2019 | Tom XXVIII | s. 7-22
Article title

Pomorskie urny kanopskie. Esej estetyczny

Title variants
Pomeranian Canopic Jars. Eassay in Aesthetics
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Presuming that a piece of art is an intentional object (Margolis), an aesthetic experience is a form of perception shaped by cultural semantic habits. Perception as well as culture has a history. What form of perception can be linked with anthropomorphic canopic jars, produced on Polish land during the times of Plato and Homer? What content was passed on by curators of tribal traditions who decorated canopic jars with accessories similar to the Greek ones? Antic testimonies (Iliad, Timaeus) along with reconstructions of ancient perceptions (Nietzsche, Lévy Bruhl), gestured towards intellectual formation in which thinking was not separated from action, and abstracted from mind, will and emotion. In these conditions a human being was a part of an active biocosmic universe, equipped with human dispositions. A canopic jar, as a vehicle transferring deceased to an appropriate sphere of biocosmos, was most probably perceived as a body (Mannhardt), which was dressed with accessories, weapons, and symbols of the elements (water, fire), and biocosmic efficacy (heavenly bodies, yearly vegetative periods). Also, funeral processions and resurrection ceremonies from Greek and German myths were presented.
s. 7-22
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