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1

THE PICTURE OF THE HOLY VIRGIN MARY OF TRAKAI AND ITS IMITATIONS

100%
Sinkunaite L.
Makslas Vesture un Teorija
|
2005
|
vol. 4
26-32
EN
The article deals with the sacred picture of the Holy Virgin Mary of the Trakai Parish Church in Lithuania. It was the most famous picture in the Grand Duchy of Lithuania up to the very end of the 18th century. Its origin and history is surrounded by various legends. Possibly the oldest imitation is the Mary of the Varniai Cathedral created in the 16th century; others include Mary of the Trakai Gate of the wall of Vilnius old town and in Aglona Church in Latvia. The image of the Holy Virgin Mary of Trakai is a variant of Hodegetria iconographical type with its own peculiarities, while the individualisation that occurs in the imitations of this picture takes on a different and sometimes distinctive character.
2

SANDSTONE PIETA FROM THE RIGA ST. JAMES' CHURCH. ORIGINS, ICONOGRAPHY AND STYLE (Smilsakmens Pieta no Rigas Sv. Jekaba baznicas. Izcelsme, ikonografija un stils)

100%
Grosmane E.
Materiali Latvijas makslas vesturei
|
2003
|
vol. 3
19-27
EN
It is a surprising and unbelievable fact that the sandstone Pieta of so high artistic value that might feature in the permanent exposition of any museum of the world so far has gone unnoticed by both Latvian and foreign art historians. The sadly beautiful Virgin holding her son in her lap demonstrates God's final farewell to the earthly life. It is a common subject of medieval art that is distinguished by the unique quality of artistic execution. It stands out in comparison with the mean scope of medieval sculpture in the Eastern Baltic region and Latvia in particular; it is also the only stone example in the sculpture collection of the Latvian History Museum. Looking for origins of the figural group one has to stop at the Mater Dolorosa Church in Riga. A prospect drawn by Johann Christoph Brotze in 1791 depicts the choir apse of the church still oriented towards the Castle Square. There was a big open niche at the very centre of the apse where the brightly coloured Virgin, surrounded by a heavy falling cloth, was standing on a high pedestal with Christ in her lap. Outlines of the sculptural group clearly point to the Pieta from the Latvian History Museum. Following J. C. Brotze's suggestion one has to continue the search in the Riga St. James' Church. The heightened religious feelings favoured building of a chapel in this church in 1404. The sandstone Pieta is dated by the same period. The artwork itself is not mentioned in written sources, so to detect the place of its origin which is the aim of this paper, one has to take up stylistic analysis. A detailed analysis proves that the Riga St. James' Church was decorated with a very subtle and emotionally charged work of art. Some concluding remarks: the origins of the sandstone Pieta are to be found not in the Mater Dolorosa Church but in the medieval St. James' Church. This work is an imported one because there are no similar pieces in the Eastern Baltic region, the group is quite small and a cavity at its back side might ease transportation. The work belongs to the Schoner Stil horizontal versions of Pieta that flourished in Central Europe around 1400 when several centres of origin coexisted in different areas.
3

FROM LENIN TO JOHN PAUL II:THE STATE OF RESEARCH ON THE WORK OF MARIAN KONIECZNY AND A FEW REMARKS UPON HIS RELIGIOUS SCULPTURES (Polish title below)

88%
Lamenski L.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2010
|
vol. 3
44-57
EN
(Polish title: Od Lenina do Jana Pawla II. Stan badan nad tworczoscia Mariana Koniecznego oraz kilka uwag o rzezbach religijnych jego autorstwa). Marian Konieczny (born in 1930) is a very controversial figure in the history of the monumental Polish sculpture of the second half of the 20th century. A student of Ksawery Dunikowski and a graduate of the Academy of Fine Arts in Leningrad, a member of the Polish United Workers' Party, the vice-chancellor of the Academy of Fine Arts in Krakow, an MP to the communist Parliament, he has never enjoyed respect or interest of art critics and historians despite being the author of a number of monuments. The researchers writing on Polish memorial sculpture ignored him pointedly, not being able to forgive him the authorship of The Monument of Warsaw Heroes in Warsaw (1964), The Memorial of Revolutionary Struggle in the Rzeszow Region in Rzeszow (1973) or Stanislaw Wyspianski Monument in Krakow (1981). Despite all his detractors, this very industrious, talented and versatile sculptor, whose preferred mode of expression is realistic, after the dramatic political change of 1989 not only did not disappear from Polish artistic life, but keeps on winning competitions and receiving commissions for new memorials, including religious ones. His works include, among others, the monumental Royal Epitaph for the Metropolitan Cathedral in Poznan (1995) and John Paul II Monument in front of the basilica in Lichen (1999). An objective examination of the biography and oeuvre of Marian Konieczny and similar artists is indispensable for the full picture of the Polish monumental sculpture of the 20th and early 21st century.
4

Kultūras mantojums un politiskā ideoloģija: Rīgas Māras baznīcas izdaiļošanas projekts. 20. gadsimta 30. gadi

88%
Grosmane E.
Makslas Vesture un Teorija
|
2014
|
vol. 17
36-45
EN
The article deals with the political and ideological conditions in the early 1930s that encouraged the eviction of the Riga Dom Cathedral’s German congregation, renaming the church as Māra’s Church and the elaboration of a project to give the building a Latvian character. The political situation after World War I and the power vacuum in the Eastern Baltic region created favourable conditions for the foundation of an independent state and shake off the dominant German and Russian influences. Initially the state institutions did not interfere in art processes. However, quite early on, an increasing tendency emerged to extol the significance of Latvian national identity as opposed to the contribution of other ethnic groups to the local culture. This attitude rapidly consolidated in the 1930s and had a negative effect on the current art, architecture and cultural heritage. Latvian national self-esteem grew incompatible with the city’s largest church belonging to a German congregation. The renaming of the church allows us to follow this process. German historians of architecture called it St. Mary’s Dom Cathedral (Der Dom zu St. Marien) while already since 1923, the Latvian press of the day began to call it after the pagan deity Māra. The next step to strengthen national self-consciousness and search for national identity was a press announcement that the interior of Māra’s Church had to be given a Latvian appearance. Information on the competition is scarce. Only one applicant is known whose submission was published in the magazine ‘Atpūta’ (Leisure) on 17 November 1933. The main author of the sketches was Professor Jānis Kuga of the Latvian Academy of Art. The artist has attempted to follow the instructions set down by the commission, synthesising religious symbols with themes from the history of Latvia. However, the ambitious plan of the Latvianised Dom turned out to be too much in discord with the status of the medieval monument and was never realised.
5

CONTEMPORRARY SACRED ART - A RELFECTION ON ITS ESSENCE AND REASON FOR CONCERN (Wspolczesna sztuka sakralna - refleksje o jej istocie i przyczyny niepokoju)

88%
Rodzinski S.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2008
|
vol. 1
46-50
EN
The text aims to show the crucial relationship between the creative process of an architect and artist, who undertakes a project for a church and for the Church, and his spiritual life and his faith. It is this relationship that has determined the creation of the greatest works of sacred art and architecture throughout the history of art and of the Church. The essence of good art is its universality. Texts by church hierarchs, including John Paul II and Cardinal Joseph Ratzinger, may give artista both an inspiration and assistance in finding the meaning and form of their works. This applies equally to the relation of religious architecture to the landscape as well as the importance of sacred art in the lives of the faithful. Without this awareness, the architect and the artist often create objects which may just as well be department stores (galleries) and churches; ones in which the faithful will not find any inspiration of faith.
6

ARTISTIC MONUMENTS IN LATGALE IN THE CONTEXT OF THE REGION'S HISTORY OF CULTURE AND THE ARTS (Latgales makslas pieminekli novada kulturas un makslas vestures konteksta)

75%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
51-62
EN
There are some 2,700 artistic monuments in Latgale, according to a list that was prepared by specialists in the field of cultural monuments. These are works of fine and applied arts which, in most cases, have survived in the region's churches and cemetery chapels and which can be dated from the 16th to the 20th century. The contacts which the region has had with various European arts phenomena over the centuries reveal a specific choice of sources of inspiration and the involvement of specific professional foreign artists in fulfilling orders from Latgale. The dominant direction in the artistic heritage created under the influence of the Catholic Church's traditions is the Southern direction' which filtered into Latgale via the experience of Central European artists. This can be seen most clearly in late-Baroque stucco sculptures in Latgale, and is connected with sculptors of the so-called Vilnius Baroque center. Further evidence of links with the artistic pursuits of Southern European Catholic countries is found in the fact that paintings by Andrea del Sarto, Guido Reni, Bartolome Esteban Murillo and others were localized or copied for altars in Latgale's churches. 19th century links with the countries of Central Europe, in turn, are evidenced in the fact that such artists as Jan Matejko, Jozef Peszka, Apolinary Horawski and Kazimierz Alchimowicz, among others, were commissioned to do work for churches in Latgale. The traditions of ancient Russian art came into Latgale along with the arrival of Old Believers from the Orthodox Church in the late 17th century. Most of these people came from deep within Russia's heartland, bringing along icons, books and items of metalwork - collections there were updated over the course of time. Many items were created on the spot, and this work continues to this very day in such towns as Daugavpils and Rezekne. The style of these artworks is dominated by influences from Northern Russia, but there are traces of other regions, too, including some echoes of Western art. In other words, the presence of both the Eastern and the Western Christian church helped to establish the colorful uniqueness of culture in Latgale.
7
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Struktura symboliczna architektury światyni: Wprowadzenie do teologii wyrazu sztuki sakralnej

75%
Uścinowicz J.
ELPIS
|
2011
|
vol. 13
|
issue 23-24
139-180
EN
Symbol has always been an intrinsic part of a person. The human being - homo religiosus - is by nature also a homo symbolicus, who thinks and feels symbolically, who lives symbolically. In the domain of sacrum, in the temple, life is realized through holy symbols. In the past, this was directly reflected in the architecture and in the art of all religions. They have their special compensation in the temple and vice versa; the temple is a concrete manifestation of the function of a symbol. Thanks to them, art could manifest itself, could naturally pass from the level of aesthetics to the level of religion. Nowadays we face a kind of crisis of symbol in the sphere of art, certain reluctance towards symbols. The language of symbols seems to be dying out. Two - thousandth years of history of Christianity proved that a main criterion of a value of church architecture was not based on architectural precursors. This architecture was sacred because it was a carrier of a 'truth of God' and - like a liturgical mysterion and iconography art - it was a theological comment. It was a codified language of the transposes of religions essences and orders, into the form of architectural expression. This was in a East Christianity and this happens there up to this day. One of the proofs to confirmate this thesis is an example of dome. It has been in existance since the beginning of forming the traditional architecture structure of the orthodox temple; it manifested symbolical and archetype essence - as an interior space and as an exterior form. In the history of architecture as well as the history of religion it had precisely defined symbolic meanings. They designated its significance in the temple, they gave rise to its long duration in the history, and eventually they gave it a status of an essential element, an everlasting witness of Divine mystery'. Presentation of this essence and orders constructs indispensable context to a value of the contemporary copulas solutions, in the range of preservation the traditional status of copula in the orthodox temple. In short draft, across calling of form of dome and her hermeneutical partition was tried to appear rule of working of symbolism of sacred arts and her possibilities as special kind of theology of artistic word in architecture. A person's life is marked with symbols. There is no lay art and all crises of art are not so much of aesthetic nature as of religious character. They are caused by disappearing symbolism, and, consequently, by debasement of the sense of mystic sacrum. We need tradition and the canons, we need to be reminded of holy symbols. If the sacral art is to provide an authentic description of teophanic reality and, at the same time, if it is to be a source of all human metaphysical experience and not only intellectual speculation or a mere naturalistic representation of things, we have to find a way of regaining harmony with former symbols. 'Beauty shall redeem the world' - as Fiodor Dostoyevsky rightly said. In art, redemption is realized by holy symbols. Thanks to them 'Mute art is able speak' (St. Gregory of Nyssa).
8
Content available remote

Ikonostas

75%
Misijuk T.
ELPIS
|
2011
|
vol. 13
|
issue 23-24
193-202
EN
The paper indicates a complex meaning of the iconostasis both in sacred art and liturgics of the Orthodox Church. Selected examples illustrate a process of historical development of the iconostasis, contemporary variety of forms and its influence on worship celebrated in the Orthodox church.
9

SOME OBSERVATIONS ON THE STAINED GLASS PANELS BY STANISLAW WYSPIANSKI AND JOZEF MEHOFFER IN THE WESTERN WINDOW OF ST MARY'S CHURCH IN KRAKOW (Polish title below)

75%
Szybisty T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2010
|
vol. 3
127-142
EN
(Polish title: Kilka uwag o witrazach projektu Stanislawa Wyspianskiego i Jozefa Mehoffera w oknie zachodnim kosciola Mariackiego w Krakowie). The stained glass designs by Jozef Mehoffer and Stanislaw Wyspianski for the western window of St. Mary's Church in Krakow have been the subject of extensive research. However, the question of the authorship of individual panels has not been answered yet. On the basis of a remark made by Wyspianski in a letter to his uncle Stankiewicz it can be stated with certainty that the whole left (southern) half of the window was based on Wyspianski's concept. Wyspianski was also the author of the designs for the panels in the tracery. Apart from the answering the attribution questions, the articles discusses also the circumstances in which the designs and the glazings for the western windows were made in the context of the major renovation St. Mary's Church was undergoing in the late 19th century. It also discusses the ideological and artistic questions connected with this set of designs, including the allusions to Veit Stoss sculpture and French art.
10

Georgs Francs Bernharts un 19. gs. otras puses neogotiskie altaru retabli Latvija

75%
Lace D.
Materiali Latvijas makslas vesturei
|
2012
|
vol. 8
55-72
EN
The article deals with Georg Franz Bernhardt (1831-not before 1908), a relatively unknown master carpenter of Riga. Over thirty years he had created anew and reconstructed thirty six church furnishings in Latvia, Lithuania and Estonia. The latest researches allow us to connect Bernhardt’s name with the altars of ten churches in Latvia. The figures of apostles in the altars made by Bernhardt are examined with particular regard to their historical prototypes. With a recommendation from the Berlin Academy of Art, Bernhardt came to Riga in July 1860 to teach drawing at a private boys’ school. In 1862 he gave up teaching and set up a carpenter’s workshop to make furniture. In 1881, aged fifty one, Bernhardt was admitted to the carpenters’ corporation of Riga Small Guild, and he started active public work. In 1890 he left his enterprise in Riga. In 1905 the above-mentioned memoirs were published in Germany. In 1909 Bernhardt’s name disappears from the Riga address book and the directories do not mention his widow Wilhelmine Bernhardt either. Therefore he might have returned to Germany in 1908, not in 1905 as Campe’s lexicon states. The place and time of the master’s death remain unknown. Neo-Gothic altar retables created by Bernhardt for churches in Latvia are items complying with the current artistic trends of the time. The frame construction of the altars was appropriated from the Neo-Gothic solutions found in the Berlin edition of Architektonisches Skizzenbuch. But he himself selected figural images for altar compositions, examining the most prominent medieval artistic monuments. Further research could clarify some remaining obscure details, as there is no doubt that Bernhardt’s contribution to the 19th century local arts and crafts is significant enough to be included in the history of art of Latvia.
11

RECATHOLISATION OF EASTERN LATVIA: INFLUENCES UPON THE HERITAGE OF CHURCH ARCHITECTURE AND ART (Austrumlatvijas rekatolizacija un tas ietekmetais baznicu arhitekturas un makslas mantojums)

75%
Kaminska R.
Materiali Latvijas makslas vesturei
|
2008
|
vol. 7
31-46
EN
Changes in confessional structure and influences should be taken into account by scholars dealing with culture and art. This heritage, in its turn, is an important reflection of the processes going on in cultural history, the actually tangible and analysable entity of phenomena in architecture and art both in particular regions and in Latvia in general. Largely because of this we can speak of regional specificity in Latvia's artistic culture that is rooted in history but retains its significance till our days. These differences stand out quite clearly in various regions of Latvia. The origins of peculiar traits are complicate enough to be reduced to confessions of religion. Still this aspect coincides with the culture researcher Andrejs Johansons' thesis on the process of acculturalisation and the role of church in the regional life in Latvia. It has influenced the ideas of the variation: the familiar and the alien (different) in cross-regional assessment. These differences in Latvia have been historically conditioned by two processes - Reformation and recatholisation. They had not passed by Eastern Latvia as well (meaning the present territory of Latgale and partly Augszeme). The 16th century Reformation involved the entire territory of Latvia, but recatholisation was most successful in this particular part of Latvia. The 17th-18th century artistic heritage reflects and largely typifies precisely this difference of sacred culture, creating a sort of paradigm already then: tradition in the choice of church building prototypes (specific spatial solutions), typical furnishing of premises (involving the masters of fine and applied arts), and a certain tradition in selection of artistic impulses.
12

Virgin Marys of Medieval Livonia

63%
Kurisoo M.
Makslas Vesture un Teorija
|
2020
|
vol. 24
76-79
EN
The article introduces the exhibition “The Virgin Mary: Woman, Mother, Queen” held at the Art Museum of Estonia – Niguliste Museum (25.10.2019–16.08.2020). Particular attention is given to the principles of selection of exhibits and the ways in which the Mother of God has been interpreted in the sacred art of medieval Livonia, comprising both present-day Latvia and Estonia.
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