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1

Влияние византийской культуры на развитие славянской литературы

100%

Грицук Л.

Latopisy Akademii Supraskiej

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2011

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vol. Kościół prawosławny na Bałkanach i w Polsce – wzajemne relacje oraz wspólna tradycja

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issue 2

115-124

EN

Slavic culture was greatly influenced by Byzantine culture, arts, architecture, political science, scientific ideas and also theology. A very important role in the development of literature belongs to joining of the Slavs to Byzantine culture by accepting Christianity. The initial division of literary works into the works, for example, of juridical type, historical, theological type, with the time required all of them to have artistic expression. Interaction with folklore, with the high level of oral tradition of the Slavs led to the development of artistic qualities of literature and to the broadening of its social functions. Transformation of borrowed genres made foundation for creating first common Slavic original literary works, such as hagiography, record, story, chronicle and others. The influence of Byzantine culture on Slavic culture began later, when the shift had already finished and Slavic literature already existed and was developing. As a result, the Byzantine literary work became the work of local, national literature, which was written, taking into consideration moral and aesthetic ideals, developed by the Slavs.

2

Византийское наследие как фундамент культурного взаимодействия Востока и Запада

75%

Горбацки А.

Latopisy Akademii Supraskiej

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2011

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vol. Kościół prawosławny na Bałkanach i w Polsce – wzajemne relacje oraz wspólna tradycja

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issue 2

125-134

EN

It is known that human spirituality is rooted in the values of past generations. Therefore, for any nation, its original development is extremely important to remember their spiritual and moral roots, traditions and holy sites. The memory of the people impregnated by values of generations, helps it to survive, keep life experience, the culture. Especially actual it becomes during critical period of historical development of various ethnic groups. At the present stage of East-West maintained a number of contradictions, at times acutely manifested spiritual crisis that requires us to address the sources of Byzantine spirituality. The initial stage of formation of any phenomenon of social and spiritual structure plan provides a constant, defining the vector (direction) of development, so and its specific contents. These constant structures should be the uniting factor in all directions of cooperation of the East and the West. The main factor of this relationship is spirituality. Spiritual experience of the past can give answers to present calls. Communication of modern man with previous generations through art, literature, religion, moral values system expands the boundaries of its practical and spiritually strengthens, brings love for their homeland.

3

Византийская культура как средство трансформации картины мира в современной литовской и белорусской литературах

63%

Жигалова М.

Latopisy Akademii Supraskiej

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2011

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vol. Kościół prawosławny na Bałkanach i w Polsce – wzajemne relacje oraz wspólna tradycja

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issue 2

101-114

EN

In article the problem of formation of a picture of the world as the phenomena of culture and human consciousness which norms can be transferred and acquired as system through various knowledge, samples of fiction is considered; the role of the literature as means of transformation of a picture of the world is marked. On an example of interpretation and the analysis of products of Lithuanian poet J.Baltrushajtisa and the Belarus M.Bogdanovicha and N. Matjash it is shown, how the works of art written by them in Russian, have found in the world literature spiritual, moral and valuable value.

4

Przyczynki do historii ściennych malowideł bizantyjsko-ruskich w Polsce : technika i konserwacja

63%

Stawicki S.

Ochrona Zabytków

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1994

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issue 1

3-21

EN

The Byzantine-Rus’ murals which were created in the Crown and Lithuania between the turn of the fourteenth century and the mid-sixteenth century hold a special place in Polish history and art. They remain fascinating not only from the ideological-artistic point of view but also as regards their technical-technological and conservation aspects. This article presents a review of knowledge concerning the technique of the murals’ execution and the problems connected with their conservation which are available in accessible source material and literature published prior to the second world war. The article discusses studies on the non-extant painted decorations of the Benedictine Holy Cross church in Łysieć and the royal bed chamber in Wawel Castle (commissioned by Władysław Jagiełło from Rus’ artists), the surviving fragments of murals from the Uniate church in Supraśl (middle of the sixteenth century), the murals in the Sandomierz collegiate, founded by Władysław Jagiełło, the murals in the castle in Troki (fifteenth century?) of which only fragments of the original plaster have survived, murals in the Holy Trinity church in Lublin castle and the Basilian church in Supraśl, the decorations of the Holy Cross chapel in Wawel cathedral, paintings in the cathedral in Sandomierz, fragments of decorations in the Armenian cathedral in Lvov and the collegiate church in Wiślica. Sources mention high quality material which testify to the rank of the commissions and the rank of the wall decorations in question. The material included gold leaf (hammered gold) applied probably in all Byzantine-Rus’ paintings produced in the former Kingdom of Poland and Lithuania; the so-called rubrica — red clay, understood broadly as natural combinations of silicates and iron oxides; vermilion — a red pigment in the form of a natural mineral or prepared artificially; a group of pigments indispensable for the production of paints used for completing the paintings by stages by placing consecutive patches of light hues and dark emphasis; vessels (most probably non-absorbent) for storing liquid paint — the number of such vessels corresponded more or less to the number of colours required for the execution of a given painting. As a rule, the technique of the murals was determined „by intuition” which often led to serious misunderstandings. Certain scholars (M. Sokołowski, J. Rokoszny) revealed, however, apart from considerable intution also a correct comprehension of the Byzantine-Rus’ treatises on painting technique. Attempts were also made to draw conclusions upon the basis of chemical analyses which, in accordance with existing laboratory facilities, were modest but thorough (W. Peszczański, P. Cholodny). In the domain of conservation, the classification of the technique of the Byzantine-Rus’ paintings by J. Makarewicz to the tempera group (accepted also by Matusiak, Rutkowski and others) influenced the reinforcement (not always desireable and rather harmful) of the paint layer with diluted distemper, probably egg. Acetic acid was used for the removal of calcareous residues of plaster. The painting was disclosed with the aid of a thin layer of gypsum introduced onto the surface of later layers and then chipped off together with them. Disclosure was also accomplished by a more direct method based on the use of knives, hammers and spatulas. Blistered plaster was fastened onto the wall with nails as well as liquid gypsum which filled the spaces between the plaster and the wall. Artistic-aesthetic solutions reveal a tendency towards obtain ting proper artistic expression i.e. one which would take into consideration both the authenticity of the work of art and the state of its preservation. So-called neutral patches are employed, and recommended in those parts of the painting which are totally ruined and provide no bases for reconstruction. The reflections of A. Riegel show distinct beginnings of conservation critique which can be discerned also in the remarks and directives of the Russian Imperial Archeological Commission concerning the Supraśl murals. It must be stressed that regardless of the discrepancies between the emerging professional ethics and conservation work which in many instances was unsatisfactory, one simply must notice the permanent progress of conservation thought in Poland. A brief survey of source material and various studies proves that our contemporary technical-technological and conservation knowledge — if only as regards Byzantine-Rus’ murals — has a rich tradition and deserves our attention.

5

Edukacja muzyczna w Rosji: aspekty historyczne

38%

Vorozhko H.

Studia z Teorii Wychowania

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2018

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issue 3 (24)

217-234

PL

Niniejszy artykuł poświęcony został historycznym aspektom edukacji muzycznej w Rosji. Droga powstawania rosyjskiego systemu edukacji muzycznej omówiona została w kontekście historyczno-teoretycznym i pedagogicznym. W oparciu o dostępne materiały źródłowe i prace darzonych autorytetem badaczy, przeanalizowano węzłowe momenty ewolucji rosyjskiej profesjonalnej edukacji muzycznej. Rozwój ojczystej sztuki muzycznej i edukacji postępował na przestrzeni całej historii Rosji, wywierając specyficzny wpływ na rożne sfery życia i pozostawiając wyraźny ślad w kulturowej spuściźnie kraju. W ciągu omówionych w artykule okresów nagromadziło się ogromne i ważne doświadczenie historyczno-pedagogiczne, stanowiące podstawę współczesnego wychowania muzycznego w Federacji Rosyjskiej.

EN

This article is devoted to the historical aspects of music education in Russia. The path on which the Russian music education system has been forming is discussed here in historical-theoretical and pedagogical contexts. Based on the available documentary material and papers by authoritative researchers, crucial moments in the evolution of professional music education in Russia have been analysed. The development of native musical art and music education has been progressing throughout the entire history of Russia, influencing various areas of life peculiarly and leaving a distinct mark on the country’s cultural heritage. Over the periods discussed in the article, a vast and significant historical- pedagogical experience has accumulated, fundamental to the contemporary music education in the Russian Federation.

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3 Latopisy Akademii Supraskiej

1 Ochrona Zabytków

1 Studia z Teorii Wychowania

1 Stawicki S.

1 Vorozhko H.

1 Горбацки А.

1 Грицук Л.

1 Жигалова М.

1 2018

3 2011

1 1994

Влияние византийской культуры на развитие славянской литературы

Византийское наследие как фундамент культурного взаимодействия Востока и Запада

Византийская культура как средство трансформации картины мира в современной литовской и белорусской литературах

Przyczynki do historii ściennych malowideł bizantyjsko-ruskich w Polsce : technika i konserwacja

Edukacja muzyczna w Rosji: aspekty historyczne