Search results

1

Średniowieczna retoryka jako czynnik kształtujący sztuki plastyczne. Przegląd podstawowych problemów

100%

Tabor D.

Analecta Cracoviensia

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2012

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vol. 44

EN

In the Middle Age the rhetoric was one of the seven liberal arts. Its position in the medieval culture Has been confirmed by Cassiodor, Isidor of Sevilla, Augustin of Hippona and Martianus Capella. The medieval rhetoric was composedof five parts: inventio (invention), dispositio (disposition), elucutio (elocution), memoria (memory) and pronuntiatio (pronuntiation). Only three of them exertet real influence on the fine arts. Inventio controlled the proces of choice of the ideas, which have benn represented by images in work of arts. Dispositio collocated the images in the whole structure of work of art. Elocutio applicated some rhetorical figure in order to communicate some massages throughout the images. In the Middle Ages existed two sources, which inspired the mediewal rhetoric. The fitst Skurce was the ancien, greek and roman rhetoric , the second – the semitic, biblical rhetoric. In the Bible exist two important literary and rhetorical structures – the parallelism and the centripetal construction. These structures influenced some models of composition of narrative cycles and series of images. Rhetor – a hypothetical personage, educated in trivium and quatrivium and expert in the rhetoric, played important role in the mediewal culture. He collaborated with artist and he applicated the rhetorical methods and rhetorical figure in the creation of works of art.

2

Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015

94%

Płucienniczak P. P.

Colloquia Humanistica

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2019

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issue 8

EN

Examining the Boundaries of Contemporary Art: An Exploratory Study of Institutional Critique in Poland 1990–2015The article explores the practices of institutional critique in Polish contemporary art. A quantitative survey of cases of institutional critique reveals major problems faced by artists and their perceptions of the autonomy of the visual arts. Badanie granic sztuki współczesnej: Eksploracyjne studium krytyki instytucjonalnej w Polsce 1990-2015Artykuł prezentuje wyniki eksploracyjnych badań nad praktykami krytyki instytucjonalnej w polskiej sztuce współczesnej. Ilościowa analiza epizodów takiego rodzaju działań artystycznych ujawnia najważniejsze problemy twórców i twórczyń oraz ich percepcję autonomii sztuk wizualnych.

3

Paweł Szymański’s Self-Analyses Reread

83%

Naliwajek-Mazurek K.

Musicology Today

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2015

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vol. 12

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issue 1

90-98

EN

The article is an attempt to present important categories of composer Paweł Szymański’s musical language, based on his self-analytical statements, which were in major part answers to musicologists’ questions. Luciano Berio pointed out why the situation of a composer who would like to address questions about his or her music is difficult - a lack of necessary detachment would be one of the reasons. A musicologist, on the other hand, is tempted to construct their own supposedly objective analytical view of a composer’s musical language. The dialogistic approach proposed by anthropological musicology may be a solution to these dilemmas. Other main topics mentioned in the article are related to the role of meta-concepts in Szymański’s musical language.

4

“Writing is Fifty Years behind Painting” – William S. Burroughs and the Arts

83%

Białkowska A.

Forum for Contemporary Issues in Language and Literature

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2020

|

issue 1

93-108

PL

William S. Burroughs (1914-1997), one of the most controversial American writers of the 20th century, is an example of a "total artist", who does not limit himself to one genre or medium. He is best known for being an experimental writer, the co-creator of the avant-garde, "cut-ups" technique - a variant of collage. His cut-ups, however, were not limited to literature, as he was also the author of musical recordings, experimental videos and various visual art projects. These were collaborative undertaking that the artist carried out with his friends - mainly with Brion Gysim (painter), Ian Sommerville (electronics technitian and computer programmer) and Anthony Balch (film director). This article discussed William Burroughs' lesse-known works like, The Third Mind, As Pook Is Here, and The Book of Breeething as they are multi-media, interdysciplinary projects, created with the help of popular painters or illustrators, e.g. Bob Gale or Malcolm McNeil, and best demonstrate Burroughs' unconventional approach towards collaboration and the crossing of boundaries between different forms of art. The article also briefly comments on Burroughs' final decision to turn to painting and his eccentric "Shotgun Art".

5

Perfectionism and aggression in artistically gifted persons

83%

Martyna R., Grażyna P., Wiesława L.

Psychologia Wychowawcza

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2018

|

issue Special issue

146-169

EN

Some scholars define perfectionism as the relationship between one’s abilities and expectations. A strong emotional reaction to the discrepancy between these can be maladaptive and even lead to aggressive behaviour. The study covered 133 students and graduates of colleges around Poland, including 67 persons of various specialties in visual arts. In order to characterise perfectionism, the Polish version of the Goals and Work Habits Survey (Schuler, 1994) was used, while the tool called Inwentarz Psychologiczny Agresji [Aggression Psychological Inventory] (Gaś, 1980) was used for description of aggression. The aim of the study was to analyse the relationship between specific aspects of perfectionism and aggression in artistically gifted persons. The results of the study indicate that artistically gifted persons scored higher in respect of some aspects of perfectionism than persons from the control group. The assumption that the studied groups differ in terms of aggression syndrome has not been confirmed. The artistically gifted men differed from the control group men in terms of aspects of perfectionism and in terms of transferred aggression. No statistically significant differences in terms of perfectionism or aggression syndrome have been established between the women. Moreover, gender did not differentiate perfectionism in the group of artistically talented persons.

6

“By [some] other means”: Talking (about) Racism and Race through Visual Arts in Claudia Rankine’s Citizen. An American Lyric

83%

Kamionowski J.

Text Matters: A Journal of Literature, Theory and Culture

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2020

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issue 10

392-407

EN

Claudia Rankine’s Citizen. An American Lyric is a perplexing work of literature both because of its original presentation of the issue of racism in the US today and the original formal ways through which its message is communicated. It is formally innovative and technically experimental in an unusual “average reader”-friendly manner, situating itself a world apart from postmodern “poetics of interruption and illegibility” (Davidson 602). Paradoxically, being almost a poem with a purpose, it expands existing categories. Its sociological orientation and emphasis on poetic language’s capacity to inform, instruct, emotionally move and morally engage the reader goes together with activating more experimental formal strategies, as it merges a variety of media: there are examples of spectacular instances of racism, represented by the photographs, and in a series of scripts for Situation videos made by the author in collaboration with her husband John Lucas. This article demonstrates how formal engagement with the visual arts may serve the purpose of stigmatizing racism and making poetry matter within the field of current public debate on important cultural, social and political problems discussed in historical contexts of racism-cum-race. The conceptualization of the issues discussed here is based on the notion of “seeing through race” (introduced into the field of study of the visual arts and literature by W. J. T. Mitchell in 2012), which has changed the perception of the relationship between race and racism.

7

The City through the Eyes of Expressionism

83%

Demčišák J.

Ethnologia Actualis

|

2016

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vol. 16

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issue 1

79-96

EN

The process of industrialization and urban growth and the development of cities in the first three decades of the 20th century are inevitably related to rapid social changes. The new attitude to life, which corresponds to this process, affected the aesthetic perception and the work of artists as well. The study shows the sensitiveness of German expressionism to the dynamics, drive and chaos of the new city life. The expressionistic picture of the city is clearly ambivalent; it oscillates between fascination on the one hand and antipathy on the other. Expressionism also reflects the social alienation and the feeling of being lonely in a crowd as new phenomena of the 20th century.

8

Perfectionism and aggression in artistically gifted persons

83%

Romanowicz M., Poraj G., Limiont W.

Psychologia Wychowawcza

|

2018

|

vol. 56(14)

204-229

EN

Some scholars define perfectionism as the relationship between one’s abilities and expectations. A strong emotional reaction to the discrepancy between these can be maladaptive and even lead to aggressive behaviour. The study covered 133 students and graduates of colleges around Poland, including 67 persons of various specialties in visual arts. In order to characterise perfectionism, the Polish version of the Goals and Work Habits Survey (Schuler, 1994) was used, while the tool called Inwentarz Psychologiczny Agresji [Aggression Psychological Inventory] (Gaś, 1980) was used for description of aggression. The aim of the study was to analyse the relationship between specific aspects of perfectionism and aggression in artistically gifted persons. The results of the study indicate that artistically gifted persons scored higher in respect of some aspects of perfectionism than persons from the control group. The assumption that the studied groups differ in terms of aggression syndrome has not been confirmed. The artistically gifted men differed from the control group men in terms of aspects of perfectionism and in terms of transferred aggression. No statistically significant differences in terms of perfectionism or aggression syndrome have been established between the women. Moreover, gender did not differentiate perfectionism in the group of artistically talented persons.

9

Antynomia niepokojów. Francis Bacon w świetle twórczości Tadeusza Różewicza

83%

Młynarczyk K.

Estetyka i Krytyka

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2010

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issue 17-18

111-127

EN

The aim of this article is to describe the intertextual relationships between poetry and visual arts on the example of Tadeusz Różewicz and Francis Bacon who is one of the most significant British painters of the late 20th century. The result of their discourse is Różewicz poem Francis Bacon, or Diego Velázquez in a Dentist’s Chair (Francis Bacon, albo Diego Velázquez na fotelu dentystycznym). It was the existential experience of anxiety that gave rise to their discussion. An artistic biography of Bacon, myths concerning him, his paintings, pre-texts of Bacon’s canvases as well as literary, spiritual and painterly connections are all integrated in Różewicz poem-hypertext. This article consists of three parts which depict, respectively, a portrait of Bacon as a human being and artist, a contrastive analysis of both artists’ views on art and Różewicz text-building strategy used in his simulated dialogue with Bacon.

10

Zakres sztuk wizualnych w Indiach klasycznych

72%

Banasik B.

Studia Azjatystyczne

|

2016

|

issue 2

7-19

EN

The objective of this paper is to identify and define the main differences in modern Western and Classical Indian approaches to the theory of art, and by extension to the work of art itself. It is important in research on the history of art to avoid a cultural bias resulting from different theoretical approaches towards art and the basis of visual culture. Three main areas are examined: the classification of art or art disciplines, the theory of the senses and strategies in the perception of art. The first part analyses concerns about the origin of art, its boundaries and inner divisions. This serves top identify the scope of the Field of Art, connections between disciplines (theatre, music, painting, sculpture, etc.), and their position in the Art World. The following Sanskrit treatises serve as a basis: Nāṭya-śāstra, Kāma-sūtra, Viṣṇu-dharmôttara-purāṇa. A significant distinction can be found in the theory of the senses. Based on Saṃyutta Nikāya, Nyāya-sūtra, Vaiśeṣika- sūtra, etc. classical concepts of sensual perception and their roles are examined, with special emphasis on the position of the mind (manas) as a sixth sense or inner organ linked to senses. With that background, a brief analysis of the theory of taste (rasa), including the roles of emotion (bhāva) and mind (manas), is presented.

11

Mózg i Sztuka: zmarszczka (cyber)przestrzeni

72%

Hoffmann-Dietrich J.

Poznańskie Studia Polonistyczne. Seria Literacka

|

2018

|

issue 34

293-306

EN

In my text I refer to contemporary art practices, including my own artistic investigations and intuitions; questioning creative powers of the human brain-mind system in the world increasingly dependent on and transformed by Big Data. Currently, with the global revolution of knowledge, driven by scientific and technological progress, creativity and innovation acquire special economic and social values. Research on biochemical processes accompanying creative behaviour stimulates the synergy between artistic, scientific and engineering communities. The acquired knowledge is used in medicine, biotechnology and various types of therapies as well as in deep learning methods. Increasing the efficiency of artificial intelligence systems that quickly take control over all areas of our lives. Will the nascent Internet--of-all-Things transform itself into the Internet-of-all Minds? As an artist, I pose myself a question, which artistic practices may emerge from the marriage of biological and digital algorithms? The future has many scenarios and shades…

PL

In my text I refer to contemporary art practices, including my own artistic investigations and intuitions; questioning creative powers of the human brain-mind system in the world increasingly dependent on and transformed by Big Data. Currently, with the global revolution of knowledge, driven by scientific and technological progress, creativity and innovation acquire special economic and social values. Research on biochemical processes accompanying creative behaviour stimulates the synergy between artistic, scientific and engineering communities. The acquired knowledge is used in medicine, biotechnology and various types of therapies as well as in deep learning methods. Increasing the efficiency of artificial intelligence systems that quickly take control over all areas of our lives. Will the nascent Internet-of-all-Things transform itself into the Internet-of-all Minds? As an artist, I pose myself a question, which artistic practices may emerge from the marriage of biological and digital algorithms? The future has many scenarios and shades…

12

ОСОБЛИВОСТІ САМОРЕАЛІЗАЦІЇ ТВОРЧОГО ПОТЕНЦІАЛУ ХУДОЖНЬО ОБДАРОВАНИХ УЧНІВ

71%

Гулей О., Никифоров А.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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issue 9(53)

227-235

EN

The author’s main efforts are focused on processing and analysis of research problems: identification of creatively gifted children, identification of the specific characteristics of gifted students of art, stipulating the need to create appropriate learning conditions for innovative activity of artistically gifted students. In addition, the author emphasizes the exceptional role of the fine arts teacher in identifying a gifted child and focusing his/her abilities for creative self-realization not only in art education system but also for the entire creative life. The purpose of research is the analysis of the major psychological and pedagogical views of modern scholars on the issue of gifted students to identify the specific features of educational work with artistically gifted students in the context of self-realization of their creative potential. The study used the following methods: empirical (work – the study of the relevant literature, documents and performance of gifted students, comprehensive – study and compilation of teaching experience); theoretical (accumulation of facts and interpretation and synthesis of collected factual material). Therefore, we can summarize briefly that talent is the main feature of creative personality as an artist for the student, the student artist and for the Honored Artist of artist that allows self-creativity of the artist. The study reveals a number of specific features to work with artistically gifted students in the context of creating the conditions for self-realization of their creative abilities, such as: an artistically gifted child should not adjust the content of education, breaking and changing him/herself; a teacher should provide the child with appropriate special professional training, have a high level of intellectual development, the ability to transfer material costs, have the ability to support, protect, assist; possess organizational skills, stimulate creativity of a child, be communicative. The study does not cover all the aspects of the outlined problems, so promising directions of further research consider detailed study of works of art education teachers to find the ways to improve the educational work of artistically gifted students.

13

Edukacja plastyczna jako element inkluzji społecznej

71%

Bieluga M.

Student niepełnosprawny. Szkice i rozprawy

|

2016

|

issue 16(9)

133-143

EN

The article presents the personal experience in the field of art education. The work presents an attempt to diagnosis the current state of the general education in the field of Visual Arts. The author provides examples of the use of the Visual Arts for inclusion of the disabled persons.

PL

W artykule zaprezentowano własne doświadczenia z dziedziny edukacji artystycznej. Praca stanowi próbę diagnozy obecnego stanu szkolnictwa powszechnego w zakresie sztuk plastycznych. Autor podaje przykłady wykorzystania plastyki między innymi w inkluzji osób niepełnosprawnych.

14

Visual Art in Nursery Schools

71%

Rochovská I., Krupová D.

Multidisciplinary Journal of School Education

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2016

|

issue 10

69-87

EN

This paper focuses on the possibilities of applying an interpretation of visual art in a nursery school. It defines the concept of visual arts and briefly deals with the issue of an interpretation of visual arts. It presents a preview of the educational project for the children, called Umělci v mateřské škole (Artists in Nursery School), which was published in a complete form within a separate publication. It stresses the importance of implementing visual arts in pre-primary education.

15

Poszukiwanie wspólnych przestrzeni. Dostępność sztuk wizualnych dla osób z niepełnosprawnością wzroku

60%

Lau A., Matusiak M., Szemis N.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2021

|

vol. 115

|

issue 3

51-60

EN

This article ponders on the accessibility of art for people with visual impairments. Using the example of Fundacja Wielozmysły (Multi-Sense Foundation), it shows how the visually impaired can be included in the reception and creation of visual culture. The text presents various forms of making art accessible and translating the language of the visual into other senses. It highlights the potential of artistic mediation in the process of sharing and creating events accessible to people with visual impairments and those with regular vision. Accessibility is defined as creating common spaces and searching for places and situations where people with disabilities can participate in the cultural and social life on par with others. The authors of the article refer to disability studies and argue that as long as disability is perceived in a stereotypical manner accessibility cannot exist. They conclude that accessibility can be beneficial for everyone, regardless of disability, and may become a new, democratic form of experiencing art. For people with disabilities, accessibility will be a process that enables them to study visual culture and its products. For others, it may serve as a new form of contact with art.

16

From sign to word in contemporary Polish “HTML literature”. Post-avant-garde heirs of modernist typography

60%

Pawłowska A., Wendorff A.

Art Inquiry. Recherches sur les arts

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2017

|

vol. XIX (XXVIII)

273-289

EN

Digital literature or "HTML literature" is one of the more expressive and important trends of the Polish literature of the 21st century. In order to present the main aims and objectives of HTML literature, it is essential to take under consideration the digital works characterized by the autonomisation of words, as well as the isolation of words from the linguistic and non-linguistic context and reality, so that "the word itself and for itself would have a clear meaning" – as it was claimed in the late 1960s by one of the main representatives of Polish language art and the icon of Polish concrete poetry, Stanisław Dróżdż. The authors search for the predecessors of such an approach to literary texts in the period of the Great Avant-garde – one can refer here to the pronouncements of the Polish Formists and Constructivists (the true beginning are the literary manifestoes and poems of Tytus Czyżewski from 1921, inspiring such Polish Constructivists as Henryk Berlewi, Mieczysław Szczuka, Teresa Żarnowerówna, as well as Władysław Strzemiński, the latter author deserving special attention. Contemporarily in the 21st century, the works of Piotr Kowalczyk are renowned for a similar treatment of “the isolated word”. Kowalczyk, who works under the pseudonym of Nick Name, is the author of such works as: iPhone Stories, Twitter Fiction, Tech Quotes, Transtories, as well as Short stories for geeks.

PL

Jednym z bardziej wyrazistych trendów polskiej literatury XXI wieku jest literatura cyfrowa, czyli HTML. Chcąc oddać główny zamysł piśmiennictwa HTML należy wziąć pod uwagę dzieła odznaczające się zautonomizowaniem słowa oraz wyizolowaniem słów z kontekstu językowego i rzeczywistości pozajęzykowej tak, „żeby słowo samo w sobie i dla siebie znaczyło” - jak twierdził już od końca lat 60 XX w. przedstawiciel polskiego language art'u (czyli poezji konkretnej) Stanisław Dróżdż. Autorki upatrują protoplastów takiego traktowania wypowiedzi literackiej w okresie Wielkiej Awangardy - można odwołać się tu do wystąpień polskich formistów i konstruktywistów (początkiem są literackie manifesty i wiersze Tytusa Czyżewskiego z 1921 r., kontynuacją działania polskich konstruktywistów, takich jak Henryk Berlewi, Mieczysław Szczuka, Teresa Żarnowerówna oraz Władysław Strzemiński; na szczególną uwagę zasługuje ten ostatni artysta). Współcześnie, w XXI w., z podobnego traktowania „wyizolowanego słowa” słynie twórczość Piotra Kowalczyka (występującego pod pseudonimem Niżej podpisany, ang. Nick Name), autora iPhone Stories, Twitter Fiction, Tech Quotes, Transtories, oraz Short stories for geeks.

17

Two Paradigms – Two Art Worlds: On Constructing the Difference as a Strategy for Validating the Concept of the Artist and Art

60%

Sulikowska-Dejena A.

Przegląd Socjologii Jakościowej

|

2021

|

vol. 17

|

issue 3

112-125

PL

Przedmiotem artykułu są dwa światy artystyczne w obszarze sztuk wizualnych, które obecnie działają obok siebie w Polsce. Światy te funkcjonują w ramach dwóch różnych paradygmatów sztuki, przez co obowiązują w nich dwie różne definicje sztuki i artysty, a co za tym idzie, również różne modele działań. W przypadku obydwu wspólnot istotny jest proces konstruowania różnicy i wyodrębnienia własnej wspólnoty znaczeń, jako strategii uprawomocnienia własnej koncepcji sztuki i artysty oraz własnej, zajmowanej w świecie artystycznym (ang. art world) pozycji. Celem artykułu jest pokazanie, jak przebiega proces konstruowania wewnętrznych granic w polskim art world, a także jego podział na dwa odrębne światy oraz to, jakich środków użyto w owym procesie i jakie konsekwencje niesie przynależność do odrębnych światów artystycznych dla ich uczestników.

EN

The subject of the article is two art worlds in the field of visual arts which currently exist side by side in Poland. These worlds operate as part of two different paradigms of art, which is why two different definitions of the art and artist apply to them, and, in consequence, also different models of operation. What is important in the case of both communities is the process of constructing the difference and separating out their own communities of meanings, being a strategy to lend credence to their own concept of the art and artist, as well as their position in the art world. The aim of the article is to describe the process of constructing internal boundaries in the Polish art world and its division into two separate worlds, what means have been used in that process, as well as what are the consequences of belonging to the two separate art worlds for their participants.

18

The Relations between State and Church in the Kongo in the Early Modern Period Based on Preserved Iconographic Material An Outline of the Problematic

60%

Pawłowska A., Piętek R.

Przegląd Nauk Historycznych

|

2023

|

vol. 22

|

issue 2

41-81

EN

The aim of this article is to support the study of the history and culture of the Kongo in the modern period by analysing selected iconographic sources related to this geographical area from the late 16th century to the mid-18th century. The main reason for doing so is the existence of a strong infiltration of the Kongo by Portuguese and Italian travellers and monks, which resulted from the progressive Christianisation of the country as a result of the political decisions of its successive rulers. A large amount of surviving documentation makes Kongo’s position unique in comparison to other sub-Saharan African countries. The documents analysed were chosen for their ground-breaking nature as well as their high artistic value. Another rationale for delving into the iconography of the Kongo may be to try to broaden the perception of African culture, especially the attempt to abandon Eurocentric ways of describing the world. The article is richly illustrated.

PL

Celem artykułu jest poszerzenie badań nad historią i kulturą Konga w okresie nowożytnym poprzez analizę wybranych źródeł ikonograficznych związanych z tym obszarem geograficznym od schyłku XVI do połowy XVIII w. Dzięki silnej infiltracji Konga przez portugalskich i włoskich podróżników oraz zakonników, będącej skutkiem postępującej chrystianizacji kraju, zachowało się bardzo dużo różnego typu źródeł, co wyróżnia Kongo spośród innych państw Afryki Subsaharyjskiej. Przyjęcie i zachowanie chrześcijaństwa było dobrowolną decyzją polityczną kongijskich władców. Dokumenty poddane analizie zostały wybrane ze względu na swój przełomowy charakter, jak też wysoką wartość artystyczną. Kolejną przesłanką do zagłębienia się w ikonografię Konga może być próba poszerzenia odbioru kultury Afryki, zwłaszcza zaś próba porzucenia europocentrycznych sposobów opisywania świata. Artykuł jest bogato ilustrowany.

19

Avant-gardists and primitivism

60%

Pawłowska A.

Art Inquiry. Recherches sur les arts

|

2017

|

vol. XIX (XXVIII)

153-169

EN

Today, the relations between modern art with primitive art are almost legendary. Contemporary appreciation of non-European artists’ contribution to the development of modern art was reflected, for instance, in the ground-breaking exhibition held in 1984 at the New York Museum of Modern Art (MoMA), titled Primitivism in 20th-century Art: Affinity of the Tribal and the Modern, curated by the influential art critic and director of this institution, William S. Rubin. Even before that, however, reflections on the phenomenon of primitivism had been based on the combined exhibitions of tribal art and modern art, such as a display of Picasso's works combined with African sculptures, organized in Berlin and in Dresden in1913, as well as the presentation of African art at Alfred Stieglitz’s 291 Gallery in New York. Deeper and broader reflection on the importance of the contribution of tribal cultures (including, of course, African culture) to modern art appeared in 1938 in Robert Goldwater's book entitled Primitivism in Modern Art. The avant-gardists’ expectations concerning so-called primitive art varied. Most often, they sought formal inspirations (Cubist painters, modern sculptors Constantin Brancusi, Pablo Gargallo, Alberto Giacometti, Jacques Lipchitz). However, some artists have looked to it for new representations and symbols as well as a source of human creativity. The article concludes with the words of Georges Salles that the art of black Africa has renewed European artistic scene.

PL

Związki sztuki nowoczesnej z prymitywną są już dziś nieomal legendarne. O tym, że obecnie ich wkład w formowanie sztuki nowoczesnej został w pełni doceniony świadczy chociażby przełomowa wystawa w nowojorskim Museum of Modern Art’s (MoMA) z 1984 r. zatytułowana Primitivism’ in 20th-century Art: Affinity of the Tribal and Modern, której kuratorem był wpływowy krytyk sztuki i zarazem dyrektor tejże placówki William S. Rubin. Zasadniczą podstawę do refleksji na temat zjawiska prymitywizmu stanowiły wspólne ekspozycje sztuki plemiennej i sztuki nowoczesnej, podobnie jak widoczne w twórczości awangardowych artystów inspiracje sztuką plemienną (n.p. prezentacja dzieł Picassa zestawionych z afrykańskimi rzeźbami, zorganizowana w Neue Galerie w Berlinie w grudniu 1913 r. i w Dreźnie czy prezentacja sztuki afrykańskiej w nowojorskiej Galerii 291 Alfreda Stieglietza, zorganizowana z inicjatywy Mariusa de Zayasa w 1914 r. pod wymownym tytułem – Statuary in Wood by African Savages: the Root of Modern Art. Poszerzona i pogłębiona refleksja nad doniosłością wkładu kultur plemiennych (w tym oczywiście afrykańskich) w sztukę nowoczesną pojawiła się w 1938 r. w książce Roberta Goldwatera Primitvism in Modern Art. Oczekiwania awangardystów względem tak zwanej sztuki prymitywnej były niejednorodne. Najczęściej uwzględniano inspiracje formalne (malarze kubiści, rzeźbiarze: C. Brancusi, P. Gargallo, A. Giacometti, J. Lipchitza). Twórcy z niemieckiej grupy Die Brücke, poszukiwali nowych wyobrażeń i symboli a zarazem źródła twórczości ludzkiej. Zainteresowanie tym ostatnim zagadnieniem związane było z badaniami nad psychiką człowieka prowadzonymi przez Zygmunta Freuda w końcu XIX w. Inspiracją dla ekspresjonistów była także nagość, której prezentacja nawiązywała do życia w warunkach społeczności plemiennych. Warto dodać, iż sami artyści niejednokrotnie – np. Picasso – zaprzeczali wpływom sztuki z Afryki na ich dzieła. Konkluzją artykułu jest myśl G. Sallesa, iż sztuka z Czarnej Afryki odnowiła tę z Europy.

20

„Jedno po drugim oglądamy”. Doświadczenie spotkania z obrazem religijnym w wierszach Jakuba Ekiera

60%

Szewczyk-Haake K.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2014

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vol. 7

21-35

PL

Liryka Jakuba Ekiera stanowi dość rzadki w poezji współczesnej przypadek, kiedy to wiersze odwołujące się do religijnego dzieła malarskiego budują za jego pośrednictwem własną drogę ku prawdom wiary oraz prawdom o wierze. Analizowane teksty wskazują na odmienność malarskiego tworzywa, posługującego się światłem i ciszą, od żywiołu poetyckiego; zarazem to właśnie ogląd dzieła religijnej sztuki dawnej staje się inspiracją dla wysiłku wyrażenia w języku duchowego doświadczenia człowieka nowoczesnego. Omawiane tu wiersze poświęcone dziełom sztuki religijnej nie do końca dają się wpisać w najczęściej stosowane na gruncie polskiego literaturoznawstwa typologie ekfraz. Dzieje się tak na skutek świadomie tworzonej przez Ekiera „piętrowości” jego liryki, choć w pewnej mierze jest zapewne specyfiką większej grupy ekfraz dotyczących obrazów o tematyce religijnej. Teksty poetyckie, odnosząc się do tego rodzaju dzieł sztuki, dotykają zarówno do istotnej treści przedstawień (historii biblijnej), jak i specyfiki dzieł plastycznych, zdolnych opowiadać o biblijnych zdarzeniach sobie tylko właściwymi środkami. Wobec obu tych sfer język – szczególnie zaś coraz bardziej oddalającej się od sacrum język współczesności – pozostaje w pewnej mierze bezradny. Na drodze „nieskutecznej alegacji”, której obiektem jest dawne dzieło sztuki religijnej, utwór poetycki zdolny jest jednak powiedzieć coś istotnego zarówno o współczesnej lekturze dawnych dzieł, jak i o współczesnym doświadczeniu religijnym, dla których wspólnym mianownikiem są hermeneutyczne przeświadczenie o niezbywalności własnego horyzontu poznawczego i nieustanna próba jego przekraczania.

EN

The poems by Jakub Ekier constitute a case that is quite rare in contemporary poetry: the case when poems referring to religious paintings build, via those paintings, their own way to the truths of faith and the truths about faith. The analysed texts indicate the difference between the painting material, which makes use of light and silence, and the poetic element; at the same time it is an act of looking at an old master religious painting that becomes an inspiration for the effort to express in language the spiritual experience of modern man. The poems analysed here, and dedicated to works of religious art, do not quite fit the typologies of ekphrasis that are the most commonly applied in Polish literary studies. This is due to the multiple levels deliberately created by Ekier in his poetry, although to some extent such is probably the specificity of a larger group of ekphrases concerning religious paintings. Poetic texts referring to such works of art touch both the substance of the representations (the biblical history) and the specificity of works of visual art, capable of expressing the biblical events using their own, specific means. In the presence of both of those spheres, language – particularly the language of modernity, increasingly diverging from the sacred – is to a certain extent helpless. By means of “ineffective reference” whose object is an old master religious painting, a poem is, however, able to say something important both about the modern reading of old masterpieces and about modern religious experience, for which the common denominators are the hermeneutical conviction of an inalienable character of one’s own cognitive horizon and constant attempts to cross it.

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„Jedno po drugim oglądamy”. Doświadczenie spotkania z obrazem religijnym w wierszach Jakuba Ekiera