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Termin ikona w świadomości uczniów szkół średnic h i studentów województwa podlaskiego. Kontekst komunikacji międzykulturowej

100%

Sobecki M.

Pogranicze. Studia Społeczne

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2013

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vol. 21

27-36

EN

The article is the effect of the research in which young people from northeast Poland participated. The text concerns the association with the notion of the icon present in the consciousness of the participants. This is the important part of cultural identity of the confessors of Orthodox Church. In the research a sociolinguistic associative method was used.

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GRAPHIC MOTIFS ON FABRICS IN THE LATE- AND POST-BYZANTINE ICONS - A SIGN, A SYMBOL OR A DECORATION? (Motywy graficzne na tkaninach w ikonach pozno- i pobizantynskich - znak, symbol, dekoracja?)

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Kruk M. P.

Ikonotheka

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2008

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vol. 21

135-152

EN

The question posed in the title refers to the recurring motifs - usually geometric figures as well as fleurs-de-lis and triskelions on the garments of Jesus, Mary and some saints in the late- and post-Byzantine icons of the 15th and 16th century. These motifs can be observed mainly in frescoes and icons, often produced in very distant centres: from Crete to the remotest north of Rus'. They appear chiefly on the vestments worn by Jesus and the martyrs, as well as on the Mandylion or, in the Nativity scenes, on the sheet upon which Mary reclines during her confinement. The essential question concerns the function and meaning - decorative or symbolic - of these motifs. It seems that their application can hardly be a matter of accident, since for instance the triskelion is a motif frequent in prehistoric and ancient art, commonly interpreted as a solar symbol. Its version was the early-Christian 'crux gammata', known from the oldest icons and catacomb paintings. The geometric figures, in turn, such as the circle, square or equilateral triangle, originate from the Antiquity, in which they carry meanings derived from mathematical ratios which govern their shape and give them the character of 'perfect figures'; hence they could serve as attributes of things perfect. It is evident that the garments of Christ and martyrs, the robes of prophets, Mary's confinement sheet, liturgical tablecloths or the sheet with the image of Christ are covered with a combination of ancient perfect figures - squares, triangles and circles - with the Christian perfect figure - the cross and its crux gammata variant referring to the ancient symbolism of rotational movement, together with the fleur-de-lis, commonly interpreted as the symbol of purity. This combination of motifs may, in effect, have served as the image of the universe , but may also have constituted a protective shield consisting of a set of signs referring to archetypes known through the archaeology of prehistoric cultures and later grafted on the Neo-Platonic ground, adapted in the very first centuries of Christianity, and brought back again at the close of the Middle Ages.

3

THE CULT OF ST. PARASKIEVA IN RUS' (Kult swietej Paraskiewy na Rusi)

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Sulikowska-Gaska A.

Ikonotheka

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2008

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vol. 21

171-188

EN

St. Paraskieva belonged to the most popular saints of the Orthodox church, and can be considered one of the most important figures venerated in the Eastern Slavic regions. In the 14th-16th century her cult reached its apogee, gaining a pan-Slavic influence. In the Polish-Lithuanian state it developed mainly due to Grzegorz Cambłak, the archbishop of Kiev, who in the 1420's inspired the proclamation of St. Paraskieva of Tyrnov as the patron saint of the local Orthodox church. In the following centuries, however, her cult began to gradually diminish. This article is an attempt to explain this process. The relatively low status of holy women venerated in the Eastern church may have been among the reasons why by the 17th century the hitherto vigorous cult of St. Paraskieva was no longer supported by the ecclesiastical authorities. The cult of the Theotokos was gaining importance in the same period, and rather quickly overshadowed that of Paraskieva's. In the Muscovite Rus', an additional element was the ongoing 'Byzantinisation' of the Ruthenian Orthodox church. Initiated by Patriarch Nikon. The disappearance of the cult of St. Paraskieva in Western Rus' (i.e. the territories of today's Poland, Ukraine and Belorussia) was concurrent with the steady growth of the dominance of Russia in the Slavonic lands.It was also the period in which the local Orthodox church found itself in deep crisis resulting from the 1596 Union of Brest. It can be assumed, therefore, that the key role in the disappearance of some saints and the emergence of new ones was played by the Muscovite religious tradition, in which - starting from the second half of the 17th and the early 18th century - the Marian cult, often in an imperial interpretation, was steadily gaining in importance. Under the influence of Moscow the Orthodox church in the Polish-Lithuanian state underwent deep transformations, and as a result its earlier ties with the Balkan and Moldavian traditions were seriously weakened. Paraskieva was one of the saints who in effect of those changes were sentenced to oblivion.

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Three Theses about the Passion

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Mikolejko Z.

Przegląd Filozoficzny. Nowa Seria

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2004

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vol. 13

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issue 2(50)

91-100

EN

It is not generally clear if this controversial movie has a specifically new philosophical message for the viewers. Is it about Christianity, or about religion in general, or about sacrifice and redemption? The author has three things to say in this query. First, the movie represents the characteristically fundamentalist version of Christianity, in which the suffering of crucified God is placed side by side with the suffering of true believers who witness its re-enactment. Second Mel Gibson has crated an 'idolatric' image of Jesus Christ rather than an 'iconic' vision. By such rendering of his topic he has deprived the story of one important aspect. The sacrifice of Christ is not presented as an act of love but rather as an act of endurance and dedication. Thirdly, Jesus is shown as a figure that can transgress all rules of nature and all historical conditions. By making his choices Gibson produced a picture that revives the old tenets of heretical doketism.

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EX ORIENTE LUX. RECEPTION OF THE ICON IN POLISH ART (1960-2007) (Ex oriente lux. Recepcja ikony w sztuce polskiej (lata 1960-2007))

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Rogozinska R.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2009

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vol. 2

49-81

EN

Given the widespread interest in the icon in the 20th century - in its form, profundity, rich religious content, and the aura of spirituality - it is hardly surprising that it also became an important source of artistic inspiration, multiple examples of which can be found in Polish art, especially that of the last 50 years. In the 1960s, artists such as Kazimierz Glaz, Jozef Halas, Henryk Musialowicz, Jerzy Nowosielski, Wojciech Sadley, Jan Berdyszak, and Witold Damasiewicz initiated the revival of interest in Orthodox church art, different from that of the interwar period. In the following decades, Orthodox motifs, variously modified, were often taken up by Zbigniew Bajek, Ewa Kuryluk, Tadeusz Brzozowski, Magdalena Dmitruk, Eugeniusz Mucha, Alina Szapocznikow, Aldona Mickiewicz, Zbigniew Treppa, Romuald Oramus, Anna Myca, Marek Sobczyk, Christos Mandzios, Krzysztof Klimek, Magdalena Daniec, Leon Tarasewicz, Andrzej Bednarczyk, Ignacy Czwartos, Andrzej Desperak, Jacek Dluzewski, Tadeusz G. Wiktor, Marian W. Kuczma, Adam Molenda, and Wladyslaw Podrazik. The work of all these artists is presented against different problematic backgrounds, including the martial state in Poland and the related movement of independent culture. As far as the popularization of the icon is concerned, the influence of Jerzy Nowosielski deserves a special mention, and in particular his art, his theological reflection, and his aesthetics. It is also important to discuss the broader European background of the revival, especially the art of the Russian avant-garde. The article argues that the inspiration drawn from the icon cannot be reduced to a superficial exercise in archaization. To the contrary, icons provoke artists to engage in various transpositions and create innovative solutions, which are often remote from the original and bear a clear mark of individuality. Borrowings such as the frontal presentation of figures, two-dimensional space, reversed perspective showing a divine rather than human point of view, luminosity, colour scheme and geometry, richness of materials, and, finally, painting technique, are used to 'inject a drop of the sacred' into the bloodstream of the work of art. In view of the secularization process, references to the icon often come as a rejection of 'culture turning into a desert' and an effort to reclaim the supernatural perspective.

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ON THE BEAUTY OF THE VIRGIN MARY: 'FAMILIARITY' OF FORM AND VALORIZATION OF RELIGIOUS IMAGES (O urodzie Matki Boskiej: 'oswojenie' formy a waloryzacja przedstawien religijnych)

88%

Klekot E.

Ikonotheka

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2008

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vol. 21

213-224

EN

Modernity has developed complex mechanisms of esthetic valorization, based on formal and artistic qualities judged by the taste. However, as Pierre Bourdieu has shown in his studies, the judgment of taste is in fact the main modern means for social differentiation. At the same time, according to David Freedberg, these mechanisms obscure the inborn human attitude towards images which consists of mixing up the represented with the representation, and subsequently prevent modern educated audiences from natural response to the images classified as art. Modern perception of religious imagery can be a sensitive example of a field where the classificatory role of the esthetic judgment is particularly well visible because the religious purpose of an image calls both for different hierarchy of values than the one found in the modern field of art, and different image ontology. The article is based on field material consisting of in-depth interviews with Catholic believers, conducted in Wesola near Warsaw, and three major pilgrimage sites of Poland: Czestochowa, Lichen and Kalwaria Paclawska. Wesola was chosen because of the outstanding decoration of its parish church of Divine Providence, executed by a modern painter from Cracow, Jerzy Nowosielski and highly appreciated by art critics and specialists. However, the style of decoration proved very unfamiliar and strange for the local believers. The article attempts to show the hierarchy of values used by the believers towards the religious images, and then to explain this hierarchy both in terms of Joanna Tokarska-Bakir's interpretation of image ontology in so-called 'folk piety'. In spite of similar understanding of image ontology apparently shared by the artist and the believers, social distinction made by the mechanisms of esthetic judgment resulted in form unfamiliar to them and lack of appreciation of the work.

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THE EXALTATION OF THE CROSS IN BYZANTINE ICONOGRAPHY (Podwyzszenie Krzyza Swietego w ikonografii bizantynskiej)

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Janocha M.

Ikonotheka

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2008

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vol. 21

81-102

EN

The present text continues the topic begun by the author in an article published in the 'Series Byzantina' vol. V (2007) entitled 'Miniature of the Exaltation of the Cross in the Menologion of Basil II'. The oldest representations of the Exaltation of the Holy Cross date from the mid- and late-Byzantine period. At the present moment, nine miniatures of this scene are known: seven in Greek manuscripts, one in a Georgian and one in an Old-Russian manuscript and two representations in the Sinai icon menologies. In the present article, the author provides a presentation and systematisation of those images on the basis of the present state of research, and an attempt at classification, pointing to formal models common to many liturgical scenes in the mid-Byzantine era and to the liturgical context of the ceremony in question. The scene of the Exaltation of the Holy Cross focuses on the key moment of the entire ceremony. An analogous phenomenon can be observed in the medieval Western iconography with regard to liturgical representations of the Holy Mass, which from the 14th century onward focus on the scene of the Raising of the Host. The existing formal similarity between these two topics goes much deeper, although direct inspirations are impossible to find. With respect to the idea, there is indeed a similarity between the once-yearly, ceremonial gesture of the Exaltation of the Cross in the Byzantine liturgy and the daily ritual of the gesture of the Raising of the Host, preformed during every mass in the Roman liturgy. The Exaltation of the Cross is a display for public adoration of the instrument of martyrdom and death of Christ that became the symbol of salvation. The Raising of the consecrated Host after the transubstantiation is a display for public adoration of the Body of Christ, understood, according to the allegorical interpretation of the Holy Mass, as the raising of Christ upon the cross. The Exaltation of the Cross and the Raising of the consecrated Host are both a revelation of the 'paradoxi Crucis'.

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Związki pomiędzy ikoną, teologią i liturgią

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Paprocki H.

ELPIS

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2011

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vol. 13

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issue 23-24

39-58

EN

Contribution is devoted to the issue of the icon and his spot in the worship of the Church and its aspects, which is linked with the Greek word eikon, which marks all of the two statues and the Emperor, and table Christian worship them. The image in this event each event represent another reality. This word means and the image of God in man and Christ as the image of the Father. Majority report of the meaning of the icon to take a reality stain and understanding the role and place of the icon in the Church. In this context the author approach the relationship between the icon and theology and liturgy.

63%

Wolak U.

Studia Migracyjne - Przegląd Polonijny

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2013

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vol. 39

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issue 2(148)

71-84

EN

In this article I would like to present an iconographic analysis of the Migrant Mother, a photograph by Dorothea Lange, in the context of social change in the United States of the 1930s. For this purpose I use appropriate tools and the theories of Klaus Rieser, Charles Sanders Peirce, and Roland Barthes. I also read and interpret Lange’s photograph from the feminist perspective. In this article the Migrant Mother thus constitutes a fascinating object of academic inquiry, as well as a starting point for the deliberations on the harsh words of Jean Baudrillard who said: “You assume you are photographing a given thing for your own pleasure, but in fact it wants its picture taken and you are only a figure in its staging, secretly moved by the self-advertising perversion of the surrounding world (...) All metaphysics is swept away by this reversal of situation in which the subject is no longer master of the representation, but merely a function of the world's objective irony”. I try to polemicize with the words of Baudrillard, “the high priest of postmodernism” analyzing the Migrant Mother.

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Termin ikona w świadomości uczniów szkół średnic h i studentów województwa podlaskiego. Kontekst komunikacji międzykulturowej

GRAPHIC MOTIFS ON FABRICS IN THE LATE- AND POST-BYZANTINE ICONS - A SIGN, A SYMBOL OR A DECORATION? (Motywy graficzne na tkaninach w ikonach pozno- i pobizantynskich - znak, symbol, dekoracja?)

THE CULT OF ST. PARASKIEVA IN RUS' (Kult swietej Paraskiewy na Rusi)

Three Theses about the Passion

EX ORIENTE LUX. RECEPTION OF THE ICON IN POLISH ART (1960-2007) (Ex oriente lux. Recepcja ikony w sztuce polskiej (lata 1960-2007))

ON THE BEAUTY OF THE VIRGIN MARY: 'FAMILIARITY' OF FORM AND VALORIZATION OF RELIGIOUS IMAGES (O urodzie Matki Boskiej: 'oswojenie' formy a waloryzacja przedstawien religijnych)

THE EXALTATION OF THE CROSS IN BYZANTINE ICONOGRAPHY (Podwyzszenie Krzyza Swietego w ikonografii bizantynskiej)

Związki pomiędzy ikoną, teologią i liturgią

THE ART OF THE ICON IN THE FACE OF EVIL (Sztuka ikony wobec zla)

STARORUSKIE MOTYWY W TWÓRCZOŚCI PAWŁA FLORENSKIEGO (1882 – 1937)

EMBODYING THE MOTHER, DISEMBODYING THE ICON: FEMALE RESISTANCE IN COLM TÓIBÍN’S THE TESTAMENT OF MARY

INDEX AND ICON, METAPHOR AND METONYMY IN MUSIC

Ikonostas

MADONNA WSPÓŁCZESNOŚCI – MIGRANT MOTHER, CZYLI MATKA TUŁACZKA. ANALIZA IKONOGRAFICZNA