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THE NEO-PLATINIC SUPPER (Neoplatonska Wieczerza)

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Boruta T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2011
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vol. 4
65-79
EN
The article concerns The Last Supper by Maciej Swieszewski, one of the best known Polish paintings of recent years. The piece presents an eschatological feast. A sumptuous banquet table, whose rectangular shape represents earthly reality, along with the apostles, is placed in a nebulous, heavenly space of a New Jerusalem. In addition, the artist produces an interesting and meticulously studied image of Jesus. By giving him three faces, he creates an entirely new iconography. This original vision originates along the central axis of the composition and radiates to the rest of the painting. Starting from the top, the viewer comes across the vertex of a triangle. The triangle is white to represent the primordial neo-Platonic unity of God; as it descends, it gradually splits into the colours of the rainbow, the symbol of reconciliation, mercy and covenant between the Creator and his creation, as well as the presence of God. The banquet table, overflowing with the fruits of the earth, floating on the endless expanse of water is at once an ark and a sacrificial table. The paintings by Maciej Swieszewski and Aldona Mickiewicz show the scene of the Last Supper in the symbolic light of Neo-platonic philosophy. In the former, a primal tear of God falls on earthly waters, creating new life and starting waves, which emanate from the centre to include the entire painting in symbolic circles of eschatological symbols. In the latter, the square of the table (representing the earthly) is covered with a tablecloth; in the vein of Renaissance architects, who tried to design an ideal temple, a circle formed by crumbs of bread and folds of the tablecloth is inscribed within it. The centre of emanation is the Eucharist, represented by the plate with bread and the wine-filled carafe. Aldona Mickiewicz thus creates a symbolic image of the community of the mystical Church. However, she is uncertain in her vision, stops at the description of the everyday, and openly shares her doubts. Her paintings are not statements but question marks asking about the essence of life. In her The Last Supper, she freezes the moment of rolling up the tablecloth to express her doubt as to whether it will unveil an empty, earthly table or the promised Kingdom of God. Swieszewski, on the other hand, is a visionary. It seems that his enormous erudition and, perhaps, personal faith allow him to steal a glance at the nuptial feast of the Triumphant Church - the wedding of the Lamb.
2

SENSE OF THE ARTISTIC CREATION IN THE CONTEXT OF JOHN PAUL II'S MEDITATIONS ON THE BOOK OF GENESIS OF THE ROMAN TRIPTYCH (Sens tworczosci artystycznej w kontekscie Medytacji nad Ksiega Rodzaju z Tryptyku rzymskiego Jana Pawla II)

100%
Boruta T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2009
|
vol. 2
38-48
EN
In his Meditations on the Book of Genesis of The Roman Triptych, John Paul II gave a condensed definition of artistic creation and demonstrated the critical role it plays as a component of Christian identity. His poignant call on all artists to bear the fruit of their vision, to 'create the image', is deeply grounded in the basic tenet of Christianity - the Incarnation of God. The idea of man as created in the image and the likeness of God is the key to understanding not just the Sistine frescoes of Michelangelo, but also Christian art at large. By showing visible reality, a piece of painting also reveals the reality of God. It transcends earthly determinants of time and space to express the eternal Word, and thus becomes a pre-sacrament - the invisible manifests itself in its visible form. John Paul II needs painting to be able to see God, or the trace of his presence in history and the reality of our here and now. A painting unveils before us the truth of being expressed in the emanation of the Creator into his creation. It allows us to deepen our awareness that we were created in 'the image and likeness' of God, that 'in him we live and move and have our being'. Fascinated with the Sistine vision of Michelangelo, John Paul II exclaims: 'The Beginning and the End, invisible, pierce us from these walls!'. A work of art allows us to contemplate not only historical events, objects and figures, but also that which is hidden beyond the 'threshold' - the invisible, the divine, the eternal. This is the paradox of painting as seen by the pope: 'all this abundant visibility, released by human genius' ultimately leads us towards the Invisible. By portraying earthly reality in sensory form, the artist unveils the mystery of God. A work of art reveals the Word, which was in the beginning and to which the world will return at the end of times.
3

THE HOME - A SOURCE OF IDENTITY (Dom zródlo tozsamosci)

100%
Boruta T.
Konteksty - Polska Sztuka Ludowa
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2010
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vol. 64
|
issue 2-3(289-290)
195-200
EN
Analysing the symbolic and structure of Robert Campin's Mérode Triptych the author notices that the ostensible non-cohesion of the objects and the interior in the scene of the Annunciation comprises an introduction, intended by the author, of three parallel axes, in which the lines of the perspective meet. Each is ascribed to one of the Three Divine Persons. In this case, they are present as a principle introducing order into the whole depicted world and thus legitimise the religious interpretation of the portrayed objects derived from daily life, as symbols referring to supernatural reality. In this work, due to the broached theme associated with daily narration and the symbolic of the work, the artist rendered conception, nativity, and the perspective of death and resurrection; he also expressed the intimate space of loneliness as well as dialogical, social and professional relations. In this fashion, the home shown by Robert Campin conveys the identity of man who, by setting up a home in a concrete place and at a given time, seeks the reasons for existence in a supernatural order. By gaining a point of support and an anchor, he discovers an order that exceeds the dimension of individual existence. In this way, the home, which is both an idea and the experience of settling down, becomes a source of identity that constitutes the correct perspective of the world in which we live.
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