Статья представляет собой критический анализ метафизическо-религиозной доктрины естественного права. Тезисы этой доктрины можно выразить следующим образом: духовная жизнь разных культурных традиций желает проявлять себя и воплощаться «в свете высшей правды и абсолютного добра». Тем самым, естественное право должно являться основой аутентичных и абсолютных (христианских) ценностей, гарантируя «аутентичный» диалог различных культур и религий. Однако, классификация теорий, касающихся естественного права, показывает его сложность; исторические критерии переплетаются с методологическими, а закон естественного права полон не только философского и политического содержания, но даже идеологического и мировоззренческого. Поэтому нет согласия на нераздельное понимание естественного права, равно как нет однозначного ответа на вопрос об его функциях и социально-культурном значении. В связи с вышеупомянутым, нам кажется, что для того, чтобы естественное право могло стать основой межкультурного и религиозного диалога, оно должно быть «ценностью», свободной от морали (имморальной), основанной на добродетели ответственности и предвидения, а не на заимствовании и трансформации или же quasi «новом взгляде» на «Великие Ценности».
EN
The article is a critical analysis of metaphysical and religious doctrine of the natural law whose thesis may be expressed as follows: spiritual life of various cultural traditions wants to manifest and fulfill itself in the “light of the final truth and absolute good”. Thereby, the natural law shall constitute the foundation of defending the authentic (Christian) and absolute values which guarantee “authentic” dialogue between different cultures and religions. However, classification of theories related to the natural law shows its complexity, while historical criteria alternate with the methodological ones and the idea of the natural law is full of philosophical and political as well as just ideological content or the content of outlook. That is why there is a disagreement on common understanding of the natural law, including the answer to the question about its functions and social and cultural importance. Therefore, it seems that to make the natural law constitute the foundation of multicultural and religious dialogue, it should be the “value” free of morality (immoral) based on the virtue of responsibility and predictabi-lity, but nor on the reception neither on quasi “new look” at “Great Virtues”.
The panorama The Entry o f the Conquering Magyars was painted in 1892-1894 by Arpad Feszty and assistants for an exhibition commemorating millenium celebrations. The panorama consists of a full integration of the painting with the three-dimensional foreground. The oil painting on linen canvas was 15 m. high and 113 m. long and its surface areawas more than 1600 sq. m. The canvas was stretched between two circular beams to form a hyperboloid shape. The foreground (artifical terrain) was produced and fused together with the painting by using different materials, and the illusion of infinite space was formed by avoiding visible connections. The Budapest rotunda was destroyed during the bombardment in 1944. Fortunately almost 80% of the figurai part and a few sections of the sky survived, a total of 614 sq. m. (approx. 30% of the entire painting). The artifical terrain was completely destroyed. Between 1991-1995 a group of twenty Polish specialists carried out a total conservation and reconstruction of the Feszty Panorama. Forty-six fragments of the surviving painting were conserved, and additional layers and non-original repainting removed. In the new rotunda building at Opusztaszer, the restorers built form fresh canvas a new hyperboloid form with exactly the same dimensions as the Feszty original. Similarly to a highly specializal form of skin surgury, they cut out sections of fresh canvas and replaced it by grafting the original fragments into exactly the right position. Subsequently, the entire rear of the painting was reinforced with glass fibre fabric. Archive photographs aided the perfect reconstruction of the missing parts. The task in question has no precedence in the history of world conservation.
After the Second World War, in the years 1949—50, 1956—57, 1970—73 attempts were made at the conservation of the Racławice Panorama. None proved to be particularly successful. In 1981 the present Ateliers for the Conservation of the Racławice Panorama began to operate. The Panorama, being a unique work of art, required an altogether new method of conservation. The present programme for iits restoration was worked out and executed by the Ateliers. It was based on the solutions supplied by the author of this article which were supported with extensive cycles of laboratory research. It was proved that the work on the disassembled panorama sould follow three stages: 1. work on the reverse and front surfaces of the individual segments and the preparation for their suspension; 2. suspension of the segments; 3. integration of the segments into a complete picture ’’doubling”, reconstruction of the paintwork. More precisely, the following works were required: cleaning of the reverse, sewing up of craks and tears, patching up holes (torlene threads saturated with Lascaux Acrylemulsion D 498-M; needles and the rest of equipment were surgical); impregnation and disinfection — 2X10% Paraloid B-72 in acetone + 0,3% Raschit (in proportion to the whole solution); removal of the protective layer (Japanese tissue paper pasted with wax) from the surface of the painting; chemical removal of the secondary shellac varnish; smoothing out of the surfaces and local doubling — carrier; synthetic fabric (’’fizelina”), adhesive; Lascaux Acrylkleber 498 HV; facturai application of the putty based on Actylemulsiion D 498-M; vertical and horizontal adjustment of the segments; partial reinforcement; a strip three metre wide below the upper edge of the segments — carrier; glass fabric, adhesive; Acrylkleber 498 HV in a vacuum pocket on a special table (9 m X 3,5 m) at the temperature of 65°C, welding time ca 3 sec per surface unit; reinforcement with the supporting fabric, „Trevira”; suspension of the segments; adjustment of the segments and their permanent integration (into the shape of a circular hyperboloid); reinforcement of the remaining surface in a vertical position — by the analogous method as used in a horizontal position (mobile, suspended setting screens on the facing side); stencilling with acrylic paints made by Lascaux; final varnishing, acrylic — Lascaux Acryltranspaxentlak 575 Matt. When the conservation programme was under preparation it was necessary to resolve the problem of work organisation involving a large team (40 people) which such an unusual work of art required. Good organisation permitted a rapid pace of work whilst its high quality was maintained. At present the conservation work is coming to an end and with very good results, too.
Up to now, in moist cases, the prime purpose of the panorama conservation has been to restore and increase its mechanical strength. Those oases have been presented and compared with the conservation of the Racławice Panorama. The necessity to reinforce almost the entire surface of the picture in a vertical position has been proved. The parts of the reverse which had been mended (seams, glue joints) were additionally strengthened by local reinforcement applied ”wet” (on small surfaces) — adhesive: Lascaux Acryllkleber 498 HV, carrier; ’’fizeldna”. Strips of reinforcing fabric were pasted on 3 metres below the upper edge of the individual segments in a horizontal position. Relatively small deformations occur in that airea. The work was oarrded out on a convex table (9 m X 3,5 m) in a vacuum pocket. The strips of glass fabric measuring 1,10 m in width and 15 m in length were machine coated with Acryllkleber 498 HV so that the adhesive wias evenly spread. The adhesive was reactivated with toluene prior to lamination which took place in a temperature of ca 65°C for 2—3 sec per surface unit. Additionally, the one metre strip below the upper edge of the segments was reinforced with a very strong polyester fabric — „Trevira” which wias pasted on with Acryllkleber 498 HV. The principal reinforcement was carried out when the segments had already been suspended and intergrated into a picture. The method was the same as applied during the local reinforcement in a horizontal position. The facing was held fast by means of laminated panels (2,5 m X 1>2 m), profiled so as to match the desired shape of the picture surface; the panels were mounted on mobile overhead trolleys. The reinforcement was successfully completed in eight weeks (20 people, 1700 m2 of the surface).
In July 1981 a Wrocław branch office of the Monuments Conservation Workshop brought to life a conservation workshop whose main task was to restore ’’The Panorama of Racławice”, one of the biggest Polish paintings (ca 120 m X 15 m). „The Panorama of Racławice” was painted in Lvov in 1892— 1894 by a team of painters under the direction o f Wojciech Kossak and Jan Styka. The painting depicts a victorious battle o f the Polish army commanded by Tadeusz Kościuszko, fought against a detachment of Russian General Alexander Torasov near Racławice on 4th April 1794. A complex history of the painting brought about its vast destruction. ’’The Panorama” was subjected to frequent conservation and protective operations. In 1927 in Lvov after coming off o f the canvas, the preservation works were carried out by Z. Rozwadowski, M. Harasimowicz, W. Kossak and J. Sty - k a ’s sons. In 1944 two bombs fe ll down on ’’The Panorama”. In 1949 and 1950, W. Szymborski undertook conservation works and after a six-year break (1956— 1958) ihe continued them. In 1957 E. and M. Dzieikoński won the competition for a project o f a display pavilion. In 1970— 1973 conservation works were carried out by a team o f 'Conservators headed by M. Baranowski. The plan was to ply-up the painting on wax and resin mass. The operation was never done. In th e light of modern conservation methods this kind o f procedure could bring about irreversible changes in the painting due to both a technique and agents. In 1980 the Social Committee for ’’The Panorama of Racławice” headed by A. Jaihn was created and it is still operating. The Committee initiated conservation of the .painting. The post o f the Conservator General was assumed by S. Filipiak. After a technological e x a mination and 'discussions held at the meetings o f the Commission for Conservation Surveillance a programme for conservation works was agreed. The conservators gave up th e initial idea (Art Academy in Cracow) of plying-up th e painting on a rigid base and refrained from using BEVA-Z-15 glue developed by G. A. Berger. The shrinking of glue during a ply ing -up process results in an extensive undulation of the original canvas. Following a series of the studies made, the Conservation Workshop demonstrated th a t 'the best adhesive for plying-up would be Acrylkleber 498 Hv by Lascaux (Switzerland). The adhesive w ill be put twice on a glass c lo th (plying-up) and after vaporization, the two canvases w ill be stioked together. A short time of treatment (1 second), temp. 60°C and low pressure guarantee the safety o f th is conservation procedure. In addition to this, the whole o f it w ill be coated with 10 per cent solution of Paraloid B-72 in acetone. During the process of plying-up the equipment emitting warm air at definite temperature and pressure w ill be installed. Set electromagnetic frames w ill be used to stiffen plied-up parts. It is also planned to add a fire- -proteGting ag ent to a plying-up adhesive. The painting will be hung on a special rail system. It allows to move gores onto any place o f the rotunda and to arrange them in a straight line. It w ill also be possible to control a vertical suspension o f the canvases. During conservation the following operations w ill be carried out: cleaning of the reverse from dirt and secondary adhesives (Kleaister, wax), seaming and darning of damaged parts of the canvas (only in the canvas structure but unimpairing a painting layer), impregnation of the reverse with 2X10 per cent solution of Paraloid B-72 in acetone, disinfection w ith 0.3 per cent acetone solution of p -сhloro-m-oresol, chemical removal of protections — Japanese paper and w a x paste, removal o f secondary varnish, repaintings and old putties, impregnation o f the facing with 5 per cent Paraloid B-72 in acetone, straightening of canvas d e fo r mation, sticking o f fine thin 'doth on the reverse w ith 15 per cent solution of Paraloid B-72 in acetone
Niniejszy artykuł to próba wskazania jakie znaczenie i funkcje pełnią ideały w życiu społeczno-politycznym na początku XXI wieku. Ideały jako wartości zasadnicze, które należy urzeczywistnić, wyznaczają kulturowy horyzont działań jednostki i społeczeństwa. Jednakże ich „atrakcyjność” sprawia, że traktowane są instrumentalnie celem realizacji partykularnych interesów politycznych. Ideały w życiu społeczno-politycznym pełnią rolę mitów, natomiast mityczna organizacja świata jest w kulturze stale obecna.
EN
The article is an attempt to show what significance and functions fulfill ideals in socio-political life at the beginning of the 21st century. Ideals as fundamental values, that should be realized, set the cultural horizon for the activities of the individual and society. However, their “attractiveness” makes that they are treated instrumentally to pursue particular political interests. Ideals in socio-political life play the role of myths, while the mythical organization of the world is constantly present in culture.
RU
Эта статья является попыткой показать, какое значение и функции выполняют идеалы в социальной и политической жизни в начале XXI века. Идеалы как фундаментальные ценности, которые должны быть реализованы, устанавливают культурный горизонт для деятельности человека и общества. Однако их «привлекательность» означает, что с ними обращаются инструментально, чтобы преследовать определенные политические интересы. Идеалы в общественно-политической жизни играют роль мифов, а мифическая организация мира постоянно присутствует в культуре.
The article Philosophy and nation. On the essence of the romanticism of Józef W. Gołuchowski, poses a reconstruction and analysis of the philosophy of a preromantic theoretician coming from Galicia. Through the negation of the tradition of the Enlightenment rationalism, J.W. Gołuchowski promotes the philosophy based on feelings (love) and shows the vision of nation whose spirit and uniqueness cannot be annihilated. Polish state was erased from the political map of the world – Gołuchowski notes – but the spirit of the nation based on the philosophy of ,feelings’ is alive and strives for the synthesis with religion.
PL
W artykule podjęto próbę rekonstrukcji i analizy filozofii pochodzącego z Galicji preromantyka. J.W. Gołuchowski poprzez negację tradycji racjonalizmu oświecenia propaguje filozofię opartą na uczuciu (miłości) oraz wizję narodu, którego „duch” i oryginalność nie mogą być zniszczone. Państwo polskie zostało wymazane z mapy politycznej świata – zauważa Gołuchowski – ale duch narodu oparty na filozofii „uczucia” żyje i dąży do syntezy z religią.
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