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1

Kogo upamiętnia gotycki nagrobek biskupa w Chełmnie?

100%

Jurkowlaniec T.

Biuletyn Historii Sztuki

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2013

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vol. 75

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issue 4

625-640

DE

In der ehemaligen Dominikanerkirche zu Kulm befindet sich eine gotische Grabplatte mit eingeritzter Darstellung eines Bischofs. Wegen ihres schlechten Erhaltungszustands ist die diese Darstellung einfassende Inschrift nur teilweise entziffert worden. Zudem wurde sein in der Inschrift genanntes Sterbedatum unterschiedlich interpretiert: als 1259, 1309 oder 1360. Seit den 80. Jahren des 19. Jhs stützten sich die Aussagen über das Grabmal hauptsächlich auf die Feststellungen Johann Heises, der meinte, dass es sich hierbei um ein Denkmal eines unbekannten Bischofs handele, der Mitglied des Dominikanerordens gewesen und 1360 verstorben sei. Diese Interpretation wurde bis in 70. Jahre des 20. Jahrhunderts wiederholt, obschon manche Forscher vermuteten, dass die Grabplatte dem Andenken eines anderen, früher verstorbenen Würdenträgers gegolten habe; dabei wurde meist der Name Heidenreich genannt, der Name des ersten Bischofs von Kulm (†1263). Teresa Mroczko identifizierte den Verstorbenen weiterhin als Heidenreich, doch verschob sie die Datierung der Grabplatte aufgrund ihrer stilistisch-formalen Eigenschaften auf das 13./14. Jh. Die von Mroczko vorgeschlagene Datierung wurde von Forschern diverser Disziplinen übernommen. Zuletzt gelang es, weitere Fragmente der undeutlichen Borteninschrift zulesen, darunter nicht zuletzt einen wesentlichen Teil der Titulatur des Verstorbenen, was es möglich machte, ihn zu identifizieren: + A(n)NO • D(omi)NI • M • CCC • LX (Leerstelle) • O(biit) • FR(ater) •/ I(o)h(ann)ES• DE • DIECO • DIGnA(…) • […………]• EP(iscopu)C • SCODRIen(sis) • ORDIN(is)• / PREDICATORU(m) DE PROUINCIA / • SAXONIE • IN • DIE • (Leerstelle) CUI(us) • An[I]MA • D(e)O • ET • B(ea)TE•uirGiNI • COMEND[ET(ur)] • A(men) Im Gebiet der heutigen Republik Polen war im Mittelalter nur ein einziger Geistlicher tätig, welcher den Titel eines Bischofs von Skodra führte. Dabei handelt es sich um den Dominikaner Johannes, dem die Bischofswürde von Papst Klemens VI. 1345 verliehen wurde. Es steht außer Zweifel, dass dieser Dominikaner Johannes, Bischof von Skodra, tätig in der Diözese Krakau und danach im Erzdiakonat Pomerellen der Diözese Leslau, identisch ist mit dem 1360 (oder eher in den Folgejahren) verstorbenen Johannes de Dieco (oder Diecea, Decia, Dietia, Dietsa = Diez); im kurtrierischen Gebiet, heute Rheinland-Pfalz), Bischof von Skodra, Ordensmitglied der Dominikaner der Provinz Sachsen, der mit dem Grabmal in der Kulmer Dominikanerkirche geehrt und vermutlich auch dort bestattet wurde. Die Grabplatte präsentiert die einfachste Variante des konventionellen Darstellungsschemas eines verstorbenen Bischofs (ohne Arkade, Wappen oder weiterer Zusatzmotive) und ist ein in künstlerischer Hinsicht wenig qualitätvolles und im kom¬plexen Bild der Sepulkralkunst des 14. Jahrhunderts im Deutschordensstaat Preußen vereinzeltes Werk. Darüber hinaus stellt sie einen kleinen, doch gewichtigen Beitrag zur Geschichte der Kirche im 14. Jahrhundert dar.

2

Ochrona cmentarza żydowskiego w Sobieniach-Jeziory w kontekście działań instytucjonalnych i praktyk społecznych

88%

Mroczkowska A.

Rocznik Antropologii Historii

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2016

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issue 9, Dziedzictwo kulturowe

123–146

XX

The article focuses on the practices and actions undertaken by different Polish and Jewish activists, descendants of Polish Jews, and institutions, such as the Jewish Community in Warsaw, the Mazovian Voivodeship Conservators Office, municipal offices and private non-governmental organizations, in an effort to document, preserve and commemorate a Jewish cemetery in Sobienie-Jeziory, a small town situated near Warsaw. By presenting the approach of all these aforementioned stakeholders, I try to examine the issue of preserving and commemorating Jewish burial grounds in Poland, and their place in the local memory and the space of those living next to them, those who interact with Jewish heritage on an everyday basis. The issue raised is, whether Jewish heritage can be acknowledged as Polish national heritage by the State, or as local heritage by the local inhabitants of neighbouring Polish towns and villages. I also present the understanding of the status of graves and cemeteries within the Jewish law and tradition, and by the Jewish descendents of the deceased, and the actual maintenance of these sites.

3

Wykorzystanie publikacji francuskich przy realizacji nagrobków na cmentarzach Warszawy w latach 1840-1860. Wzornik Josepha Marty’ego

88%

Wiraszka M.

Saeculum Christianum. Pismo Historyczne

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2018

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vol. XXV

284-311

XX

The article in question is a continuity of the subject brought up in the magazine ”Ar-tifex Novus” published in October 2017. Its first part referred to the tombstones created on the ground of works printed in Paris in 1832 on the pages of two illustrated magazines whose authors were Ferdinando Quaglia and Louis-Marie Normand respectively. The other part was dedicated to the pattern book by Joseph Mart and the objects performed on its ground. Collected pieces of information enable us to conclude that between 1840 and 1860 on the premises of the necropoleis of Warsaw a minimum of 20 tombstones, with the forms fol-lowing those published in the above mentioned magazines, were raised. The vast majority of preserved examples, as many as 14, can be found on the premises of the Powązki Cemetery, another three were discovered at the Evangelical Augsburg Cemetery and two at the Evan-gelical Reformed Cemetery. Moreover, it has been stated that such tombstones happen to be funded on the premises of necropolies located outside the boundaries of the capital e.g. in Lublin, Pułtusk, Radom etc. Even though none of the tombstones was signed, it can be con-cluded the center of production and distribution was Warsaw and the stonework manufactures in operation in the city. Among others, attention was drawn to two manufactures: the one of Jan Ścisłowski (1805-1847) located at 6 Powązkowska Street, inherited and led by his two sons-in-law: Antoni Messing (1821-1867) and Jan Bernard Sikorski (1832-1906), and the other belonging to the Mantzl family, Jan Józef senior – the father (1806-1875) and Józef Jan junior, – the son (1834-1906), the manufacture previously located at 19 Chłodna Street. The tombstones funded and co-funded by relatives and friends were copings to graves of the wealthy, high officials, militaries, real estate and factory owners, entrepreneurs, mer-chants as well as craftsmen. The offer of the stonework manufactures in Warsaw reflected the taste of the elite, in the vast majority of Catholics of aristocratic descendance willing to show pro-French likeness and respect to the culture in question, having it as more sophisticated than the one dating back to the monarchy of Louis the XIV, and in particular, forming bonds with the empire of Napoleon Bonaparte the I.

4

O niektórych figurach w polskich nagrobkach XVI-XVII wieku

88%

Karpowicz M.

Biuletyn Historii Sztuki

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2010

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vol. 72

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issue 1-2

31-60

EN

The author summaries his article on the basis of the following four parts: 1. The semi-reclining form of representational sculpture was introduced in the territories of preparation Poland by the somewhat secretive Italian sculptor “Johannes Piaentinus”. It possible to confirm his presence in Poland during the years 1555-65. Piaentinus exerted an essential influence on Cracovian sculpture in the second half of the 16th century. 2.The Bernardine church in Lublin contains a tombstone mistakenly identified as well as dated, to the year 1598. In actual fact, it was created by Gerolamo Canavesi in 1565. 3. The most beautiful Polish tombstone figure is to be found in the town of Czarnków (Poznań voivodeship), which dates back to around 1570-80 and represents the magnate Maciej Czarnkowski. 4. The figures from the church at Kórnik near Poznań have been associated with the Flemish sculptor, Hendrik Horst, when in actual fact just one of these was a work of his, while the other two would have been created by other sculptors.

5

Oblicza nekropolii – Cmentarz Wojskowy na Powązkach w Warszawie

75%

Wodnicka-Kasprzak U.

MAZOWSZE Studia Regionalne

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2023

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issue 46

97-116

EN

The place is unique. Its identity has been determined by Polish history, human as the creator of material forms supported by the nature. It is a collective work, continuously shaped for over a century. “Cemeteries are not for the dead, but for the living” – as Wiktor Zin stated. The image, created by successive generations, still can be reinterpreted – as a whole or selectively as individual tombstones and monuments of exceptional artistic value. In Powązki Military Cemetery there can be found traces of activities of recognized artists, whose names and work remain undisplayed in the cemetery. This study aims to highlight some of monuments in order to remove author’s anonymity and to show their work in broader cultural and historical context. The article is a result of numerous visits to the cemetery with a camera in an effort to frame images of monuments. In addition, the paper shows effects of research for data on monuments’ authors. The core cemetery structures were settled in the first years after the First World War. The Polish state established Powązki Military Cemetery as a memorial for the victims of national liberation struggles (January Uprising), the battles of the First World War and the Polish-Soviet War. Subsequent mass burials took place in 1939 and after exhumations of Warsaw Uprising insurgents and civilians in 1945. The communist authorities were not interested in preserving national and Catholic content in culture, therefore in 1964 the necropolis was given more secular character. Its name was changed to “Municipal Former Military Cemetery”. The Lane of Honor was established with the monumental tombs of Bierut, Marchlewski and graves of many members of the contemporary elite, including artists. Leaving aside the limitations imposed by the ideology of the time, state patronage during PRL (Polish People's Republic) period had a positive influence on an artistic quality of projects carried out in the cemetery, for example through the organised competitions. Due to limited accessibility of information about the authors, projects from this period (1960s and 1970s) constitute the majority of examples presented in this article.

PL

To miejsce jedyne w swoim rodzaju. Jego tożsamość wyznaczyły polskie dzieje i człowiek jako twórca form materialnych we współpracy z procesami natury. Jest dziełem zbiorowym, kształtowanym wciąż od ponad stulecia. Wizerunek kreowany przez kolejne pokolenia nieustannie na nowo daje się czytać – jako całość lub wycinkowo – poprzez pojedyncze nagrobki i pomniki, szczególnie te o wartości artystycznej. A są na Wojskowych Powązkach ślady działalności uznanych twórców, których nazwiska i same dzieła w przestrzeni cmentarza zwyczajnie pozostają nieeksponowane. Niniejsze opracowanie ma na celu zatrzymanie uwagi na niektórych realizacjach, by pozbawić je anonimowości co do autora, aby mogły być również odbierane w pełniejszym kontekście kultury i czasu, w którym powstały. Artykuł jest efektem wielokrotnych wycieczek po cmentarzu z aparatem w ręku, trudu kadrowania możliwie wyizolowanych z otoczenia ujęć interesujących form pomników oraz poszukiwań danych dotyczących ich autorów. Rdzeń założenia cmentarza określono w pierwszych latach po I wojnie światowej. Powązki Wojskowe kształtowane były wówczas przez polskie państwo jako panteon pamięci o ofiarach walk narodowowyzwoleńczych (powstanie styczniowe), bitew I wojny światowej i wojny polsko-bolszewickiej. Następne, masowe pochówki nastąpiły w 1939 r. i po ekshumacjach poległych powstańców warszawskich i ludności cywilnej Warszawy w 1945 r. Władze komunistyczne nie były zainteresowane kontynuowaniem narodowych i katolickich treści w kulturze, dlatego decyzją z 1964 r. postanowiono nadać nekropolii bardziej świecki charakter, zmieniono wtedy nazwę na „Cmentarz Komunalny dawny Wojskowy”. Utworzona została Aleja Zasłużonych z monumentalnymi grobowcami Bieruta i Marchlewskiego oraz grobami wielu osób ze świata elity, wśród nich artystów. Pomijając ograniczenia wynikające z ówczesnej ideologii patronat państwowy w okresie PRL-u miał pozytywny wpływ na poziom artystyczny realizowanych upamiętnień m.in. przez organizowane konkursy. Ze względu na ograniczoną dostępność informacji o autorach realizacje z tego czasu (lata 60. i 70. XX w.) stanowią większość prezentowanych w pracy przykładów.

6

Pojetí náhrobku v díle Jana Kotěry a jeho ohlasy u Bohuslava Fuchse a Josefa Gočára

63%

Synecký J.

Historie – Otázky – Problémy (History, Issues, Problems)

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2019

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vol. 11

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issue 1

190-212

EN

The article deals with the creation of tombstones in the work of the leading protagonists of the modern Czech architecture, Jan Kotěra and Josef Gočár, accentuating the typological aspects. The 19th century codified an established typology of a tombstone design which the modernists do not deny, but take it as a point of departure, the basis for their updates and inventive variations. The basic themes are the stele, cross, portal gate, pylon or pillar, and am architecturally adjusted free-standing statue. The popularity of traditional tombs is declining in favour of large-scale tombstones. Kotěra first abandons the theme of the stele, soon returns to it, with the theme of the cross receding and emerging. In the period after the year 1912, Kotěra’s scepticism about Cubism manifests itself. Kotěra’s analytical approach to the task is a direct antipole of the impulsive and intuitive creation of Josef Gočár but it was this pupil of Kotěra who succeeded in synthesising the efforts of two generations of modernists.

7

Cmentarz – jako przestrzeń obrazu i słowa. Postmigracyjne cmentarze ziemi tomaszowskiej – przykład Wierzbicy

63%

Kich-Masłej O.

Latopisy Akademii Supraskiej

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2021

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vol. Obraz - Słowo - Litera

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issue 12

185-203

EN

In this study, we refer to the example of Wierzbica, where one of the largest and best-preserved post-immigration cemeteries in today’s Tomaszów Lubelski poviat is located. For the purposes of this text, we use material collected during the field exploration in 2014–2016, which the author developed and published in the form of catalogs in the Ukrainian and Polish language versions. In the proposed publication, we would like, first of all, to draw your attention to the richness of the tombstone inscriptions.

8

Treści ideowe nagrobka Barbary z Rożnowa w katedrze tarnowskiej

63%

Trajdos E.

Archiwa, Biblioteki i Muzea Kościelne

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1964

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vol. 9

47-64

EN

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9

Nagrobek Stanisława Staszica a polityka wizerunkowa Towarzystwa Warszawskiego Przyjaciół Nauk

51%

Getka-Kenig M.

Kwartalnik Historii Nauki i Techniki

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2021

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vol. 66

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issue 3

31–49

EN

The article is devoted to the artistic setting of Stanisław Staszic’s (1755–1826) burial place, for which his main heir, the Warsaw Royal Society of the Friends of Sciences (TKWPN), was responsible. The inspiration to raise this topic was the discovery of two previously unknown Jakub Tatarkiewicz’s designs of Staszic’s unrealized neoclassical tombstone in the collections of the Central Archives of Historical Records in Warsaw (AGAD). However, the projects were never commissioned by TKWPN but were the sculptor’s proposal. By analysing the relationship between these artistic projects and the initiatives concerning Staszic’s tomb which stemmed directly from the Society (a big raw stone as memorial), the article highlights the problem of TKWPN’s participation in creating the posthumous cult of its long-time president and most important benefactor. The TKWPN’s seemingly paradoxical reluctance to glorify Staszic by means of traditional (artistic) forms of commemoration can be interpreted as a logical action calculated to benefit the Society’s image. Therefore, focusing on this single aspect of the posthumous cult of Staszic, directly related to the TKWPN, this article refers to the image-building policy of this institution, and thus to the ways of building its social status. At the same time, it tackles the issue of the prestige of science and scientific patronage as a new (from the early 19th-century perspective) form of public merit.

10

Hingabe an den Glauben. Zeugnisse von Frömmigkeit in pommerschen Inschriften vom Mittelalter zur Neuzeit

32%

Herold J.

Przegląd Zachodniopomorski

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2018

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issue 4

33-52

EN

In the historical Pomerania there are many inscriptions dated from the times of the Reformation (before and after it), in which their authors expressed their piety or it is possible to come to some conclusions about it. That tradition has been analysed in the period of time that starts when the first inscriptions of that type appeared in Pomerania in the 13th century and stretches out till the mid-17th century. After the general character of the inscriptions and the concept of piety have been preliminarily explained two carriers of inscriptions – bells and tombstone – are introduced; first, it has been described what type of inscriptions may be found on them; next, the article focuses on the inscriptions inspired by religious motives, which makes it possible to come to the conclusions about the piety of their authors. A special attention has been paid to the changes in various texts in the 16th century; some of them may have resulted from the beliefs that were modified by the Reformation, whereas others may be associated with social changes within various faiths.

DE

Auf dem Gebiet des historischen Pommern ist eine große Zahl von Inschriften aus vorund nachreformatorischer Zeit erhalten, in denen die Urheber dieser Texte ihrer Frömmigkeit Ausdruck verleihen oder die Rückschlüsse auf deren Frömmigkeit erlauben. Der für die Untersuchung dieser Überlieferung in Betracht gezogene Zeitraum beginnt mit dem ersten Auftreten von Inschriften in Pommern im 13. Jahrhundert und reicht bis zur Mitte des 17. Jahrhunderts. Nach einführenden Erläuterungen zum allgemeinen Charakter von Inschriften und zum Begriff der Frömmigkeit werden zwei Gruppen von Inschriftenträgern – Glocken und Grabplatten – vorgestellt. Zunächst wird dargelegt, welche Gattungen von Inschriften im Allgemeinen auf ihnen anzutreffen sind. Daran anschließend richtet sich der Fokus auf religiös motivierte Inschriften, die Rückschlüsse auf die Frömmigkeit ihrer Urheber erlauben. Das besondere Augenmerk liegt auf Veränderungen einzelner Textgattungen im 16. Jahrhundert, von denen manche auf veränderte Glaubensvorstellungen infolge der Reformation, andere hingegen auf einen konfessionsübergreifenden Wandel der Gesellschaft zurückzuführen sind.

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2 Biuletyn Historii Sztuki

1 Archiwa, Biblioteki i Muzea Kościelne

1 Historie – Otázky – Problémy (History, Issues, Problems)

1 Kwartalnik Historii Nauki i Techniki

1 Latopisy Akademii Supraskiej

1 MAZOWSZE Studia Regionalne

1 Przegląd Zachodniopomorski

1 Rocznik Antropologii Historii

1 Saeculum Christianum. Pismo Historyczne

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1 Getka-Kenig M.

1 Herold J.

1 Jurkowlaniec T.

1 Karpowicz M.

1 Kich-Masłej O.

1 Mroczkowska A.

1 Synecký J.

1 Trajdos E.

1 Wiraszka M.

1 Wodnicka-Kasprzak U.