Search results - CEJSH

1

Ikonografia Jana Amosa Komeńskiego w zbiorach Muzeum Okręgowego w Lesznie

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Szymańska K.

Siedleckie Zeszyty Komeniologiczne seria Pedagogika

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2021

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vol. 8

233-247

EN

The article presents a collection of iconographic objects showing the images of John Amos Comenius: oil paintings, graphics, medals and plaques, postcards, and numismatic items. They are discussed taking into account the historical context of their creation and the methods of obtaining them for the collection. The article, despite its review character, aims to draw attention to similar collections in other Polish institutions.

2

Widoki portretowe Krakowa czasów staropolskich w badaniach historii miasta. Obraz, znak, symbol, tekst

100%

Komorowski W.

Zapiski Historyczne

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2019

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vol. 84

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issue 1

135-167

EN

The article constitutes an overview of the most important views of Cracow in the Old Polish times. The keynote is the presentation of specific representations (11 views have been discussed) along with the rules of showing the city and – which is the basic thesis – their subjective interpretation in the social and political context. A view beyond the axiomatic principle of the faithfully portrayed urban space usually carried out interpretations which were more or less visualized (both by their creators and recipients). It should be read as a testimony of the epoch, exploring the circumstances of their creation and possible cultural analysis. The first of the discussed representations is the view in the work of Hartman Schedel of 1493; it is not so much the real image of the city as its sign – it corresponds to the views of the city landscape at that time. The second view, from 1537, probably by Mathias Gerung, despite being generally the faithful reflection of the reality, omits many details or distorts them. However, the first representation which faithfully presents the details is the view of 1581; however, it, in turn, deforms the urban space (which, incidentally, was a conscious choice of the creator). Two views in Civitates orbis terrarum by Georg Braun and Franz Hogenberg, published in 1617, are the most informative views presenting Cracow. The latter is the most beautiful picture of the capital city and it also became the source which was later used by the creators of the next panoramas of Cracow, who changed the prototype more or less uncritically (1619, 1696, the second quarter of the 18th century). A breakthrough in the representation of the city, rooted in modern thinking, was the “rationalist” view of 1785. Iconography, like any historical source, is subject to critical review; it should also be – for verification purposes – confronted with other archival sources. In this process, methods from the area of art history, history of architecture, urban planning and historical landscape architecture are applied. There are mutual relations between iconography and written communication; iconography can be the complement, but it can also be the main source, or even the only one.

3

A Man in a Vessel, Once More

100%

Innemée K. C.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2019

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vol. XXXII

111-120

EN

In one of the paintings in the Central Church of Abdallah-n-Irqi an enigmatic element can be seen: a small figure of a man in a jar. No satisfactory explanation for this detail has been found so far. Although a parallel representation seemed to have been discovered in Banganarti, it remains a unique and problematic representation. On the basis of a renewed investigation of the iconography of martyrs in the fourth century, the author proposes a new interpretation of the man in the vessel.

4

A Fragmentary Statue of Ramesses II with a Scarab on the Head

100%

Kassem M.

Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)

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2014

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issue 27

179–184

EN

The red granite fragmentary bust (Egyptian Museum in Cairo – CG 38104, JE 27856), coming from the Temple of Ptah in Memphis, is believed to be part of a statue of Ramesses II. However, owing to the fact that the fragment is unepigraphic and much eroded, this identification has to remain a hypothetical one. A detailed examination of iconographical and stylistic features of the statue leads the author to believe that the statue either represented Ramesses II or had been usurped by one of his successors.

5

Sobre la iconografía de Jesús Nazareno rescatado en los siglos XVII - XX (O ikonografii Jezusa Nazareńskiego Wykupionego w wiekach XVII-XX)

100%

Witko A.

Folia Historica Cracoviensia

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2004

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vol. 10

EN

The art of the Order of the Most Holy Trinity attaches special importance to the motif of Ransomed Jesus of Nazareth; the theme is exclusive to works by the Discalded Trinitarians. It is refers to a wooden statue from Seville (second or third decade of the 17th century), attributed to Francisco de Ocampo or Luis de la Pena.

PL

En numerosas iglesias de España, Italia, Polonia y muchos otros países, se rinde homenaje a Cristo, presentado en una imagen extraordinariamente sugestiva conocida como Jesús Nazareno Rescatado (il. I)1. Se trata de una figura de madera que proviene de Sevilla de la segunda o tercera década del siglo XVII y se la relacionaba con Francisco de Ocampo o Luis de la Peña. Aunque esta escultura se asemeja al tipo Ecce Homo, sin embargo pertenece al género de las figuras procesionales y originariamente representaba a Jesús con la cruz a cuestas. Fue rescatada por los trinitarios descalzos de las manos mauretanas en el año 1682, adornada con el escapulario trinitario y solemnemente expuesta en Madrid. El acontecimiento originó una devoción fuerte que se extendió a todos los países en los cuales se daba la presencia de los trinitarios descalzos y hasta traspasó al otro lado del Océano.W sztuce Zakonu trynitarskiego wyjątkowe miejsce zajmuje temat Jezusa Nazareńskiego Wykupionego, wyłącznie występujący u trynitarzy bosych. Dotyczy on drewnianej figury, pochodzącej z Sewilli z drugiej lub trzeciej dekady XVII stulecia, wiązanej z Francisco de Ocampo lub Luisem de la Pena. Rzeźba ta, choć zbliżona do typu Ecce Homo, jednakże przynależy do gatunku figur procesyjnych i pierwotnie przedstawiała Jezusa z krzyżem na ramieniu. Została ona wykupiona przez trynitarskich bosaków z rąk Maurów w roku 1682 i przybrana trynitarskim szkaplerzem, uroczyście wystawiona w Madrycie, co zapoczątkowało niezwykle żywy kult, jaki ogarnął wszystkie kraje, gdzie działali trynitarze bosi, przenosząc się nawet na drugą stronę Oceanu. Do rozpowszechnienia nabożeństwa ku czci Nazareńskiego przyczyniło się kilka rycin, z których najstarszym znanym przedstawieniem jest wykonany w 1685 roku przez Marcosa Orozco madrycki miedzioryt, będący wzorem dla licznych realizacji w wielu krajach Europy. Tylko w Rzymie cieszył się popularnością schemat ukazujący popiersie Nazareńskiego w owalu, co miało swą genezę w pierwszym rzymskim przedstawieniu z San Carlino. Natomiast wyłącznie w Polsce, gdzie kult Nazareńskiego był wyjątkowo żywy, wykształcił się interesujący model ikonograficzny Trójcy Świętej, ujętej wertykalnie. W retabulach głównego ołtarza umieszczano figurę Chrystusa, ponad którą ukazywał się Bóg Ojciec a ponad nimi Duch Święty w postaci gołębicy.

6

The Theme of the Fountain-Wound in a Baroque Manuscript Meditation: The Impact of Iconography on Poetry

100%

Panasiuk J.

Colloquia Humanistica

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2016

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issue 5

EN

The Theme of the Fountain-Wound in a Baroque Manuscript Meditation: The Impact of Iconography on PoetryBehind the foundation of the monastic meditation about fountains is a concrete devotional graphic from Western Europe. It is the Dutch emblem that is the key to the interpretation of the religious text, which uses words to directly refer to a specific image. These cultural correspondences constitute a curious phenomenon. They present the spirituality as well as the mentality of seventeenth- and eighteenth-century European society. This seems to confirm, at the same time, the fact that no artistic activity is ever isolated. Motyw fontanny-ran w barokowej rękopiśmiennej medytacji: wpływ ikonografii na poezjęU początków monastycznej medytacji o fontannie stoi konkretna dewocyjna grafika z Zachodu Europy. To holenderski emblemat, będący kluczem do interpretacji tekstu religijnego, posługującego się słowami w celu bezpośredniego odwołania do owego obrazu. Te kulturowe korespondencje stanowią ciekawe zjawisko. Odsłaniają duchowość i mentalność siedemnasto- i osiemnastowiecznego społeczeństwa europejskiego. Równocześnie zdają się potwierdzać fakt, iż żadna aktywność artystyczna nigdy nie jest izolowana.

7

Ikonografia pieczęci kościołów parafialnych dekanatu szadkowskiego z przełomu XVIII i XIX w.

100%

Adamczewski M.

Biuletyn Szadkowski

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2006

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issue 06

69-109

8

Tematyka cygańska w polskich zbiorach ikonograficznych (wiek XIX – I połowa XX wieku) – rekonesans

100%

Kocój E., Lechowski P., Plebańczyk K.

Zarządzanie w Kulturze

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2012

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vol. 13

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issue 2

PL

The image of Gypsies in Polish collections of iconographic materials (19th century – first half of the 20th century) – reconnaissanceAt least since the Middle Ages the people of Europe have shared their space with the nomadic Gypsy people. Its long, often troublesome neighborhood resulted in the formation of two parallel, though different, stereotypical images of the Roma in European culture. In one of them one, they are portrayed negatively, as the personification of all the pejorative and demonic qualities. Two words describing Roma Stereotypes in this language context are as follows: dangerous vagrants, thieves, criminals, living without any moral rules. Under the influence of romantic ideas in European culture a different picture of the Gypsies began to take shape. According to this ideal, they were considered to be free people, living itinerant lives and in harmony with nature, free from hard work, colorful, cheerful, independent and artistic. In this paper we would like to present how the ideas existing in the nineteenth-and twentieth century culture reflected in the iconography of Roma. On the basis of Polish collections we will show the most important themes and motifs associated with the iconography and mythology of this minority. At the same time, we will try to show to what extent the European images coincided with the real culture and tradition of the Gypsies. In the analysis we will use both engravings, woodcuts, paintings, graphics press and photographs found in public collections in Tarnow, Sejny or Krakow, as well as in various private collections.

9

„Od wschodu słońca aż po zachód jego niech Imię Pańskie będzie pochwalone”. Uwagi o programie ideowym wrocławskiego Il Gesù

100%

Wojtyła A.

Biuletyn Historii Sztuki

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2010

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vol. 72

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issue 1-2

113-147

EN

This text takes as its subject an analysis of the objectives behind the ex-Jesuit church of Wrocław University, with specific reference to the theme of glorifying God’s name. The verse contained in Psalm 113(from the rising of the sun to its setting, may Lord’s name be praised) –written in its entirety in the cartouche affixed to the keystone of the roodscreen arch, and included in the title to the main, Polish article provided the key idea behind the programme.

10

Widoki portretowe Krakowa czasów staropolskich w badaniach historii miasta. Obraz, znak, symbol, tekst

100%

Komorowski W.

|

EN

The article constitutes an overview of the most important views of Cracow in the Old Polish times. The keynote is the presentation of specific representations (11 views have been discussed) along with the rules of showing the city and – which is the basic thesis – their subjective interpretation in the social and political context. A view beyond the axiomatic principle of the faithfully portrayed urban space usually carried out interpretations which were more or less visualized (both by their creators and recipients). It should be read as a testimony of the epoch, exploring the circumstances of their creation and possible cultural analysis. The first of the discussed representations is the view in the work of Hartman Schedel of 1493; it is not so much the real image of the city as its sign – it corresponds to the views of the city landscape at that time. The second view, from 1537, probably by Mathias Gerung, despite being generally the faithful reflection of the reality, omits many details or distorts them. However, the first representation which faithfully presents the details is the view of 1581; however, it, in turn, deforms the urban space (which, incidentally, was a conscious choice of the creator). Two views in Civitates orbis terrarum by Georg Braun and Franz Hogenberg, published in 1617, are the most informative views presenting Cracow. The latter is the most beautiful picture of the capital city and it also became the source which was later used by the creators of the next panoramas of Cracow, who changed the prototype more or less uncritically (1619, 1696, the second quarter of the 18th century). A breakthrough in the representation of the city, rooted in modern thinking, was the “rationalist” view of 1785. Iconography, like any historical source, is subject to critical review; it should also be – for verification purposes – confronted with other archival sources. In this process, methods from the area of art history, history of architecture, urban planning and historical landscape architecture are applied. There are mutual relations between iconography and written communication; iconography can be the complement, but it can also be the main source, or even the only one.

11

Trzecie oblicze Ofelii [rec. Katarzyna Czeczot: Ofelizm. Romantyczne zawłaszczenia, feministyczne interwencje. Warszawa: Instytut Badań Literackich PAN. Wydawnictwo, 2016, ss. 331.]

89%

Włodzyńska E.

Śląskie Studia Polonistyczne

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2018

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vol. 11

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issue 1

233-243

EN

The following analysis of Katarzyna Czechot’s book Ofelizm. Romantyczne zawłaszczenia, feministyczne interwencje [Ophelism. Romantic appropriations, feminist interventions], published in 2016, is a chronological record of ophelic images proposed by this gender studies researcher. The aim of the paper is to demonstrate Czeczot’s dialogue with the traditional representations of Shakespeare’s tragic female figure. In the review the author pays attention to the subversive potential of the subsequent chapters of the work. The portrayals of a female, and sometimes feminized, body, which are linked together by an “ophelic code”, are often interpreted as a certain kind of medium of social revolutions, of changes in human expectations and desires.

12

Ikonografia dakini Dordże Phagmo w sztuce buddyzmu tybetańskiego na podstawie wybranych wizerunków

88%

Koniuch P.

Przegląd Orientalistyczny

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2020

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issue 1 (273)

21-37

EN

The aim of the article is to introduce the iconography of selected images of the dakini Dorje Phagmo, hitherto unpublished in any Polish research on Tibet. The descriptions are based on literary as well as iconographic sources, and are additionally illustrated for the benefit of the reader. This paper focuses on the figure of Dorje Phagmo in the art of Tibetan Buddhism and, to provide a wider context for this topic, also deals with such issues as the role of women in Tibet, feminine images in Tibetan art or types of literary sources used for the study of iconography.

13

Marginálie k cyrilometodějské tradici v lidovém prostředí

88%

Válka M.

Národopisný věstník

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2013

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vol. 30_(72)

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issue 2

77-91

EN

The 1150th anniversary of arrival of Constantine and Methodius, brothers of Thessaloniki, to Great Moravia (in 863) was an opportunity to reassess the historic role of their mission both from the religious and ecclesiastical and from the political, cultural and historic points of view. The cult of Constantine and Methodius was obviously reflected not only in the high art but also in folk culture. Velehrad, which has become one of the leading Moravian sites of pilgrimage, was connected with production of objects of devotion, which the pilgrims brought back to their homes to use in their prayers or as souvenirs of the place. The earliest group of these objects of devotion is represented by documents of folk art and works with features of folk art but the most popular objects include pieces of devotional graphic art, “holy” pictures commercially produced and sold at pilgrimage destinations since the latter half of the the 19th century. For the purpose of the contribution a couple of interesting artefacts (prints) of 19th century related to the Constantine and Methodius tradition were acquired. The different approaches to the composition of the scenes from the life of the two saints and different attributes of their appearance shown in the pictures demonstrate transformations of their cult, which was mainly developed in the Moravian environment, but also as regional patron saints in the Czech lands and as Slavonic faith promoters in other European nations.

14

O sprytnych sposobach wypatrywania ducha. Przyczynek do ikonografii płynności

88%

Cichoń K.

Studia Ełckie

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2013

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vol. 15

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issue 3

369-392

EN

Answering the question whether it is possible to respect the spiritual, intelligi-ble, and rational while describing only what is visible, the author says yes, but only where both immaterial and material sides of the reality are objectified. One can use the intuition which once made J. W. Goethe admit in his Faust to be a “Peer of the spirit that you comprehend.” To be a peer of looks like to identify with. Identity, however, seems to be very airy. Almost like a ghost. The author then tries to “entangle” identity in matter by undertaking an attempt of liquefy-ing it. He notes that in culture the border between the spiritual and the liquid is leaky like a sieve due to linguistic metaphors. His proposal then is to archeolo-gize the human language in order to find out arguments for human intrinsic needs of imagining, speaking, and ruling over the whole which is in movement.

15

Idea gloryfikacji Marii w polichromii sklepienia kościoła bernardynów w Leżajsku

88%

Dzik J.

Biuletyn Historii Sztuki

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2009

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vol. 71

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issue 3

281-317

EN

The paper discusses the iconography of the 18th century monumental painting adoring the church of the Franciscan Observantists (referred to as the Bernardines) at Leżajsk has been based on examples of the vaulting paintings forming part of the temple’s homogeneous Baroque interiors. The work was carried out by group a group of painters originating from the artists’ milieu of Lwów. While the painters Wojtanowski and Kłosowski worked on the vaulting , presbytery and nave in the years 1750-51, the decorative programme was to be completed by Stanisław Stroiński collaborating with Mateusz and Maciej Miller in 1757-58. Each of these artists would most probably have been associated with the religious order painter, Benedykt Mazurkiewicz, who represented the vernacular Lwów school of illusionists painting influenced by Bologne. The theme of the murals in large part resulted from the pragmatic politics conducted by the Observantist Franciscans whose desire it was engaged in missionary work in the eastern territories of pre-Parton Poland.

16

Od substancji szlachetnej do ciała imitacyjnego. Obraz i znaczenie figur woskowych w geście wotywnym

88%

Jaga J.

Roczniki Humanistyczne

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2014

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vol. 62

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issue 4: Historia Sztuki

089-110

EN

In a rich arsenal of votive gifts wax ones undoubtedly deserve a special attention. They were common as soon as early Middle Ages and they were used until the 20th century. There was a variety of such votes, starting with candles, through lumps of wax, and ending with full-scale wax figures that started being used as a votive gesture at the break of the 13th and 14th centuries in the north of Europe. In the 15th and 16th centuries this custom became popular among the wealthy German, Austrian and Italian noblemen. Making wax votive figures took a lot of skill so they were made by specially qualified artists (in Italy wax figures called “Boti” were produced by sculptors called “Cerajuoli” or “Fallimagini”). Religious orders collaborated with the artists-artisans, undertaking to supply wax, whereas the artisans prepared wooden frames, natural hair, glass eyes, paints, textiles and brocade. In the next centuries the production of wax votes developed ever more dynamically, especially in the north of Europe, with less skilled wax modelers, artisans and gingerbread bakers often being their producers. The latter ones mainly made smaller wax figures, cast or squeezed from two-part concave models (this type of votes in its form and type reminded of figures made of gingerbread). Wax votive figures (especially of children aged three to twelve) founded at the area of Upper and Lower Franconia (the Bamberg and Würzburg Dioceses) from the middle of the 19th to the middle of the 20th century are a separate and rather unusual phenomenon. Popularity of this votive gesture became stable about 1880, in the years 1900-1910 it reached its climax; and in the 1950s it came to an end. Franconian votes were always constructed in a similar way: they had wax faces and hands (more rarely feet), and the other members were made of wood, metal and some other padding materials. Dolls were a dominating model for the production of these votes, and that is why, like dolls, they had wigs made of natural hair on their heads, glass eyes and open mouths. A very important role was played by clothing, in which figures were willingly dressed; they were children’s natural, real clothes (girls were often dressed in the First Communion dresses); moreover, the votes had complete clothing, which means they had genuine underwear, tights, leather shoes. The figures were supplied with rosaries and bouquets held in their hands, and on the heads of girls there were garlands. The figures were put in cabinets and glass cases, sometimes with wallpaper on the back wall, and they had a longer text on the front glass with the name of the child, or possibly of its parents, and the time when the figure was offered. Despite the many features making the Franconian votes different from votive figures from other regions, all these object are joined by a timeless and universal idea, in which – quoting H. Belting – “an artificial body has assumed the religious representation of a living body (…)”.

PL

W bogatym zbiorze darów wotywnych na niewątpliwą uwagę zasługują wota woskowe powszechne już od wczesnego średniowiecza i wykorzystywane po wiek XX. Wota te miały dużą różnorodność, począwszy od świec po bryły wosku, aż wreszcie woskowe figury często naturalnych rozmiarów, które zaczęły być wykorzystywane w geście wotywnym na przełomie XIII i XIV wieku na północy Europy. W XV i XVI wieku zwyczaj ten upowszechnił się wśród majętnej szlachty niemieckiej, austriackiej i włoskiej. Wykonanie woskowych figur wotywnych wymagało znacznej wprawy, dlatego wytwarzali je specjalnie wykwalifikowani artyści (we Włoszech figury woskowe zwane Boti wytwarzali twórcy określani mianem Cerajuoli albo Fallimagini), klasztory współpracowały z artystami - rzemieślnikami zobowiązując się dostarczać wosk, natomiast rzemieślnicy przygotowywali materiał, czyli drewniane stelaże, naturalne włosy, szklane oczy, farby, tekstylia i brokat. W kolejnych stuleciach produkcja wotów woskowych rozwijała się coraz prężniej, szczególnie na północy Europy, przy czym wytwórcami powyższych obiektów stawali się często mniej zdolni modelatorzy woskowi, rzemieślnicy i piernikarze. Ci ostatni wykonywali głównie figury woskowe o mniejszych rozmiarach, odlewane bądź wyciskane z dwuczęściowych wklęsłych modeli (ten typ wotów przypominał w swojej formie i ujęciu figury z pierników). Odrębne i dość niezwykłe zjawisko stanowią wotywne figury woskowe (szczególnie dzieci w wieku od trzech do dwunastu lat) fundowane na obszarze Górnej i Dolnej Frankonii (diecezje Bamberg i Wiirzburg) od połowy XIX stulecia do połowy wieku XX. Aktywizacja popularności tego gestu wotywnego okrzepła mniej więcej około 1880 roku, punkt kulminacyjny osiągnął on w latach 1900-1910 i skończył się w latach pięćdziesiątych XX stulecia. Frankońskie wota konstruowano zawsze w podobny sposób: miały one woskowe twarze i dłonie (rzadziej stopy), pozostałe zaś członki wykonywano z drewna, metalu i różnych materiałów wyściełających. Dominującym wzorem dla produkcji owych wotów były lalki, dlatego tak jak lalki miały one na głowach peruki z naturalnych włosów, szklane oczy i otwarte usta. Niezwykle ważną rolę pełniły ubrania, w które odziewano figury, będące naturalnymi, prawdziwymi strojami dzieci (dziewczynki chętnie ubierano w sukienki z pierwszej komunii); co więcej wota te posiadały strój kompletny, a więc ubierano je w autentyczną bieliznę, pończochy, skórzane buciki. Figury ozdabiano różańcami i bukietami kwiatków trzymanych w dłoniach, oraz wiankami na głowach wotów dziewczęcych. Figury ustawiano w szklanych gablotach, witrynach i kasetach wyklejanych niekiedy z tyłu tapetą i podpisywanych na przedniej szybie dłuższym tekstem, który wyjaśniał dane wotantów (imię i nazwisko dziecka, ewentualnie jego rodziców) i czas ofiarowania figury. Mimo wielu cech różniących frankońskie wota od wotywnych figur z innych regionów, wszystkie te obiekty łączy ponadczasowa i ponadterytorialna idea, w której cytując H. Beltinga „sztuczne ciało przejęło religijną reprezentację żywego ciała [...]”. Słowa kluczowe: wosk, figura woskowa, wota, ikonografia, symbolika.

17

„Relikwiarzowy” program architektoniczny fary św. Katarzyny w Brodnicy

88%

Adamski J.

Studia Elbląskie

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2015

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vol. 16

109-121

EN

The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).

18

Ikona Bożej Mądrości – Sedes Sapientiae. Boska Sofia w nauczaniu i ikonografii chrześcijańskiej

88%

Sebesta J.

Studia Ełckie

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2011

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vol. 13

431-450

EN

The article presents the Christian iconography, ecumenical studies, and feminist theology as the contemporary referring points of these theological studies which willingly reflect on sophiological idea. Apart from deconstruction there is a turn of wisdom in conducting the humanist studies. The sapiential way requires to investigate the profound layers of human thought which is oriented on striving for truth in its synthetic and absolute dimension. The hypostasis of divine wisdom, sometimes called Sapientia or Sophia, is an idea of wisdom which describes, deeply than the Western Ratio, what the principle of being is, what primary harmony is, what archaic peace is, all the thing which philosophers and mystics strive for.

19

The hidden treasure of Dionysus. Small portraits from eastern Adriatic stamnoid situlae

88%

Blečić M.

Studia Hercynia

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2022

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vol. 26

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issue 1

102-116

EN

The paper presents two decorative attachments depicting Sileni from stamnoid situlae from the eastern Adriatic sites of Karin and Budva. Through formal typological classification, stylistic and comparative analysis within the broader Late Classical and Early Hellenistic art of the Mediterranean, the ‘Adriatic’ Si leni are interpreted in terms of the miniature portrait art of that time, which had a decorative expression and aesthetic value on a lavish functional object such as the stamnoid situla. As visual art is particularly stimulating and evocative, these Sileni represented an iconographically clear message as a metaphor or a metaphor as a message. The artistic striving for recognition, idealizing or caricaturing and emphasizing the emotional state are some aspects that address the portraits of the presented Sileni. Even though every reading is a subjective act, it is an idealised artistic convention of a specific place and time, with a precise mythological and cultural historical background of the remarkable toreutic achievements. It has been im pressive and essential to observers in the past, which is also evident from their prevalence in a wide variety of ‘Old World’ cultural communities.

20

Jan Josef Dietzler (1694–1744). Zemský měřič, kartograf a vedutista

88%

Šimůnek R.

Historická geografie (Historical Geography)

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2016

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vol. 42

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issue 2

221-306

EN

Dietzler’s most well-known work is Maria Theresa’s coronation album (1743), often overshadowing everything else. The study gives a summary overview of Dietzler’s work activities (as land surveyor, cartographer and veduta painter) and also uncovers a certain uniqueness to his works – Dietzler managed to go beyond the borders of his craft to reach for a more comprehensive capturing of the landscape of towns and villages: with plan, map and veduta.

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