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1

POZNÁMKY K IKONOGRAFII A IKONOLÓGII SCÉNY ROZDÁVANIA MILODAROV SV. JÁNOM ALMUŽNÍKOM

100%
Zervan M., Zervan V.
ARS
|
2023
|
vol. 56
|
issue 2
185 - 208
EN
The study is a contribution to the iconography of St. John the Almsgiver. The paper focuses on the copper engravings and the painting of Joseph Kurtz from the 18th century in Slovak collections, which depict St. John the Almsgiver distributing the alms. While writing the study, we gradually discovered that to explain the etchings and the painting, we need to examine the origins of this iconographic theme. It was confirmed that the form of the representative portrait of St. John Almsgiver originated in Byzantium. However, it is also indisputable that the transfers and robberies of the saint‘s remains before and after 1204 contributed significantly to the cult of the saint in several places in the Latin West. An important factor in consolidating the cult was the saint‘s inclusion in the Golden Legend hagiographic collection. This collection‘s illustrated manuscripts and first prints undoubtedly influenced the composition of the iconographic scene of the distribution of alms by St. John the Almsgiver. The Hungarian king Matthias Corvinus, who received the entire body of St. John Almsgiver most probably based on the peace treaty, and his court had contributed to the extraordinary promotion of the cult of the saint. Thanks to the painted decoration of the chapel in Buda, where the remains of the saint were kept, visual representations inspired by the Golden Legend collection spread not only in the territory of today‘s Slovakia but also in several places in today‘s Poland. Only the paintings of the 16th and 17th centuries prioritized the iconographic scene of giving alms to such an extent that most of their elements were adopted by Gustav Adolf Müller. In the representative crypto portrait of Joseph Kurtz, the beggars are strikingly similar, as if they were a multiplication of the exact figure. A hypothesis could be made that the painting was a mixture between a representative portrait and a narrative image.
2

Planimetria obrazu

100%
Budzińska J.
Sensus Historiae. Studia interdyscyplinarne
|
2012
|
issue 1(6)
115-132
EN
The text is an attempt to re-read / “structuring” of B. Strozzi’s picture’ Abduction of Europa’ in reference to the iconic turn, important and interesting from a methodological perspective, made in the 90s of the twentieth century. Referring to Max Imdahl and his Iconic (and, though the methods of criticism, to E. Panofsky and H. Sedlmayr) and using that first proposed ideas how so-called recognizing and seeing view, stage totality or transscenic field-line system is shown, that the meaning of the image/ presentation may be constituted by his, unique and singular, visual structure, which in turn is based on, impossible to translate discursive, pictorial language.
3

VÁROSSOV POJEM UMELECKÉHO OBRAZU VO SVELTE SÚČASNÝCH VIED O OBRAZE

100%
Gerát I.
Filozofia (Philosophy)
|
2014
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vol. 69
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issue 2
154 – 163
EN
Artistic image is one of the central concepts of Váross’s posthumously published writings titled From creativity to creation (Bratislava 1989). Contrary to most common users of language in Váross the concept was to denote the concretization of an artwork in the percipient’s consciousness. The paper aims at a closer analysis of Váross’s definition of the concept in question, bringing the related citations and showing its place within a wider context of Váross’s theory of art. Further, it unveils some connections between his definition of artistic image and the key issues of the theory of image as reflected in contemporary image sciences (iconology, Bildwisseschaften).
4

JAN BIALOSTOCKI AND GEORGE KUBLER. IN AN ATTEMPT TO CATCH UP WITH THE SYSTEM

84%
Wojciech B.
ARS
|
2010
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vol. 43
|
issue 1
119-126
EN
The paper examines why Jan Bialostocki found interest in the work of Georg Kubler, especially in his book: The Shape of Time. Remarks on the History of Things (New Haven - London 1962), which begins and ends with an attack on iconology. The Polish art historian reviewed and then cited it a great deal. His conception was to have constituted a reply to the crisis of the concept of style, and above all, an attempt to overcome the paradigm of stylistic unity of periods and the single-file march of styles throughout history.
5

A MOTIF AND ITS BASAL LAYER. THE HAEMORRHOISSA (MARK 5.24-34) AND THE INTERPLAY OF ICONOLOGICAL AND ANTHROPOLOGICAL RESEARCH

84%
Kusters L., Sidgwick E.
ARS
|
2011
|
vol. 44
|
issue 2
144-158
EN
The essay presents a factual example of how the synergy of iconological and anthropological research can be harnessed in relation to the motif of the Haemorrhoissa, the Woman with an Issue of Blood, which is to be found in texts and images from the early Christian period onwards. The authors – keeping in mind the porous boundaries – put forward an iconological reading and an anthropological reading, and then trace their interconnections and exchanges.
6

THEOLOGY, BIBLE AND LITURGY AS THE SOURCES OF CHRISTIAN ART (Teologia, Biblia i liturgia jako zrodla sztuki chrzescijanskiej)

67%
Nadrowski H.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2008
|
vol. 1
21-45
EN
It is important, and even essential, to realize that both in the creative and in the perceptive process associated with Christianity one must have the minimum knowledge of theology, the Bible, liturgy, tradition, custom and a general idea of culture and art. Religious art as well as art made for a gallery or museum has a very open character and can even assume the form of an experiment. However, sacred art, which is associated with the space of the church, is an entirely different phenomenon. The latter must have an ancillary and adaptive character: it must serve the community and the individual discovering of the closeness of God, especially during the liturgy. Time, space and man form a kind of triad, which clarifies sacred art. It is a mistake to build churches without a clear indication of that hic et nunc. Space-time, i.e. realization and concretization, allows not only for considering the time of a given epoch but also for creation and evaluation according to its criteria. The subject matter itself does not prejudge the sacred nature and purpose of a given work of art. What is necessary is deliberate and purposeful creative activity, and an object of worship should be carefully designed. However, it must not carry a message that is accidental, incoherent, chaotic. It is necessary to restore the idea of the iconographic programme of a sacred object, which will be anchored to the three foundations listed in the title. These, in turn, will guard the dogmatic correctness of a work of art and clearly explain its sense that results from a consistent iconological message. It is an important task to properly prepare developers, investors, and the faithful-recipients both for the understanding of historical church monuments and for new solutions concerning content and form. However, it is not enough that this space should be correct and functional in its technical or artistic aspect. There is no place for the reification of art. What is important is that the works of sacred art should be imbued with a certain metaphysical depth, a meditative climate or a mystical nature. They should even stimulate a person to meet God. This interpersonal character is crucial: the man-artist establishes a relationship with God in the creative process while and the man-recipient ought to feel this personal relationship with God, which indirectly is also a meeting with the artist. The latter has the role of a priest and prophet, or evangelizer, who is an intermediary leading to the supernatural reality. Moreover, a work of art becomes a meeting place for other people, sometimes even for generations. This is because the spirit of faith and devotion accumulates in it, and the work thus receives a 'new life' that transcends not only its time but also the creative idea of the artist. An artist always expresses himself in some way. At the same time, the author of a work of sacred art does not speak in isolation from his specific environment and circumstances. He does not create art for himself but for the faithful. The very concept of a work and its artistic effect is to invite, even encourage the faithful to visit a given church space, which is to be a foretaste of the heavenly Jerusalem, new earth and new heaven. This eschatological aspect is somehow inscribed in the space of the church. Art and works of art need their right place, not only in the space of the church, in the catechesis, in homiletics, in pastoral work, but also in theological thought, in the interpretation of the Christian Creed and the Decalogue. Sacred art is even defined as a 'theological space.' It is necessary to deepen the theology of aesthetics and art. An important task is the co-operation of all those jointly responsible both for the appearance and the dignity of the heritage of the past as well as for new solutions in church architecture.
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