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Pottery from the well and its context. Searching for differences and similarities

100%
Piotrowska M., Kot-Legieć K.
Folia Praehistorica Posnaniensia
|
2021
|
vol. 26
347-372
EN
In this article the pottery obtained from three wells from the settlement in Kwiatków was analyzed. Compared to other sites associated with the Przeworsk culture, this site deserves a special attention due to the presence of over a hundred of artificial water intakes within excavated area. The method of the vessels production, macro and micromorphology characteristics, the degree of their preservation and the level of deposition inside the features were examined in detail. Most of the pottery fragments should be associated with the Przeworsk culture from the Roman Iron Age, however there was also a small percentage of pottery with Jastorf culture elements. The information obtained allowed to define the context of their discovery and to explain its presence inside the well.
2

The Coral Altar with the Apocalyptic Woman in the Treasury of St Mary’s Basilica in Krakow. Theological Contents

63%
Kobielus S.
Roczniki Humanistyczne
|
2018
|
vol. 66
|
issue 4: Historia sztuki - Selected Papers in English
121-174
EN
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 64 (2016), issue 4. In Polish museum collections there are a few objects made of coral or decorated with it. They are, among others, altars, holy water fonts, crucifixes and other liturgical items. Most often they were bought during Poles’ travels to Italy in the Mannerism and Baroque epochs. St Mary’s Basilica’s treasury boasts of a portable coral altar dated to the middle of the 17th century, a gift from Maria Josepha, the wife of King Augustus III. It has a golden frame and is embellished with enamel and coral. Its centre features the figure of the Blessed Virgin Mary standing on a crescent, in a radiant coral glory, surrounded by Marian symbols. It is an apotheosis of the Blessed Virgin Mary based on a fragment of the Apocalypse of St John. The figure of Mary is presented with her cosmic attributes: twelve stars around her head; she is clothed with a radiant glory; and she has a crescent under her feet. Around her seven symbolic biblical signs are presented, ones connected in the exegetic tradition with her being the mother of the Messiah. The term Cedrus exaltata—is perceived as the symbol of majesty, sublimity, loftiness, paradisaical beauty, safety. Fons signatus is a sealed spring, an enclosed one, accessible only to the Mother of God’s Son, chosen by God. Hortus conclusus is the symbol of St Mary’s virginity. Oliva speciosa points to St Mary’s charity, her extraordinary fertility, inner peace, the gift of relieving sufferings. Rosa plantata is a metaphor of wisdom, love, medicine for sinners. Puteus aquarum viventium, a well of living waters, indicates St Mary’s mediation for people redeemed by Jesus. Turris eburnea—the ivory tower is another feature of the Virgin Mary’s beauty, of her immaculate body and fortitude.
3
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Хата ў народных уяўленнях (на матэрыяле Берасцейшчыны пачатку ХХI стагоддзя)

45%
Жыгар С.
Białorutenistyka Białostocka
|
2017
|
vol. 9
PL
W artykule omówiono dom jako element kulturowo-pejzażowego kodu w mityczno-epickim obrazie świata, wyrażonego w folklorze okręgu brzeskiego (według badań terenowych ostatnich 15 lat). Analiza historyczno-genetyczna i funkcjonalno-semantyczna „tekstu domu” w folklorze omawianego regionu pokazała, że jego percepcja polega na rozumieniu domu nie tylko jako miejsca egzystowania człowieka lecz także miejsca gdzie człowiek może koegzystować ze światem kosmicznym i sakralnym. Semiotyzacja domu przebiega na dwóch płaszczyznach – poziomej i pionowej. W wybranych gospodarstwach, w kontekstach rytualno-magicznych, w rodzajach i gatunkach dom jest centrum wszechświata. Szczególną uwagę zwrócono na specjalne obrzędy, zasady i zakazy, których należało przestrzegać w trakcie budowy domu. Pokazano znaczenie jakie przypisywano wyborowi miejsca i czasu budowy. Analiza materiału z początku XXI wieku (zwłaszcza teksty dotyczące chrztu, ślubu, pogrzebu, wróżby i klechdy) świadczy o tym, że czynnikiem determinującym znaczenie domu po dzień dzisiejszy jest opozycja „swój – obcy”. Im dalej od domu, tym więcej „obcego”, nieznanego, niebezpiecznego. Poza tym, w centralnej części domu (w piecu) można znaleźć wyjście w nieznany świat. Badanie folklorystyczno-etnograficzne prowadzono na materiale z regionów brzeskiego, kamienieckiego, iwanowskiego, okolic miejscowości Łuniniec, Małoryta, Iwancewicze.
EN
In the article the house is considered as a factor of cultural and landscape code in the mythological-poetic image of the world expressed in the folklore of Brest region (according to the field records of the last 15 years). The historical-genetic and functional-semantic research of “the text of the house” in Brest folklore has shown that it was regarded by the national consciousness not only as a person’s dwelling but also as a special form of the universe, the place where a person can interact with natural, cosmic and sacral world. Semiotization of the house takes place on two coordinates: horizontal and vertical. In selected households, in ritual and magic contexts, in specific types and genres of folklore the house becomes the center of the universe. Particular attention is paid to special ceremonies, bans and rules that were obeyed during the construction of the house. It is shown how important the selection of construction place and construction time was. The analyzed material (stories about christening, weddings, funerals, signs and beliefs in particular) proves that house semiotization is determined by the opposition “familiar – unfamiliar”. The further from home one goes away, more “unfamiliar”, unknown, and dangerous the place s/he lives in becomes. Besides, even in the center of the house (on a stove) there can be an entrance to another world. The folklore and ethnographic research is based on the material from Brest, Kamenets, Luninets, Ivanovo, Malorita and Ivatsevichi regions.
4

Ołtarzyk koralowy z Niewiastą Apokaliptyczną w skarbcu kościoła Mariackiego w Krakowie. Treści teologiczne

45%
Kobielus S.
Roczniki Humanistyczne
|
2016
|
vol. 64
|
issue 4: Historia sztuki
33-83
PL
W polskich zbiorach muzealnych znajduje się kilka obiektów wykonanych z korala lub nim zdobionych. Są to między innymi ołtarzyki, kropielnice kielichy, krucyfiksy i inne wyroby liturgiczne. Pochodzą najczęściej z zakupów w podróżach turystycznych Polaków po Włoszech w epoce manieryzmu i baroku. W skarbcu kościoła Mariackiego w Krakowie znajduje się przenośny ołtarzyk koralowy, datowany na połowę XVII w., z daru królowej Marii Józefy, żony króla Augusta III. Ujęty w złoconą ramę i zdobiony emalią oraz koralem, w centrum zamyka stojącą na półksiężycu postać NMP w promienistej koralowej glorii w otoczeniu symboli maryjnych. Jest to apoteoza NMP na podstawie fragmentu Apokalipsy św. Jana Apostoła. Postać Maryi została wyobrażona z atrybutami kosmicznymi: dwunastoma gwiazdami wokół głowy; odziana jest w słoneczną promienistą glorię i ma sierp księżyca pod stopami. Wokół Niej w ukazano siedem symbolicznych znaków biblijnych, łączonych w tradycji egzegetycznej z Jej powołaniem na Matkę Mesjasza. Termin Cedrus exaltata – cedr jest postrzegany jako symbol majestatu, wysokości, wyniosłości, piękna rajskiego, bezpieczeństwa. Fons signatus to zdrój opieczętowany, zamknięty, dostępny tylko dla wybranej przez Boga, Matki Syna Bożego. Hortus conclusus jest symbolem nienaruszonego dziewictwa NMP. Z kolei Oliva speciosa wskazuje na miłosierdzie Maryi, Jej niezwykłą płodność, wewnętrzny pokój, dar uśmierzania cierpienia. Rosa plantata jest metaforą mądrości, miłości, lekarstwa dla grzeszników. Puteus aquarum viventium, studnia wód żywych, wskazuje na pośrednictwo Maryi wobec ludzi odkupionych przez Jezusa. Turris eburnea – wieża z kości słoniowej to kolejny przymiot piękna NMP, nieskazitelności Jej ciała i męstwa.
EN
In Polish museums’ collections there are a few objects made of coral or decorated with it. They are, among others, altars, holy water fonts, crucifixes and other liturgical items. Most often they were bought during Poles’ travels to Italy in the Mannerism and Baroque epochs. In St Mary’s Basilica’s treasury a portable coral altar is kept, dated to the middle of the 17th century, a gift from Maria Józefa, the wife of King August III. It has a golden frame and it is embellished with enamel and coral, and in its center it closes the figure of the Blessed Virgin Mary standing on a crescent, in a radiant coral glory, surrounded by Marian symbols. It is an apotheosis of the Blessed Virgin Mary based on a fragment of the Apocalypse of St John. The figure of Mary is presented with her cosmic attributes: twelve stars around her head; she is clothed with a radiant glory; and she has a crescent under her feet. Around her seven symbolic biblical signs are presented, ones connected in the exegetic tradition with her being the mother of the Messiah. The term Cedrus exaltata – is perceived as the symbol of majesty, sublimity, loftiness, paradisaical beauty, safety. Fons signatus is a sealed spring, a closed one, accessible only to the Mother of God’s Son, chosen by God. Hortus conclusus is the symbol of St Mary’s virginity. Oliva speciosa points to St Mary’s charity, her extraordinary fertility, inner peace, the gift of relieving sufferings. Rosa plantata is a metaphor of wisdom, love, medicine for sinners. Puteus aquarum viventium, a well of living waters, indicates St Mary’s mediation for people redeemed by Jesus. Turris eburnea – the ivory tower is another feature of the Virgin Mary’s beauty, the immaculacy of her body and of her fortitude.
5

Józef Egipski – latorośl owocująca nad źródłem. Stary Testament na współczesnej ambonie

45%
Krasowski A.
Roczniki Liturgiczno-Homiletyczne (Liturgical and Homiletic Annals)
|
2013
|
vol. 4(60)
209-226
EN
Joseph is born as a very expected and wanted child. The translation of this name is may God multiply or just add. Sold by brothers gets to Egypt. In spite of adversities and injustice he is faithful to God. When he explains Pharaoh’s dream he is appointed governor of whole Egypt. During harvests he stores cereal in granaries to distribute it to the people in time of famine. When his family also suffers from hunger it comes to Egypt. Joseph makes himself known to his brothers and without bearing them a grudge for done wrong he brings father and whole family and settles them in the most fertile part of Egypt. Joseph’s history is the story of the shaping and strengthening belief in God. His way is the way of kenosis. Joseph saves people from death by starvation. He is so then an announcement of Messiah who will pass the way of stripping by saving all people from their sins and eternal death. This story gives also an answer to the question: what is mature piety of Christian life. This maturity is expressed in the fact to see, understand and accept the story of our life.
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