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1

Neidhart’s pranks and mural paintings in Medieval Bohemia

100%

Dienstbier J., Domin J.

Umění (Art)

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2017

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vol. 65

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issue 5-6

438-459

EN

This paper focuses on the visual context of Neidhart’s Pranks in medieval Bohemia. It draws attention primarily to one of the wall paintings in the House at the Golden Lily on the Malé náměstí (Small Square) in Prague, portraying the popular subject of the Violet Prank (Vielchenschwank). The paper points out references in in texts of Jan Hus and Stanislaus of Znojmo that prove that the comical anecdote about Neidhart’s violet was well known in Prague at the beginning of the fifteenth century. In Hus’s critique of paintings with themes from ‘The Life of Neidhart’ the Prague reformer could have had this story in mind, or even its depiction in the House at the Golden Lily itself. The Prague painting is compared with portrayals of Neidhart’s stories in German-speaking countries. A close look is taken at the galleries of rulers with emblems of various countries that accompany the Vielchenschwank in the Prague paintings. These can be understood as a kind of topology into which the story is inserted, apparently understood in the broader sense as a parable of the frequently deceptive appearance of things that may be handsome on the surface. Attention is also devoted to the recently discovered fragments of wall paintings at Nový hrad in Jimlín that probably portray another of Neidhart’s pranks about a barrel (Faßschwank). The very end of the article deals with the dissemination of Neidhart’s anecdotes in the broader Bohemian context, pointing out the motif of a man dancing with a jug on his head that appears both in a poem by Bohuslav Hasištejnský of Lobkovice and in Neidhart’s portrayals abroad.

CS

Příspěvek se věnuje vizuálním souvislostem Neidhartových švanků ve středověkých Čechách. Především upozorňuje, že jedna z nástěnných maleb v domě U Zlaté lilie na Malém náměstí v Praze představuje vyobrazení oblíbeného švanku o fialce (Vielchenschwank). Poukazuje na zmínky u Jana Husa a Stanislava ze Znojma, které dokazují, že komický Neidhartův příběh s fialkou byl v Praze na počátku 15. století dobře znám. V Husově kritice obrazů s náměty z "Neidhartova života" tak mohl mít pražský reformátor na mysli právě tento příběh, nebo dokonce přímo vyobrazení v domě U Zlaté lilie. Pražské malby článek široce srovnává s vyobrazeními Neidhartových příběhů v německy mluvících zemích. Pozornost přitom věnuje i galerii panovníků se znaky nejrůznějších zemí, které Vielchenschwank na pražských malbách doprovázejí. Ty lze chápat jako jakousi topologii, do níž je příběh, pojímaný patrně v širším smyslu jako podobenství o často falešné podobě zdánlivě hezkých věcí, zasazen. Dále příspěvek upozorňuje na nedávno odhalené fragmenty nástěnných maleb na Novém hradě v Jimlíně, které pravděpodobně představují vyobrazení dalšího neidhartovského švanku o sudu (Faßschwank). Zcela na závěr se článek věnuje širším souvislostem šíření neidhartovských historek v Čechách a ukazuje na motiv muže tancujícího s konvičkou na hlavě. Ten se objevuje jak v jedné z básní Bohuslava Hasištejnského z Lobkovic, tak i na zahraničních neidhartovských vyobrazeních.

2

“Towards the revival of religious art”. The revival efforts for church art in Polish Lands between 1900–1930 (with particular emphasis on wall-paintings)

61%

Wolańska J.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2012

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vol. 5

8-43

EN

For over 200 years now, that is, at least since the French Revolution, religious, or church art has been plagued with the notion of its inadequacy to the expectations of the faithful and the resulting need for the “eternal resurrections of sacred art” (les éternelles résurrections de l’art sacré). The present paper looks at such attempts undertaken on the Polish ground roughly in the first thirty years of the 20th century, particularly in the period spanning the two decades between two major exhibitions of church art, held in Cracow in 1911 and in Katowice in 1931, and church mural paintings as the form of art that was famously flourishing on the Polish lands in the 1890s, that is at the beginning of the period under discussion. The critical appraisal of the attempts at the renewal of church art, presented on numerous examples in the paper, based on contemporary press and literature, is aimed at showing the futility of such efforts, as the sphere of the sacred seems to defy any rationalised measures taken to “revive” or “renew” it.

3

Medieval Liturgical Vestments Depicted in the Iconographic Programs of Southern Transylvanian Churches (14th to 16th centuries)

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Stoia A.

Review of Ecumenical Studies Sibiu

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2016

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vol. 8

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issue 1

27-55

EN

This work sets out to list and describe the liturgical vestments present in panel and mural paintings of churches located in southern Transylvania. The surviving body of such vestments on display in the ”Brukenthal” National Museum of Sibiu and that of the Black Church of Brașov not only confirms their use in religious services, but also the fact that they served as models for Transylvanian ecclesiastical painting. Of Western derivation, this type of vestment reflects a way of thinking and stands testament to social status or to the different hierarchies within the church. It is, at the same time, an indication of the development of this kind of craft, produced by specialized workshops.

4

Image spaces. Digital visual media in the context of baroque mural painting in architecture

51%

Drozdowicz P. P.

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

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2021

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vol. 29

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issue 38

249-254

EN

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

5

Gesty w cyklach pasyjnych w malarstwie naściennym w Europie środkowej

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Kliś Z.

Folia Historica Cracoviensia

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2007

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vol. 13

EN

In medieval Passion cycles represented in Czech, Slovak (former Hungary), and Polish murals dating from the fourteenth to the fifteenth centuries one may observe a number of-gestures which appear in respective scenes starting from the Entry into Jerusalem and ending with the Entombment (laying in the sepulchre). The most significant gesture in the entry scene is the outstretched hand of Christ riding a donkey. It is the language of gesture used since antiquity, transmitted through Byzantine and Italian art (including Giotto’s Entry into Jerusalem in his Arena Chapel frescoes), and transferred into art north of the Alps.

PL

W średniowiecznych cyklach pasyjnych, z terenu dzisiejszych Czech, Słowacji (dawny obszar Węgier) i Polski, na malowidłach naściennych zaobserwować można szereg gestów, pojawiających się w poszczególnych scenach, począwszy od wjazdu do Jerozolimy a kończąc na scenie złożenia do grobu. Artykuł analizuje poszczególny gesty, w kontekście religijnym i historycznym.

6

Vain and Transitory Love : Mural Paintings in the Žirovnice Chamber and Mural Decoration in Late Gothic Secular Interiors

51%

Dienstbier J.

Umění (Art)

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2017

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vol. 65

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issue 1

2-25

EN

The study presents a detailed analysis of the late medieval murals in the so-called ‘green chamber’ of Žirovnice Castle. The paintings from the early 1490s are exceptional for their artistic quality and they are generally considered a significant example of ‘green chambers’, secular halls decorated by a green colour and floral ornament. Compared to the earlier literature the study focuses on the interrelations between the scenes depicted in the ‘green chamber’: the Judgement of Paris, Judith beheading Holofernes, the exemplum An Old Woman Is Worse than the Devil as well as an image which was previously described as the Judgement of Solomon (perhaps rather a parable about legitimate and illegitimate progeny). They are connected by the historically popular concept of a critique of the power of women (Weibermacht). In Žirovnice, this concept was connected to the allegory of the transcience of love and the ephemeral nature of the world overall. The ostensible genre depictions of the hunt and tournament, also present in the ‘green chamber’ of Žirovnice’, can be interpreted in this sense as well. This is demonstrated by numerous details subverting the meaning of these images. The theme of the transience of earthly pleasures probably stands behind another unique part of the murals, a view of Žirovnice itself. This is concluded on the basis of a comparison with a contemporary drawing by Albrecht Dürer and a later print by Erhard Schoen. The study then compares Žirovnice to other similar murals in Bohemia and addresses the question of the art-historical phenomenon of ‘green chambers’ as various secular murals are called following the Czech art historian Josef Krása. Although Krása’s concept may be refuted nowadays, the thematic coherence he noted in various late medieval murals in secular interiors cannot be denied. The study also mentions many examples of this type in Italy, Germany and Austria.

CS

Příspěvek přináší podrobnou analýzu pozdně středověkých nástěnných maleb v tzv. zelené světnici na hradě Žirovnice. Malby z devadesátých let 15. století vynikají výtvarnou kvalitou a jsou všeobecně považovány za důležitý příklad zelených světnic, profánních zdobených sálů, v jejichž výzdobě se výrazně uplatnila zelená barva a rostlinný dekor. Oproti starší literatuře článek akcentuje vzájemné ikonografické souvislosti výjevů zobrazených na jednotlivých stěnách žirovnického sálu: Výjevy Paridova soudu, Judity stínající Holoferna, exemplum Bába je horší než čert i obraz dříve považovaný za Šalamounův soud (patrně podobenství o manželském a nemanželském dítěti) lze totiž se vší pravděpodobností zahrnout do dobově oblíbeného konceptu kritiky moci žen (Weibermacht). Tento koncept byl podobně jako jinde také na Žirovnici spojen s alegorií prchavosti lásky a pomíjivosti vůbec. V tomto smyslu lze interpretovat i zdánlivě žánrová vyobrazení lovu a turnaje, jak ukazuje celá řada detailů, které subverzivně převracejí jejich význam. Téma pomíjivosti pozemských radostí se nejspíš uplatnilo i v souvislosti s unikátní vedutou samého hradu Žirovnice, která se ve zdejší zelené světnici také objevuje. Právě tuto roli totiž obraz hradu hrál v pozdější grafice Erharda Schoena a v soudobé kresbě Albrechta Dürera. Příspěvek dále přináší srovnání Žirovnice s dalšími obdobnými památkami v Čechách a zabývá se problematikou uměleckohistorického fenoménu zelených světnic, k jehož prosazení ve středoevropském kontextu významně přispěl český historik umění Josef Krása. Jakkoli lze tento koncept odmítnout, faktem zůstává námětová blízkost, která různé památky pozdně středověkého profánního umění pevně spojuje. Článek k tomu uvádí řadu příkladů z Itálie, Německa i Rakouska.

7

Wall-paintings in the Ukrainian Greek Catholic Church of Christ Lover of Mankind in Zhovkva. History of the absidal scene of The Ascension of Our Lord and its iconographic analysis (selected elements)

51%

Orzechowski M. I.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2012

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vol. 5

44-62

EN

The purpose of the article is to present the history of the mural paintings in the Basilian Church of the Sacred Heart of Jesus (today known as Christ Lover of Mankind) in Zhovkva and to perform an iconographic analysis of selected elements of the absidal scene of The Ascension of Our Lord, which contains elements clearly related to the temple’s name. The Dobromyl Reform (1882–1904) of the Greek Catholic Basilian order contributed to intellectual revival and the restoration of its Galician monasteries. Among the modernization projects carried out at that time, special attention should be drawn to the murals in Zhovkva, painted by a young Ukrainian painter, Julian Bucmaniuk (1885–1967). The decorations were created in two stages: 1911 (the Chapel of the Protection of the Mother of God) and 1932–1939 (interior of the church). The polychromes of the chapel address Marian themes. The iconography of the murals, in turn, drew on the Byzantine model developed in the 9th and the 10th centuries, with its typical three motifs; the theophanic-doxological and prophetic motifs are evident in the area of the dome, sanctuary, and the eastern bay of the naos, while the evangelical-apocryphal motifs dominate in the kriloi (dodecaorton) and the naos. These are supplemented by two additional themes, the hagiographical and the historical. New elements (apart from the updated historical scenes) include the representations of the Sacred Heart of Jesus, the most intriguing of which are the absidal image of Christ the Pantocrator with a heart in his bosom in the scene of The Ascension of Our Lord.

8

Faces of Evil in Nubian Wall-Painting – An Overview

51%

Innemée K. C., Zielińska D.

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

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2019

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vol. XXXII

121-144

EN

In Christian wall-paintings in Nubia a recurring theme is the struggle between Good and Evil. In this article an overview is given of the various ways in which Evil is depicted or personified, ranging from animals to humans and the hybrid ways in which Satan and his helpers are represented. These different ways have been inspired by sources from a canonical biblical, apocryphal and mythological character.

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2 Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

2 Umění (Art)

1 Folia Historica Cracoviensia

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

1 Review of Ecumenical Studies Sibiu

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

2 Dienstbier J.

1 Domin J.

1 Drozdowicz P. P.

1 Innemée K. C.

1 Kliś Z.

1 Orzechowski M. I.

1 Stoia A.

1 Wolańska J.

1 Zielińska D.

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