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1

Novokřtěnci na Moravě a jejich kulturní odkaz

100%

Kalinová A.

Národopisná revue (Journal of Ethnology)

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2016

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vol. 26

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issue 4

271 - 283

EN

In South Moravia, a sect of Anabaptists lived in the past, who were a product of the 16th-century reformation. The Anabaptists took a refuge in the Moravian environment that was tolerant of various religions, and they arrived in 1526 for the first time there. They lived in accordance with their principles in the farmsteads they founded in Moravia, and they practised a lot of crafts at an advanced level. Moravian lords admitted them helpfully at their domains. However, after 1622, the Anabaptists as non-Catholics were forced to leave their Moravian settlements. Most of them went to their brothers in today‘s southwestern Slovakia, where they continued their activities until the local Anabaptist communities fell apart. The one-hundred-year long activities of the Anabaptists indisputably contributed to the economic development of Moravia. The Anabaptists also left carefully written chronicles, literary works, spiritual songs and inspiring system of education behind them. However, it is the faience pottery that became the most tangible proof of their activity. Anabaptist faience expresses a level of handicraft at that time. The production of faience became a basis on which the production of peculiar folk pottery grew, which is an inherent part of folk culture in Moravia and Slovakia.

2

The Sacral Knot and Its Iconographic Use

84%

Matoušková M.

Studia Hercynia

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2018

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vol. 22

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issue 2

9-31

EN

The sacral knot is one of the most discussed symbols of Minoan art. This study focuses on its iconographic use throughout time and tries to find a way to differentiate it from other similar symbols. The first examples of the symbol are traced back to MM II while the last ones appear in LM IIIA. It occurs on various kinds of material like ivory, faience and frescoes, but mainly on seals and sealings. In glyptic it goes through a chronological evolution which can be divided into four stages.

3

Lakierowane wazy berlińskie

84%

Piotrowska M.

Opuscula Musealia

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2012

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vol. 20

135-176

EN

Lacquered Berlin vases are a small group made using unique manufacturing technology and technique., consisting of faience vessels of different size and form , white-glazed on the inside and at the bottom, with marks in the form a Chinese coin or artemisia leaf, on the outside adorned using a European lacquer technique. Black-, red- (in the shades ranging from vermilion to claret), navy-blue- and green-ground, as well as red-and-black vases are known. The vases are richly adorned. Basically, they feature two types of decorations: nature scenes and more or less elaborate Chinoiserie landscapes with architecture and human figures. The scenes depicted on the bodies form the main ornamental motifs on the vases. The decoration includes friezes, various ornamental motifs, and sometimes also small scenes featuring nature and landscapes. Decorations are identical only within a given set of vases. It is possible that original Chinese porcelain vases dating from the K’ang-hsi era can also be considered to belong to the group of lacquered Berlin vases, as in Europe they were redecorated using European lacquer similar to the decoration on the Berlin vases. Lacquered Berlin vases are still poorly discussed. The question of dating of their provenance is still indecisive. On the basis of stylistic analyses their origin was dated to the end of the 18th century (Otto von Falke, Walter Stengel) or to the years 1720-25 (Max Sauerlandt, Konrad Hüseler, Walter Holzhausen) . In 2003, Samuel Wittwer went beyond widely-held opinions, formulating the thesis that lacquered Berlin vases might have been forgery or at least imitations dating from the 2nd quarter of the 19th century,” and that it is possible that “the exclusive circle of buyers was aware of the true provenance of these “Chinese porcelain” objects and purchased them as ‘imitations’ of works which were not available to a wider public.” Wittwer estimates that around seventy vessels belonging to the group of lacquered Berlin vases are currently known. However, twenty one exhibits from the Polish collections have not been included in this number (Tables 2-9). The Jagiellonian University in Kraków has six green vases adorned with nature scenes (Table 2) – three baluster vases with covers surmounted by knobs in the form of figurines of the sitting Pagoda (Budai, Putai) and three beaker vases, of which one incomplete. In the collection of the Wawel Royal Castle there is a pair of red baluster vases with covers having knobs in the form of very large cockerels. Another pair of vases similar in form and size to those in the Wawel collection may be found in the National Museum in Kielce. The largest collection of lacquered Berlin vases in Poland is kept by the National Museum in Warsaw. The collection consists of a pair of baluster vases with covers surmounted by cockerels (Table 3), a pair of hexagonal vases (Table 5), a pair of four-sided vases (Table 6) and two odd baluster vases without covers (Table 4). The National Museum in Wrocław has a red beaker vase. In addition, a pair of finely adorned navy-blue beaker vases is on loan at the National Museum in Kraków. Most of these vases are not on display and thus are not widely known. The article discusses historical, formal and stylistic aspects of the group of lacquered Berlin vases, with special stress on artefacts in Polish collections. The discussion of items in foreign collections and the historical analysis are generally based on information contained in Samuel Wittwer’s article Die »Berliner Lackvasen« Eine These. The present article is an introduction to the work presenting the results of a technology study of the group of six lacquered Berlin vases from the collection of the Jagiellonian University Museum in Kraków. the study was started in 2009 under the preparation of the author’s Master’s thesis . Technological studies of the group of lacquered Berlin vases are currently continued and encompass almost all known items from Polish collections .

4

Ushebtis of the Third Intermediate Period from the Chapel of Hatshepsut in the Queen’s temple at Deir el-Bahari

84%

Makowska A.

Polish Archaeology in the Mediterranean

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2015

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vol. 24(2)

137-160

EN

A collection of 619 whole and fragmentary ushebti figurines dating from the Third Intermediate Period was recovered between 2004 and 2007 by the Polish team excavating in the Chapel of Hatshepsut, an integral part of the Queen Pharaoh’s mortuary temple in Deir el-Bahari. The figurines include objects of faience, clay and painted clay, all relatively small and roughly modelled. They represent a category of objects that is seldom published separately. The paper presents a typology of the ushebtis based primarily on the material from which they were produced, discussing their chronology and find contexts as well.

5

Faience objects from the Tomb MMA 1152 at Sheikh Abd el-Gurna

84%

Chudzik P., Ćwiek A.

Polish Archaeology in the Mediterranean

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2015

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vol. 24(1)

701-707

EN

Excavations in the area of tomb MMA 1152 at Sheikh Abd el-Gurna, conducted since 2003, have uncovered a substantial set of faience objects coming from burials made there during the later Pharaonic Period, before the tomb became a hermitage for Coptic monks. Analysis of the material points to several episodes of reuse of the original Middle Kingdom structure in the Third Intermediate Period and the Late Period.

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Korálkové šperky pro onen svět. Předběžná zpráva o souborech z hrobky hodnostáře Nefera (AS 68d)

67%

Dulíková V.

Pražské egyptologické studie (Prague Egyptological Studies)

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2016

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issue 16

20-24

EN

Faience beads in the form of jewels, which decorated the bodies of the deceased, represent a regular constituent of the burial equipment of officials, priests and their families in the Old Kingdom period. While most tombs were robbed already in ancient times, beaded jewels were often disregarded by the robbers. Despite the fact that the context had been disturbed and the threading material usually decomposed, the beads still allow us to get an idea of the appearance of the original jewels. The odds improve further if an intact burial is discovered. Such situation has occurred twice in the case of the rock-cut tomb of the dignitary Nefer. During the archaeological seasons in the years 2012-2014, two of the four shafts uncovered were found intact (AS 68d, Shafts 3 and 4). The three sets of beaded jewels which were found in Nefer's tomb belonged to a man, woman and a child, providing an opportunity for a remarkable comparative material study. The potential of these finds consists not only in their state of preservation, but also in the variability of their owners that will enable us to compare the burial practices used for individual members of a high-ranking family who lived in the second part of the Old Kingdom period.

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Transformacja XVIII-wiecznej metody transferu obrazu graficznego na ceramikę w nowoczesne technologie w warunkach warsztatu graficznego. Metody transferu grafiki na ceramikę

42%

Cieślińska-Kawecka A., Kerner K. F.

inAW Journal – Multidisciplinary Academic magazine

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2020

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vol. 1

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issue 1

EN

The article deals with the implementation of an 18th-century method of transferring graphic images onto ceramic substrates based on a contemporary graphic art workshop. Popularised in the 18th and 19th centuries in England, the technique called transferware used engraving matrices, and the decoration was transferred onto ceramics using tissue paper and subsequently fired in a two-stage process. An important element in the implementation of the new method of transferring graphics onto ceramics is the development of recipes for contemporary low-toxic or non-toxic ceramic paints in the basic colour range - vitreous and underglaze ceramic pigments. The pigments created and tested, due to the range of physical parameters studied, can be spectroscopically studied objects. The process of implementation of the transfer also describes the study of the image carriers, from intaglio to relief printing matrices, the development of recipes for the composition of graphic-ceramic paints, firing methods, methods of image application, and the papers used. Preliminary experience shows that not only the transfer of graphics - an image from a graphic matrix onto ceramics is possible, but also it produces interesting artistic effects without the use of toxic solvents. Recreating old methods of transferring graphics onto ceramics in combination with new technologies is an innovative idea. The method of transferring the matrix onto ceramics creates an innovative workshop and allows an interdisciplinary studio to operate within the structure of artistic printmaking. The aim of implementing the new method of technology is to use it for artistic solutions.

PL

Artykuł dotyczy wdrożenia XVIII- wiecznej metody transferu grafiki na podłoża ceramiczne w oparciu o współczesny warsztat graficzny. Technika nazywana transferware, spopularyzowana w XVIII i XIX wieku w Anglii, wykorzystywała matryce rytownicze, a dekoracja była przenoszona na ceramikę za pomocą bibuły i wypalana w dwustopniowym procesie. Ważnym elementem wdrażania nowej metody transferu grafiki na ceramikę jest opracowanie receptur współczesnych małotoksycznych lub nietoksycznych farb ceramicznych w podstawowej gamie kolorystycznej – pigmenty ceramiczne naszkliwne oraz podszkliwne. Tworzone i testowane barwniki, ze względu na zakres parametrów fizycznych badanego zjawiska, mogą być obiektami badanymi spektroskopowo. Proces wdrażania transferu opisuje także badanie nośników obrazu, począwszy od matryc wklęsłodrukowych po wypukłodrukowe, opracowanie receptur składu farb graficzno-ceramicznych, metod wypału, sposobów nanoszenia obrazu, użytych papierów. Wstępne doświadczenia pokazują, że transfer grafiki – obrazu z matrycy graficznej na ceramikę jest nie tylko możliwy, ale daje ciekawe efekty artystyczne bez stosowania toksycznych rozpuszczalników. Odtworzenie starych metod transferu grafiki na ceramikę w połączeniu z nowymi technologiami jest nowatorskim założeniem. Metoda transferu matrycy na ceramikę tworzy innowacyjny warsztat oraz pozwala na działanie interdyscyplinarnej pracowni w strukturze grafiki artystycznej. Celem wdrożenia nowej metody techniki jest wykorzystanie jej do rozwiązań artystycznych.

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2 Polish Archaeology in the Mediterranean

1 Národopisná revue (Journal of Ethnology)

1 Opuscula Musealia

1 Pražské egyptologické studie (Prague Egyptological Studies)

1 Studia Hercynia

1 inAW Journal – Multidisciplinary Academic magazine

1 Chudzik P.

1 Cieślińska-Kawecka A.

1 Dulíková V.

1 Kalinová A.

1 Kerner K. F.

1 Makowska A.

1 Matoušková M.

1 Piotrowska M.

1 Ćwiek A.

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