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  1. 2 Studia Elbląskie

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  1. 1 Adamski J.

  2. 1 Jakubowska B.

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  1. 2 2015

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„Relikwiarzowy” program architektoniczny fary św. Katarzyny w Brodnicy

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Adamski J.
Studia Elbląskie
|
2015
|
vol. 16
109-121
EN
The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).
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Ptaki w średniowiecznym dramacie końca świata. Z inspiracji malowidła ściennego, odkrytego w kościele Bożego Ciała w Pręgowie koło Gdańska

100%
Jakubowska B.
Studia Elbląskie
|
2015
|
vol. 16
109-121
EN
The article addresses the mural painting in Corpus Christi parish church in Pręgowo near Gdańsk (executed ca. 1350), uncovered and restored at the turn of 2008 and 2009. Here, the codified gothic image of the Last Judgement (Mt 25,31–46), was unexpectedly complemented with the motif of the bird placed in near the head of the man rising from the dead. The author interprets this motif by linking it with the bestiary of demons. Together with other species of animals, it featured in many works of Medieval art, especially the Romanesque monumental sculpture. The fundamental written source for these motifs was the Apocalypse of St. John, while iconographic models were codified by illustrators of Apocalypse-related manuscripts, which inspired the production of infinite richness of animal forms, both realand fantastic, often hybrid creatures. The author studied the Apocalyptic bestiary of evil (including the motifs of birds) many years ago – on the example of the Golden Portal in Malbork Castle (The Fifth and Sixth Angelic Trumpet, Ap 9,1–21), diss. published in 1968; and recently on the Gateway in Bierzgłowo Castle (The Faithful and True Rider, without the Vision of God’s Great Supper, Ap 19,117–18,21), in print. Both monuments of sculpture ofthe Teutonic Knights (last quarter of the 13th c.) the author defines as „un-majestic” compositions of the Last Judgement, different from the commonly executed „majestic” versions that included the dominant element of „Maiestas Domini” (Ap 4,1–9).
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