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Element szczególny w otoczeniu – ślady Rotunda romańska na Wzgórzu Tumskim w Płocku

100%
Markowski S. P.
MAZOWSZE Studia Regionalne
|
2019
|
issue 28
75-85
PL
Od zarania cywilizacji człowiek – homo constructor – intuicyjnie dąży do przekształcania swego otoczenia oraz porządkowania go według sobie znanego sensu, w sposób bardziej lub miej trwały. W tej działalności nie tylko wielkie budowle, ale nawet te najmniej trwałe człowiecze dzieła, stają się w pewnej przestrzeni czasowej śladem – sygnum twórczych działań. Artykuł zawiera rys historyczny romańskiej rotundy – szczególnego elementu w przestrzeni krajobrazu kulturowego Wzgórza Tumskiego w Płocku, która pozostaje nie tylko jako ślad w płaszczyźnie programowej tego miejsca, ale dziś jest rzeczywistym śladem – symbolicznie zaznaczonym miejscem jej istnienia. Jest to jeden z tych śladów, który raz, że spełnia oczywistość historyczną, a dwa – staje się ekspozycją elementu szczególnego w krajobrazie.
EN
Since the dawn of the civilization the man – homo constructor – intuitively strives to create and recreate his surrounding in the manner known only to himself, in more or less durable ways. In this activity not only the magnificent constructions of men but also these of little posture become a reminiscence – sygnum – of human creativity of time past. The article covers the history of roman rotunda – specific element in the cultural landscape of Wzgórze Tumskie in Plock, which remains not only as a trace of former architectural plan of this location, but is a real marker symbolically placed in a place of former existence. It is a remain that not only stands in for obvious historical purpose but exposes the specific element in the landscape as well.
2
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Virtutis invidia comes, czyli o Rotundzie w Łazienkach Królewskich

94%
Skrodzka A.
Biuletyn Historii Sztuki
|
2009
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vol. 71
|
issue 1-2
87-112
EN
This article presents a letter previously unknown to researchers of the Łazienki Palace by Stanisław Trembecki, the court poet, to Stanislaus Augustus, on the basis of which a reinterpretation of the Rotunda’s ideological programme has proven possible. It so turns out that a significant role in this programme must have been played by the non-extant image of the Medusa that, personifying Jealousy, would have exerted negative influences on all rules gathered in the Rotunda. One of these sovereigns, most obviously, was Stanislaus Augustus himself, personifed as Courage. The four Polish monarchs and Roman emperors were supposed to be the rules with whom the last king of Poland compared himself, each of them evoking a specific virtue. As such, the programme expressed in the Rotunda presents the exceptionaly popular motif in the art of the later half of the 18th century of exemplum virtutis.
3
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Wrocławska rotunda Panoramy Racławickiej: historia, koncepcja i forma

94%
Gabiś A.
Śląski Kwartalnik Historyczny Sobótka
|
2020
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vol. 75
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issue 4
105-135
EN
The rotunda of the Racławice Panorama is seen primarily as the “seat” of the painting, and both elements – the building and the painting – are one of the most prominent tourist attractions of Wrocław. The architecture of the rotunda reflects the changes in perception of the Panorama – along with the increasing importance of the memento from Lviv, efforts have been made to exhibit it in a representational, modern facility.
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