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1

Культ икон в православной традиции восточных славян: обряды, обычаи и традиции в прошлом и сегодня

100%

Kozieł J. E.

Adeptus

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2015

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issue 6

26-36

EN

This article discusses the phenomenon of cult of icons in the East Slavic’s culture. The Slavic culture is ingrained in the orthodox tradition. This fact is reflected in a strong impact of religion on the life of society: customs, rituals and art. The icons are one of the most important elements of Orthodoxy Church and for that reason they are close associated with Russian culture. Despite prolonged atheisation, the Slavic culture is ingrained in the orthodox tradition and cult of the icons. It is noticeable not only in Russian churches, but also in ordinary life of believers. Majority of homes of Orthodox Christian have special space: "beautiful" corner with icons. Moreover, role of the icons emphasize in language: there is a lot of idiom and phrases connected with icons.

PL

Niniejsza praca koncentruje się wokół zagadnienia kultu ikon w kulturze wschodniosłowiańskiej, która od wieków zakorzeniona w tradycji prawosławnej. Znajduje to odzwierciedlenie w silnym wpływie religii na życie społeczne: obyczaje, tradycje czy sztukę. Nieodłącznym elementem prawosławia są zaś ikony i dlatego stały się one jedną z ważniejszych części kultury rosyjskiej. Widać to nie tylko w przestrzeni świątyni, ale również w życiu codziennym wiernych. Świadczy o tym m.in. praktyka wydzielania specjalnego miejsca dla kultu ikony tzw. „krasnogo ugła”. Ponadto, rolę ikon oddaje również język rosyjski, w którym istnieje wiele frazeologizmów związanych z ikonami.

2

Культ икон в православной традиции восточных славян: обряды, обычаи и традиции в прошлом и сегодня

100%

Kozieł J. E.

Adeptus

|

2015

|

issue 6

EN

Cult of the icons in the East Slavs culture – customs, rituals and religious practices in the past and todayThis article discusses the phenomenon of cult of icons in the East Slavic’s culture. The Slavic culture is ingrained in the orthodox tradition. This fact is reflected in a strong impact of religion on the life of society: customs, rituals and art. The icons are one of the most important elements of Orthodoxy Church and for that reason they are close associated with Russian culture. Despite prolonged atheisation, the Slavic culture is ingrained in the orthodox tradition and cult of the icons. It is noticeable not only in Russian churches, but also in ordinary life of believers. Majority of homes of Orthodox Christian have special space: "beautiful" corner with icons. Moreover, role of the icons emphasize in language: there is a lot of idiom and phrases connected with icons. Kult ikon w kulturze wschodniosłowiańskiej – obrzędy, tradycje i praktyki religijne w przeszłości i dziśNiniejsza praca koncentruje się wokół zagadnienia kultu ikon w kulturze wschodniosłowiańskiej, która od wieków zakorzeniona w tradycji prawosławnej. Znajduje to odzwierciedlenie w silnym wpływie religii na życie społeczne: obyczaje, tradycje czy sztukę. Nieodłącznym elementem prawosławia są zaś ikony i dlatego stały się one jedną z ważniejszych części kultury rosyjskiej. Widać to nie tylko w przestrzeni świątyni, ale również w życiu codziennym wiernych. Świadczy o tym m.in. praktyka wydzielania specjalnego miejsca dla kultu ikony tzw. „krasnogo ugła”. Ponadto, rolę ikon oddaje również język rosyjski, w którym istnieje wiele frazeologizmów związanych z ikonami.

3

The Icon and the Hatchet. The Motif of Aggression Against Icons in Russian Literature before the Revolution

88%

Walczak D.

Ikonotheka

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2017

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vol. 27

93-108

EN

The present work focuses on the motif of aggression against icons introduced in the works by many Russian writers before the Revolution. Analysed material includes the works of Nikolai Gogol, Fyodor Dostoyevsky, Nikolai Leskov, Lev Tolstoy, Dmitri Merezhkovsky and Vsevolod Krestovsky. The main aim of the article is to define how the authors imagined an act of imagebreaking and to determine who played the role of an iconoclast and what the presented motivation of such actions were. It attempts to answer the question of why so many authors felt the need to incorporate the motif of aggression against icons in their works, what literary and propagandistic aims this motif served, what feelings it was meant to evoke in the readers and what image of the world it strove to create.

4

The Icon of the Holy Unmercenaries (Greek: Άγιοι Ανάργυροι) Cosmas and Damian, as Bequeathed by Zofia Ruebenbauer, in the Collection of the National Museum in Cracow

75%

Kruk M. P.

Ikonotheka

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2017

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vol. 27

27-54

EN

In 2011 the National Museum in Cracow received a bequest that had been specified in the last will and testament of Zofia Ruebenbauer from Ottawa. The gift was described as a 19th century Russian icon. Comparative stylistic analysis complemented by restoration work and a material study revealed an exquisite paint layer, for which analogies may be found in the mid-14th-century Greek art of the Paleologian period. The icon was probably painted in the third quarter of the 14th century in one of the centres in northern Greece including Kastoria, Veria, Mt. Athos, Thessalonike and Constantinople itself. The collection of the Byzantine Museum in Kastoria includes many icons of the holy physicians depicted in a similar pose. Iconographical details such as the surgical knives in the hands of the physicians and in the open tool case find close analogies in the 14th-century wall paintings in Peloponnese, e.g. in the Church of Saint Paraskevi (Αγία Παρασκευή, Agia Paraskevi) and Saint John Chrysostom (Άγιος Ιωάννης Χρυσόστομος, Agios Ioannes Chrisostomos) in Geraki, as well as in the Orthodox Church of the Holy Unmercenaries (Άγιοι Ανάργυροι, Agioi Anargyroi) in Nomitsi. The conclusions of the analysis regarding the icon’s provenance find indirect corroboration in the recently discovered fact that in the first half of the 19th century the work of art was owned by Haryklia Mavrocordatos-Serini, Sas-Hoszowska (1836–1906), a member of the Lvov line of the Greek princely family of Mavrocordatos. The names of her children with the exact dates of their birth appear on the reverse side of the icon. The work of art was passed down to Jerzy Ruebenbauer, who carried it away from Lvov during the Second World War, taking it first to Warsaw, where he met his future wife Zofia, and after the war to Canada via Belgium.

5

Holy War and a Place in Paradise? Development of the East Roman Holy War from the 4th until the 11th century

51%

SYVÄNNE I.

Historia i Świat

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2020

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issue 9

61-81

EN

The article analyses the development of the holy war in East Rome from its beginning until the 11th century. The article takes the stance that it is meaningless what the official religious doctrine was when the soldiers themselves believed and followed the doctrine of holy war which promised a place in heaven for all fallen soldiers.

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1 Walczak D.

Культ икон в православной традиции восточных славян: обряды, обычаи и традиции в прошлом и сегодня

Культ икон в православной традиции восточных славян: обряды, обычаи и традиции в прошлом и сегодня

The Icon and the Hatchet. The Motif of Aggression Against Icons in Russian Literature before the Revolution

The Icon of the Holy Unmercenaries (Greek: Άγιοι Ανάργυροι) Cosmas and Damian, as Bequeathed by Zofia Ruebenbauer, in the Collection of the National Museum in Cracow

Holy War and a Place in Paradise? Development of the East Roman Holy War from the 4th until the 11th century