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1

A Macedonian Companion in a Pompeian Fresco

100%
Sekunda N. V.
Archeologia
|
2003
|
vol. 54
29-33
EN
Two wall paintings from Pompeii show Jason before Pelias: both probably preserve elements of the same Greek original. In the version from the Casa di Giasone a young man is shown wearing a saffron yellow Macedonian cloak with a purple border and a long-sleeved chiton with a double overfall. The cloak shows him to be a Macedonian Companion or a Companion cavalryman. The long-sleeved chiton was not worn as part of Macedonian military or court dress after the end of the fourth century BC. Therefore it is argued that the original was painted in the second half of that century, possibly during the last two decades.
2

ON THE BEAUTY OF THE VIRGIN MARY: 'FAMILIARITY' OF FORM AND VALORIZATION OF RELIGIOUS IMAGES (O urodzie Matki Boskiej: 'oswojenie' formy a waloryzacja przedstawien religijnych)

88%
Klekot E.
Ikonotheka
|
2008
|
vol. 21
213-224
EN
Modernity has developed complex mechanisms of esthetic valorization, based on formal and artistic qualities judged by the taste. However, as Pierre Bourdieu has shown in his studies, the judgment of taste is in fact the main modern means for social differentiation. At the same time, according to David Freedberg, these mechanisms obscure the inborn human attitude towards images which consists of mixing up the represented with the representation, and subsequently prevent modern educated audiences from natural response to the images classified as art. Modern perception of religious imagery can be a sensitive example of a field where the classificatory role of the esthetic judgment is particularly well visible because the religious purpose of an image calls both for different hierarchy of values than the one found in the modern field of art, and different image ontology. The article is based on field material consisting of in-depth interviews with Catholic believers, conducted in Wesola near Warsaw, and three major pilgrimage sites of Poland: Czestochowa, Lichen and Kalwaria Paclawska. Wesola was chosen because of the outstanding decoration of its parish church of Divine Providence, executed by a modern painter from Cracow, Jerzy Nowosielski and highly appreciated by art critics and specialists. However, the style of decoration proved very unfamiliar and strange for the local believers. The article attempts to show the hierarchy of values used by the believers towards the religious images, and then to explain this hierarchy both in terms of Joanna Tokarska-Bakir's interpretation of image ontology in so-called 'folk piety'. In spite of similar understanding of image ontology apparently shared by the artist and the believers, social distinction made by the mechanisms of esthetic judgment resulted in form unfamiliar to them and lack of appreciation of the work.
3

The Christian Archaeology in Poland

88%
Jastrzebowska E.
Przegląd Archeologiczny
|
2006
|
vol. 54
161-181
EN
The present paper recapitulates the history (18-20th C.) and the current state-of-the-art in the research on the Christian archaeology in Poland as well as comprises both a glance at the field survey and synthetic studies and analysis of a single or group of artefacts performed by Polish researchers over the last fifty years. As regards the state of Polish research, the authoress applies generally accepted scientific principles relating to space and time of this discipline, viz. the subject of the Christian archaeology are artefacts dated from the early Christian period (confirmed in a material culture as late as in the 3rd C.) to the early Middle Ages and early Byzantine period (8th C.). It also comprises the area around the Mediterranean Sea: from Sudan to the Upper Egypt; over the southern Europe and the northern Africa to Syria, Palestine and even Crimea. The draft contains an extensive bibliography of the researcher mentioned in the text.
4

Atdzimusais Rigas doma ziemelu priekshalles viduslaiku gleznojums

88%
Grosmane E.
Makslas Vesture un Teorija
|
2012
|
vol. 15
5-14
EN
Very few people knew and could believe that an excellent medieval painting might be hidden beneath the dark stain above the north portal of the Riga Dom Cathedral. The ancient painting, discovered in 1891, was copied, published and then allowed to turn black again, and eventually restored in summer 2009; no photographs have come down to us. Thanks to current technological advances, it has not only been rediscovered but also complemented with previously neglected details. Although there are significant losses (the left-side composition has been washed off by rain and the right hand side had been destroyed long before 1891), the emergence of such an old artefact in Riga is a major event in Latvian art history that cannot boast of much medieval painting. The aim of this article is to focus on this important cultural fact, to test and specify the previous assumptions on the origins of the painting and single out contextual factors that have until now been disregarded. Medieval murals are a very intricate and enigmatic subject to explore, even taking into account the latest discoveries of restorers and art historians’ conclusions. The case of the Dom Cathedral painting is not an exception as medieval frescoes elsewhere in Europe have become scarce over centuries; they have faded, been destroyed, painted over, dated only approximately and little explored from the stylistic viewpoint. Over twenty years have passed since the last publications on the antechamber painting and the latest restoration has revealed important details that enable us to come to new and useful conclusions. The single surviving central scene ‘Coronation of Mary in Heaven’ is most appropriate for a detailed analysis. Decorative ornamental motifs found in lunettes are analysed too. The latest conclusions of iconography, palaeography and the history of ornament, as well as historical context, indicate that the mural had been most likely created in the 1360s-1380s.
5

THE FIGURES OF FOUNDERS HOLDING THE TWIGS ON THE WALL PAINTINGS IN NUBIA (Postacie fundatorów trzymajacych galazki na malowidlach sciennych w Nubii)

88%
Mierzejewska B.
Ikonotheka
|
2008
|
vol. 21
33-53
EN
The visual language of the Nubian Christians on the walls of their churches has left some images of a great value. To the most interesting belong the portraits of Nubian founders shown in the presence of their saint patrons. They can be seen on the walls of almost every religious establishment which preserved its pictorial decoration. The two murals found in a monastery at Old Dongola show the dark skinned founders in the presence of Christ or an Archangel. They stand frontally with bunches of leaved twigs or palm fronds in hands. Similar portraits of believers with twigs were also found on the walls of other churches in Nubia. The twigs seem to allude to Rev. 7,9 where a great multitude in white robes and palm branches in hands is mentioned standing before the throne of the Lamb. The fragment in Rev. hints at the Jewish feast of Sukkoth (the Tabernacles) and to the custom of bringing the bunches of twigs (lulav) to the temple altar to be checked by the archpriest. This agrarian feast mentioned in the Book of Exodus took on the eschatological meaning and was connected with messianic expectations of the Jews. For the Christian authors commenting on Exodus the events described in this book were the symbols of eschatological realities. The Sukkoth was a type of messianic kingship at the end of times, the huts built by Jews the type of resurrected bodies and the twigs the symbol of purity, virtue or, more generally, of good deeds which should be presented to God at the Last Judgment by the resurrected mortals. By representing themselves with the twigs in hands the Nubian donors wanted to express their hopes for being encountered among the elected worthy to see God face to face and to inherit the Kingdom of Heavens. By ordering the portrait to be painted near the effigy of the Archangel Michael, they were seeking a better possibility of turning to him with a personal appeal for intercession in the day of the Last Judgement.
6

„HISTORISCHE BESCHREIBUNGEN“ VON MAULBERTSCHS FRESKEN IN DYJE, LOUKA UND STRAHOV: EINIGE BEMERKUNGEN ZUR BEZIEHUNG ZWISCHEN TEXT UND BILD

75%
Šeferisová Loudová M.
ARS
|
2014
|
vol. 47
|
issue 1
84 – 92
EN
The contemporary printed descriptions published in the second half of the 18th century in Premonstratensian monasteries Louka near Znojmo and Prague-Strahov to the wall paintings of Franz Anton Maulbertsch (1724-1796), are not unfamiliar in art history. They have been used mainly as an invaluable source for reconstructing iconographic programs of Maulbertsch’s disappeared frescoes in the refectory and library hall in Louka monastery. But these texts may be examined also separately, in terms of the method of their content statement, relation to the wall paintings, or their functions and receptions.
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