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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.

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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

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.

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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.

3

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.

4

Psałterz Floriański z punktu widzenia historyka sztuki

80%

Śnieżynska-Stolot E.

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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.

5

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

80%

Balážová B.

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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.

6

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.

7

12.–13. gadsimta bronzas bļodas ar gravējumiem

80%

Grosmane E.

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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.

8

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

80%

Germ T.

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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.

9

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

80%

Čajka M.

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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.

10

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

80%

Jaworski P.

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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

Vulci, Novilara, Aliano

70%

Szilagyi J. G.

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tom 48

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nr 1/2

17-25

EN

Two case-studies concerning comparative iconography of pre-Roman Italy. The first provides further proof of the well-known connections between Etruria and Picenum in the Orientalizing period. The second shows that one and the same iconographic scheme needs different interpretations in different cultural contexts (Picenum vs. Basilicata).

12

REFLECTION OF THE TRADITION OF HESYCHIA IN THE IMAGES OF SAINTS ANTHONY AND THEODOSIUS OF THE CAVES IN THE LAVRA ICONOGRAPHY

70%

Ryzhova O.

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tom 16

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nr 2

68 - 81

EN

The reflection of the spiritual tradition of hesychia in the pieces of Lavra iconography with the image of Sts. Anthony and Theodosius of the Caves is considered in this article. The manifestations of hesychia in the lives of the Venerable Fathers of the Caves are reflected in hagiographic literature. In the course of the study, several of the most stable iconographic types of the image of the Venerable Fathers Anthony and Theodosius of the Caves were identified, in which the spiritual traditions of hesychia are visibly reflected. First, these are “Cathedral Compositions”, where all Venerable Fathers of the Caves are depicted. Secondly, these are the compositions “Our Lady of Pechersk with the Appearing Saints Anthony and Theodosius of Pechersk” which is a kind of a brief summary of the previous compositions. Thirdly – “Life Compositions”, the iconography of which is based on hagiographic literature. A characteristic detail of the iconography of the Saints is the presence of a rosary – a symbol of the monastic prayer feat and the prayer of Jesus. All the above images are united by the circumstance that they were created in the categories of Palamite Hesychasm with its ideal of the transformation of the flesh, with the doctrine of the divine aspiration of human nature, the inseparability of earth and heaven.

13

ROMÁNSKY PORTÁL KOSTOLA SV. EGÍDIA V ILIJI: PRÍSPEVOK K INTERPRETÁCII JEHO IKONOGRAFICKÉHO PROGRAMU

70%

Reťkovská A.

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nr 2

137 - 153

EN

The Romanesque portal of the church of St. Aegidius in Ilija near Banská Štiavnica, which dates back to 1254, is a unique architectural and sculptural work, and its significance transcends the borders of medieval Hungary. Andrej Kmeť and Václav Mencl significantly deepened the knowledge about the history of the portal and its stylistic classification as well as historical research and restoration from the recent period. The portal shows common features with the so-called Norman style spreading from Western Europe to its eastern parts, which persisted until the middle of the 13th century. The architecture of three-recessed jambs with inserted columns with pear-shaped profiling of the corners of the recesses passing into an entire arch above the tympanum with a three-circle border is complemented by rich sculptural equipment of capitals and cornices. The asymmetry of the relief decor forms on the northern and southern parapets follows a distinctive iconographic program unique even within the European context. The capitals of the northern lintel with zoomorphic motifs of dragons united by one head, the heads of outcasts incorporated into a tangle of vegetation, represent the world of diabolical powers attacking the human soul in an attempt to seize it. In contrast, the southern jamb is decorated with a balanced composition of double-row tongue leaves and a cornice capitalising paradise in its harmonious expression. The two linings are a materialized expression of instruction serving as the Biblia pauperum, one of the most important missions of medieval art.

14

NÁLEZ VČASNONOVOVEKÝCH KACHLÍC NA ÚZEMÍ ŠINTAVY

70%

Jančiová B.

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tom 24

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nr 2

427 – 445

EN

A huge collection of ceramics finds was discovered by digging a basement on the court of the family house in the village Šintava (district Galanta, Slovakia), in March 2020. For this reason, the Department of Archaeology at Constantine the Philosopher University in Nitra realized archaeological excavation. During the excavation were documented three settlement features, which were secondary filled mostly with the ceramics. Some of them were fragments of stove tiles, especially panel stove tiles with different types of motifs. In this study, the collection of stove tiles are presented and evaluated by iconography, morphology, type-chronological classification, and also an extension on the territory of Slovakia. The finding itself is also evaluated within Šintava past settlement.

15

Konec literárního špenátu aneb Popis v intermediální perspektivě

70%

Fedrová S. , Jedličková A.

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2011

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tom 59

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nr 1

26-58

EN

This article uses intermedial poetics to argue for the evocative potential of traditional prosaic description and to reveal the sources of the prejudices of both the general reader and the scholar, which have usually been linked with this stylistic approach or type of text. The article seeks to demonstrate that modern Czech stylistics and literary history, or the historical poetics of prose fiction, have to a certain extent helped to create these prejudices. The former has, in the endeavour to document types of text, sometimes tended to an implicit axiology of alternative functional forms of descriptiveness with their concrete historical forms; this state of affairs has continued in recent stylistics. In the interpretations offered in literary history and diachronic poetics until the 1980s, one encounters the generalizing opposition of realistic description, that is to say, ‘objective’, ‘static’ description, to modernist, that is to say, ‘subjectivized’, ‘dynamic’ description. As is clear from the analyses in the second part of the article, numerous examples can be found both to refute the existence of this opposition and to demonstrate it. Besides making a thorough distinction between, on the one hand, descriptive approaches and descriptive function (which draw, for example, on the ideas of Felix Vodička) and, on the other hand, the thoroughly contextual interpretation of literary description, a way out of the confusion is offered by the intermedial (or intermedially cognitive) approach to description as a ‘representational macro -mode’, as was methodologically laid out by Werner Wolf. Drawing on the first part of the article, the second part demonstrates the internal dynamics of realistic descriptions (which are often linked with superordinated epic models, particularly of composition) based, for example, not ‘on the evocation of landscape’, but on the evocation of the multisensory perception of the landscape, the ‘dissolution’ of description in the flow of narration, and the ‘temporalization’ of the description of the landscape by linking up with its transformations under the influence of the seasons; the narratological thesis of ‘description as suspension’ of narration is thereby rebutted. The means by which some realistic descriptions assume a mood -like character, clearly turns out in the intermedial perspective to be a result of the narrative application of traditional iconography and pictorial models linked with the period that is thematized in the story, as well as visual evocation based on intertextual relations. Identification of the position of the observer clearly follows from the key role of perception in these examples; that position is comprehensively demonstrated in the final example of the article, which shows that the autonomization of description as a ‘report of perception’ in prose fiction, which crosses over to literary impressionism.

16

Cesta opata Fortunáta Hartmanna (1755-1779). Příspěvek k barokní topografii Plaska

60%

Bukačová I.

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nr 1

229-248

EN

The Cistercian Monastery in Plasy (1145–1785) gave the large domain situated in Western Bohemia a clear road network which has been apparent till today; one of the most significant paths boasting rich iconography and a clearly apparent late–Baroque concept of decorations is the “old Plasy path” which has linked the Plasy monastery, the Sechutice farmyard, the provostry in Mariánská Týnice and the Hubenov farmyard for more than eight centuries. Iconographic sources (vedute from the turn of the late 18th and early 19th centuries), maps (Mauritius Vogt, 1729, Adnreas and Johann Wiehl, the early 19th century) and written documents (Tilia plassensis, 1729, Breve teinicense, about 1767) document the unusual stability of landscape links whose preservativ is the objective of regional projects.

17

ICONOGRAPHY OF THE FORMER MAIN ALTAR OF ST. MARTIN BY GEORG RAPHAEL DONNER IN ST. MARTIN‘S CATHEDRAL IN BRATISLAVA

60%

Orviská K.

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nr 2

209 - 221

EN

The sculptural group of St. Martin and the Beggar by Georg Raphael Donner, which was part of the eponymous altar in St. Martin’s Cathedral in Bratislava commissioned by the Primate Emericus Esterházy in 1733, is one of the most important works of art of the first half of the 18th century. This article aims to analyse the probable iconographic models for the Bratislava sculptural group, the iconographic type of St. Martin on horseback and the beggar in the context of the researched work of art, and the atypical elements of the sculptural group, in which authors have searched for specific meanings to this day.

18

K POJMOM HOMO ARCHITECTUS A DEUS ARCHITECTUS. O možnosti názvu jednej miniatúry z Bible Moralisée

60%

Zervan M. , Zervan V.

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nr 8

770-779

EN

The paper is a partial result of an iconographic research of the iconographies of an artist and an architect, motivated by the miniature The God Creator in the Bible Moralisee manuscript. In ancient and biblical sources the authors examined the legibility of these terms in order to give evidence that deus architectus and sapiens architectus have been invented and used before the manuscript was compiled. The textual researches show, that in the term deus architectus the meanings of the words architect and architecture, indicating the whole of building practice, intertwined probably with the meanings related to the God Creator. The practice of an architect could therefore represent the act of Creation, and vice versa, the act of Creation could uplift the practice of architecture.

19

The landscape of the czech middle ages in the perspective of modern science

60%

Šimůnek R.

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nr 1

35-62

EN

This article surveys research topics and questions in the discipline of historical geography in the Czech lands between the 13th and 15th century; the author addresses topics and questions currently under study as well as those suggested for the future. The author also discusses the wide reach of the subjekt matter, from the disciplines of history, archeology, toponymy and literary studies, art history, economic and social history, but also the natural sciences.

20

THEOTOKOS IN POREC. PUBLIC, OFFICIAL AND PRIVATE IN THE SIXTH-CENTURY DEVOTION TO MARY

60%

Vicelja-Matijašiċ M.

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2013

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tom 46

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nr 1

3 -15

EN

The mosaics in the central apse of the episcopal church of Eufrasius in Porec, built in the sixth century, present an inexhaustible source for research of iconography of the visual arts in time of Justinian. Given the fact that a large part of the corpus of early Byzantine art was not preserved, especially the one in Constantinople, mosaics in Porec are the key to understanding the role of visual arts in reference to theology, contemporary philosophical disputes, aesthetic canons and role of visual display as a communication means.