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„ŽADNI NEVI, CŽO GEST LASKA, KDO GI NESKUSIL...“ NÁBOŽENSKÉ PÚTE VERIACICH Z HORNÝCH KYSÚC K PANNE MÁRII FRÝDECKEJ V 1. POLOVICI 19. STOROČIA

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Kontriková Šusteková I.

Konštantínove listy

2023

vol. 16

issue 2

121 - 135

The pilgrimage in Slovakia was characterized by a complex development, accompanied by periods of its prosperity and decline. In the first half of the 19th century, the pilgrimages of believers from the sub-region of Horné Kysuce were still influenced by the surviving baroque piety; they preserved the character of a ritualized religious celebration associated with the participation of pilgrims in the role of a religious subject. They had the character of an outwardly manifested expression of folk religiosity and they were one of the folk sociability forms. The aim of the study is to reconstruct a form of the pilgrimage of Roman Catholic believers from Horné Kysuce to the Marian pilgrimage site in Frýdek the town (currently Frýdek-Místek in the Czech Republic) in the first half of the 19th century. It points out that the pilgrimages fulfilled a primary religious function, at the same time, the socio-cultural, regional and inter-ethnic contacts took place through them. They were an opportunity for intense cultural exchange, which was reflected in the material and intangible culture of the sub-region of Horné Kysuce. Pilgrims helped establish and maintain contacts with neighboring regions, brought news, new ideas and enriched the system of traditional culture with new elements and phenomena. The study is a contribution to the knowledge of the history and forms of the pilgrimage tradition in Slovakia.

LE VRAI PORTRAIT DE NOTRE - DAME. ON THE ATTEMPTS TO REFRESH THE MARIAN ICONOGRAPHY IN THE 19th CENTURY (Le vrai portrait de Notre-Dame. O próbach odnowienia ikonografii maryjnej w XIX wieku)

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Krasny P.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

2009

vol. 2

16-30

In the 19th century, France witnessed a significant revival of Marian piety, which manifested itself, among other things, in mass participation in May Masses and a surge in the number of Living Rosary Circles. Numerous apparitions of Mother Mary were reported in the country, some of which the Church recognized as 'worthy of credence'. It was under their influence that l'abbé Blanc came up with a proposal to reconstruct the true image of Mary based on the accounts of her appearance given by those who experienced revelations. The results, however, proved disappointing. The appearance of Mother Mary, as seen by Catherine Labouré in the chapel of Rue du Bac, was 'corrected' to such an extent that the 'miraculous medallion' can be shown to have the actual prototype in the rococo statue of the Immaculate from the Parisian church of Saint-Sulpice. No better were the results of recording the image reported by the children of La Salette. Barréme d'Angers, a provincial sculptor, crowded every detail they described into a single figure of Mary; Joris Karl-Huysmans argued it made the Mother of God resemble an Iroquois in a headdress. A much more talented artist, Joseph-Higes Fabisch set out to sculpt the statue of Our Lady of Lourdes, using the account given by Bernadetta Soubirous as the basis for a 'memory portrait' of the Holy Virgin; the girl's memories were supplemented with reproductions of earlier art works. Even though the cooperation between Soubrious and the artist initially seemed to go well, the girl burst into tears upon seeing the finished statue. She commented that the image lacked the 'remarkable simplicity' of the Beautiful Lady. One reason for all these failures, argues Labouré, was 'the hubris of earthly artists', who groundlessly believed themselves capable of rendering supernatural visions in their material images. Some blame should probably also go to the clergy, who were too afraid of offending renowned sculptors to heed the objections voiced by the witnesses. Once the attempt at reviving the iconography of Mother Mary on the basis of revelations ended in failure, the church lost all faith in the skills of contemporary artists and began to disseminate the exact reproductions of medieval Marian images as the sole object of worship.

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1 Konštantínove listy

1 Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

1 Kontriková Šusteková I.

1 Krasny P.

1 2023

1 2009

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„ŽADNI NEVI, CŽO GEST LASKA, KDO GI NESKUSIL...“ NÁBOŽENSKÉ PÚTE VERIACICH Z HORNÝCH KYSÚC K PANNE MÁRII FRÝDECKEJ V 1. POLOVICI 19. STOROČIA

LE VRAI PORTRAIT DE NOTRE - DAME. ON THE ATTEMPTS TO REFRESH THE MARIAN ICONOGRAPHY IN THE 19th CENTURY (Le vrai portrait de Notre-Dame. O próbach odnowienia ikonografii maryjnej w XIX wieku)