Search results

1

The Angelology of Sergius Bulgakov

100%

Raczyński-Rożek M.

Polonia Sacra

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2022

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vol. 26

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issue 1

37-58

PL

Contemporary angelology is primarily an apologetic response to the negation of the existence of the angelic reality by liberal Protestantism. Bulgakov’s teaching about angels, on the other hand, arose as an indispensable part of the theological system. The orthodox author defines angels as created ideas of reality. As with Plato, every thing has its own idea, so with Bulgakov it has its own angel. The angels are therefore closely related to the earthly world and are its guardians, leading the world to the realization of the meaning given to it. Angels are also closely related to God because it is their nature to be filled with divine life. Thus, they constitute “Jacob’s ladder” - the reality that connects the world with God.

2

Anioły w Koranie

100%

Pavlyuk O.

Nurt SVD

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2013

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issue Wydanie specjalne 2013

93-102

PL

W Koranie, świętej księdze muzułmanów, słowo anioł (malak) spotykamy częściej niż osiemdziesiąt razy. W islamie anioł to duchowa siła czy istota, która podaje ludziom dobre uszczęśliwiające myśli, zwierzętom zaś podsuwa zbawcze przeczucie lub w jakiś inny sposób pozostaje w służbie natury i życia. Aniołowie bezpośrednio służą Bogu, towarzysząc ludziom i pozostałym istotom i współdziałając z nimi. Koran daje czytelnikowi całościowy i rozmaity obraz aniołów w islamie. Przeprowadzona analiza wybranych tekstów Koranu daje nam fundamentalną koraniczną wiedzę o istotach duchowych, które, tak jak ludzie, stworzone zostały dla służby Bogu i przebywaniu z Nim w szczęśliwości. Wiedza o aniołach i wiara w nich powinny wspierać wierzącego na drodze zbawienia, wzmacniać jego wiarę, poczucie bezpieczeństwa i obecności wspomagających aniołów i Boga. Wiara w anioły jest bardzo ważną częścią wiary muzułmańskiej, ma bogatą tradycję i historię. Aniołowie odgrywają znaczącą rolę w życiu człowieka, towarzyszą mu przez cały czas jego bycia na ziemi i istnienia po śmierci. Jest nieodłączną rzeczywistością egzystencji muzułmanina.

EN

In Qur’an, the Muslims’ holy book, the word angel (malak) may be read more than eighty times. In Islam, angel is a spiritual power or creature, who gives good pleasing thoughts to people and saving premonitions to animals and who serves the nature and life in some other way. The angels serve directly to God while accompanying people and other creatures, co-operating with them. Qur’an gives the reader a comprehensive portrait of the angels in Islam. The analysis of selected excerpts from Qur’an gives the readers fundamental Qur’anic knowledge about spiritual creatures who, just like people, were created to serve God and be with Him in happiness. The knowledge of angels and the faith in them should support a believing person on their way to salvation, strengthen their faith, the feeling of security and of supporting angels and God’s presence. The faith in angels is a very considerable part of Muslim faith, has a rich tradition and history, is a Muslim’s existence’s inevitable reality. Angels play a significant role in the lives of people, accompany them all the time of living on the Earth and during their existence after death.

3

“Eternal Bodies”: images of archangels in the upper parts of Nubian buildings

100%

Łaptaś M.

Polish Archaeology in the Mediterranean

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2020

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vol. 29(2)

713-736

EN

Images of archangels and angels, which were painted on the walls, in the upper parts of the buildings and, on their structural elements, were very popular in Christian Nubian painting as attested by the discoveries from Church SWN.BV on the citadel in Old Dongola. These images, which derive from pre-Christian art, depict the eternal nature of the archangels and angels. Presenting this group of representations, the author traces the origins of these images to highlight the role of these spiritual beings as intermediaries between God and humankind. As such, they move freely between the Heavens and the Earth, so the air and cosmic space are their natural surroundings. Moreover, archangels govern the forces of nature, the planets, and the seven skies. Therefore, their sanctuaries were located on hill summits, in the upper chapels, on structural elements of ecclesiastical buildings, etc. The Nubian tradition is therefore part of a broader Mediterranean tradition, the roots of which should be sought in the Near East.

4

Танатологические мотивы в прозе Ирины Одоевцевой в контексте диалога с литературной традицией

88%

Witczak P., Uniwersytet Kazimierza Wielkiego W. H.

Acta Universitatis Lodziensis. Folia Litteraria Rossica

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2014

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vol. 07

EN

The present paper brings an analysis of the motif of death in Irina Odoyevtseva’s novels "Zerkalo", "Izolda" and "Angel smerti". In the prose of Odoyevtseva, who belonged to the younger generation of the Russian Emigration (the first wave), death is a frequent motif. The author explores how Odoyevtseva refers to Mikhail Lermontov’s poems and to the Celtic story of "Tristan and Iseult"

5

The Motif of the Angel(s) of Death in Islamic Foundational Sources

88%

Prochwicz-Studnicka B.

Verbum Vitae

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2020

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vol. 38

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issue 2

PL

The article aims at presenting the motif of the angel(s) of death in the foundational texts of Islam, i.e. the Quran, and in the Sunnah of the Prophet Muhammad. The scope of the research was limited to the dynamic motifs and therefore involves only the angels who participate in events associated with the time in which a person dies. The first part of the present study provides an overview of the foundational sources of Islam and the second consists of an analysis of the eponymous theme which is featured in them. At the end, an attempt has been made to draw conclusions as far as the conceptual and imagery dimensions of the motif are concerned.

6

Taevasest teenaitajast kommertsmaailma sonumitoojaks: ingli stereotuubid tarbijareklaamides

88%

Hiiemae R.

Mäetagused

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2012

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vol. 51

113–128

EN

This empirical research intends to analyse the use and functions of the image of an angel in advertisements. The aim of the article is to follow the modifications and adaptations that the image of an angel has gone through during centuries, and to find out whether the portraying of angels in advertisements would allow us to draw conclusions about people’s contemporary beliefs and values in Estonia as well as elsewhere in the world. The analysis is based on about 50 advertisements that have mainly been produced during the last ten years.

7

Inglid ja Inglipesa internetifoorum uue vaimsuse kandjate ja legitimeerijatena

88%

Uibu M.

Mäetagused

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2014

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vol. 56

181-204

EN

The article observes angels as figures important for the contemporary spiritual milieu. The article focuses on an Estonian spiritual Internet forum, The Nest of Angels, and demonstrates how angels help to share virtual social support and create/confirm spiritual meanings. The forum, explicitly opposing the consumerist side of new spirituality, has become popular and demonstrates the nature and various roles of contemporary spiritual angels. Angels constitute a salient example of a recent religious change, becoming the symbols of human-centeredness and this-worldliness of modern religiosity. By asking why angels and why in the internet environment, the study identifies two main modes in which the Nest and the presence of angels have found their place in people’s lives. Firstly, emotional support is shared, either by fellow users directly or by confirmations that angels will definitely help. Secondly, the Nest allows people to acquire knowledge both on spiritual and practical issues. As the Nest is dialogical, users can pose questions and find confirmations for their otherwise deviant experiences. Discussions in the Nest encourage everybody to interpret some situations and objects (like feathers) as signs from angels. This interpreting process might change people’s perceptions of the world by adding a layer of positive emotions. The study demonstrates how the angelic presence (or at least endeavour towards the presence) helps to establish and keep the tonality of benevolence, which functions as the cornerstone of this virtual space. The ideology of the Nest and the community interactions support “connected knowledge”: being empathic, intuitive, and individualistic. As a rule, commenters do not aim to challenge diverging views (common elsewhere in Internet communication), but attempt to understand and support each other. The trustful virtual relationships actualise the influence and the authority of people similar to users themselves, and increase distrust towards traditional authorities, especially those that do not accept people’s free choice and subjectivism. Therefore, although quite opposite to a feminist empowerment ideology, new spirituality and angels support a subjective feeling of self-confidence that is framed with ‘feminine’ softness. In addition to active moderation and the strongly perceived normativity of keeping the place “high-vibrational”, the angels themselves are guardians and guarantors of this intimacy, so knowledge and emotional support can be shared. The angels’ divine nature supports people directly, but more importantly, makes them speak in a language of goodness and guarantees that fellow users, although not real angels, are trying to be at least slightly angel-like. Angels as symbolic figures unite power and benevolence; they legitimise values and epistemological positions characteristic to the milieu of new spirituality.

8

Fantasy or a Transcendent Experience? Study of the Painting Ascent into Heaven by Jheronimus Bosch from the Palazzo Ducale in Venice

75%

Kubies G.

Roczniki Humanistyczne

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2018

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vol. 66

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issue 4: Historia sztuki - Selected Papers in English

87-120

EN

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 63 (2015), issue 4. The painting Ascent into Heaven (88.8 x 39.9 cm; dendrological dating: 1482–1490) kept in the Palazzo Ducale in Venice is one of the four eschatological panels (the other three are: Earthly Paradise, Fall of the Damned, Hell) which probably were in the collection of the Venetian Cardinal Domenico Grimani in the 1520s. The panels’ original arrangement and function are unknown. The paintings are not signed and their attribution to Jheronimus Bosch (c. 1450–1516 ) is based largely on the grounds of stylistic criteria. In the study, I put Ascent into Heaven into two fundamental contexts for the iconographic analysis of this work: eschatological literature and Netherlandish/ Flemish painting and in the context of near-death experiences (NDE) as well. The answer to the question posed in the title of the study must remain twofold. On the basis of the data gathered in the study, the content of the painting can be comprehended by references to the most frequently quoted sources of inspiration for Bosch: one painting by Dieric Bouts (left wing of the Last Judgement Altarpiece; Lille, Palais des Beaux Arts), two illuminations by Simon Marmion (Le livre des sept Ages du monde; Brussels, Bibliothèque royale de Belgique, Ms. 9047, fols. IV & 12r) and a literary work Dat rike der ghelieven by Jan van Ruusbroec. Its content can be equally understood by reference to the role of the painter’s imagination (categories of inventio and fantasia), using his theological and astronomical knowledge. The above line of interpretation that emphasizes the influence of biblical logosphere, takes into account undeniable religious experience of the painter from ‘s-Hertogenbosch resulting from being a member of the Church. The factor of an epistemological importance which influences the form of the answer to the title question is hypothetical non-verifiable Bosch’s personal transcendental experience, thus it becomes impossible to evaluate the translation of what is spiritual (experience) into visual (image). Due to the elusive, not fully scientific nature of NDE this phenomenon should be excluded from the final conclusion.

9

The Motif of the Angel(s) of Death in Islamic Foundational Sources as an Element of Cultural Diffusion

63%

Prochwicz-Studnicka B., Mrozek A.

Verbum Vitae

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2021

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vol. 39

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issue 4

1233-1261

EN

The article harks back to the publication entitled “The Motif of the Angel(s) of Death in Islamic Foundational Sources” (VV 38/2 [2020]), which was devoted to the analysis of the eponymous theme in the foundational sources of Islam: the Quran and the sunna of the Prophet Muhammad. The purpose of this paper is to examine whether the motif of angel(s) may have been borrowed from two monotheistic traditions that came before. The verification of the thesis that the motif of the angel(s) of death underwent diffusion was carried out in several steps. First, the motif was identified in the textual traditions of Judaism and early Christianity (i.e. sets of texts that were known and, in all likelihood, widespread in the Middle East during the formative period of Islam). As a result of the analysis, most of the themes recognised in the foundational texts of Islam were found. The next step was to identify possible routes of their transmission and percolation into the Islamic tradition and to determine the “ideological demand” for the motif of the angel(s) of death in the burgeoning Islam. Although Jewish and Christian imagery and beliefs about angels are an important (if not the primary) source of influence on Muslim angelology, there was most likely a two-way interaction between the monotheistic traditions, albeit to a limited extent.

10

Utopia anielska jako wzorzec społeczności ziemskiej w myśli Pseudo-Dionizego i Tomasza z Akwinu

63%

Tomasiewicz M.

Logos i Ethos

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2022

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vol. 59

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issue 1

133-148

EN

The article deals with the issue regarding the influence of Pseudo-Dionysius the Areopagite and Thomas Aquinas’ science about the angels on the socio-political philosophy in the Middle Ages. The key concept in Pseudo-Dionysius’ angelology is “hierarchy”. This concept of hierarchy is based on the assumptions of Neoplatonic metaphysics, hence Pseudo-Dionysius presents angelic beings in the enneadic order. The hierarchy presented in this way influenced the understanding and justification of the social order in the middle ages, and the legitimacy of the structure of political power. Finally, according to these authors, the main goal of the angelic community is the unity of creation in God. Thus, the ideal earthly political order must also pursue eschatological goals.

PL

Artykuł porusza zagadnienie wpływu nauki o aniołach Pseudo-Dionizego Areopagity i Tomasza z Akwinu na filozofię społeczno-polityczną w średniowieczu. Kluczowym pojęciem, którym posługuje się angelologia Pseudo-Dionizego jest „hierarchia”. Koncepcja hierarchii jest osadzona na założeniach metafizyki neoplatońskiej, stąd też Pseudo-Dionizy przedstawia byty anielskie w porządku enneadycznym. Tak przedstawiona hierarchia wywarła wpływ na rozumienie i uzasadnienie porządku społecznego w wiekach średnich oraz na legitymizację struktury władzy politycznej. Wreszcie, wedle wymienionych autorów głównym celem społeczności anielskiej jest jedność stworzenia w Bogu. Tym samym również idealny porządek polityczny ziemski musi realizować cele eschatologiczne.

11

Augustine on angelic knowledge

63%

Aghoghophia O. V.

Warszawskie Studia Teologiczne

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2021

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vol. 34

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issue 2

212-235

EN

Angelic beings are spiritual intellectual beings. They possess knowledge; however, they are not omniscient. They are spiritual beings with limited knowledge in comparison to God, which means they are not like God who is the fullness of knowledge, they acquire knowledge. So, how do angelic beings acquire knowledge? What is the source of their knowledge? What is the nature of the angelic beings’ knowledge? What can angelic beings know and not know? What do these spiritual beings do with their angelic knowledge? Is there any difference between the fallen angels’ knowledge and the upright angels’ knowledge? What is the object of these spiritual intellectual beings’ knowledge? Augustine answered these questions in his theology of angelic knowledge. Augustine treated the nature of the knowledge the angels can acquire with their natural angelic faculty and the nature of the knowledge they acquire through the grace of God. Divine illumination is equally enjoyed by the angels and even more than humans do. The angels are lovers of the truth and they seek the truth either with the appropriate or inappropriate use of their will. The kind of knowledge they pursue determines their relationship with the creator. Augustine outlined how knowledge separates the good angels from the bad angels. These and more are what this paper seeks to explore.

12

Naturalne poznawanie aniołów konsekwencją ich ontycznej struktury – zarys ujęcia Tomasza z Akwinu

63%

Kazimierczak-Kucharska A.

Rocznik Tomistyczny

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2012

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vol. 1

149-159

EN

In the 13th century metaphysics gained quite innovative shape. It resulted in boost of interest in angelology, which has become scientific science. The famous debate between Thomas Aquinas and Avicebron finished with Aquinas’s theory of angelic ontological structure. He has proved that angels are not composed of matter and form, but their composition should be rather regarded in the categories of essence and existence, whereas act of existence plays primary role. The new account of angelic nature let Thomas to show perfection of higher separated substances’ cognition. It is, of course, the consequence of their ontological structure – Angelic cognition is abstracted from the matter, because angels are immaterial, so there is no possibility of processes of abstraction, which belongs only to the bodily beings. Aquinas’ conclusion is simple: angels do not achieve the truth, so there is no process of deduction in their cases, because they are immaterial, which brings about intellectuality of their cognition.

13

Filozoficzny spór o przedmiot poznania, a koncepcja poznania duchów czystych w wykładzie angelologii św. Tomasza z Akwinu

63%

Dutkiewicz T.

Studia Gdańskie

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2016

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issue 39

151-164

PL

W filozoficznym sporze o właściwy człowiekowi przedmiot poznania wskazać można dwa najważniejsze stanowiska: idealistyczne, w myśl którego - wobec zawodności danych zmysłowych - punktem wyjścia refleksji filozoficznej należy uczynić, tak czy inaczej pojmowane, idee; oraz realistyczne, uznające wartość poznania zmysłowego, które jako jedyne umożliwia człowiekowi kontakt z rzeczywistością, a także podstawę dla poznania intelektualnego. Idealistyczny punkt wyjścia filozofii pozostaje w ścisłym związku z antropologiczną redukcją, w wyniku której człowiek ujmowany jest jako swego rodzaju byt świadomości, „czysty duch” poznający. Tego typu spirytualizm odcisnął swoje piętno także na myśli chrześcijańskiej, która przez wiele wieków pozostawała pod przemożnym wpływem platonizmu. Św. Tomasz z Akwinu, który – nawiązując do filozofii arystotelesowskiej – kreśli personalistyczną wizję człowieka jako transcendującej świat materialny, duchowo-cielesnej jedności, wiele uwagi poświęca problematyce angelologicznej, chcąc wskazać na istotne różnice, zachodzące pomiędzy naturą ludzką oraz naturą czystych inteligencji, jakimi są aniołowie. Różnice te w szczególności dotyczą ludzkiego i anielskiego poznania, w wielu jego aspektach. Teoriopoznawcze ujęcia, jakie od czasu Platona i Arystotelesa wypracowano w filozoficznym sporze o przedmiot poznania, okazały się przydatnymi dla wyjaśnienia sposobu pozyskiwania wiedzy, odpowiadającemu naturom – anielskiej i ludzkiej. O ile bowiem to drugie uwikłane jest zawsze w materię i skazane na pozyskiwanie w punkcie wyjścia zmysłowych danych, o tyle dla pierwszego – pozbawionego w naturalny sposób możliwości percepcji zmysłowej – jedynym możliwym punktem wyjścia pozostaje kontemplacja wrodzonych idei.

EN

In the philosophical dispute over the subject of cognition appropriate for man it is possible to identify the two most important positions, namely the idealistic stance, according to which ideas, understood one way or another, should be a point of departure for philosophical reflection due to the fallibility of sense data; and the realistic position which acknowledges the value of sensory cognition as it is the only kind that enables man to have contact with reality, as well as being the basis for intellectual cognition. The idealistic point of departure for philosophy remains intrinsically linked with the anthropological reduction by which man is conceived as a certain form of conscious being, a cognizing “pure spirit.” This type of spiritualism left its mark on Christian thought, which for centuries has remained greatly under the influence of Platonism. St. Thomas Aquinas, referring to Aristotelian philosophy, presents a personalistic vision of man as a spiritual and corporeal unity transcending the material world. Aquinas devotes much attention to angelology, trying to indicate essential differences between human nature and the nature of pure intelligences, namely angels. These differences refer, in particular, to many aspects of human and angelic cognition. Epistemological concepts in the philosophical dispute over the subject of cognition which have been developed since the times of Plato and Aristotle appeared to be helpful in explaining the way of gaining knowledge in reference to angelic and human nature. As the latter is always entangled in matter, the former, naturally devoid of sensory perception, is left to contemplate innate ideas.

14

Mieczysław Gogacz’s anthropological explanation for the existence of angels

63%

Andrzejuk I.

Rocznik Tomistyczny

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2022

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issue 11

31-37

PL

Mieczysław Gogacz, twórca tomizmu konsekwentnego, zaproponował własne, oryginalne uzasadnienie istnienia aniołów. W ramach tego uzasadnienia, zauważa, że o zewnętrznych przyczynach człowieka możemy mówić wtedy, gdy ujmiemy strukturę bytu ludzkiego genetycznie (od strony powiązań i zależno-ści między wewnętrznymi elementami strukturalnymi człowieka). W ten sposób dochodzimy do stwierdzenia, że specyficzna struktura człowieka daje się wyjaśnić tylko przez dostrzeżenie przyczyn zewnętrznych jego wewnętrznych pryncypiów (istnienia oraz istoty). Inne przyczyny powodują jego istnienie i inne wpływają na kształt istoty. Skoro w obrębie istoty człowieka dostrzegamy złożenie z duszy i ciała, to oznacza, że przyczynami celowymi duszy – na miarę niematerialnego skutku – muszą być jakieś substancje niematerialne (podobnie jak niematerialna jest dusza człowieka). W ten sposób możemy mówić o aniołach jako realnie istniejących bytach i przyczynach celowych ludzkiej duszy.

EN

Professor Mieczysław Gogacz, the renowned philosopher and founder of the recent version of Thomism – the Consistent Thomism 1, claims that angels are the final causes (causa finalis) of human soul. He derives his conception from the principle, characteristic not only for Thomism but also for the entire classical philosophy, which says that for the existent results we respectively search the prior causes. Ultimately, such established philosophical stance regards searching for causes and asking about causes. Hence in analysing the problem of final causes understood as the external causes which constitute the essence of human being, it is worth to define the scope of the research. First of all, we search for the answer to the question about the causes of human being, therefore metaphysics of real beings is the area of our study, what results in further implications. Primarly, we need to acknowledge that each essential state or activity inevitably must possess its real cause in another being. When we notice there is no such cause it means that we encounter the subsistent being (ens subsistens). It belongs to the essence of the method of metaphysics to demand theses cause to be indicated. Metaphysical methodology, when applied consequently, allows to claim that within the area of human being, reality is that what the essence exclusively receives from its existence (esse). Consequently, there must be some other causes that constitute the essence in its internal content, endowed with an act and potency (potentia), both spiritual and material. The aim of this paper is to follow the thought of Gogacz exactly in the area of discovering the role of angels as causes for the particular development of human soul. Therefore Gogacz’s proposal becomes the „proof for the existence of angels”, on the basis that each thing in order to act and cause results must, first of all, exist.

15

Anioły w tekstach bułgarskiego folkloru

63%

Walczak-Mikołajczakowa M., Ivanova M.

Język. Religia. Tożsamość

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2017

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issue 1(15)

185-198

EN

The article contains information about people's notions about angels and the role they play in human life. Starting from the presentation of the heavenly forces hierarchy by Pseudo-Dionysius, the authors focus their attention on how people pictured angels as God's emissaries. Much space is devoted to contemporary relations, confirming the presence of the angels on earth also today. The texts of folk songs are also analysed, in which the angels accompany not only people, but also the Mother of God and the saints. Folk images of angels and the angel's features are also represented by the idiomatic expressions and anthroponyms, both secular and religious.

16

Demonologia w Sermones św. Piotra Chryzologa

62%

Kochaniewicz B.

Poznańskie Studia Teologiczne

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2019

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issue 34

131-147

EN

The article presents the role of evil spirits in the history of salvation according to Saint Peter Chrysologus. This argument has not been examined so far though it is to be found in many homilies of the Bishop of Ravenna. His sermons explain the reason for the fall of the angels created by God as wonderful heavenly beings. They explain the devil’s role in temptation, indicating the cause of evil to the world. The preacher emphasizes the victory of Christ over Satan and points to him as a source of hope for Christians in their spiritual struggle, in which practice of prayer and fasting are helpful.

17

Aniołowie fanfarzyści i poena sensus. Garść refleksji nad Ołtarzem Sądu Ostatecznego Jheronimusa Boscha z Groeningemuseum w Brugii

51%

Kubies G.

Roczniki Humanistyczne

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2018

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vol. 66

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issue 4: Historia sztuki

33-53

PL

Ołtarz Sądu Ostatecznego z brugijskiego muzeum (0000.GRO.0208.I) uważany jest obecnie przez członków Bosch Research and Conservation Project (BRCP) za niekwestionowane dzieło w oeuvre Jheronimusa Boscha (ok. 1450-1516). Ołtarz, wykonany zapewne dla humanistycznie wyedukowanego odbiorcy wywodzącego się z arystokratycznego lub patrycjuszowskiego środowiska, jest datowany (BRCP) na lata ok. 1495-1505. W niniejszym artykule podjęto próbę wykazania związku (i zarazem jego interpretacji), u podstaw którego leżą kategorie inventio i fantasia, pomiędzy wyobrażeniami aniołów fanfarzystów flankujących Chrystusa a potępionymi powiązanymi z dwoma instrumentami muzycznymi – harfą i dzwonem, poddawanymi karom zmysłów (poena sensus); zostali oni ukazani w części środkowej Ołtarza. Artykuł porusza także zagadnienia funkcji i zadań trębaczy, komentarzem opatrzono instrumenty muzyczne, uwzględniając ich kontekst ikonograficzny oraz muzyczny. Aniołowie, jak ukazał malarz (kierują swe instrumenty w stronę harfy i dzwonu), zdają się stać za wyrafinowanymi torturami dla skazańców. Hipoteza, w ramach której zidentyfikowano niekonwencjonalne zadania owych istot duchowych, zasadza się na fundamencie biblijnym (Rdz 19,13.24-25; 2 Krl 19,35; 2 Mch 3,26-27; Ap, 8,1-11,19; 15, 1-16,21). Aniołowie fanfarzyści posługujący się długimi, prostymi trąbkami, z których zwisają chorągwie ze znakiem krzyża, występują zarazem w funkcji trębaczy heraldycznych – anonsują przybycie Chrystusa na sąd powszechny, obwieszczają Jego obecność. Malarz w ramach swoistej gry z ikonografią Sądu Ostatecznego zerwał z tradycyjnym toposem anioła fanfarzysty, a sięgając po motywy instrumentów łączonych z królem Dawidem (harfa) i Kościołem (dzwon), wyszedł poza krąg odniesień o pozytywnych konotacjach.

EN

The Last Judgement triptych from the Groeningemuseum in Bruges is currently considered by members of the Bosch Research and Conservation Project as an undisputed work in the oeuvre of Hieronymus Bosch (c. 1450-1516). The triptych is dated c. 1495-1505. In the article I demonstrate the connection (and thus the interpretation), based on two categories – inventio and fantasia, between the images of trumpet-playing angels and two musical instruments: a harp and bell, fulfilling the function of penitentiary tools. Two damned linked to them undergo punishment of senses (poena sensus). The driving force behind this refined form of torture, in response to amoral living seen in the light of Christian ethics, would be the angels. They play with their instruments turned in the direction of the harp and bell. In the context of the main contents of the Bruges Last Judgement I perceive the trumpet-playing angels using long, straight aerophones with banners as heraldic trumpeters. The painter, within the context of his own iconographical game, departed from the traditional topos of an angel eschatological trumpeter and in reaching for motifs of instruments connected to King David (harp) and the Church (bell), went beyond positive connotations related to them.

18

Anielski śpiew i anielskie trąby w reprezentacjach Sądu Ostatecznego Staroobrzędowców

51%

Sulikowska-Bełczowska A.

Ars inter Culturas

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2019

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vol. 8

35-52

EN

The purpose of this paper is to describe the musical concept of angel singing and the iconography of angel horns in the culture of Russian Old Believers in the 19th century. From the mid-17th century, the Old Believers rejected the new customs of the Muscovite official Church, including musical traditions, and accepted only vocal music. Musical instruments in Old Russian and Old Believer art depicted on icons and miniatures were based primarily on Byzantine models. Further examples can be given from the Book of the Apocalypse and on eschatological icons, which show angels playing the horn. The article discusses items from a 19th century Apocalypse from the collection of the National Library in Warsaw and icons from the National Museum in Warsaw. Angels with horns announce the approaching of the Last Judgement. These images are symbolic in meaning and do not refer to musical practices.

19

Jedność wielości

51%

Wnuk-Lisowska E.

Studia Religiologica

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2012

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vol. 45

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issue 2

147–163

EN

Philosophical discourse in Islam revolves around God, and God’s manifestation in the world. This article attempts to describe the philosophical concept, and especially the Sufi concept, of God. For Muslim philosophers the question “how does unity give rise to multiplicity?” had a crucial meaning. In Islam God is One, and everything else is two or more. The Oneness of being remains inaccessible to people. However, Sufis tried to give an answer to the question “What is Reality? What is the ‘face of God’, and what does this notion really mean?” And also “what veils separate Him from His creation?” Sufis tried to find the answer to all these questions not in the calm of a library but in deep religious experience. Because God in His mercy revealed the Laws in order that people would be able to make choices which lead directly to their felicity in the next stage of their experience. This was a difficult and dangerous process, and it required from neophytes a love of God. In their searches, the Sufis try to answer the question of what one sees when one throws off the inhibiting shackles of the mind and senses, what does one feel when one crosses the border of the phenomenal world? What kind of world does one observe when one wakes up from a dream which is life? What does one see in the state of illumination?

20

Fantazmat czy doświadczenie rzeczywistości pozahistorycznej? Studium obrazu Wniebowzięcie zbawionych Jheronimusa Boscha z Palazzo Ducale w Wenecji

51%

Kubies G.

Roczniki Humanistyczne

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2015

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vol. 63

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issue 4: Historia Sztuki

5-37

PL

Tablica Wniebowzięcie zbawionych (88.8 x 39.9 cm; datacja dendrologiczna: 1482-1490) przechowywana w Palazzo Ducale w Wenecji, jest jedną z czterech tablic o tematyce eschatologicznej (pozostałe to: Raj ziemski, Upadek potępionych, Piekło), które prawdopodobnie w latach dwudziestych XVI wieku znajdowały się w zbiorach weneckiego kardynała Domenica Grimaniego. Tablice (oryginalny układ i funkcja pozostają nieznane) nie są sygnowane, a ich atrybucja Jheronimusowi Boschowi (ok. 1450-1516) zasadza się w głównej mierze na gruncie stylistycznym. W niniejszym studium Wniebowzięcie zbawionych jest sytuowane przede wszystkim w dwóch fundamentalnych dla badań ikonograficznych tego dzieła kontekstach: piśmiennictwa eschatologicznego i malarstwa niderlandzkiego/ flamandzkiego oraz w kontekście doświadczeń z pogranicza śmierci (near-death experiences - NDE). Odpowiedź na pytanie, czy wizja Jheronimusa Boscha jest fantazmatem, innymi słowy: imaginacją religijną, czy stoi za nią doświadczenie rzeczywistości pozahistorycznej, jest w istocie dwoista. Na podstawie danych przywołanych w studium, daje się uzasadnić treść obrazu z Palazzo Ducale poprzez odniesienie do najczęściej przytaczanych w literaturze przedmiotu źródeł inspiracji jego autora: obrazu Dierica Boutsa (lewe skrzydło Ołtarza Sądu Ostatecznego; Lille, Palais des Beaux Arts), iluminacji Simona Marmiona (Le livre des sept âges du monde; Bruksela, Bibliothèque royale de Belgique, Ms. 9047, fol. 12r) i piśmiennictwa Jana van Ruysbroeck (Dat rike der ghelieven). Jego treść daje się w równym stopniu uchwycić poprzez odwołanie się do roli wyobraźni artysty (kategorie inventio i fantasia), sięgającego do dostępnej mu wiedzy teologicznej, przyrodniczej oraz własnych doświadczeń optyczno-wizualnych. Powyższa linia interpretacyjna akcentująca oddziaływanie biblijnej logosfery (Ps 84,12; 104,2; Dn 2,22; Łk 16,22; 23,43; J 8,12; 12,36; 2 Kor 12,2; 1 Tm 6,15-16; 1 J 1,5; Ap 21,24), uwzględnia niepodważalne doświadczenia religijne malarza z ’s-Hertogenbosch wynikające z przynależności do Kościoła (liturgia, kazania, modlitwy). Czynnikiem o istotnym znaczeniu epistemologicznym rzutującym na odpowiedź na tytułowe pytanie studium jest nieweryfikowalny fakt ewentualnego osobistego doświadczenia transcendentnego Boscha, tym samym niemożliwa staje się ocena przekładu tego, co duchowe (przeżycie) na wizualne (obraz). Z kolei nie w pełni uchwytna naukowo natura NDE wyklucza włączenie tego zjawiska, pomimo odnotowanych podobieństw pomiędzy NDE a tablicą z Wenecji, w obszar wniosków końcowych.

EN

The painting Ascent into Heaven (88.8 x 39.9 cm; dendrological dating: 1482-1490) kept in the Palazzo Ducale in Venice is one of the four eschatological panels (remaining three: Earthly Paradise, Fall of the Damned, Hell) which probably were in the collection of the Venetian Cardinal Domenico Grimani in the 1520s. The panels’ original arrangement and function are unknown. The paintings are not signed and their attribution to Jheronimus Bosch (c. 1450-1516 ) is based largely on the grounds of stylistic criteria. In the study I put Ascent into Heaven into two fundamental contexts for the iconographic analysis of this work: eschatological literature and Netherlandish/ Flemish painting and in the context of near-death experiences (NDE) as well. The answer to the question posed in the title of the study must remain twofold. On the basis of the data gathered in the study the content of the painting can be comprehended by reference to the most frequently quoted sources of inspiration for Bosch: one painting by Dieric Bouts (left wing of the Last Judgement Altarpiece; Lille, Palais des Beaux Arts), two illuminations by Simon Marmion (Le livre des sept Ages du monde; Brussels, Bibliothèque royale de Belgique, Ms. 9047, fols. IV & 12r) and a literary work Dat rike der ghelieven by Jan van Ruusbroec. Its content can be equally understood by reference to the role of the painter’s imagination (categories of inventio and fantasia), using his theological and astronomical knowledge. The above line of interpretation that emphasizes the influence of biblical logosphere, takes into account undeniable religious experience of the painter from ‘s-Hertogenbosch resulting from being a member of the Church. The factor of an epistemological importance which influences the form of the answer to the title question is hypothetical non-verifiable Bosch’s personal transcendental experience, thus it becomes impossible to evaluate the translation of what is spiritual (experience) into visual (image). Due to the elusive, not fully scientific nature of NDE this fenomenon should be excluded from the final conclusion.

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Jedność wielości

Fantazmat czy doświadczenie rzeczywistości pozahistorycznej? Studium obrazu Wniebowzięcie zbawionych Jheronimusa Boscha z Palazzo Ducale w Wenecji