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Hymny w ikonach Rzeczypospolitej

100%
Kruk M. P.
Latopisy Akademii Supraskiej
|
2022
|
vol. Hymnografia i śpiew cerkiewny w Rzeczypospolitej
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issue 13
283-298
EN
Art of the late and post-byzantine period is distinguished by the accentuation of Mariological themes to an increasing extent, on the one hand, and homiletic and hymnographic themes on the other, also generally associated with Marian feasts. The pedigree of this iconography is naturally much older, while the scale of the phenomenon and its universality draws attention. Their presence in the icons of the old Polish state is noteworthy, all the more so because they are distinguished by certain iconographic peculiarities, either related to attachment to variants not found in other centers of Orthodox art or possibly resulting from longer exposure to Western tradition. The presence of St. Stephen the Hymnographer, on the other hand, can be explained by the liturgical reform involving the introduction of the Jerusalem Typikon in place of the older Studite tradition.
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Krzyż serbski z 1692 roku z monasteru Rawanica w Serbii

51%
Kruk M. P., Latoń J., Skowron K.
Kultura Słowian. Rocznik Komisji Kultury Słowian PAU
|
2024
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vol. XX
137-164
EN
In 2023 a handmade cross made of wood in a silver frame with a written inscription indicating its origin from the monastery of Ravanica in Serbia in 1692 was donated to the collection of the National Museum in Cracow. Similar crosses were made in the Balkans and especially on Mount Athos. It is a valuable example of this type of relic, unique in Polish collections, and interesting in terms of technique, technology, materials used, as well as the content it contains and its modification through the use of elements from another cross. At the same time, it is a kind of relic recalling the foundation of the monastery in the 14th century by Prince Lazar I Hrebeljanović.
PL
W 2023 roku ofiarowany został do zbiorów Muzeum Narodowego w Krakowie krzyż ręczny, wykonany z drewna, w srebrnej oprawie, z zapisaną inskrypcją wskazującą na jego pochodzenie z monasteru Rawanica w Serbii, z roku 1692. Podobne krzyże wykonywano na Bałkanach i przede wszystkim na Górze Athos. Jest to cenny przykład tego typu zabytku, stanowiącego unikat w polskich zbiorach, a zarazem ciekawego pod względem techniki, technologii, użytych materiałów oraz zawartych w nim treści i ich modyfikacji przez użycie elementów z innego krzyża. Jest to również swoista relikwia przypominająca ufundowanie monasteru w XIV wieku przez księcia Łazarza I Hrebeljanowicia.
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