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„НЕ СИ ПРАВИ КУМИР” – ИКОНОБОРСТВОТО В РАННАТА СЛАВЯНСКА КНИЖНИНА (ПРЕДВАРИТЕЛНИ БЕЛЕЖКИ)

100%
Mirčeva E.
Slavica Slovaca
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2021
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vol. 56
|
issue 3
448 - 461
EN
The Slavic literature has preserved a specific moment from the officialization of the memories of the icon-worshipers in the Byzantine literature. Due to the fact that they reflect an older, pre-Metaphrasic composition of the emerging Byzantine Chetimine literature, they offer earlier and close to the Iconoclastic era texts that have disappeared almost completely in Byzantine literature, in which the Metaphrastic edition has dominated since the tenth century. These Slavic translations give a more reliable idea of the events that took place, offer in a more authentic and non-heroic and mythologized form the way of life of real historical figures.
2
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Związki pomiędzy ikoną, teologią i liturgią

88%
Paprocki H.
ELPIS
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2011
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vol. 13
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issue 23-24
39-58
EN
Contribution is devoted to the issue of the icon and his spot in the worship of the Church and its aspects, which is linked with the Greek word eikon, which marks all of the two statues and the Emperor, and table Christian worship them. The image in this event each event represent another reality. This word means and the image of God in man and Christ as the image of the Father. Majority report of the meaning of the icon to take a reality stain and understanding the role and place of the icon in the Church. In this context the author approach the relationship between the icon and theology and liturgy.
3

SENSE OF THE ARTISTIC CREATION IN THE CONTEXT OF JOHN PAUL II'S MEDITATIONS ON THE BOOK OF GENESIS OF THE ROMAN TRIPTYCH (Sens tworczosci artystycznej w kontekscie Medytacji nad Ksiega Rodzaju z Tryptyku rzymskiego Jana Pawla II)

75%
Boruta T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
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2009
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vol. 2
38-48
EN
In his Meditations on the Book of Genesis of The Roman Triptych, John Paul II gave a condensed definition of artistic creation and demonstrated the critical role it plays as a component of Christian identity. His poignant call on all artists to bear the fruit of their vision, to 'create the image', is deeply grounded in the basic tenet of Christianity - the Incarnation of God. The idea of man as created in the image and the likeness of God is the key to understanding not just the Sistine frescoes of Michelangelo, but also Christian art at large. By showing visible reality, a piece of painting also reveals the reality of God. It transcends earthly determinants of time and space to express the eternal Word, and thus becomes a pre-sacrament - the invisible manifests itself in its visible form. John Paul II needs painting to be able to see God, or the trace of his presence in history and the reality of our here and now. A painting unveils before us the truth of being expressed in the emanation of the Creator into his creation. It allows us to deepen our awareness that we were created in 'the image and likeness' of God, that 'in him we live and move and have our being'. Fascinated with the Sistine vision of Michelangelo, John Paul II exclaims: 'The Beginning and the End, invisible, pierce us from these walls!'. A work of art allows us to contemplate not only historical events, objects and figures, but also that which is hidden beyond the 'threshold' - the invisible, the divine, the eternal. This is the paradox of painting as seen by the pope: 'all this abundant visibility, released by human genius' ultimately leads us towards the Invisible. By portraying earthly reality in sensory form, the artist unveils the mystery of God. A work of art reveals the Word, which was in the beginning and to which the world will return at the end of times.
4
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Idea a obraz. Ikonoklastyczny aspekt konceptualizmu

75%
Gralińska–Toborek A.
Sztuka i Dokumentacja
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2012
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issue 6
41-64
EN
Conceptualism, as the art of an idea, placed itself beyond aesthetic and sensual experience. As a rule, it did not produce art objects which could be pleasing or that would represent reality. This rejection of an image places conceptualism in a broadly understood iconoclastic movement. When we examine various historical iconoclastic movements (religious and political) we may reconstruct the most important features of iconoclastic awareness and compare them with the essential postulates of conceptualism. The result of this comparison is a striking similarity of both phenomena. To mention just a few linking features of conceptualism and iconoclasm, we may enumerate: a doubt in the adequacy of the relationship between an idea and image, a fear of an idolatrous belief in a material art object, a drive to demystify art and artists, a concentration on a word instead of an image. Iconoclastic mentality can also be characterised by analytic thinking, progressive attitude and irony. However, the question arises if iconoclasm can exist without idolatry; or if conceptualism could have developed without a material object? Even if it rejected it, then the art world (museum, critics, audiences) that shows a progressively stronger tendency to contextualise, flung conceptualism out of “art’s orbit into the ‘infinite space’ of the human condition” (to use the words of J. Kosuth).
5
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Obraz a idea. Estetyczno-antropologiczne paradoksy sztuki konceptualnej (implikacje ikonoklastyczne)

63%
Kazimierska–Jerzyk W.
Sztuka i Dokumentacja
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2012
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issue 6
47-54
EN
When taking into account the iconoclastic implications of conceptualism, we may observe its close but at the same time, warped relationship with aesthetics. I developed this thought after reflecting on Arnold Berleant. Such a view allows one to support the idea of a wider understanding of the notion of conceptual art, which accepts the presence of an art object not only in the form of art documentation, but also as an object included in an aesthetic awareness. One of its main aspects is the problem of the effect (power) of images. The problem of an aesthetic awareness was developed by Joseph Kosuth through a suggestive formula of ‘art as anthropology’. I treat this as a consequence of previous ideas developed by the artist, not as a total turn away from them. As a consequence one may consider as conceptual the attitudes and projects that keep the image in its physical sense and make the creating of images problematic in such a way that the most important seem to be reflections on the notion of art (image). In the article I consider two examples of Polish artists – Jan Berdyszak and Grzegorz Sztabinski. I underline how their activities are involved in certain iconoclastic practices (typical for conceptualism) and with which means they articulate the need to overcome them.
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