only things changing were the cultural and historical context as well as the forms of expression used by artists. The architecture of churches and their interior design always harmonized with the religious content preached in them and the socio-historical context. Currently we can observe in Poland the creation of religious buildings that, apart from propagating religious substance, try to refer to the social events of contemporary Poland and Europe by means of their form and content. One of the most significant examples is the church dedicated to the Blessed Virgin Mary, Star of the New Evangelization, and Saint John Paul II in Toruń. The authors analyse the architectural form and interior design plan of the titular church, focusing on both the church itself and its surroundings. In doing so they employ research methods used in history of art, anthropology, and theology and interpret the content conveyed in architectural forms, sculpture, stained glass, and paintings together with their social, religious, and spiritual context. The artistic program of the church refers to the concept of Poland as the “Christ of Europe”. The authors decipher particular threads of the narrative connected with the idea of the Third Covenant and the role of the Polish nation in future new evangelization as well as with Poland’s role as a bulwark of Christianity in the past. The narrative in question also relates to the concept of recognizing Poles as the chosen people (New Children of Israel) and the role of Polish saints and blessed in the evangelization of Europe and the world. The authors present a contemporary version of the role of art in the process of interpreting socio-historical events, and evoke historical references connected with the relationship between art and architecture. Next, they analyse the phenomenon of conveying a message based on highly syncretic and polystylistic means of communication, starting from traditional techniques and representation schemes, through various types of simulacra, and ending on modern multimedia. At the same time – just like in mediaeval and modern pilgrimage centres – the message corresponding to the perceptual and cognitive abilities of average recipients is cleverly and a well-conceived way combined with a highly complicated and coordinated ideological programme reflecting the basic assumptions of theology or updated political theology from the circle of the Toruń radio station. This is clear both on the micro scale, the level of individual realizations, and the macro scale – in the plan, axes, and dominants of the assumption. An observation of the build-up of interior design in the last few years entitles us to claim that it is a “work in progress” (or an open work) of sorts, evolving along with the changing political and social situation as well as the progression of the Polish and universal Church.

2

Witraże Czesława Dźwigaja

100%

Domarzewski A.

Czasopismo Techniczne. Architektura

|

2001

|

tom R. 98, z. 1-A

146--153

EN

The recent years have been remarkably important for the development of the stained-glass art. This special craft is very popular with designers for many reasons: one of them, undoubtely, is that they can present their works of art relatively soon. An independent stained-glass Czesław Dźwigaj not spoiled by fashion or abstraction. He treats his work indywidually and it's makes him be distinguishable. This article includes description of stained-glass designe in progress, artist's problems when designing and the final works of art.

3

Centrum Dokumentacji Współczesnej Sztuki Sakralnej w Uniwersytecie Rzeszowskim

100%

Żurek W. W.

Archiwa, Biblioteki i Muzea Kościelne

|

2009

|

tom 91

367-370

4

Miejsce witraży Grażyny Strykowskiej w strukturze architektonicznej kościoła Najświętszej Bogarodzicy Maryi w Poznaniu

75%

Haake M.

Zeszyty Naukowe Politechniki Poznańskiej. Architektura, Urbanistyka, Architektura Wnętrz

|

2022

|

tom Z. 8

107--118

PL

Przedmiotem analizy i interpretacji jest sposób, w jaki witraże zaprojektowane przez Grażynę Strykowską do kościoła Najświętszej Bogarodzicy Maryi w Poznaniu współkształtują jego przestrzeń. Ta centralna budowla reprezentuje typ namiotowy. Konstrukcja kościelnego sklepienia i jego podpór tworzy złudzenie optyczne, że wnętrze świątyni zamknięte jest od góry wielką kopułą. Witraże umieszczone w wąskich oknach zostały ściśle wpisane w strukturę architektoniczną. Tekst prezentuje jej szczegółową analizę, która obejmuje relacje między ścianą obwodową kościoła a oknami, kształtem okien a kompozycją witraży, finalną kompozycją witraża a jej wstępnymi projektami, architektoniczną strukturą kościoła a ikonografią witraży. W analizie tej zastosowano terminologię z zakresu teorii obrazu i dziejów malarstwa europejskiego opracowaną przez Normana Brysona (terminy dyskursywny aspekt obrazu oraz figuratywny aspekt obrazu). Analiza prowadzi ostatecznie do konkluzji polemicznej wobec dokonanej przez N. Brysona deprecjacji chrześcijańskiej sztuki sakralnej.

EN

The way in which the stained glass windows, designed by Grażyna Strykowska for the Church of the Most Holy Mother of God in Poznań, co-shape the space of this building, is the subject of the paper. The central building represents the so-called tent-type churches. The construction of vault and its supports create the optical illusion, that the church interior is covered with the large dome. The stained glass windows were precisely inscribed into this architectural structure. The text presents the detailed analysis of these structure, which contains the relations between: the main wall and the windows, the windows shape and the composition of the stained glass windows, the final composition of the stained glass windows and its initial sketches, the architectural structure of the church and the iconography of the stained glass windows. The terms proposed by Norman Bryson in his theory of the picture and the history of European painting were used in this analysis (terms: discursive and figurative). The analysis ultimately leads to a polemical conclusion against Bryson’s depreciation of Christian sacred art.

5

Okręty, statki i łodzie w dekoracji świątyń północnej Polski

75%

Jastrzębski T.

Logistyka

|

2015

|

tom nr 4

1673--1678, CD2

PL

W referacie przedstawiono wyniki badań identyfikacyjnych dziedzictwa w ikonografii łodzi, statków i okrętów w kościołach polskiego Pomorza. Wymieniono przykłady zdobnictwa w ujęciu tematycznym oraz historycznym – od wieku XVI, aż po lata współczesne. Wykazano wielkie bogactwo wizerunków jednostek pływających na malowidłach, witrażach, modelach.

EN

The paper presents the results of identifying studies about the heritage in the iconography of boats, ships and vessels in the churches of the Polish seaside. Paper contains an examples of ornamentation in terms of themes and history - from the sixteenth century until the contemporary period and shows the great wealth of images of vessels in paintings, stained glass windows and models.

6

Najcenniejsze zbiory sztuki sakralnej z Muzeum Miejskiego w Żywcu – historia, konserwacja i ekspozycja zabytków

75%

Firlej D.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

|

2016

|

tom 4

|

nr 4

254-268

EN

The Most Valuable Collections of Religious Art of the Municipal Museum in Żywiec – History, Restoration and Exhibition of Monuments The Municipal Museum in Żywiec has an interesting collection of religious art of the Żywiec region (fourteenth–nineteenth century). The first exhibits, along with other witnesses of the past, were obtained by the director – Tadeusz Charlewski and schoolgirls of the State Teachers Women’s College in Żywiec in the course of extracurricular and field activities. In 1933, the school building was also able to organize an exhibition, which initiated the professional collection of the Museum, acquired in 1936 by Michał Jeziorski – the first curator of the Museum of Żywiec. The next important date in the history of the collection of religious art is the year 1938, when the Museum founded a separate exhibition hall, which presented works of religious art, including medieval objects from the Church of Saint Cross in Żywiec (fifteenth and sixteenth century). Currently, the collection of religious art in the collections of the City Museum in Żywiec is the largest part of the Museum’s historical, artistic and deposit collection. Since 2012 the Old Castle in Żywiec, the seat of the Museum, presents the largest in its history permanent exhibition entitled “Religious Art of the Żywiec Region”.

7

Kościół parafialny św. Mikołaja i św. Doroty w Kwiatkowicach

75%

Jarno-Cichosz K.

Biuletyn Szadkowski

|

2016

|

tom 16

77-90

EN

The church in Kwiatkowice, founded by Kacper Puczek and his wife Anna of Sarnów, was built in the early 17th century. It is an example of a temple founded by members of the nobility, with the intention to became the mausoleum of the Puczek family. The church has undergone only slight alterations over the three centuries of its existence, and has a well-preserved equipment from the17th and 18th centuries. In the church there are three altars: the main altar dedicated to St. Nicholas and two side altars devoted to the Holy Trinity (south) and the Heart of Jesus (north). The main altar was built in the 1830s, probably at the initiative of Konstancja Kossakowska. The altar dedicated to the Holy Trinity was built in the early 17th century. Two wooden polychrome statues of Madonna Immaculata and St. John of Nepomuk are from the beginning of the 17th century. The church building is testimony to the position and wealth of Kacper and Anna Puczek, who decided to build a brick temple, equipped according to trends prevailing in this area in the early 17th century.

PL

Kościół parafialny w Kwiatkowicach to przykład świątyni pochodzącej z fundacji szlacheckiej i pełniącej funkcję mauzoleum rodowego fundatorów wzniesionej na początku XVII w. przez Kacpra Puczka i jego żonę Annę z Sarnowa. Walory kościoła stanowią dobrze zachowane nowożytne wyposażenie oraz niewielkie zmiany, jakim na przestrzeni lat podlegały jego formy. W kościele znajdują się trzy ołtarze: główny św. Mikołaja oraz dwa ołtarze boczne – Trójcy Świętej (południowy) i Serca Jezusa (północny) – usytuowane w części korpusu przylegającej do prezbiterium. Ołtarz główny powstał w pierwszej połowie lat 30. XVIII w., najprawdopodobniej z inicjatywy zmarłej w 1732 r. Konstancji Kossakowskiej. Ołtarz p.w. Świętej Trójcy powstał w latach 20.–30. XVII w., stanowi pierwotny element wyposażenia świątyni podobnie jak ołtarz Św. Trójcy. Z początku XVII w. pochodzą także dwie drewniane, polichromowane rzeźby: Madonna Immaculata oraz św. Jan Nepomucen. Omawiany obiekt świadczy o pozycji i zamożności fundatorów, którzy zdecydowali się na budowę świątyni murowanej, wyposażonej zgodnie z panującymi na tym obszarze w początku XVII w. trendami.

8

Obrazek religijny w misji ewangelizacyjnej Kościoła

75%

Leszczyński M.

Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej

|

2014

|

nr 21

279-283

EN

Among many objects belonging to the religious art there are not only great and significant works but also those which can get to almost everyone thanks to their availability. Religious images are included in this category. The history of creating small devotional representations dates back to 13th century, and the oldest documented example of holy pictures comes from 1423. From the very beginning the main topic of religious images was Christian iconography, which was supposed to present truths of faith to the faithful ones and encourage them to be more devout. Throughout the centuries techniques of creating images as well as materials from which they were made changed. Nevertheless, although years have passed, devotional representations in this form are still very popular, but due to automated production of a religious image, its artistic value decreased. Still, they become a collectible as well as fulfill an important evangelization mission.

9

Muzeum Sztuki Religijnej w Lubartowie

75%

Chachaj J.

Archiwa, Biblioteki i Muzea Kościelne

|

2000

|

tom 74

47-47

10

[Recenzja]: "W cieniu trzech katedr : z dziejów konserwacji zabytków sakralnych w Polsce północno-zachodniej", Roman Kostynowicz, Szczecin 1999

75%

Zahajkiewicz M. T.

Archiwa, Biblioteki i Muzea Kościelne

|

2000

|

tom 73

474-476

PL

-

11

Conservator Ecclesiae 2013 dla Arcybiskupa Mieczysława Mokrzyckiego

75%

Kadłuczka A.

|

tom Nr 35

93--96

PL

Prestiżowa Nagroda „Conservator Ecclesiae” im. Księdza Profesora Janusza Stanisława Pasierba Stowarzyszenia Konserwatorów Zabytków przyznawana jest raz w roku przez Kapitułę złożoną z członków stowarzyszeń twórczych, zawodowych i przedstawicieli instytucji kościelnych. Nagroda ta, upamiętniająca dokonania Ks. Prof. Pasierba na polu ochrony sakralnego dziedzictwa kulturowego, tak praktyczne jak i teoretyczne, jest każdorazowo przyznawana osobom, które wniosły realny wkład w ratowanie zabytkowych kościołów, cerkwi, domów modlitw różnych wyznań oraz dzieł sztuki sakralnej przed zagrożeniami jakie, niesie współczesna epoka wszelkim śladom i dokumentom przeszłości.

EN

The prestigious Rev. Prof. Janusz Stanisław Pasierb Award Conservator Ecclesiae of the Heritage Conservation Association is awarded once a year by the Chapter consisting of members of artistic, professional associations and representatives of church institutions. The award commemorating the achievements of the Rev. Prof. Pasierb in the fi eld of protecting the church cultural heritage, both practical and theoretical, is awarded to the people who effectively contributed to saving historic catholic or orthodox churches, houses of prayer of various faiths, as well as masterpieces of church art, from the dangers posed by the modern epoch to all the traces and documents of the past.

12

Wybrane aspekty artystyczne, teologiczne i historyczne w obrazach „Alegoria Wiary” i „Adoracja Chrystusa jako Odkupiciela” z kościoła pw. św. Apostołów Piotra i Pawła w Pucku

75%

Rumanowski P.

Archiwa, Biblioteki i Muzea Kościelne

|

2013

|

tom 99

209-233

EN

This paper describes two seventeenth-century paintings in St. Peter and Paul Church in Puck. The works are placed next to each other and they have the form of discs fitting into the arches of the Gothic vault of the church. The images are consistent in terms of composition and content. Allegorical paintings symbolize the significance of faith, the communion of saints and mediation in salvation. The anonymous works are creative transformation of the Gothic tradition of painting in the service of the post-tridentine Catholic Church fighting with the Reformation. The paintings are overloaded with excessive content of iconography and raise a number of issues about which the Reformation spoke critically or towards which it had a negative attitude. The images depict characters from the Bible and the Gospel. To bring people closer to the scenes on canvas, the painters included elements of familiar realities and the characters of the time. Works form Puck in terms of iconography and composition make use of the experience of artists from Gdańsk and painters working with the Cistercians and the Jesuits. Described paintings cannot be placed in a catalogue of relics as high-quality works. They refer to the paintings, which were characterized by dignity and simplicity. The value of these paintings is remarkable from theological and iconographic point of view; as it is an example of an attempt to spread counter-reformation ideas among the faithful.

13

Targi Sacroexpo – VII Międzynarodowa Konferencja Muzealników „Muzea naszych czasów”. Kielce 9 czerwca 2014 r.

75%

Skrzydlewska B.

Archiwa, Biblioteki i Muzea Kościelne

|

2014

|

tom 101

407-408

14

Sympozjum z okazji otwarcia muzeum w sanktuarium Matki Bożej Kębelskiej w Wąwolnicy. Wąwolnica 22 czerwca 2013 r.

75%

Skrzydlewska B.

Archiwa, Biblioteki i Muzea Kościelne

|

2013

|

tom 100

463-465

15

Współczesne muzea religijne archidiecezji lubelskiej.

75%

Skrzydlewska B.

Archiwa, Biblioteki i Muzea Kościelne

|

2013

|

tom 100

315-325

16

Rola przedstawień drzewa genealogicznego zakonu w środowisku premonstratensów

75%

Kwiatkowska-Frejlich L.

Archiwa, Biblioteki i Muzea Kościelne

|

2013

|

tom 100

205-217

EN

The commonly known representation of Tree of Jesse, as inspired by the words „And the wand will come out of the root of Jesse and a flower will grow out of from its root” (Isaiah 11:1), proves the interpersonal relationships with Jesus and His messianic prophecy - by indicating on David. But since the earliest times this theme has been explored in the secular art because branching limbs with characters of descendants, growing from the parents’ chest, clearly illustrate the relations resulting from successions of generations within the family framework. This kind of representations was also popular in orders. At that time they not only provided the information on the background of spiritual path but also the assurance of its effectiveness on the way to reach Heaven. The images of the Order of Canons Regular of Prémontré, also known as the Premonstratensians, elaborated upon in this paper, was to make canons regular believe that abiding by the rules and laws made by the Order and praising the Eucharist, canons regular may master themselves to perfection and the saints of the order, who had already successfully fulfilled this recommendation, were the best teachers on the path of spiritual progress.

17

Obraz męki Chrystusa w XIX-wiecznych ulotnych drukach jarmarczno-odpustowych

75%

Ratajczak T.

Archiwa, Biblioteki i Muzea Kościelne

|

2011

|

tom 95

305-315

EN

A few types of Passion prints were distributed at the markets and church fairs in Poland. Leaflets with narrative religious songs were among them and they are the ones which come under scrutiny in this text. The analysis of such prints with Passion songs, which were found in a few libraries, allows to state that the aim of these works was to remind Passion scenes which arose strong religious emotions. In these simple works, addressed to the commons, a strong emphasis was put on the humanity of characters as well as the human aspect of their experiences. (the key role in the description of the Passion was played by Mary, who shared sufferings of her Son). At the same time typical medieval means of representations were used in this form of work such as drastic scenes and moralizing tone, things which affected the uncomplicated mentality of the receivers and became embedded in the collective memory. Finally, these leaflets were characterized by the repetition of a general tendency of the medieval piety: subjectivism, realism and dolorism.

18

Wybrane piety w Małopolsce z okresu średniowiecza. Ich proweniencja, dzieje i wizerunek

75%

Gołąb-Kowalska J.

Archiwa, Biblioteki i Muzea Kościelne

|

2010

|

tom 94

39-61

EN

The main purpose of this work is to present the provenance and the history of the chosen, characteristic and famous Pietàs from different works of art, monuments, and other buildings- for instance, churches, hospitals and roadside shrines. The vital issue of this article is to show the outward image of Pietàs. The author also focuses on analogies, similarities and differences in the image of Pietàs from Little Poland, and other regions and places which were outside Poland in the Middle Ages. This work concentrates only on the chosen Pietàs from different places such as Pietà from Limanów, Pietà in the church of the Nativity of the Holy Virgin Mary in Czchów, Pietà from Wojnicz, Pietà from Biecz (Mourning II), Pietà from the former Hospital for the Poor in Biecz, Pietà from Witkowice, Pietà from Szczyrzyc, Pietà from Dobczyce. The author chose these Pietàs, which despite coming from different places of Little Poland in the Middle Ages, best illustrate similarities and differences between each other and other sculptures. The paper also compares the analysed Pietàs with various sculptures and Pietàs from other regions of Poland and outside the country. Only certain of Pietàs are presented in this article, especially these which are described in different academic works and source materials. Some academic papers lack detailed information about the provenance, the history and the image of some of the gothic Pietàs from the Middle Ages in Little Poland. Only Pietà from Limanowa is the one about which there is thorough information in academic papers and source materials. So far, there has been no synthetic work or article about the provenance, the history and the overall image of Pietàs from Little Poland in the Middle Ages.

19

[Recenzja]: Bogumiła J. Rouba, Pielęgnacja świątyni i innych zabytków. Książka nie tylko dla księży, Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, Toruń 2014, ss. 508

75%

Szlufik P.

|

tom 103

391-393

20

List apostolski Duodecimum saeculum Ojca Świętego św. Jana Pawła II z okazji tysiąc dwusetnej rocznicy Soboru Nicejskiego II. Miejsce ikony w wierze i rozumieniu św. Jana Pawła II

71%

Mazurczak U.

|

nr 4

57-71

EN

The letter of the Holy Father John Paul II written in Rome in 1987, in the tenth year of His pontificate, on December 4th, on the day of memorial of Saint John Damascene, the doctor of the Church, on the Twelfth Centenary of finishing the controversy over the icon, is of great importance for the Pope’s program of ecumenism. The Holy Father indicated various directions of the dialogue, however, the one of the utmost importance concerned the agreement with the Orthodox Church, which was confirmed in the letters and in His other documents quoted in this paper. The image used to be essential for religious practice, for illustrating the word of prayer and of the song, in order to preserve the tradition of the Church. The strict prohibition introduced by the iconoclasm depreciated not only the artistic tradition of paintings but also the basic dogmas of Christ’s Incarnation and the one which introduced Virgin Mary as the Theotokos (the God-bearer). The ban constituted a threat not only for the icons but also for the Christian faith. In His Letter, the Pope underlined the important role of the Second Council of Nicaea which reintroduced icons and maintained and deepened the meaning of the cult in the faith of believers. Furthermore, the Holy Father indicated the connection with the Second Vatican Council in understanding the function and form of images in contemporary Church. Contemporary trends are overwhelmed by the impotence of the spiritual expression of sacral art, which is a great concern for the Pope. The Letter is, therefore, a dramatic warning of the threats for religious art in contemporary time, expressed by the Holy Father with these words: ‘The rediscovery of the Christian icon will also help in raising the awareness of the urgency of reacting against the depersonalizing and at times degrading effects of the many images that condition our lives in advertisements and the media.’ (DS, 11).

PL

List Ojca Świętego Jana Pawła II napisany w Rzymie, w roku 1987, w dziesiątym roku pontyfikaty, 4 grudnia, w dniu liturgicznego wspomnienia św. Jana Damasceńskiego, doktora Kościoła w 1200 rocznicę zakończenia sporu o ikony, ma istotne znaczenie w programie ekumenizmu Papieża. Wskazywał wiele kierunków dialogu z różnymi religiami, jednak największą troską było porozumienie z Kościołem prawosławnym, co potwierdzają listy oraz inne dokumenty Ojca Świętego przytaczane w niniejszej pracy. Istotne było zachowanie tradycji Kościoła, w którym nieodłącznym ogniwem dla praktyk religijnych słowa, modlitwy i pieśni był obraz. Surowy zakaz wprowadzony przez ikonoklazm podważał nie tylko artystyczne tradycje obrazów, lecz także sięgał do podstaw dogmatów Wcielenia Chrystusa i Matki Dziewicy Maryi Panny jako Theotokos. Zakaz był zagrożeniem dla ikon, ale też dla istoty wiary chrześcijańskiej. Papież podkreślił w swoim Liście rolę Soboru Nicejskiego II, który przywrócił ikony oraz zapewnił ich pogłębione znaczenie dla kultu wiernych w ugruntowaniu wiary. Ojciec Święty wskazał również związek z Soborem Watykańskim II odnoszącym się do rozumienia funkcji i formy obrazów w Kościele współczesnym. Współczesność owładnęła niemoc duchowego wyrazu sztuki sakralnej co stanowi troskę Papieża. List jest dramatycznym ostrzeżeniem wobec zagrożeń dla sztuki religijnej w czasach współczesnych, które Ojciec Święty wyraził słowami „Ponowne odkrywanie wartości chrześcijańskiej sztuki może być również pomocą w uświadomieniu sobie konieczności przeciwstawienia się depersonalizującym skutkom oddziaływania tak wielu obrazów”.