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Die DAIMONIA im Chludow-Psalter

100%
Skrzyniarz S.
Modus. Prace z historii sztuki
|
2011
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vol. 10-11
23-28
PL
Dwie nagie biegnące postacie, ukazane na fol. 96v Psałterza Chłudowa (ii. 1), opatrzone inskrypcją AAIMONIA - terminem występującym w tekście Psalmu 95, 5, którego ilustracją jest omawiana miniatura - w literaturze przedmiotu zwykle identyfikowane sąjako przedstawienia demonów. Gdyby tak było, stanowiłyby jednak ikonograficzny wyjątek wśród licznych w Psałterzu Chłudowa przedstawień złych duchów, niemal zawsze ukazanych w typie antropomorficznym uskrzydlonym (il. 2). Analogie formalne z przedstawieniami pogańskich idoli w bizantyńskim malarstwie książkowym (il. 4) i monumentalnym (il. 5), dwuznaczność terminu 5cauóvia (jako rzeczownik oznacza wprawdzie „demony, złe duchy", ale może też występować w funkcji przymiotnika „czczy, złudny, pusty") oraz wymowa Psalmu 95 (niemoc rzekomych bogów wyznawanych przez pogan wobec potęgi prawdziwego Boga) skłaniają do uznania, że w przypadku postaci na fol. 96v Psałterza Chłudowa mamy do czynienia z przedstawieniami „czczych, złudnych" bóstw pogańskich.
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'Diabolus Tamquam Leo Rugiens', A Contribution to Studies on the Significance of the Lion Motif on Pre-Constantine Christian Sarcophagi

100%
Skrzyniarz S.
Modus. Prace z historii sztuki
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2000
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vol. 1
7-29
EN
Wilpert, referring to the six pre-Constantine sarcophagi published by him, interprets the representations of lions decorating the tombs as symbolic depictions of the Devil. The sarcophagi mentioned by him, which are kept in the Louvre collections, S.Trinita Church in Florence, S. Saba in Rome, Museum at Tipasa, and Museo delle Terme in Rome, continue to function in the literature as Christian monuments dating from the 3rd century. Wilpert's thesis concerning the significance of the lion motif, albeit correct, has not been sufficiently justified - the German scholar refers solely to St Paul's words. The aim of the present paper is to supplement Wilpert's argumentation. As has been repeatedly emphasized in the relevant literature, Early Christian sarcophagi constitute both stylistically and iconographically an integral part of the heritage of the late-antique, pagan Roman workshops, embracing a relatively numerous group of objects in which the lion motif is universally interpreted as a symbol of death. This fact induced some researchers to content themselves with the recognition of such symbolic significance of a lion on Christian reliefs.However, in the Christian literature of the first centuries, referring to Biblical tradition a lion is generally identified with evil and sometimes even directly with the Devil thus confirming Wilpert's interpretation. Also death is regarded by Early Christian writers as the work and one of the names of the Devil , which in turn encourages the supposition that the Christians may have associated the lion - a pagan symbol of death - with the Devil. The German researcher's thesis finds additional corroboration in the appearance in Early Christian iconography of other compositions in which a lion unequivocally symbolizes evil or the Devil. The lion on the pre-Constantine Christian sarcophagi is a symbol which took form under the influence of Christian and Late Roman pagan traditions, the two descending from the same sources of ancient Mediterranean culture, which are inseparable. The interpretation proposed by Wilpert is correct, but it is not the only one, hence the necessity of extreme caution in drawing a conclusion from the considerations presented in the paper: it is possible that the Christians of the 3rd century, ordering sarcophagi with a relief whose composition was popular among their pagan fellow-citizens, regarded a lion not only as a symbol of death but also as that of the Devil.
3
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[review] Józef Cezary Kałużny, Kształtowanie się przedstawień chrystologicznych jako świadectwo ideowych przemian w Kościele III i IV wieku

100%
Skrzyniarz S.
Modus. Prace z historii sztuki
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2006
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vol. 7
221-229
4
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[review] Martin Büchsel, Die Entstehung des Christusporträts. Bildarchäologie statt Bildhypnose

100%
Skrzyniarz S.
Modus. Prace z historii sztuki
|
2009
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vol. 8-9
303-309
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