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1

THE JUDGEMENT OF TASTE AND THE CONTEMPORARYRELIGIOUS ART (Sad smaku a sztuka sakralna)

100%
Klekot E.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2009
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vol. 2
31-37
EN
Pierre Bourdieu argues that in modern times, every aesthetic choice is a factor of social classification. His theory demonstrates that the judgment of taste is socially constructed and at the same time itself serves to establish social distance and hierarchy. In his analysis of kitsch, however, Tomaš Kulka posits that kitsch cannot come under the judgment of taste since, by its very definition, it is devoid of 'artistic value', which is the basis of any aesthetic judgment. From the structural point of view, argues Kulka, kitsch is not art at all. Since most miraculous images worshipped by Christians are quite different from those worshipped in museums, the applicability of the judgment of taste to so-called 'religious art' should clearly be called into question. The article quotes examples from field research to argue that the factors deemed essential for judging religious images by people who use them in their religious practice suggest that their evaluation should be based on concepts such as the Gadamerian indistinguishability or Michael Taussig's mimesis rather than on modern aesthetic values.
2

THE MEANING OF EXISTENCE AND ART IN THE PAINTING 'PIETA' BY TADEUSZ BORUTA (Sens egzystencji i sztuki w swietle obrazu Pieta Tadeusza Boruty)

100%
Haake M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2011
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vol. 4
80-94
EN
The article deals with the methodology of art history; based on the interpretation of Pieta by Tadeusz Boruta, it argues the need to analyze how pictorial representation (motifs, forms, colour, texture) is related to the plane of the painting. The multi-layered meaning of Boruta's work emerges from the fact the painting brings to light the inscription of motionless figures in the structure of temporality, where 'before', 'after', and the immediate 'now' of the seeing process are distinguished. This structure sends a message about the essence and mission of the human life of Christ, and the incarnation of God, which is directed at every human being in the Eucharist.
3

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)

75%
Krasny P.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2009
|
vol. 2
16-30
EN
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.
4

TRADITION,DECREASING PIETY AND A VAGUE SENSE OF THE DIVINE. FRANCOIS RENE DE CHATEAUBRIAND AND THE CRISIS OF SACRED ART IN THE 19th CENTURY (Polish title below)

75%
Krasny P.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2011
|
vol. 4
8-19
EN
(Polish title: Tradycja, stygnaca poboznosc i niejasne odczucie bostwa. Francois René de Chateaubriand a kryzys sztuki religijnej w XIX wieku). Many consider Francois René de Chateaubriand as the thinker primarily responsible for consolidating radically conservative and fideistic attitudes after the French Revolution. It was allegedly under his influence that French sacred art of the 19th century plunged into an era of barren historicism, which identified religious significance with allusions to the artistic tradition of the pre-revolutionary state. The origins of this idea are commonly traced back to Chateaubriand's statements on art in his apologetic treatise entitled The Genius of Christianity [Génie du Christianisme] It is should be noted, however, that these reflections are limited to but a dozen pages in the book, and it would be a futile attempt to use them as specific guidance on how sacred art should be created. Evident in these pages is Chateaubriand's admiration for the architecture of Gothic cathedrals, which evoke in him 'a kind of awe and a vague sentiment of the Divinity'; he is clearly awed by their solemn ambience, reverberating with echoes of past ages, which 'raise their venerable voices from the bosom of the stones, and are heard in every corner of the vast cathedral.' These statements may indeed be easily read as an encouragement to build churches in a neo-Gothic style, which will always appeal to the common folk. It should be borne in mind, however, that the neo-Gothic rose to prominence in French art thirty years after the publication of The Genius of Christianity. If we assume that the book was treated as an inspiration for reviving past architectural solutions, it may strike us as surprising that the motifs chosen often went directly against Chateaubriand's actual recommendations. At the beginning of the 19th century, French religious art returned to the forms of classicizing baroque and early classicism, which were criticized by Chateaubriand for their pagan origins and their inability to inspire true Christian piety. Therefore, it seems unlikely that the choice of 'retrospective' solutions was influenced by the The Genius of Christianity; rather, it was informed by specific academic tastes dominant in the French artistic milieu at the time and the ideal of 'restoring' French religious art to what it used to be before the iconoclasm and de-christianization championed by the French Revolution.
5

ABSTRACT ART AND SACRED ART (Sztuka abstrakcyjna i sztuka sakralna)

75%
Haake M.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2009
|
vol. 2
95-110
EN
The purpose of the article is to discuss Via Crucis, a work by Marek Chlanda, which sets out to express one of the most important themes of Christian iconography in the language of abstract art. The author first asks whether the semantics of abstract forms can effectively convey the narrative and express the profound message of man's salvation by God. A positive answer is suggested by the manner in which Marek Chlanda alludes to the oeuvre of Kazimierz Malewicz, one of the founders of 20th-century abstract art, who was fascinated with communism. Thanks to Marek Chlanda, the legacy of the Russian artist can be recognized as an usurpation, an attempt to replace the Christian conception of the absolute by an impersonal authority, by which we are no longer morally obliged. This is particularly suggested by panel XV (Resurrection), in which a Malewicz-like black circle attempts to cover the crown of thorns. Far from being a mere allusion to the iconography of particular stations, Via Crucis also initiates a reflection on the role of religious experience in our modern time.
6

ICONOGRAPHY OF THE FORMER MAIN ALTAR OF ST. MARTIN BY GEORG RAPHAEL DONNER IN ST. MARTIN‘S CATHEDRAL IN BRATISLAVA

75%
Orviská K.
ARS
|
2023
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vol. 56
|
issue 2
209 - 221
EN
The sculptural group of St. Martin and the Beggar by Georg Raphael Donner, which was part of the eponymous altar in St. Martin’s Cathedral in Bratislava commissioned by the Primate Emericus Esterházy in 1733, is one of the most important works of art of the first half of the 18th century. This article aims to analyse the probable iconographic models for the Bratislava sculptural group, the iconographic type of St. Martin on horseback and the beggar in the context of the researched work of art, and the atypical elements of the sculptural group, in which authors have searched for specific meanings to this day.
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