Search results

1

Pomnik Jordanów w Krakowie. Problem datowania i autorstwa

100%

Kowalczyk J.

Biuletyn Historii Sztuki

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2012

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vol. 74

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issue 2

157-188

EN

The statue of Spytek Wawrzyniec Jordan and his family is located in the southern nave of St. Catherine’s Church in Cracow. He founded it for himself and the family. Spytek Wawrzyniec Jordan of Zakliczyn and Melsztyn, Cracow castellan, the first Senator in the Polish Kingdom, died on 11 March 1568. His monument is one of the most accomplished High Renaissance ones in Polish art. In the article, the dating of the statue of Jordans has been specified for a year before 1593 (on the grounds of the inscription on the tomb side). The attribution of the work to Santi Gucci is the result of its thorough analysis by the paper’s Author. The monument coincides with the first stage of Santi Gucci’s activity in Poland.

2

An Investigation on Namings Around Bolu and Duzce Tombs

100%

Kaplan H., Peker S.

Journal of Education Culture and Society

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2022

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vol. 13

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issue 2

691-704

EN

Aim. The purpose of conducting a self-contained study on the naming of visiting places was the main motivation for this study. It is aimed to examine the historical background, visiting times, pre- and post-visit practices of mausoleum and grave visits seen in Turkish culture based on the regions of Bolu and Duzce, and to create a classification related to the ways in which the visiting places are named. Methods. This study covers the places of visit in Bolu and Duzce provinces in general, and visits to mausoleums in particular. Research: traditions, customs, rites, ceremonies have been revealed based on folk beliefs by using the discipline and methods of folklore. The data were collected through interview, participatory observation, and unattended observation methods. Results. As a result of this study, in Bolu 50, in Duzce 17 the tomb and the grave were examined and it was determined how and according to what these sacred places received their names. Conclusion. In almost every study conducted on sacred places of visit, various researches have been carried out by different disciplines on the naming of sacred places, and a new naming study was being conducted each time according to the characteristics of the region. This has led to the emergence of independent classifications. In this regard, there has been a need to conduct a comprehensive study of the naming and including the characteristics of the person buried in the grave. Based on this need, it was both the first in this field of study and a classification was put forward.

3

The Sound of Ancient Egypt – Acoustics and Volume Measurements

86%

Heidi K.-J.

Ars inter Culturas

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2020

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issue 9

13-33

EN

In ancient Egypt, performances inside and outside buildings are documented (open air, under canopies, in rooms). The article discusses the different acoustic conditions at the various per-formance venues. Within the scope of experimental music archaeology, the volume of replicas of musical instruments from ancient Egypt and modern equivalents was measured. This tech-nical approach in connection with iconographic, textual, and archaeological evidence provides a valuable, practice-oriented contribution to our knowledge of ancient Egypt and its music archaeology.

4

Pottery from the tomb of Kairsu (AC 33) – a preliminary analysis

86%

Arias K.

Pražské egyptologické studie (Prague Egyptological Studies)

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2020

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issue 25

59-81

EN

This paper presents a preliminary report on the most significant ceramic contexts from the tomb of official Kairsu, excavated at Abusir Centre in the autumn of 2018. Based on the pottery finds, the activities in the tomb can be divided roughly into three main time frames. During the middle to late Fifth Dynasty, the tomb was constructed and four main burial shafts and apartments were equipped. The preliminary analysis shows that Kairsu was buried at a slightly earlier date than the owners of Shafts 2, 3 and 4, although all the pottery belongs to the span of the middle to late Fifth Dynasty. The area east of the tomb is characterized by secondary activities – in the course of the late Fifth and early Sixth Dynasty, two small additional shafts were built; one in the corridor of AC 33 (Shaft 6) and another in the corner north of the so-called entrance rooms (Shaft 5), the second one very likely serving as an embalming deposit for an (at this point) unknown burial. The so-far analysed destruction and refuse layers in and around Entrance Rooms 1 and 2 can be dated to the Sixth Dynasty, with some contexts associated with pottery characteristic of the first half of the dynasty (within a time span of Pepy I to Merenre) and one cluster containing vessels typical of the second half of the Sixth Dynasty.

5

Grób św. Jakuba

86%

Murphy-O’Connor J.

The Biblical Annals

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2005

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vol. 52

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issue 1

175-184

PL

The publicity recently given to an ossuary with the inscription „James son of Joseph brother of Jesus” has made it imperative to know as much as possible about the tomb of James the brother of the Lord.

6

Sixth Dynasty shaft deposit from tomb AS 84b

86%

Arias K.

Pražské egyptologické studie (Prague Egyptological Studies)

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2021

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issue 26

7-22

EN

The aim of this paper is to discuss a single context from a small mud brick tomb, AS 84b, built immediately south of large wooden boat (AS 80) at Abusir South. This context is exceptional due to the fact that the rela tively small Shaft 2 contained a very large number of fully preserved vessels found in situ at diverse depths of the shaft, as well as hundreds of additional fragments in the general fill. The vast majority of the pottery belonged to a single type, namely beer jars with a tall slender body with a sharp pointed base (Abusir J-1c). Among them, at least half of the examples exhibited an intentional hole made in the base of the jar. This paper also offers a short typological and morphometric study of these beer jars and an interpretation of the deposit as a whole within our current knowledge of diverse funerary contexts.

7

In the shadow of Kaaper. Preliminary report on the anonymous Fifth Dynasty tomb AS 88

86%

Odler M., Arias K., Honzl J., Brukner Havelková P., Sůvová Z.

Pražské egyptologické studie (Prague Egyptological Studies)

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2021

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issue 27

7-42

EN

This paper presents an archaeological report on the anonymous Fifth Dynasty mastaba AS 88 from the Abusir South necropolis, south west of the tomb of the official Kaaper (AS 1). The tomb was reduced to the ground in antiquity and only fundaments of its architectural disposition remain: the chapel and serdab located in the southernmost third of the ground plan, and the main burial Shaft 4 with looted burial chamber to the north. The tomb owner was a robust male who lived to relatively old age, between 40 and 60 years. Neighbouring ritual Shaft 5 has been undisturbed since antiquity and near its opening, a dislocated base of a combed ware vessel of Syro Palestinian provenance was found, probably having come from the looted burial equipment of Kaaper. Other selected ceramic, anthropological (including two undisturbed Old Kingdom burials in subsidiary shafts of the tomb), and archaeozoological finds are presented as well in the report. The last part of the article discusses the importance of similar structures in the broader understanding of the Old Kingdom at Abusir, as they provide a humble counterpart to the pyramids and major tombs of Royal Abusir.

8

Du fondateur au bienfaiteur. Histoire, archéologie et architecture des hérôa en Asie Mineure du IIe siècle av. J.-C. au IIIe siècle ap. J.-C.

86%

Bride H.

Electrum

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2025

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vol. 32

303-320

EN

Defining a heroon presents both methodological and conceptual challenges. This term pertains less to an architectural form than to the social and symbolic status of the deceased. Indeed, the heroon refers to the category of honors traditionally reserved for the mythical founders of Greek cities. This study aims to determine whether, during the Roman period, heroa primarily served as visible markers of social distinction or it still corresponded to a form of heroization. The corpus examined focuses on Asia Minor, spanning the period from the 2nd century BCE to the 3rd century CE. The approach combines an analysis of epigraphic sources with archaeological data. Such a systematic examination highlights two distinguishing criteria for identifying a heroon: exceptional monumentality and a prominent location within the civic space. Moreover, his analysis reveals that elites used heroa to express their cultural references, drawing inspiration from both funerary and religious architectural traditions. In Asia Minor, heroa served as an additional mean of distinction within the civic landscape. An examination of the honorary decree of Metropolis, unique in its mention of a heroon granted by a city, demonstrates a dual purpose: to honor Apollonios for his dedication to his homeland and to reaffirm Metropolis’ loyalty to Rome.

9

Franciszek Smuglewicz, Jan Chrystian Kamsetzer i pamięć synów o Józefie Prozorze

72%

Michalczyk Z.

Biuletyn Historii Sztuki

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2014

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vol. 76

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issue 2

197-217

EN

The name of the Witebsk Voivode Józef Prozor and his relatives has been permeated in history of culture and Polish art of Neo-Classicism by Franciszek Smuglewicz, author of the portrait of the Prozor family, a work that despite formal flaws, ranks among the canon of Polish painting from the late 18 th century. The work features family members grouped around a medallion with the portrait of the late Józef Prozor. Source materials shed some new light on the circumstances how the portrait was created. Commissioned by Karol, the eldest son of Witebsk Voivode, the effigy of Józef Prozor was modeled on his death mask. Moreover, Karol Prozor commissioned from the royal architect Jan Chrystian Kamsetzer a monumental tomb forming an obelisk, intentioned to be placed in Siehniewicze, possibly somewhere in the vicinity of the Parish Church. It was executed at the stonemason’s workshop in Dębnik near Kraków, while the figure of the genius of death (gilded bronze) was commissioned in London (most likely through Franciszek Bukaty). In April 1792, preparations were carried out to dispatch the work to Siehniewicze and assemble it on site, yet most likely the political developments of the subsequent months, related to the Targowica Confederation, the 1792 Polish-Russian War, and Karol Prozor’s emigration prevented the transportation of the monument to Polesie.

10

Pojetí náhrobku v díle Jana Kotěry a jeho ohlasy u Bohuslava Fuchse a Josefa Gočára

72%

Synecký J.

Historie – Otázky – Problémy (History, Issues, Problems)

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2019

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vol. 11

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issue 1

190-212

EN

The article deals with the creation of tombstones in the work of the leading protagonists of the modern Czech architecture, Jan Kotěra and Josef Gočár, accentuating the typological aspects. The 19th century codified an established typology of a tombstone design which the modernists do not deny, but take it as a point of departure, the basis for their updates and inventive variations. The basic themes are the stele, cross, portal gate, pylon or pillar, and am architecturally adjusted free-standing statue. The popularity of traditional tombs is declining in favour of large-scale tombstones. Kotěra first abandons the theme of the stele, soon returns to it, with the theme of the cross receding and emerging. In the period after the year 1912, Kotěra’s scepticism about Cubism manifests itself. Kotěra’s analytical approach to the task is a direct antipole of the impulsive and intuitive creation of Josef Gočár but it was this pupil of Kotěra who succeeded in synthesising the efforts of two generations of modernists.

11

Un messaggio per i posteri. La tomba di Stanisław Miński nella Basilica di Sant’Antonio a Padova

72%

Lenart M.

Italica Wratislaviensia

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2021

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issue 12.2

11-27

EN

The article deals with the first burial in the tomb crypt built under the altar of the "natio polona" in the Basilica of St. Anthony in Padua. Stanisław Miński, a Polish state dignitary and diplomat who was passing through Padua on his way from Naples, was the one buried here. The tombstone, removed only in the first half of the 20 th century, contained information about the laying of Miński’s body to rest in the place where church services associated with Poland and Poles were performed. For over three centuries, the tomb attracted the attention of pilgrims from Poland coming to Padua, reminding them not only of the outstanding Polish diplomat, but also of the "natio polona", which, in the 16 th and early-17 th centuries, constituted a large and distinctive group of "ultramontani", that is, those who came from beyond the mountains, most of whom had come to study at the flourishing university. In the article, little-known documents concerning the burial are gathered; these documents are kept in the Paduan archives and had been collected by the clergy and secular administration of the Basilica. Via the analysis of these documents, the cultural context in which the decision against bringing Miński’s body to Poland is reconstructed. The role of the institution, constituted by the administration of St. Anthony’s Basilica operating under the name of Veneranda Arca di Sant’Antonio, which grants permission to lay the body in the Basilica, is also established.

IT

L’articolo affronta la questione della prima sepoltura nella cripta funebre, realizzata sotto l’altare della "natio polona" nella Basilica di Sant’Antonio a Padova. Tale sepoltura riguardava Stanisław Miński, dignitario di stato polacco e diplomatico, che passò da Padova diretto a Napoli. Dell’inumazione del corpo di Miński nel luogo di celebrazione liturgica del santuario associato alla Polonia ed ai polacchi informava una lapide, rimossa solo alla metà del XX secolo. Per oltre tre secoli essa attirò l’attenzione soprattutto dei pellegrini polacchi giunti a Padova, ricordando non solo la figura del grande diplomatico polacco, ma anche la "natio polona", che nel secolo XVI e agli inizi del XVII costituiva in città un gruppo numeroso e particolare di oltremontani, in gran parte legati agli studi compiuti nel periodo d’oro dell’università. Nell’articolo sono riportati documenti scarsamente noti concernenti la sepoltura, conservati negli archivi padovani, redatti dall’amministrazione religiosa e da quella della basilica. Grazie alla loro analisi, è stato ricostruito il contesto culturale nel quale fu deciso di rinunciare al trasporto della salma di Miński in Polonia. Si è altresì sottolineato il ruolo svolto dall’istituzione cerata dall’amministrazione della Basilica di Sant’Antonio, operante con il nome di Veneranda Arca di Sant’Antonio, la quale rilasciava i permessi per l’inumazione delle salme nella basilica.

12

A Label for Opening of the Mouth Implements from the Burial of Senneferi (TT99) and Remarks on the Ritual

72%

Bohleke B., Strudwick N.

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

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2017

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vol. XXX

105-123

EN

In 2009, Nigel Strudwick published a paper drawing attention to a number of objects found in TT99 which seem to have been used in the Opening of the Mouth ritual. In 2015 an hieratic label from the same burial was identified as possibly belonging to a bag or box in which these items were kept. This paper presents a full edition of the label, and offers further comments on the context where the objects were found, and also indicates lines of research for further study of the Opening of the Mouth ritual.

13

Ciało i duch cesarza. O hybrydalnych i fantomowych wizerunkach Napoleona za życia i po śmierci

72%

Oleńska A.

Konteksty - Polska Sztuka Ludowa

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2025

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vol. 349

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issue 2

225-236

EN

The text analyses the ways how the memory of Napoleon was employed in the second and third quarters of the 19th century, examining the agency and symbolic meanings attributed to his body within the context of a “bright” and “black” legend. The instrumentalisation of his physicality in images and texts evaluated into a strategic means of constructing collective memory and political mythology, mainly in France. The text touches upon themes concerning emperor’s body during his lifetime (such as the depreciation and hybrid deformation in British caricatures in the face of the French invasion), and particularly after his death. Almost immediately after he died, Napoleon was shrouded in legend. Descriptions of his agony and death, autopsy reports, and images of his corpse were made public, leading to the creation of iconography commemorating him in a style similar to devotional paintings. Then, his “resomatisation” took place through sacralisation and the transformation of his remains into a relic, accompanied by images of “resurrection”. This phenomenon gained particular momentum after the emperor’s remains were brought to France and buried in Paris (retour des cendres), in a ritual act intended to transfer and legitimise power of the July Monarchy. His body became a bearer of the nation’s glory. At the same time, depictions of Napoleon as a phantom began to appear. Visual riddles became popular, employing the principles of illusion and the tradition of silhouette portraits to depict a ghostly shadow haunting his grave on Saint Helena. Already earlier, following Napoleon’s death, several books were published in which the emperor travelled to the afterlife as a ghost.

PL

W tekście analizowane są sposoby, w jakie w XIX wieku w ramach „jasnej” i „czarnej” legendy wykorzystywano pamięć o Napoleonie poprzez sprawczość jego ciała i nadawanie mu symbolicznych znaczeń. Instrumentalizacja jego cielesności przeprowadzana w obrazach i tekstach okazała się strategicznym narzędziem budowania zbiorowej pamięci i politycznej mitologii, szczególnie we Francji. Tekst porusza kilka specyficznych wątków dotyczących ciała za życia (między innymi deprecjację i hybrydalną deformację w brytyjskich karykaturach w obliczu francuskiej inwazji) oraz (zwłaszcza) po śmierci. Śmierć Napoleona niemal od razu została owiana legendą. Upublicznione zostały opisy agonii i odchodzenia cesarza, raporty z sekcji zwłok oraz wizerunki martwego ciała, zapoczątkowując popularność ikonografii upamiętniającej go w formie zbliżonej do obrazów dewocyjnych. Następnie dokonywała się jego „resomatyzacja” poprzez sakralizację, przeistoczenie w relikwię i wizerunki „zmartwychwstania”, co miało miejsce szczególnie po sprowadzeniu szczątków cesarza do Francji i pogrzebie w Paryżu (retour des cendres), traktowanym jako rytuał przekazania i legitymizacji władzy monarchii lipcowej. Ciało cesarza stało się nośnikiem chwały państwa. Równocześnie pojawiły się przedstawienia Napoleona jako fantomu. Popularne stały się przedstawienia w formie wizualnej zagadki, wykorzystujące zasady iluzji i tradycję portretów w formie sylwetek – zjawy-cienia nawiedzającego grób na Świętej Helenie. Po śmierci Napoleona wydanych zostało też kilka książek, w których cesarz jako duch odbywał podróże w zaświaty.

14

The skeletal remains from Umm an-Nar tomb QA 1-1: spatial distribution and anthropological analysis

72%

Rutkowski Ł., Parol M.

Polish Archaeology in the Mediterranean

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2021

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vol. 30

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issue 2

103-128

EN

Collective aboveground circular tombs of stone are one of the main categories of mortuary structures from the Umm an-Nar period (2500–2000 BC) in the Oman peninsula. The tombs have been known since the late 1950s but various aspects of their functioning still await a full explanation. Most of them survived in poor condition, often empty, only a dozen or so actually yielding any human remains. Tomb QA 1-1, one of ten Umm an-Nar-type tombs at Wadi al-Fajj in northwestern Oman, has yielded a substantial assemblage of human skeletal remains (estimated MNI 25) from the two of four burial chambers excavated between 2016 and 2018. While the excavation of the tomb should be continued, a presentation of the bone assemblage recovered to date, including a distribution analysis of the remains, deposition characteristic, and preliminary osteological analysis, adds to the existing source base of Early Bronze Age populations in the ancient land of Magan.

15

Archaeological excavation of the mastaba of Queen Khentkaus III (tomb AC 30) in Abusir

58%

Krejčí J., Arias Kytnarová K., Odler M.

Pražské egyptologické studie (Prague Egyptological Studies)

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2015

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issue 15

28-42

EN

During the autumn of 2014, the Czech Institute of Egyptology continued its archaeological research of the southern part of the Abusir royal pyramid necropolis. In Nakhtsare’s cemetery, tomb AC 30 was unearthed, which appeared to belong to a hitherto unknown queen, Khentkaus III. Much damaged by stone robbers, the tomb consists of a north-south mastaba, 16.12 × 10.70 m large THE MASTABA OF QUEEN KHENTKAU S I I I ( AC 30) PES XV/2015 41 with a rather simple layout, including an L-shaped chapel in the superstructure and a vertical shaft and a burial chamber in the substructure. In the tomb’s substructure part of the burial equipment was found (travertine model vessels, copper models of tools or fragments of wooden objects) as well as fragments of a mummified female skeleton, which might have belonged to the tomb owner. The identification of the previously unknown “wife of the king” and “mother of the king”, Khentkaus III, as the tomb owner was made thanks to the numerous masons’ inscriptions documented on the tomb masonry in the subterranean part of the tomb. This discovery opens new avenues into the investigation of the situation in the royal family at the beginning of the second half of the Fifth Dynasty. The analysis of the pottery used in the fill of the mastaba’s core masonry is methodologically very important as it has been used as the major dating criterion post quem.

16

Warianty kreacji obrazu domu w rosyjskiej literaturze wampirycznej

58%

Arciszewska K.

Białorutenistyka Białostocka

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2017

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vol. 9

RU

В статье рассматриваются разные типы вампирического домашнего пространства, с которыми реципиент встречается в произведениях русских писателей XIX–XX веков. Классической моделью вампирического пространства является предложенное Брама Стокером (Brama Stoker) в повести “Дракула” (“Dracula”) ‘экзотическое, дикое, грозное сценическое оформление с знаменательным и символическим мотивом леса и горы (lasu i góry), к такому образцу обращаются русские писатели-романтики, нпр. Николай Гоголь, а также позднейшие мастера слова, которые этот мотив модифицируют, нпр. Виктор Пелевин. Мотив дома в русской вампирической литературе взаимодействует с элементами магии и демонизма, а в новейших произведениях наближается к изображению дома или человеческого пространства, что связано с изменением подхода к мотиву вампира. Главный герой и объект вампирической литературы из кровопийцы и хищника становится искателем спокойствия и признания соучастия в современной культуре.

EN

In the article the author describes different types of vampire house space in works of Russian writers of the 19th and 20th centuries. A classical example of vampire space in the form of a dangerous exotic scenery can be found in Bram Stoker’s “Dracula” with its characteristic motif of wood and mountain. Such an image is also found in novels of Russian romantic writers – Nikolay Gogol or Wiktor Pielewin. The motif of home in Russian literature coexists with the motifs of magic and demons. In contemporary works it gets closer to the concept of home and human space, which is connected with changes in the interpretation of vampire motif. The main character and the subject of vampire literature loses the attributes of blood-sucker and killer, looks for peace and acceptance as a participant of modern culture.

17

Nagrobek Anny Heleny von Rohr w kościele parafialnym w Przerzeczynie-Zdroju. Nieznane dzieło Georga Leonharda Webera

58%

Migasiewicz P.

Biuletyn Historii Sztuki

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2023

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vol. 85

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issue 2

67-86

EN

The article focuses on the tomb of Anna Helena von Rohr, primo voto von Nimptsch (1649–1712), daughter of an esteemed Baroque poet Friedrich von Logau. The tomb is located in the Catholic (formerly Lutheran) parish church in Przerzeczyn-Zdrój (until 1945 Bad Dirsdorf) near Niemcza in Lower Silesia. This high quality work, dating from ca. 1712–1715 and made of Przeworno marble and alabaster, has until now been virtually unknown to art historians and overlooked in scholarly studies. On the basis of a comparative analysis and other data, the design and execution of the monument was ascribed to Georg Leonhard Weber (1672–1739), a sculptor active in Świdnica, originating most probably from Franconia.

PL

Artykuł jest poświęcony nagrobkowi Anny Heleny von Rohr, primo voto von Nimptsch (1649–1712), córki cenionego barokowego poety Friedricha von Logau, znajdującemu się w katolickim (dawniej luterańskim) kościele parafialnym w Przerzeczynie-Zdroju (do 1945 Bad Dirsdorf) koło Niemczy na Dolnym Śląsku. To wysokiej klasy dzieło, wykonane ok. 1712–1715 r. z marmuru przeworneńskiego i alabastru, było do tej pory niemal nieznane historykom sztuki i pomijane w opracowaniach naukowych. Na podstawie analizy porównawczej oraz innych przesłanek projekt i wykonanie monumentu zostały przypisane Georgowi Leonhardowi Weberowi (1672–1739), rzeźbiarzowi aktywnemu w Świdnicy, pochodzącemu prawdopodobnie z Frankonii.

Refine search results

Pomnik Jordanów w Krakowie. Problem datowania i autorstwa

An Investigation on Namings Around Bolu and Duzce Tombs

The Sound of Ancient Egypt – Acoustics and Volume Measurements

Pottery from the tomb of Kairsu (AC 33) – a preliminary analysis

Grób św. Jakuba

Sixth Dynasty shaft deposit from tomb AS 84b

In the shadow of Kaaper. Preliminary report on the anonymous Fifth Dynasty tomb AS 88

Du fondateur au bienfaiteur. Histoire, archéologie et architecture des hérôa en Asie Mineure du IIe siècle av. J.-C. au IIIe siècle ap. J.-C.

Franciszek Smuglewicz, Jan Chrystian Kamsetzer i pamięć synów o Józefie Prozorze

Pojetí náhrobku v díle Jana Kotěry a jeho ohlasy u Bohuslava Fuchse a Josefa Gočára

Un messaggio per i posteri. La tomba di Stanisław Miński nella Basilica di Sant’Antonio a Padova

A Label for Opening of the Mouth Implements from the Burial of Senneferi (TT99) and Remarks on the Ritual

Ciało i duch cesarza. O hybrydalnych i fantomowych wizerunkach Napoleona za życia i po śmierci

The skeletal remains from Umm an-Nar tomb QA 1-1: spatial distribution and anthropological analysis

Archaeological excavation of the mastaba of Queen Khentkaus III (tomb AC 30) in Abusir

Warianty kreacji obrazu domu w rosyjskiej literaturze wampirycznej

Nagrobek Anny Heleny von Rohr w kościele parafialnym w Przerzeczynie-Zdroju. Nieznane dzieło Georga Leonharda Webera