Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  EMBLEM
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

ANOTHER POLISH PRINTER'S MARK OF EMBLEMATIC CONNECTIONS (OR A FEW REMARKS ON THE SZYMON KEMPINI'S MARK) (Jeszcze jeden polski sygnet o emblematycznych koneksjach, czyli kilka uwag o znaku firmowym Szymona Kempiniego)

100%
Krzak-Weiss K.
Roczniki Biblioteczne
|
2008
|
vol. 52
3-13
EN
Ever since the first issue of Andreas Alciatus's 'Emblematum liber' was published, it became one of the richest sources of inspiration for various artists, including printers, who began to use representations of decorating emblems in their marks.The connection between emblems and printers' marks was substantiated by Andreas Alciatus himself, who, when listing the reasons for publishing the 'Emblematum liber', quotes the urge to explain Froben's and Manutius's marks. While their devices preceded the publication of Alciatus's work, the marks of the subsequent printers transformed the relation between them and emblems into a two-way relationship. It is interesting that emblematic motifs were used by distinguished printers representing the Antwerp milieu, which in turn were the inspiration for the masters from lesser printing centres. The proof of this relationship is the mark of a printer from Cracow - Szymon Kempini - including the representation of Triton, the same as in Alciatus's emblem Honour and in the device of a printer from Antwerp - Jan van Waesberghe. The mark of the master from Cracow is also a perfect testimony to the penchant for allegoric and symbolic manner of representing and depicting Polish typography existing from the 16th century.
2
Content available remote

Co je to emblematicka struktura v textu?

100%
Bedrich M.
Česká literatura (Czech Literature)
|
2008
|
vol. 56
|
issue 6
846-856
EN
In this article the author considers the structure of the emblem in the Baroque period, clarifying the reasons for the inseparability of the individual parts of an emblem, as well its meaning and function in the Baroque. He also examines changes in the structure of the emblem, arguing that an image part may be substituted for by a text part, which must, however, evoke a visual idea. He demonstrates this with a work by Martin von Cochem (1634-1712).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.