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PL
Artykuł omawia zabytkowe srebra kościoła katolickiego w Skrzatuszu. Przedstawione są tu obiekty z okresu XVII-XX w., zarówno istniejące, jak i zaginione.
EN
The article discusses the historic silver in the Catholic Church in Skrzatusz. There are objects from the seventeenth to twentieth century, both existing and missing.
PL
Artykuł omawia krótką historię wsi i kościoła pw. Wszystkich Świętych w Białej koło Trzcianki oraz zabytkowe srebrne wota (zespół jedenastu plakiet), które znajdowały się w kościele w Białej w 1956 r. Do dzisiaj ocalało tylko pięć srebrnych wot. Dwa inne wota znane są tylko z fotografii. Umieszczenie wot przy obrazie Matki Boskiej z Dzieciątkiem na bocznym, nieistniejącym już, ołtarzu było dowodem szczególnego kultu, jakim darzono ten obraz. Wieszając przy tym obrazie wota, umieszczono tam także dwie plakiety związane z kultem świętego Izydora Oracza, którego bractwo istniało przy kościele w Białej od 1645 r., a obraz z jego podobizną do lat 70. XX w. wieńczył jeden z bocznych ołtarzy z obrazem zmartwychwstania Jezusa z XVI w. Plakiety bialskie prezentują zróżnicowany poziom artystyczny, od dwóch plakiet wykonanych przez wybitnego złotnika gdańskiego N. Schlaubitza do plakiet autorstwa prowincjonalnych rzemieślników, którym jednakże nie można odmówić szczególnego uroku. Ta uwaga odnosi się do plakiety ze sceną ślubu NMP ze świętym Józefem.
EN
The article discusses a short history of the village and the church of All Saints in Biala (Biała) near Trzcianka and antique silver votive offerings (a set of eleven plaques), which were located in the church in Biala (Biała) in 1956. To this day, only five silver votive offerings have survived. Two other votive offerings are known only from photographs. Placing votive offerings next to the image of the Virgin Mary with the Child on a side altar that no longer exists was a proof of the special worship that this image was accorded to. During the hanging of the votive offerings next to this painting, there were placed also two plaques related to the cult of Saint Isidore the Plumber, whose brotherhood existed at the church in Biala (Biała) since 1645. And also the painting with his image until the 1970s crowned one of the side altars with the image of the resurrection Jesus from the 16th century. Biala (Biała) plaques have a varied artistic level, from two plaques made by the eminent Gdansk (Gdańsk) goldsmith, N. Schlaubitz, to plaques by provincial craftsmen, who, however, cannot be denied some special charm. This remark applies to the plaque with the scene of the Virgin Mary’s wedding with Saint Joseph.
Studia Hercynia
|
2023
|
vol. 27
|
issue 1
54-64
EN
This paper proposes a comparison between the votive plaques which were part of the Oxus and Mir Zakah treasures, both dating for the main to the Achaemenid period. In a first section the questions of provenance and authenticity are discussed. Arguments adduced against the authenticity of some plaques are dismissed in the light of comparative material, some of which was recently discovered in safe contexts. A second section addresses the religious significance of these offerings. The Oxus treasure collection is consistent with known chracteristics of the god Wakhsh (Oxus), e.g. its association with the horse and its possible assimilation to Tishtrya. The Mir Zakah collection is more associated with farming and it also comprises a significant proportion of medical ex -votos (or propitiatory offerings), completely absent from the Oxus treasure. Such a repertoire could suggest that this part of the Mir Zakah treasure originally belonged to a temple of Anāhitā.
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