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EN
In recent decades, there has been a significant intensification of research on liturgical vestments stored in Polish collections - however, they mainly focus on medieval and modern vestments. There are still few studies on paraments from the nineteenth and early twentieth centuries. The article concerns the designs of decorations for chasubles from this period and focuses on the works of Stanisław Wyspiański and Józef Mehoffer. Among the lots of the auction held at Silesian Auction House on 17 September 1999, was a drawing of The Adoration of the Child Jesus by Wyspiański (charcoal on tracing paper), signed with the tied monogram SW and the date 1893. Almost identical to Wyspiański’s (in the upper part) is a divided design for a chausable by Józef Mehoffer., offered at the 2015 auction at Rempex Auction House. While in Wyspiański’s oeuvre the discussed design of the chasuble remains - in the light of the research to date - incidental, in Mehoffer’s oeuvre designs for the decoration of liturgical vestments appear more often, especially in his early works. The article compares the works of both artists, makes an iconographic analysis, focusing on issues of the technique and circumstances of their creation.
PL
W ostatnich dekadach nastąpiła znaczna intensyfikacja badań nad przechowywanymi w polskich zbiorach szatami liturgicznymi – obejmują one jednak przede wszystkim paramenty średniowieczne i nowożytne. Nadal nieliczne są opracowania dotyczące paramentów z XIX i początków XX wieku. Artykuł dotyczy projektów dekoracji ornatów z tego właśnie okresu i koncentruje się na omówieniu prac Stanisława Wyspiańskiego i Józefa Mehoffera. Na aukcji Śląskiego Domu Aukcyjnego z 17 września 1999 roku wystawiono wykonany węglem na kalce rysunek Wyspiańskiego Adoracja Dzieciątka Jezus, sygnowany monogramem wiązanym SW i datą 1893. Niemal identyczny z pracą Wyspiańskiego (w partii górnej) jest dwudzielny projekt dekoracji ornatu autorstwa Józefa Mehoffera, oferowany na aukcji Domu Aukcyjnego Rempex w 2015 roku. O ile w twórczości Wyspiańskiego omawiany projekt ornatu pozostaje – w świetle dotychczasowych badań – incydentalnym, o tyle w oeuvre Mehoffera projekty dekoracji szat liturgicznych pojawiają się, zwłaszcza w jego wczesnej twórczości. W artykule porównano prace obu artystów, dokonano analizy ikonograficznej, stawiając pytania o technikę i okoliczności powstania.
EN
On 31 May 1741 Zofia Grothówna, the abbess of the convent in  Imbramowice, died. She was chosen for this function on 4 August 1703, and remained in office for 38 years. Zofia Grothówna contributed- along with the Bishop of Cracow, Kazimierz Łubieński and the Commissioner of the convent, canon Dominik Lochman- to rebuilding the convent after the great fire, which took place in 1710. Thanks to her efforts, the convent and the church were equipped with the necessary movables, including liturgical equipment. The chronicle of the convent, which was begun during her life, contains the information on how to acquire individual paraments and sacred vessels. Shortly after the death of abbess Grothówna, the registry was made. It was entitled The described registry of all the equipment, silver, relics, which are located at the Church in Imbramowice after the death of the late Mother, our Benefactress, Zofia Grothówna, the abbess of Imbramowice, 26 June, 1741. Comparing it to the notes in the chronicles, we have a full picture of movables in the church. Over time, new objects, acquired between 1744 and 1752, were added to it.
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