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1
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Dzieje świętych wizerunków w chrześcijaństwie – zarys historii

100%
Jasiewicz A.
Seminare. Poszukiwania naukowe
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2011
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vol. 29
237-241
EN
Icon painting emerged in the Byzantine Empire - the Christian empire of the Hellenistic East during the years 330-1453 - as a fully fledged and widely spread art around 500 BC. The first steps in this art were taken in the early Christian art of painting including those examples found in the catacombs in the 2nd and 3:d centuries. It is an original, highly formalized art influenced by classical Greek art and Egyptian Hellenistic art as well as other art traditions especially Syrian. During the reign of Justus the Great who ruled in the Byzantine Empire for forty years (527-565), the Byzantine art of icon painting flourished. It continued to do so until the outburst of the Iconoclasm in 726. That year the emperor Leo III decreed that painting or using icons was to be regarded as idolatry. The Iconoclasm lived on, with a few intermissions until 843. From 843, when the church conquered the iconoclasm, the art of icon painting was revived, this time until the fall of Constantinople in 1453. This era was a golden age for the icon. During this second period of icon painting, its principal prototypes were shaped and the habit of adorning churches with icons was established.
2
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Ikonoklazm i jego argumentacja przeciwko kultowi obrazów w ostatnim z chrystologicznych sporów chrześcijańskiej starożytności

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Pyc M.
Colloquia Theologica Ottoniana
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2012
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issue 1
23-36
XX
Escalating in the eighth century in the east heretical defied the trend of iconoclasm in the Church adopted the worship images. In this article, is shown argumentation iconoclasts deny veneration of icons. In their view, it can not be reconciled with a genuine faith and practice, accompanied by numerous abuses, is a departure from the old Christian tradition. Binding remained for them the Old Testament prohibition „Thou shalt not do any image” (Ex 20,4). Significant impact on their views were: the idea of „image consubstantial” negative attitude towards the matter and give its ugly head in iconoclasm echo of origenism. Proved to be decisive Christological argument, leading to accusations of supporters of Nestorianism and Monophysitism.
3
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The Icon and the Hatchet. The Motif of Aggression Against Icons in Russian Literature before the Revolution

100%
Walczak D.
Ikonotheka
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2017
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vol. 27
93-108
EN
The present work focuses on the motif of aggression against icons introduced in the works by many Russian writers before the Revolution. Analysed material includes the works of Nikolai Gogol, Fyodor Dostoyevsky, Nikolai Leskov, Lev Tolstoy, Dmitri Merezhkovsky and Vsevolod Krestovsky. The main aim of the article is to define how the authors imagined an act of imagebreaking and to determine who played the role of an iconoclast and what the presented motivation of such actions were. It attempts to answer the question of why so many authors felt the need to incorporate the motif of aggression against icons in their works, what literary and propagandistic aims this motif served, what feelings it was meant to evoke in the readers and what image of the world it strove to create.
4

Ikonoklazm i jego argu¬mentacja przeciwko kultowi obrazów w ostatnim z chrystologicznych sporów chrześcijańskiej starożytności

100%
Pyc M.
Colloquia Theologica Ottoniana
|
2012
|
issue 1
23-36
EN
Escalating in the eighth century in the east heretical defied the trend of iconoclasm in the Church adopted the worship images. In this article, is shown argumentation iconoclasts deny veneration of icons. In their view, it can not be reconciled with a genuine faith and practice, accompanied by numerous abuses, is a departure from the old Christian tradition. Binding remained for them the Old Testament prohibition „Thou shalt not do any image” (Ex 20,4). Significant impact on their views were: the idea of „image consubstantial” negative attitude towards the matter and give its ugly head in iconoclasm echo of origenism. Proved to be decisive Christological argument, leading to accusations of supporters of Nestorianism and Monophysitism.
5
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The Gift of Emperor Michael, Papal Textiles with Chrysoclabas and Figurative Art in the Period of Iconoclasm

72%
Grotowski P.
Folia Historica Cracoviensia
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2019
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vol. 25
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issue 2
9-43
PL
W Boże Narodzenie roku 811 Michał I Rangabeusz dokonał w Hagii Sofii uroczystej koronacji swojego najstarszego syna, Teofilakta. Z tej okazji złożył w konstantynopolitańskiej katedrze liczne drogocenne dary, wśród których - obok złotych naczyń wysadzanych szlachetnymi kamieniami - znalazł się komplet czterech zasłon przetykanych złotem i purpurą. Ukazano na nich święte obrazy. Tkaniny te nie przetrwały do naszych czasów i są znanej jedynie dzięki wzmiance w Kronice Teofanesa Wyznawcy. Możemy jednak rekonstruować ich wygląd na podstawie zachowanych przykładów z epoki. Zwyczaj ofiarowywania do kościołów jedwabnych tkanin zdobionych motywami figuratywnymi, także religijnymi potwierdzają wzmianki w Liber pontificalis na temat darów ofiarowywanych przez papieży Hadriana I (772-795), Leona III (795-816), Paschalisa I (817-824), Grzegorza IV (827-844) i Leona IV (847-855) do świątyń Rzymu i Rawenny. Wymieniane w tekście tkaniny są opisywane zarówno jako zdobione motywami ornamentalnymi (gryfy, krzyże), jak i scenami zaczerpniętymi z Ewangelii (Zwiastowanie, Boże Narodzenie, Wjazd do Jerozolimy, Pasja, Wniebowstąpienie, Zesłanie Ducha Świętego) oraz podobiznami Chrystusa i świętych. Powtarzający się w opisach zwrot chrisoclabum (lub chrisoclavum) wydaje się być używany w stosunku do kompozycji umieszczanych w ornamentalnych clipeusach, a być może także szczególnie cennych, haftowanych lub przędzonych złotem i purpurą aplikacji naszywanych na tkaniny. Wolfgang F. Volbach już przed siedemdziesięciu pięciu laty podjął próbę identyfikacji dwóch fragmentów jedwabnego samitu ze scenami Zwiastowania i Bożego Narodzenia w zbiorach watykańskiego Museo Sacro, początkowo uchodzących za szóstowieczne wyroby aleksandryjskie, z papieskimi darami z przełomu VIII i IX w. Jego hipoteza, przyjęta przez większość badaczy, jest w ostatnich latach podważana przez Annę Muthesius, która uznała obie tkaniny za powstałe już po zakończeniu ikonoklazmu (843 r.). Dlatego konieczna stała się ponowna analiza i interpretacja obu scen w świetle współczesnej wiedzy na temat sztuki bizantyńskiej VIII i IX stuleci.
EN
On Christmas of the year 811, Emperor Michael I Rhangabe solemnly crowned his elder son Theophylact in the church of Hagia Sophia. On this occasion, he offered to the cathedral numerous precious gifts, among which was a set of four curtains embroidered with gold and purple. Sacred images were depicted on them. These textiles did not survive to our times, and are known to us only thanks to the short record in the Theophanes’ Chronicle. However, it is possible to reconstruct their form on the basis of preserved contemporary examples. The practice of donating silks decorated with figural religious motifs to churches is confirmed by the Book of Pontiffs. The source mentions gifts given by popes Hadrian I (772–795), Leo III (795–816), Paschal I (817–824), Gregory IV (827–844) and Leo IV (847–855) to shrines in Rome and Ravenna. The textiles mentioned by the source include both those decorated with ornamental motifs (griffins, crosses) and those adorned with evangelical scenes (Annunciation, Nativity, Entry into Jerusalem, Passion, Ascension, Descent of the Holy Spirit) and images of Christ and saints. The word chrisoclabum (or chrisoclavum), which is repeated in written sources, seems to relate to compositions placed inside medallions, and perhaps also to exceptionally precious appliqués of gold and purple fastened to the textile background.  Already 75 years ago, Wolfgang F. Volbach sought to associate two pieces of silk samits with the Annunciation and Nativity scenes (kept at the Vatican Museo Sacro; initially dated to the 6th c.) with papal gifts from the turn of 8th and 9th c. His hypothesis, accepted by most scholars, has recently been disputed by Anna Muthesius, who suggests a later date for both silks (after 843). Due to this fact, it seems necessary to offer a new analysis and interpretation of both textiles that will rely on the current body of knowledge about the Byzantine art of 8th and 9th c.
6
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Holy War and a Place in Paradise? Development of the East Roman Holy War from the 4th until the 11th century

58%
SYVÄNNE I.
Historia i Świat
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2020
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issue 9
61-81
EN
The article analyses the development of the holy war in East Rome from its beginning until the 11th century. The article takes the stance that it is meaningless what the official religious doctrine was when the soldiers themselves believed and followed the doctrine of holy war which promised a place in heaven for all fallen soldiers.
7
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Programma iconografico per il luogo della Chiesa – realtà storica

58%
Litawa K.
Łódzkie Studia Teologiczne
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2021
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vol. 30
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issue 2
57-68
EN
From the Christian antiquity until today, a precise, unitary and organic iconographic program has been developed, which should characterize the space of celebration. It should facilitate the involvement of the assembly to the celebrated mystery. Over the centuries this program enriched not only the interiors of churches, but – above all – it should have brought closer the real presence of the Source of All Beauty, i.e. Creator. Furthermore, it should help to create true dialogue between man and God.
IT
Dall’antichità cristiana fino ad oggi viene sviluppato un programma iconografico preciso, unitario e organico, che dovrebbe caratterizzare lo spazio celebrativo in modo che l’assemblea si senta più facilmente coinvolta nel mistero che viene celebrato. Nel corso dei secoli, questo programma arricchiva non solo gli interni delle chiese, ma soprattutto avrebbe dovuto avvicinare la presenza reale della fonte di ogni bellezza: il Creatore. Inoltre dovrebbe creare il dialogo tra l’uomo e Dio.
PL
Od starożytności chrześcijańskiej po czasy współczesne precyzyjnie opracowywano jednolity i organiczny program ikonograficzny. Powinien on charakteryzować przestrzeń celebracyjną, aby przybliżyć zgromadzeniu liturgicznemu istotę sprawowanego misterium oraz umożliwić uczestnikom większe zaangażowanie w jego działanie. Program ten na przestrzeni wieków ubogacał nie tylko wnętrza kościołów, ale przede wszystkim powinien przybliżać realną obecność źródła wszelkiego piękna: Stwórcy. Ponadto powinien pomagać w kreowaniu wzajemnego dialogu człowieka z Bogiem.
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