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Najwcześniejsze domniemane przedstawienie wniebowzięcia Matki Bożej

100%
Tatar-Próchniak E.
Vox Patrum
|
1987
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vol. 12
411-415
EN
The article concerns the sarcophagus from basilica of 18 Martyrs in Saragossa.
2
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Tajemnica wcielenia w najstarszej ikonografii chrześcijańskiej

80%
Iwaszkiewicz-Wronikowska B.
Vox Patrum
|
2000
|
vol. 38
393-404
IT
Il tema dell’Incarnazione appare nell’iconografia cristiana all’inizio del IV secolo rappresentato soprattutto nei bassorilievi sui sarcofagi. Cristo, raffigurato precedentemente come Buon Pastore o taumaturgo senza i tratti fisionomici individuali, vi appare come un personaggio storico delle scene descritte dagli evangelisti essendo, nel contempo, una figura particolare, da distinguersi dagli altri partecipanti degli eventi grazie ai tratti del viso particolarmente belli e ai capelii lunghi, caratteristiche affini al tipo iconografico degli antichi dei e degli eroi.
3
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Najstarsze przedstawienia Piotra Apostoła a problem prymatu papieskiego

80%
Iwaszkiewicz-Wronikowska B.
Vox Patrum
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2004
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vol. 46
391-404
EN
The article, which is contained with two parts, treats of the eldest iconography of St. Peter in relation to papal primacy. The author of this article reliances on this iconography and proves that this primacy concerned not only St. Peter but also St. Paul because both of them were founders of Roman Church.
4
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Winieta latarni morskiej w La Coruña na mapie Beatusa z Burgo de Osma w kontekście symboliki wczesnochrześcijańskiej

80%
Kochanek P.
Vox Patrum
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2019
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vol. 71
291-326
EN
The purpose of this article is to compare the vignette of the lighthouse of La Coruña, which is on the map of Beatus from Burgo de Osma, with the lighthouses carved on reliefs of sarcophagi and tombstones in the epoch of the Roman Empire and with the vignettes of this lighthouse on other surviving medieval maps. In this way, to point out the ideological kinship between these elements. The lighthouse on the reliefs of pagan sarcophagi is the symbol of the happy port to which the human soul is heading. In turn, the lighthouse on Christian grave plates, found in the Roman catacombs, is a symbol of salvation, sometimes treated as the equivalent of the cross. The lighthouse on the map of Burgo de Osma is located on the western border of the world known at that time, which areas were the most remote from both the garden in Eden in the East and from Jerusalem, the place of salvific work of Christ. So these were areas of spiritual darkness, where, according to tradition, Jakub the Elder brought the light of the Gospel. With his arrival, in the areas where death reigned so far, the hope of salvation flared, which is illustrated graphically on the analyzed Beatus map by the lighthouse, which is near the Apostle’s sanctuary. In this way, a safe spiritual haven was first established on the western periphery of the then known world, which over time became a great pilgrimage center. It is no coincidence that this map was made in the circle of the monastic Benedictine culture, which carefully preserved the old Christian tradition.
PL
Niniejszy artykuł porównuje winietę latarni morskiej z La Coruña, która znajduje się na mapie Beatusa z Burgo de Osma, z latarniami morskimi wyrzeźbionymi na reliefach sarkofagów i płyt nagrobnych w epoce cesarstwa rzymskiego oraz z winietami tejże latarni na innych zachowanych mapach średniowiecznych. W ten sposób starano się wskazać na ideowe pokrewieństwo pomiędzy tymi elementami. Latarnia morska na reliefach pogańskich sarkofagów jest symbolem szczęśliwego portu, do którego zmierza ludzka dusza. Z kolei latarnia morska na chrześcijańskich płytach grobowych, odnalezionych w rzymskich katakumbach, jest symbolem zbawienia, taktowanym niekiedy jako ekwiwalent krzyża. Latarnia na mapie z Burgo de Osma znajduje się na zachodnich kresach znanego wówczas świata, które to obszary były najbardziej oddalone zarówno od ogrodu w Edenie na Wschodzie, jak i od Jerozolimy, miejsca zbawczego dzieła Chrystusa. Były to więc tereny duchowego mroku, dokąd zgodnie z tradycją Jakub Starszy przyniósł światło Ewangelii. Wraz z nim na obszarach, gdzie dotąd panowała śmierci, zapłonęła nadzieja zbawienia, czego graficznym wyrazem na analizowanej mapie Beatusa jest zestawienie latarni morskiej z sanktuarium Apostoła. W ten sposób na kresach Zachodu powstała najpierw bezpieczna duchowa przystań, a później wielkie centrum pielgrzymkowe, rozświetlające duchowe mroku tej peryferyjnej części ówczesnego świata. Nie przypadkiem mapa ta została wykonana w kręgu klasztornej kultury benedyktyńskiej, która przechowywała pieczołowicie dawną chrześcijańską tradycję.
5
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Św. Męczennicy Marii – wieczny spoczynek, pamięć i modlitwa

71%
Uścinowicz J.
Latopisy Akademii Supraskiej
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2020
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vol. Dzieci w kulturze duchowej Prawosławia
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issue 11
301-319
EN
In 2018, members of the social community „Our memory” and the Belarusian Historical Society in Białystok, after many years of searching, found in the village cemetery of the Orthodox parish of St. St. Peter and Paul in Malesze, the remains of the destroyed and forgotten grave of Maria Pietruczuk. In 2020, the Holy Synod of Bishops of the Polish Autocephalous Orthodox Church included her among the Martyred Saints of Chełm and Podlasie. She is the Saint of the Orthodox Church. The article presents the ideological, theological, architectural and iconographic premises and conditionings for creating the design of a new monument to St. Martyrs of Mary. The aim is to provide a worthy form of Her eternal rest, memory and prayer of the faithful. The idea of building the monument and its design were blessed by His Eminence Sawa, the Orthodox Metropolitan of Warsaw and the whole of Poland. The form of the monument refers to the temple open to the heavens. It is a system of 4 symbolic forms: a cross, an altar apse, a sarcophagus and a ambona-analogion, symbolically representing: Golgotha, the Tomb of Resurrection of the Jesus Christ and the Mary Mother of God (hierathejon), a reliquary and the stone moved away from the Tomb and Cenacle. The sequential juxtaposition of these forms and their theological and cosmological meaning tries to strengthen the spirit of this place. It builds a synthetic symbolic image of the cemetery temple in search of its path of the faithful’s eternal pilgrimage to salvation.
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