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1

The emerald of Emperor Tiberius – the “true” images of Christ in Norwid’s works

100%
Chlebowska E.
Studia Norwidiana
|
2018
|
vol. 36 English Version
125-149
EN
The article discusses Norwid’s attempts to reproduce the “true face” of Christ recorded on the pages of the second volume of Album Orbis in the form of a small gallery of the Saviour’s images. The collection consists of illustrations from various sources and Norwid’s copies of others’ works, the selection of which clearly reveals the intention of drawing on the iconographic tradition of the first centuries of the Church. The author determines the sources of the Saviour’s images and draws attention to the predilection for profile images, discussing it in the wider context of Norwid’s artistic and literary work.
2
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From the Kraków collection: two pencil sketches by Norwid

100%
Chlebowska E.
Studia Norwidiana
|
2020
|
vol. 38 English Version
133-144
EN
The article presents two drawings: Odpoczynek podczas ucieczki do Egiptu and Starzec z laską i dwie siedzące postaci, which shall be included in the register of Cyprian Norwid’s artistic heritage, discussing their origin and themes, and attempting to place the sketches in the context of Norwid’s early work contained in his sketchbooks and Album berliński.
3
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Ikonografie sv. Augustina z Hippo v českém středověkém umění do roku 1420

88%
Slepička M.
Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)
|
2017
|
vol. 8
|
issue 1
20-30
EN
The article deals with the iconography of St. Augustine of Hippo in medieval Bohemian art up to the Hussite Wars. The text represents the first attempt of explaining the beginnings of the cult of St. Augustine in the 12th-century Bohemian Lands and also focuses on the oldest depictions of St. Augustine in illuminated Bohemian manuscripts and wall paintings until the year 1420. The paper provides some iconographic details while examining the most relevant examples of the Bohemian depictions and also informs about the earliest examples and gradual dominance of the new iconographic type of St. Augustine as a bishop which replaced the older types of St. Augustine portrayed as an author or a monk.
4
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Color Symbolism in the Castilian Atlantic Bibles: Initials and Scenes from the Bible of Avila (BNM, Vit. 15-1)

88%
Rodriguez Velasco M.
Multidisciplinary Journal of School Education
|
2020
|
issue 18
169-189
EN
The Atlantic Bibles of the Umbro-Roman school are associated with the needs of the Gregorian Reform, which began at the end of the 11th century. Their first impression is one of great ornamental sobriety, in accordance with the early stages of what Garrison and Berg have labelled the “geometric style.” This was first manifested in the decoration we find concentrated in the initials heading the individual books of the Bible. In Castile, one outstanding example is the Bible of Avila, begun by the Umbro-Roman school and finished in a Castilian scriptorium. This double perspective can be observed in a similarly double palette of color: Italian and Spanish. It is especially in this second phase when a reduction to the minimum of polychromy leads us to think that color has here a symbolic use. Red and blue, having had symbolic connotations since the birth of Christian iconography, are the principal colors of the scenes illustrated in the Bible of Avila, with the addition of green and yellow, which are also rich with symbolism. This possible symbolism of color may work to reinforce the conceptual nature of these miniatures, in direct relation to the text they decorate and to the liturgy they accompany. The Bible in the Middle Ages, in the context of monastic schools, was the most important manuscript for teaching and learning. Its miniatures and the symbolism of its colors contribute to the transmission of meanings.
5
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The Murals on Entrance Porch of the Faras Cathedral

75%
Jakobielski S.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
|
2016
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vol. 29
75–94
EN
The aim of the article is to discuss a dating of two murals painted in a tempera technique on the walls of the southern entrance porch of Faras cathedral, namely the representations of an archangel and St Mercurius on horseback. Both were originally dated to the late tenth or the early eleventh century, but some scholars suggested that these works of arts could have been painted as late as in the late twelfth century or even later. That is at the time when area of the porch together with adjoining staircase had certainly been covered with a roof. Such a dating however, seems largely inadequate in view of the stylistic evidence and the artist’s workshop characteristics, so an effort to restore the original dating has been undertaken in the present article, in the belief that the porch must have been covered earlier in a something way. There follows a suggestion concerning construction of the original roofing. The latter part of the article concerns a possible identification of the archangel’s figure as Gabriel (and not Michael).
6
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Ikonografia wcielenia w sztuce wczesnoromańskiej i romańskiej na wybranych przykładach scen Bożego narodzenia

63%
Mazurczak U.
Vox Patrum
|
2000
|
vol. 38
401-411
EN
In the art the Theme of Incarnation was illustrated in a rich scene repertiore creating its prototypes at the early Romanesque and Romanesque period. It was also the time of dynamically forming motifs in the art that defined the Gothic art and to a high degree modern one. In the fine arts such a model of Incarnation was made by Nativity scene.
7

Szmaragd cesarza Tyberiusza – „prawdziwe” wizerunki Chrystusa w twórczości Norwida

63%
Chlebowska E.
Studia Norwidiana
|
2018
|
vol. 36
117-140
PL
Artykuł omawia Norwidowskie próby odwzorowania „prawdziwej twarzy” Chrystusa, utrwalone na kartach drugiego tomu Albumu Orbis w postaci niewielkiej galerii wizerunków Zbawiciela. Na zbiór ten składają się pochodzące z różnych źródeł ilustracje oraz Norwidowskie odrysy obcych dzieł, których dobór wyraźnie ujawnia intencję sięgania do tradycji ikonograficznej pierwszych wieków Kościoła. Autorka ustala źródła wizerunków Zbawiciela oraz zwraca uwagę na predylekcję do ujęć profilowych, wpisując ją w szerszy kontekst plastycznej i literackiej twórczości Norwida.
EN
The article discusses Norwid’s attempts to reproduce the “true face” of Christ recorded on the pages of the second volume of Album Orbis in the form of a small gallery of the Saviour’s images. The collection consists of illustrations from various sources and Norwid’s copies of others’ works, the selection of which clearly reveals the intention of drawing on the iconographic tradition of the first centuries of the Church. The author determines the sources of the Saviour’s images and draws attention to the predilection for profile images, discussing it in the wider context of Norwid’s artistic and literary work.
8
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The emerald of Emperor Tiberius – the “true” images of Christ in Norwid’s works

63%
Chlebowska E.
Studia Norwidiana
|
2018
|
vol. 36 English Version
125-149
PL
Artykuł omawia Norwidowskie próby odwzorowania „prawdziwej twarzy” Chrystusa, utrwalone na kartach drugiego tomu Albumu Orbis w postaci niewielkiej galerii wizerunków Zbawiciela. Na zbiór ten składają się pochodzące z różnych źródeł ilustracje oraz Norwidowskie odrysy obcych dzieł, których dobór wyraźnie ujawnia intencję sięgania do tradycji ikonograficznej pierwszych wieków Kościoła. Autorka ustala źródła wizerunków Zbawiciela oraz zwraca uwagę na predylekcję do ujęć profilowych, wpisując ją w szerszy kontekst plastycznej i literackiej twórczości Norwida.
EN
The article discusses Norwid’s attempts to reproduce the “true face” of Christ recorded on the pages of the second volume of Album Orbis in the form of a small gallery of the Saviour’s images. The collection consists of illustrations from various sources and Norwid’s copies of others’ works, the selection of which clearly reveals the intention of drawing on the iconographic tradition of the first centuries of the Church. The author determines the sources of the Saviour’s images and draws attention to the predilection for profile images, discussing it in the wider context of Norwid’s artistic and literary work.
9

Chrystus i dzieci. Rysunkowe inedita Norwida

63%
Chlebowska E.
Studia Norwidiana
|
2019
|
vol. 37
145-158
PL
Artykuł ma na celu prezentację dwóch nieznanych dotychczas rysunków Norwida o tematyce zaczerpniętej z Nowego Testamentu, które wzbogaciły w ostatnim czasie rejestr spuścizny artystycznej tego twórcy. Pierwszy z omawianych szkiców to rysunek Chrystus i dzieci w świątyni jerozolimskiej (1855, zaginiony), stanowiący ilustrację cytatu z Ewangelii według św. Mateusza (Mt 21, 15-17). Druga kompozycja: Chrystus błogosławiący dzieci (1857, Biblioteka Narodowa), odnosi się do epizodu, o którym Ewangelie wspominają kilkukrotnie (Mt 19, 13-15; Mk 10, 13-16; Łk 18, 15-17).
EN
The aim of the article is to present two previously unknown drawings by Norwid, inspired by the New Testament, which have recently been added to the register of his artistic legacy. The first of the sketches Chrystus i dzieci w świątyni jerozolimskiej [Christ and Children in the Temple of Jerusalem] (1855, lost) illustrates a quotation from the Gospel of Matthew (Mt 21, 15-17). The second composition Chrystus błogosławiący dzieci [Christ Blessing Children] (1857, National Library) refers to an episode mentioned several times in the Gospels (Mt 19, 13-15; Mk 10, 13-16; Lk 18,15-17).
10
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Christ and children. Graphic inedita of Norwid

63%
Chlebowska E.
Studia Norwidiana
|
2019
|
vol. 37 English Version
147-159
EN
The aim of the article is to present two previously unknown drawings by Norwid, inspired by the New Testament, which have recently been added to the register of his artistic legacy. The first of the sketches Chrystus i dzieci w świątyni jerozolimskiej [Christ and Children in the Temple of Jerusalem] (1855, lost) illustrates a quotation from the Gospel of Matthew (Mt 21, 15-17). The second composition Chrystus błogosławiący dzieci [Christ Blessing Children] (1857, National Library) refers to an episode mentioned several times in the Gospels (Mt 19, 13-15; Mk 10, 13-16; Lk 18,15-17).
11
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Faces of Evil in Nubian Wall-Painting – An Overview

63%
Innemée K. C., Zielińska D.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
|
2019
|
vol. XXXII
121-144
EN
In Christian wall-paintings in Nubia a recurring theme is the struggle between Good and Evil. In this article an overview is given of the various ways in which Evil is depicted or personified, ranging from animals to humans and the hybrid ways in which Satan and his helpers are represented. These different ways have been inspired by sources from a canonical biblical, apocryphal and mythological character.
12
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Tajemnica wcielenia w najstarszej ikonografii chrześcijańskiej

51%
Iwaszkiewicz-Wronikowska B.
Vox Patrum
|
2000
|
vol. 38
393-404
IT
Il tema dell’Incarnazione appare nell’iconografia cristiana all’inizio del IV secolo rappresentato soprattutto nei bassorilievi sui sarcofagi. Cristo, raffigurato precedentemente come Buon Pastore o taumaturgo senza i tratti fisionomici individuali, vi appare come un personaggio storico delle scene descritte dagli evangelisti essendo, nel contempo, una figura particolare, da distinguersi dagli altri partecipanti degli eventi grazie ai tratti del viso particolarmente belli e ai capelii lunghi, caratteristiche affini al tipo iconografico degli antichi dei e degli eroi.
13
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Z krakowskich zbiorów: dwa szkice ołówkowe Norwida

51%
Chlebowska E.
Studia Norwidiana
|
2020
|
vol. 38
135-148
EN
The article presents two drawings: Odpoczynek podczas ucieczki do Egiptu and Starzec z laską i dwie siedzące postaci, which are going to be included in the register of Cyprian Norwid’s artistic heritage. The author discusses the origin and themes of the drawings and tries to embed the sketches in the context of Norwid’s early output, found on the pages of his sketch books and Album berliński.
PL
Artykuł prezentuje dwa rysunki: Odpoczynek podczas ucieczki do Egiptu i Starzec z laską i dwie siedzące postaci, które zostaną włączone do rejestru spuścizny plastycznej Cypriana Norwida. Autorka omawia kwestie proweniencyjne i tematykę przedstawień oraz stara się wpisać szkice w kontekst wczesnej twórczości autora Solo, pomieszczonej na kartach jego szkicowników oraz Albumu berlińskiego.
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