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Obrzezanie Jezusa w Kościele wschodnim dawnej Rzeczypospolitej. Święto, treść, ikonografia

100%
Gronek A.
Latopisy Akademii Supraskiej
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2020
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vol. Dzieci w kulturze duchowej Prawosławia
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issue 11
105-126
EN
The beginnings of the celebration of the Circumcision of Jesus feast, in the octave of Christmas, January 1st, date back to the 6th century in the West and probably 8th century in the East. Although this feast was marked as a great in the Orthodox liturgical calendar, it was not included in the dodekaorton. The oldest representation in art are known only from the post-iconoclastic period, and its compositions resemble The Presentation of the Lord in the Temple. In the Ruthenian churches of the Polish-Lithuanian Commonwealth it appeared in the XVI century. Circumcision of Jesus in the Christian Church has acquired a liturgical character and is celebrated as the moment when the Child is given the name Jesus. However, the content of this event is much deeper, based on the parallel between circumcision and baptism, as well as the idea of prefiguration and anticipation of the passion of Christ as the first and voluntary sacrifice of blood. The article will describe the depiction of the Circumcision of Jesus in Orthodox old art from the territory of the former Polish Republic. On the basis of liturgical texts and the homily of religious writers of the 17th and 18th centuries, the main content of this event will also be discussed.
2
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Adam Stalony-Dobrzański – droga ikonografa

86%
Stalony-Dobrzański J.
Latopisy Akademii Supraskiej
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2021
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vol. Obraz - Słowo - Litera
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issue 12
205-241
EN
Adam Stalony-Dobrzański pushed the great tradition of the icon into the future, he broke, transformed, developed and multiplied its archaic canons. In 1932, in Harklowa in Podhale, Włodzimierz Cichoń and Adam StalonyDobrzański found historic, 15th-century polychromes. The discovery and many months of work on their conservation seem to be a moment of awakening the archaic heritage of the icon in the artist’s consciousness. While working on the polychromes in the churches of St. Catherine of Alexandria in Radom, St. Anna in Bobin, and St. Nicholas the Wonderworker in Michałowo, the artist created his own style, immersed in folk art, tradition of icon and the heritage of Western European art. Jerzy Nowosielski was a student of Adam Stalony-Dobrzański. These two artists created works full of differences, backed by the tradition and cultural heritage of both iconographers, Adam Stalony-Dobrzański was born as a mystic and Jerzy Nowosielski as a theologian.
3
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Obraz, słowo i ornament jako nierozłączna całość w polichromii cerkwi św. Mikołaja Cudotwórcy w Michałowie autorstwa Adama Stalony-Dobrzańskiego

72%
Pawlicka I.
Latopisy Akademii Supraskiej
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2021
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vol. Obraz - Słowo - Litera
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issue 12
265-281
EN
Created in the years 1954–1955, polychrome of the church of St. Nicholas the Wonderworker in Michałowo is important work of Orthodox art. The interior decoration, both in design and execution, is an individual and complete work of Adam Stalony-Dobrzański. It reveals the most important features of his style, which crystallized in the 50’s. The paintings are filled with quotes from medieval traditions, both Byzantine and Gothic. Adam Stalony-Dobrzański introduced new interpretative qualities and made a synthesis of two traditions – the East and the West, unprecedented in contemporary sacred painting, translated into the language of modernity, and illustrated in his own, innovative way. Along the ornamental stripes of the ornamental decoration, the artist placed hand-painted sequences of letters forming inscriptions – quotations from the Holy Bible, explaining the meaning of figural representations. They complement, explain and develop the ideological meanings shown in the form of an image. The iconographic arrangement of the wall decorations, which is a transformation of the canon formed after iconoclasm in the spaces of cross-domed temples, was adapted to the architecture of the interior of the wooden church, creating a homogeneous and coherent ideological program.
4
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Przedstawienia dzieci w ikonografii witraży Adama Stalony-Dobrzańskiego

72%
Siemieniec A.
Latopisy Akademii Supraskiej
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2020
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vol. Dzieci w kulturze duchowej Prawosławia
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issue 11
189-206
EN
Adam Stalony-Dobrzański is an Orthodox artist who significantly influenced the image of the Orthodox art in the second half of the 20th century in Poland, and at the same time contributed to the renaissance of Byzantine-Ruthenian iconography. By popularizing the form of a stained glass window as an element of the Orthodox church interiors, he extended the tradition of Eastern Christian art, finding a medium in the form of glass and lead to express the mystery of the icon. He is the author of at least 342 stained glass compositions made for Orthodox, Catholic and Protestant churches. The multitude of iconographic themes appearing in Stalony-Dobrzański’s stained glass windows – referring to the centuries-old tradition of Christian art – features representations of children. These are the scenes showing the childhood of Jesus and Mary (the Orthodox church of the Nativity of the Blessed Virgin Mary in Gródek), presentations of St. Sophia with Faith, Hope and Love (the Holy Trinity Cathedral in Hajnówka, the House of the Metropolitan in Warsaw), the image of the Guardian Angel leading a child (the Catholic church of Our Lady of the Scapular in Stalowa Wola-Rozwadów) or Christ blessing children (the Evangelical-Augsburg Church of Holy Trinity in Warsaw). A kind of iconographic novelty is introduced here with depictions of children as Unknown Saints of our time (the Orthodox church of St John Climacus in Warsaw). In the stained glass windows, we also find images of Jacinta, Francisco and Lucia – three children who witnessed the apparitions of The Blessed Virgin Mary in Fatima, recognized by the Catholic Church.
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