Search results

1

Medieval Representation of the Legend of Saint Ladislaus in Comitatus Gömör

100%

Szakalos E.

Saeculum Christianum. Pismo Historyczne

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2018

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vol. XXV

113-123

EN

The aim of the article is to carry out detailed analysis of the frescoes of Saint Ladislaus legend in comitatus Gomor. Basing on new research as well as on the examination of the two recent discoveries the Authoress casts new light on the issue of mural painting’s dating and on the circumstances connected with theirs creation. The article starts with an introduction on pictorial representation and written sources of the legend of Saint Ladislaus. The main part of the text contains survey on the frescoes from Rimabanya, Rakos, Kovi, Szilice.

2

Synagogue paintings as indicating a!developing conception of national redemption

87%

Orgad Z.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2019

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vol. 25

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issue 34

15-27

PL

Abstract. Orgad Zvi, Synagogue paintings as indicating a developing conception of national redemption. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 15–27. ISSN 1731-450X. DOI 10.14746/i.2019.34.01. This article compares the interior paintings in the ‘Ades and Ohel Moshe synagogues, both of which are non-Ashkenazi, in the Naḥlaot neighborhood in Jerusalem. Although the synagogues were decorated 50 years apart, there are similarities in the painted motifs and drawing schemes, but also some differences. I suggest that these differences reflect the development of a Jewish concept of national redemption during the 50 years that elapsed between the adornment of the two synagogues.

3

Marina el-Alamein: newly discovered bath after the 2017 season

75%

Jakubiak K.

Polish Archaeology in the Mediterranean

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2018

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vol. 27(1)

57-66

EN

Most of the activity during the 2017 season at the archaeological site of Marina el Alamein was focused on two areas situated in the northern part of the town. Building H 40 was one of the main excavation targets: two rooms were cleared, originally part of a large, multi-roomed and most probably prosperous house. The other target was the structure H 39, already explored in earlier seasons, which was now confirmed as a small but richly decorated bath complex with traces of wall painting and geometric mosaic floors.

4

Beyond Textiles: Alternative Uses of Twisted Fibres and Evidence from Akrotiri, Thera

75%

Vakirtzi S., Georma F., Karnava A.

Światowit

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2017

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vol. 56(1)

75-88

EN

Fibre crafts are among the oldest technological practices of mankind. Although commonly associated with textile manufacture, twisted fibres in the form of threads have always had a wider range of use in everyday life. Strings and ropes constitute a humble but essential category of fibre products deriving from the same technology and organic matter as threads. Due to their organic nature, however, they are rarely preserved in the archaeological record, unless special environmental conditions occur. This paper explores the research potential of the imprints of threads and strings in a study focusing on the alternative uses of fibre-spun artefacts. The focus is on the Bronze Age Aegean imprints of threads and strings preserved on objects made of clay and on wall paintings recovered at Akrotiri on Thera. The technical properties of the original threads and strings are evaluated through observation of their imprints, and the fibre technology used for their production is assessed. The methodologies of spindle whorl metrology and experimental spinning are also integrated in the discussion. Ultimately, the use of threads and strings for a variety of purposes, including but not limited to textile production, is discussed.

5

Fragments of Wall Paintings From Polish Excavations at Kom El-Dikka, Alexandria

75%

Tkaczow B.

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

421–439

EN

The study of mural painting in ancient Alexandria is still based on images decorating walls of Alexandrian tombs due to the fact that discoveries of painted plaster at archaeological sites in the ancient city are rather scarce and poorly documented. For this reason, the analysis of painted decorations from both public buildings and private houses has to be supported with references to the material from the necropolis. Fragments of mural paintings, unfortunately not in large numbers, were found on the walls of buildings discovered at Polish excavations at Kom el-Dikka. They are mostly decorations of house interiors, both from the Early Roman and Imperial Periods (first–third centuries AD) as well as the Late Antique Period (fifth–sixth centuries AD). Very few remains of painted decoration of public buildings were preserved in several so-called auditoria and in some rooms of Imperial Baths. Rich assemblages of painted plaster pieces were found in debris filling interiors of particular buildings. A common presence of uniform patterns and colours indicates that the majority of the material might have come from a single large edifice located in the vicinity of Kom el-Dikka. The material, which consists of several hundred remains, includes a rich selection of imitation of stone revetment, fragments of ornamental decorations and pieces which come from bigger figural compositions. All this material could be a starting point for an in-depth study of painted decoration of Alexandrian architecture between the first and the sixth centuries AD.

6

No “painting by numbers”. Khuwy’s polychrome wall decoration at Djedkare’s royal cemetery

75%

Pieke G.

Pražské egyptologické studie (Prague Egyptological Studies)

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2021

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issue 26

23-45

EN

The mastaba of Khuwy at the Djedkare’s royal cemetery at South Saqqara is one of the earliest attested decorated burial chambers. The very well preserved wall paintings on low relief in the antechamber of the substructure bear testimony to the high standard of this particular form of art already in the Old Kingdom. In combination with the iconographic concept and composition of the chamber, Khuwy’s paintings offer a very rare opportunity for an in depth study of the painting process and the art techniques of this period. A short preliminary study has already managed to record some specific painting practices used in the ante chamber. It is evident that the painter(s) responsible for the decoration of the antechamber were particularly interested in rendering details. Their work is characterised by a specific use of different colours and their shades in combination with skilful execution of painted and drawn details particularly in the depictions of the textures of the represented objects and animals.

7

Wall Paintings in Ancient Cyprus: The Hellenistic and Roman Tombs of Paphos and Its Region

75%

Lysandrou V., Michaelides D.

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

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2021

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issue 34

207-253

EN

This paper presents the wall paintings decorating a number of Hellenistic and Roman tombs, of various architectural types, in Paphos and the region. The paper gathers together for the first time all the known published and unpublished painted tombs of the city, which are studied on the basis of observations made on the actual decoration preserved either in situ or in the laboratory of the Paphos District Museum, and with the use of all pertinent publications. A catalogue of these tombs has been created and this is accompanied by a map with the geographic location of each example. The various themes represented on wall paintings have been divided into groups and are discussed accordingly, while the manufacturing technology of a sample of the wall paintings is examined using both non-contact and analytical tools.

8

Kaplice czy kaplica? O zawiłych dziejach kaplic(y) św. Bartłomieja i św. Jadwigi w gdańskim kościele Najświętszej Maryi Panny i o ich znaczeniu dla badań nad średniowiecznymi elementami wystroju

75%

Grabowska-Lysenko A.

Zapiski Historyczne

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2022

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vol. 87

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issue 1

27-62

EN

According to the findings of the research into the history of St. Mary’s Church in Gdańsk, in its eastern part, behind the main altar, three liturgical centres operated in the Middle Ages: the Chapels of the Holy Sepulchre and of St. Bartholomew, which divided the wide architectural space on the axis of the temple, as well as the Chapel of St. Hedwig, located to the south of them. In the latter, a set of wall paintings and a reredos have survived to the present day, the aspects of which have been analysed mainly in relation to the scanty information on the history of this chapel. The example of the decoration of a chapel referred to as ‘Chapel of St. Hedwig’ shows how important, from the point of view of historical and artistic research, it is to use written sources, both those contemporary to the created works of art, and those from a later period. An in-depth analysis of various source materials related to the history of the chapels mentioned above, especially documents related to the Chapel of St. Bartholomew, founded in 1451, has made it possible to establish that in fact there were formerly only two chapels behind the main altar: The Chapel of the Holy Sepulchre (later also called the Chapel of St. Gertrude) and – on the southern side – the Chapel of St. Bartholomew, which as early as at the beginning of the 16th century was commonly referred to as the Chapel of St. Hedwig. Putting this issue in order will make it easier to analyse the objects found in the Chapel of St. Bartholomew/Hedwig in a more comprehensive manner – as a group of works that are the effect of a more uniform concept, and it will enable a more precise dating of the works, which in turn may serve as a starting point for further research into the artistic environment of mid-15th century Gdańsk.

9

Nowe ustalenia w zakresie funkcji i wystroju empory kościoła pofranciszkańskiego w Toruniu

75%

Jakubek-Raczkowska M., Raczkowski J.

Zapiski Historyczne

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2020

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vol. 85

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issue 1

163-186

EN

The article addresses the original function of the matroneum in the former Franciscan Church of the Assumption of the Holy Virgin Mary in Torun. These remarks are the result of the latest discoveries and technological research. The matroneum, situated above the cloister in the northern nave of the church, was built during the reconstruction of the church to its present form. Based on a dendrochronological examination, the matroneum was secured with a wooden railing in the 1350s and later. Due to a lack of written sources, the functions of the matroneum are not determined in scholarly publications. It may have been used as an oratory for friars. The authors analyse the architectural shape of the matroneum, take into account its original communication with the church and monastery and the remains of its furnishing. The study of the architectonic structure and the staircase that now leads from the nave to the matroneum allows to determine that it was constructed only in the eighteenth century. In the Middle Ages, the matroneum was connected to the monastery through a passage that is now bricked up, and to the ground floor of the church it was connected through an older, thirteenth-century staircase tower. A convenient, direct communication between the matroneum and the dormitory, the fact that the monastery was not directly connected to the presbytery, and the fact that the church choir was rebuilt at the end of the fourteenth century reinforce the theory that the matroneum was used for liturgical purposes. The authors also discuss the previously unknown polychrome relics inside the matroneum. These are, respectively, a relic of a fourteenth-century heraldic representation with the head of an ox and a remnant of a figural scene on the northern wall from the last quarter of the fourteenth century. Both paintings have been subjected to in-depth research, including non-destructive methods (XRF, UV and IR). The first of the paintings, probably the coat of arms of a burgher family, may be a proof that the laymen had access to the interior of the matroneum. The second painting reinforces the assumption of the authors regarding the liturgical use of this place.

10

Conservation in Marina el-Alamein in 2017 (Polish–Egyptian Conservation Mission)

63%

Zambrzycki P., Selerowicz A.

Polish Archaeology in the Mediterranean

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2018

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vol. 27(1)

85-92

EN

The conservation program of the Polish–Egyptian Conservation Mission in Marina el-Alamein in 2017 included restoration of wall structures and architectural decoration elements damaged as a result of unfavorable climate conditions (Houses H9/H9a and H21, Rooms 10 and 11 in the Roman baths). Wall paintings exposed to weather conditions in situ were treated as part of another conservation project. Minor metal finds were also treated using both chemical and mechanical means in order to identify the objects.

11

Unearthing Houses in Porphyreon and Chhim. Structure, Spatial Development, and Decoration of Domestic Spaces in Late Antique Phoenicia

63%

Waliszewski T., Burdajewicz J.

Światowit

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2019

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vol. 58

173-195

EN

Porphyreon (Jiyeh/Nebi Younis) and Chhim were large rural settlements situated on the coast of modernday Lebanon, north of the Phoenician city of Sidon. As attested by the remains of residential architecture, they were thriving during the Roman Period and late Antiquity (1st–7th centuries AD). This article presents the preliminary observations on the domestic architecture uncovered at both sites, their spatial and social structure, as well as their furnishing and decoration, based on the fieldwork carried out in recent years by the joint PolishLebanese research team. The focus will be put on the wall painting fragments found in considerable numbers in Porphyreon. The iconographical and functional study of the paintings betrays to what extent the inhabitants of rural settlements in the coastal zone of the Levant were inclined to imitate the decoration of the urban houses known to them from the nearby towns, such as Berytus, but also from religious contexts represented by churches.

12

Wall paintings from the House of Aion at Nea Paphos

63%

Jastrzębowska E.

Polish Archaeology in the Mediterranean

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2018

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vol. 27(1)

527-597

EN

This paper studies a collection of painted plaster fragments excavated between 1984 and 1989 in the northern part of the so-called House of Aion, that is, three small rooms (Nos 3, 13, 14, 15 and 7). The architectural context of these finds and their dating is first recapitulated: the house was constructed in the second half of the 4th century only to be demolished by a strong earthquake at the end of the century or the beginning of the following one. Most of the plaster pieces were small and of little significance in terms of the remaining colors, but a few from Room 7 were sufficiently well preserved to support a reconstruction of parts of five figural images (three muses, Apollo and a mask) and determine their hypothetical position in this room. Parallels, in painting and floor mosaics, range from Ephesos and Kos in the east to Vichen (Luxembourg) in the west. Based on the iIonographic identification, the 4th century AD Muses from Paphos could be recognized as: a standing Thalia holding a mask, a seated Urania and a standing Euterpe with a double flute in her hand, accompanied by Apollo holding a lyre. Together they constituted typical decoration of a Mediterranean Roman house, common from the early Empire through late antiquity.

13

W sprawie proponowanych nowych ustaleń na temat kościoła pofranciszkańskiego w Toruniu

63%

Nawrocki Z.

Zapiski Historyczne

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2022

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vol. 87

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issue 3

123-132

EN

The text constitutes a commentary on the text by Monika Jakubek-Raczkowska and Juliusz Raczkowski, published in Zapiski Historyczne, with regard to the dating of the final expansion of the Church of the Assumption of the Blessed Virgin Mary in Toruń to the present form, which extended the church to include the earlier southern wing of the monastery. Based on various evidence (including information that King Casimir the Great is reported to have listened to the organ allegedly located in the northern matroneum of the completed church in 1343), the above-mentioned authors put forward the hypothesis that the expansion may have been carried out in the first half of the 14th century, that the church had already had its present-day three-nave structure, and that the two analysed fragments of paintings, which are located in the niches of the northern wall of the matroneum, are part of a once large composition related to its medieval function within the church. The author of this commentary upholds the findings of his own research published in print in 1966, that the final expansion of the church took place in a later period, while the paintings of the presentday matroneum, analysed by Monika Jakubek-Raczkowska and Juliusz Raczkowski, did not ornament the matroneum, but a room or rooms upstairs in the monastery’s south wing.

14

Identyfikacja pigmentów polichromii we wnętrzach kamienicy nr 43 na Starym Rynku w Poznaniu

51%

Filipiak M.

Ochrona Zabytków

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2015

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issue 2

171-183

EN

The article presents results of research of wall paintings located in a fifteenth-century tenement house in the Old Market Square, in Poznań. Almost 60 small fragments of polychromes were analised using methods of: optical microscopy, spectral analysis and observation in micro-area (SEM-EDS), infrared imaging technique (FTIR-ATR) and Raman microspectroscopy. Following pigments were identified: lead minium, red ocher, massicot, yellow ocher, malachite, azurite, chalk, charcoal (beech), vine black and lamp black.

15

Conservation work in Marina el-Alamein in 2018 (Polish–Egyptian Conservation Mission)

51%

Selerowicz A., Zambrzycki P.

Polish Archaeology in the Mediterranean

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2019

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vol. 28(2)

101-112

EN

The article presents the program and results of continuous monitoring and preservation of historic architectural structures after the winter period at the site of Marina el-Alamein in Egypt, carried out by the Polish-Egyptian Conservation Mission. The program embraced studies of ancient plaster, polychromy and execution techniques employed for producing elements of sculptural and architectural decoration, as well as conservation of archaeological artifacts.

16

“The path to God”. Francisco de Herrera the Elder’s wall paintings in the Franciscan Church of St. Bonaventure in Seville

38%

Witko A.

Folia Historica Cracoviensia

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2016

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vol. 22

579-599

EN

In 1626–1627 Francisco Herrera the Older, back then Seville’s most renowned painter, decorated the walls of the local Franciscan St. Bonaventure’s church with a number of wall paintings dedicated to Franciscan history and spirituality, complemented with emblems related to theological works of the temple’s patron-saint. The paintings became the basis of an interesting iconographic programme with a strong theological and pedagogical message, due to the presence of young monks educated in the monastery, attributed to two notable Friars Minor: Luis de Rebolledo and Damián de Lugones. The collection, based on the works by St. Bonaventure, presented first and foremost the path to sanctity by acquiring wisdom: from philosophical knowledge through theology to mystic contemplation, in which we learn about and unite with God.

PL

W latach 1626–1627 Francisco de Herrera St., najpopularniejszy wówczas malarz działający w Sewilli, pokrył ściany tamtejszego kościoła Franciszkanów pw. św. Bonawentury zbiorem malowideł poświęconych historii i duchowości franciszkańskiej, dopełnionych emblematami odnoszącymi się do twórczości teologicznej patrona świątyni. Malowidła te stanowiły podstawę ciekawego programu ikonograficznego o silnej wymowie teologiczno-pedagogicznej, ze względu na kształcących się w tamtejszym klasztorze młodych zakonników, a wiązanego z nazwiskami dwóch wybitnych Braci Mniejszych: Luisa de Rebolledo i Damiána de Lugones. Zbiór ten, bazując na pismach św. Bonawentury, ukazywał przede wszystkim drogę do świętości, wiodącą poprzez zdobywanie mądrości: od wiedzy filozoficznej, poprzez teologię, aż po kontemplację mistyczną, w której poznajemy Boga i jednoczymy się z Nim.

Refine search results

Medieval Representation of the Legend of Saint Ladislaus in Comitatus Gömör

Synagogue paintings as indicating a!developing conception of national redemption

Marina el-Alamein: newly discovered bath after the 2017 season

Beyond Textiles: Alternative Uses of Twisted Fibres and Evidence from Akrotiri, Thera

Fragments of Wall Paintings From Polish Excavations at Kom El-Dikka, Alexandria

No “painting by numbers”. Khuwy’s polychrome wall decoration at Djedkare’s royal cemetery

Wall Paintings in Ancient Cyprus: The Hellenistic and Roman Tombs of Paphos and Its Region

Kaplice czy kaplica? O zawiłych dziejach kaplic(y) św. Bartłomieja i św. Jadwigi w gdańskim kościele Najświętszej Maryi Panny i o ich znaczeniu dla badań nad średniowiecznymi elementami wystroju

Nowe ustalenia w zakresie funkcji i wystroju empory kościoła pofranciszkańskiego w Toruniu

Conservation in Marina el-Alamein in 2017 (Polish–Egyptian Conservation Mission)

Unearthing Houses in Porphyreon and Chhim. Structure, Spatial Development, and Decoration of Domestic Spaces in Late Antique Phoenicia

Wall paintings from the House of Aion at Nea Paphos

W sprawie proponowanych nowych ustaleń na temat kościoła pofranciszkańskiego w Toruniu

Identyfikacja pigmentów polichromii we wnętrzach kamienicy nr 43 na Starym Rynku w Poznaniu

Conservation work in Marina el-Alamein in 2018 (Polish–Egyptian Conservation Mission)

“The path to God”. Francisco de Herrera the Elder’s wall paintings in the Franciscan Church of St. Bonaventure in Seville