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1

AiApaec: ¿una divinidad suprema prehispánica o una manipulación en la traducción intercultural?

100%

Prządka-Giersz P.

Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego

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2015

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issue 7(38)

7-16

EN

The Moche culture (A.D. 200‑800) has left one of the richest iconographies in the history of ancient Andean civilizations. Due to the lack of written sources for the pre‑Hispanic period of Andean South America, the first information about the religious beliefs and rituals of the people from the north coast came from early colonial time. These written sources provide revealing information about the concept of the principal god and even a supreme creator in the Moche pantheon, named Ai Apaec in muchic or yunga language. Actually, the understanding of Moche religion is based not only on the historical perspectives but also on information produced during the extensive study of its iconography. Despite the numerous studies about the Moche pantheon of gods and goddesses, the problem of number and identity of the deities still poses innumerable questions and obstacles. This article offers a reassessment of the character of symbolic organization of Moche religion, based on iconographic analysis of the famous portrait vessels (huacos retrato) from the collection of the Larco Museum in Lima, Peru.

2

Pamięć lat 1912 i 2012: artystyczny plon dwóch Skargowskich rocznic (sztuki plastyczne)

100%

Ożóg K. S., Opolski U.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2013

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vol. 21

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issue 3

EN

The text deals with the fragmentary issue of Piotr Skarga’s iconography which is the artistic legacy of the anniversaries celebrated in 1912 and 2012. The remembrance of this Jesuit’s death one hundred years ago stirred up many emotions. It was visible in, for instance, mass manifestations, books, theatre performances or the creations of fine arts. In the reality of the beginnings of the 20th century, what was important was the impact of the image created by Jan Matejko as well as its ideological, virtually mystical, background. This jubilee, celebrated one hundred years ago, has left numerous traces in the arts, some of which have not been retained to this day. The medal by Witold Bieliński; the bust sculptured by Władysław Mazur and Jan Tombiński; or the exquisite bas-relief by Luna Drexler on the Lvov Latin Cathedral were characteristic of those times. However, the level of those works is contrasted with the quality and number of creations dedicated to Skarga during the last anniversary. Both the postage stamp issued by the Polish Postal Service as well as the monument unveiled at the Warsaw Catholic School are not really original. In 2012, Skarga was mentioned most frequently on the Internet, in the forms of memes, which were often obscene and inappropriate.

3

Południowa Afryka - Królestwo złota i diamentów i jego ikonografia

100%

Pawłowska A.

Forum Politologiczne

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2012

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vol. 13 - "Stare" i "nowe" mocarstwa w Afryce - stygmaty kulturowe, religijne, polityczne, ekonomiczne i społeczne

575-596

EN

The aim of this article is a brief introduction to the iconography of the national identity, created by the white South Africans, who are the descendants of the Dutch settlers, who are commonly known and referred to as Afrikaners in South Africa. Among the most interesting and simultaneously representative paintings and the most obvious examples that one can mention are the works done by Charles Davidson Bell (1813-1882) e.g.: Landing of van Riebeeck at the Cape of Good Hope or Zulu attack on the Voortrekker camp. A good example of a piece of art work with an air and character of a true monument-mausoleum is a monumental sculpture called the Voortrekker Monument, which was created between 1937 and 1949. This object is located in the capital of South Africa i.e. in Pretoria and it presents the events connected with the so-called Great Trek (Afrikaans: Die Groot Trek). Another very essential art work is the interior decoration of the Old Mutual building in Cape Town dating from the late 1930's. The author of the frescoes inside the building often referred to as the „Afrikaner nationalist Sistine Chapel" is Le Roux Smith (1914-1963). The outside sculpture is also connected with the iconography of Africa and it was sculptured by Ivan Mitford-Barberton (1896-1976). At present all the above-mentioned pieces of art work make up the somewhat inconvenient and embarrassing heritage of the era of apartheid.

4

Symbole wykorzystywane w propagandzie wojennej okresu I wojny światowej w świetle ikonografii kart pocztowych

100%

Biszczanik G.

In Gremium. Studia nad Historią, Kulturą i Polityką

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2013

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vol. 7

159-170

EN

From the very beginning of the First World War, each command of armies fighting in the conflict believed that quick, effective postal service helps to maintain high morals at the battle-front and encourages both soldiers and their families to communicate. Among numerous papers devoted to postcards, only a few aimed at taking a deeper look at the development of the history of postcards during the First World War. During the military conflict in Europe, postcards were used as a mass medium of communication reaching the citizens of both metropolis and deep province. The publishers did not avoid any subject: postcards depict images of general staff meetings, the Emperor’s visit at the battle-front or soldiers in military casinos or latrines. Postcards from the First World War period depicted documentary photographies, reproductions of daily papers with spectacular news as well as images of places and events. One could also find there the portraits of war participants and victims, images of daily life in trenches at the battlefield, as well as nostalgic landscapes connected with the images of families. War, as time of international conflict, made it natural to depict various images of the enemy created in each country involved in the conflict. Publishers were ideologically called to incite to war activities against every nation being outside alliance at that time. The aim of postcards publishers during the First World war period was neither an objective account from the battlefields nor revealing the truth about the people involved in the war, nor even people’s reaction to the war oppression. The battlefields or fights depicted at the postcards are stereotypical and in fact had nothing in common with the war reality to be seen at the battle-front. Since the creation of a postcard which is about 1869, postcards had shown cheerful subjects: the publishers exposed sentimental, humorous or romantic motives or the images of towns and villages. Dramatic subjects had been avoided, as it had probably been assumed that greeting should have had a positive nature, and symbols depicted at postcards had been meant to evoke positive feelings. Nevertheless, postcards were an important tool to spread the enemy images of propaganda nature as well as patriotic messages supported with reinforcing power of symbols. A significant, if not the most vital reason to use postcards in propaganda was their applicability to shape ideological or socio-political attitudes. At the beginning of the 20th century, the postcard became an ideal medium of conveying symbols and messages devoted to propaganda, especially due to its advantages; low price, popularity among various social groups, and above all the speed of information flow even in long distances. The necessity of concise postcard message as well as the fact that the page with the view depicted various symbols, influenced the reinforcement of the propaganda messages. A postcard was intensively used during the First World War period as a medium to share views, ideas, symbols as well as to shape the behaviours of mass consumer, deliberately exposing at them dramatic symbols or motives. These, universally used in Europe during the First World War, as a medium of mass communication, were functioning in great numbers in constant circulation between the battle-front and the homeland. Among various motives depicted at postcards at that time, it were the enemy images that are of prime focus due to their symbolism of propaganda activity.

5

Motyw dziecka w prawosławnej ikonografii Chrystusa i Bogurodzicy – historia i podstawy teologiczne (wybrane przykłady dzieł)

100%

Sobczak J.

Latopisy Akademii Supraskiej

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2020

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vol. Dzieci w kulturze duchowej Prawosławia

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issue 11

253-264

EN

The theme of a child in Christian art appears from the very beginning of its existence. Usually, it carries a meanings related to the innocence, that belongs to children, a vocation to a new, unknown Life. Works of art remind believers of the need to conform their souls to a child’s ones in order to fulfill this vocation (Mark 10: 13–16). In the context of the Orthodox Christology depiction of the Savior as a child always expresses faith in the true Incarnation of the Logos. Faith in God’s adoption of entire human nature for its divinization and salvation. With the help of art, the Orthodox Church presents the Mysteries in which Almighty God becomes a helpless child while maintaining his divine nature. Church, using artistic medias, indicates a tight connection between Incarnation of Christ and His redeeming Resurrection presented also in Eucharist.

6

Symbolika obrazu «Alegorii Bożej Opatrzności» z klasztoru Sióstr Wizytek w Krakowie

88%

Moisan-Jablonski C.

Saeculum Christianum. Pismo Historyczne

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2015

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vol. 22

172-183

EN

There is an eighteenth-century painting depicting Allegory of Divine Providence in the convent of the Sisters of the Visitation in Kraków. The iconography is unique. In addition to figures of people and animals abandoning themselves to the care of Divine Providence, it also shows the seven archangels. Although the Catholic Church only recognizes three Archangels (Gabriel, Michael and Raphael), portrayals of seven archangels appeared in European art at the end of sixteenth century and in the seventeenth and eighteenth centuries, which also showed figures representing Uriel, Barachiel, Sealtiel and Jehudiel. The Reverend Ignacy Tłuczyński also mentions them in a book—on to the subject of angels and the care which angels and heavenly spirits provide to people—published in Kraków in 1677. It would be impossible to have a full understanding of the message conveyed in the Kraków painting without having knowledge of Polish eighteenth-century religious songs devoted to Divine Providence. The dominant motif—which also appears on other Polish paintings depicting Divine Providence—is the portrayal of people and animals together, to whom Providence is offering various gifts.

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Pečeti olomouckých biskupů v období 1351–1457. Typologie a ikonografie

75%

Krejčík T., Psík R.

Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)

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2013

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vol. 4

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issue 1

65-81

EN

The study is dedicated to development of the Olomouc bishop’s seals in period between 1351 and 1457 with emphasis on their iconography. From the artistic point of view the analysed seals from above stated period represent the highest quality. In the same period we can notice significant transformation of typology of used matrixes. The study shows that those changes in some cases reflect the period mentality. The authors of the article also mention reasons that could motivate the individual bishops to choose the particular iconographic type. In that sense the authors further on analyse the basic iconographic motifs. The catalogue of the Episcopal seals represents the core of the study as well as the description of the official Coat of arms evolution till the end of the 15th century.

8

Ikona Matki Bożej „Krzew Gorejący” jako wizualizacja tekstów liturgicznych

63%

Stawecka K.

Latopisy Akademii Supraskiej

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2012

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vol. Język naszej modlitwy- dawniej i dziś

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issue 3

49-65

EN

The icon of Mother of God “the Burning Bush” forms a theological and biblical synthesis of Mariology. Its idea is based on the excerpt from the Book of Exodus relating the vision in which Moses saw the Angel of God in the flame coming from the middle of a bush. The Old Testament types of announcements of Mary’s role, evoked in the icon, put into the categories of “the Burning Bush”, “the Tree of Jesse”, “Jacob’s Ladder”, “the Gate of Ezekiel” and others, are a visual form of the liturgical texts. The original icon of Mother of God “ the Burning Bush” contained many verbal inscriptions, explaining the role of Theotokos in accomplishment of the salutary will of God. The central composition with Mother of God and Emmanuel surrounded by multitudes of angels with various attributes – liturgical utensils, books, candles and others – evokes a solemn liturgy.

9

Przedstawienia dzieci w ikonografii witraży Adama Stalony-Dobrzańskiego

63%

Siemieniec A.

Latopisy Akademii Supraskiej

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2020

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vol. Dzieci w kulturze duchowej Prawosławia

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issue 11

189-206

EN

Adam Stalony-Dobrzański is an Orthodox artist who significantly influenced the image of the Orthodox art in the second half of the 20th century in Poland, and at the same time contributed to the renaissance of Byzantine-Ruthenian iconography. By popularizing the form of a stained glass window as an element of the Orthodox church interiors, he extended the tradition of Eastern Christian art, finding a medium in the form of glass and lead to express the mystery of the icon. He is the author of at least 342 stained glass compositions made for Orthodox, Catholic and Protestant churches. The multitude of iconographic themes appearing in Stalony-Dobrzański’s stained glass windows – referring to the centuries-old tradition of Christian art – features representations of children. These are the scenes showing the childhood of Jesus and Mary (the Orthodox church of the Nativity of the Blessed Virgin Mary in Gródek), presentations of St. Sophia with Faith, Hope and Love (the Holy Trinity Cathedral in Hajnówka, the House of the Metropolitan in Warsaw), the image of the Guardian Angel leading a child (the Catholic church of Our Lady of the Scapular in Stalowa Wola-Rozwadów) or Christ blessing children (the Evangelical-Augsburg Church of Holy Trinity in Warsaw). A kind of iconographic novelty is introduced here with depictions of children as Unknown Saints of our time (the Orthodox church of St John Climacus in Warsaw). In the stained glass windows, we also find images of Jacinta, Francisco and Lucia – three children who witnessed the apparitions of The Blessed Virgin Mary in Fatima, recognized by the Catholic Church.

10

Ikony Matki Bożej typu „Hodegetria” w prawosławiu i ich obecność w polskich cerkwiach

51%

Charkiewicz J.

Rocznik Teologiczny

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2016

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vol. 58

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issue 2

153-172

PL

W prawosławnej ikonografii wizerunek Bogurodzicy zajmuje pierwsze miejsce po wyobrażeniach Jezusa Chrystusa i tworzy z nim harmonijną całość. Ikonografia Matki Bożej liczbą typów i wariantów przewyższa nawet liczbę ikon Zbawiciela. Chociaż badacze nie są w pełni zgodni co do systematyki ikon maryjnych, to odnosząc się do pierwowzorów wykonanych przez ewangelistę Łukasza i opierając się na tradycji cerkiewnej, założyć można, że istnieją trzy kluczowe typy: „Hodegetria”, „Eleusa” i „Orantka” oraz jeden umowny – „Akatyst”. Wśród nich „Hodegetria” zajmuje szczególne, uprzywilejowane miejsce. Ikony tego typu, wywodzące się z Cesarstwa Bizantyjskiego, największy rozkwit uzyskały na Rusi, skąd dotarły też na polskie ziemie. W prawosławnych świątyniach w Polsce znajduje się obecnie wiele ikon tego typu, wśród których do najbardziej znanych należy zaliczyć: Bielska, Białostocka, Chełmska, Iwerska ze św. Góry Grabarki, Supraska, Turkowicka, Leśniańska, Lubelska, Hajnowska „Radość Nieoczekiwana”, Rybołowska, Sanocka, Jabłeczyńska, Jaworska, Krasnostocka, Kożańska.

EN

Abstract The image of the Mother of God in Orthodox iconography has got the first place just after the images of Jesus Christ and together with him forms a harmonious entirety. The number of types and variants of the iconography of Our Lady is even higher than the number of icons of the Savior. Although researchers are not fully agreed to the typology of images of the Mother of God, it refers to the archetypes made by the Evangelist Luke and it’s based on the tradition of the Orthodox Church, it can be assumed that there are three key types: Hodegetria, Eleusa and Orans and one contractual – Akathistos. Among them, Hodegetria has a special, privileged place. Icons of this type, came from the Byzantine Empire, but the greatest prosperity achieved in Rus, from where they came to the Polish lands. Nowadays there are many icons of this type in Polish Orthodox churches, among which the most famous are: Bielska, Białostocka, Chełmska, Iviron from Holy Mount of Grabarka, Supraska, Turkowicka, Leśniańska, Lubelska, Hajnowska “Unexpected Joy”, Rybołowska, Sanocka, Jabłeczyńska, Jaworska, Krasnostocka, Kożańska.

11

Kult siedmiu archaniołów w średniowiecznej Nubii na tle kultu siedmiu planetarnych bogów w basenie Morza Śródziemnego

51%

Łaptaś M.

Saeculum Christianum. Pismo Historyczne

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2020

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vol. 27

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issue 1

17-30

EN

The works of Polish archaeologists in Sudan, ongoing since "The Nubian Campaign" (1961-1964), constantly enrich our knowledge about Christian Nubia. New research not only forces us to correct our knowledge on Nubia, but also to take a fresh look at Mediaeval Christianity. An interesting thread of Nubian angelology is the evidence of seven archangels’ cult confirmed in inscriptions as well as in painting and architecture. In the case of Nubia, we do not have extensive descriptions of the development of the archangels’ worship and our knowledge is based on the combination of individual data, which, when collected, may form a complete picture. The purpose of this paper is to gather these single tesserae and show that the worship of archangels was developing in Nubia and that there was a certain permanent set of the archangelic names.

PL

Prace polskich archeologów w Sudanie, trwające od tzw. „Kampanii Nubijskiej” (1961-1964), stale wzbogacają wiedzę o chrześcijańskiej Nubii. Nowe badania nie tylko zmuszają do korygowania wiedzy na temat Nubii, ale także do świeżego spojrzenia na średniowieczne chrześcijaństwo. Ciekawym wątkiem nubijskiej angelologii są świadectwa kultu siedmiu archaniołów potwierdzone w inskrypcjach, a także w malarstwie i architekturze. W przypadku Nubii nie zachowały się obszerne opisy rozwoju kultu archaniołów i wiedza opiera się na łączeniu pojedynczych informacji, które po zebraniu tworzą pełny obraz. Celem niniejszego artykułu jest zebranie tych informacji i pokazanie, iż kult archaniołów rozwijał się w Nubii i istniał pewien stały skład imion tych archaniołów.

12

Irlandia a Bizancjum. Ikonografia "Trzech Hebrajczyków w piecu ognistym" na krzyżach celtyckich

51%

Bulas R.

Vox Patrum

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2008

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vol. 52

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issue 1

61-76

EN

The article presents illustrations of Dn 3,19-24 in first millennial art. The author shows three types of iconography and compositions this biblical history: Roman, Coptic-Nubian and Irish-Byzantine. The Roman type has character of illustrations instead two others from Christian East are symbolical.

PL

Artykuł analizuje przedstawienia wydarzeń z Dn 3,19-24 w sztuce pierwszego tysiąclecia. Autor ukazuje trzy typy ikonografii i kompozycje tej biblijnej historii: rzymską, koptyjsko-nubijską i irlandzko-bizantyjską. Typ rzymski ma charakter ilustracji, a dwie inne z chrześcijańskiego Wschodu są symboliczne.

Refine search results

AiApaec: ¿una divinidad suprema prehispánica o una manipulación en la traducción intercultural?

Pamięć lat 1912 i 2012: artystyczny plon dwóch Skargowskich rocznic (sztuki plastyczne)

Południowa Afryka - Królestwo złota i diamentów i jego ikonografia

Symbole wykorzystywane w propagandzie wojennej okresu I wojny światowej w świetle ikonografii kart pocztowych

Motyw dziecka w prawosławnej ikonografii Chrystusa i Bogurodzicy – historia i podstawy teologiczne (wybrane przykłady dzieł)

Symbolika obrazu «Alegorii Bożej Opatrzności» z klasztoru Sióstr Wizytek w Krakowie

Pečeti olomouckých biskupů v období 1351–1457. Typologie a ikonografie

Ikona Matki Bożej „Krzew Gorejący” jako wizualizacja tekstów liturgicznych

Przedstawienia dzieci w ikonografii witraży Adama Stalony-Dobrzańskiego

Ikony Matki Bożej typu „Hodegetria” w prawosławiu i ich obecność w polskich cerkwiach

Kult siedmiu archaniołów w średniowiecznej Nubii na tle kultu siedmiu planetarnych bogów w basenie Morza Śródziemnego

Irlandia a Bizancjum. Ikonografia "Trzech Hebrajczyków w piecu ognistym" na krzyżach celtyckich