Pub Date : 2021-12-05DOI: 10.12775/aunc_zik.2021.010
M. Witkowski, Sylwia Svorová Pawełkowicz
W regionie geograficznym Gór Świętokrzyskich, w pobliżu Kielc, znajdowały się dwa ważne w okresie staropolskim ośrodki wydobycia rud miedzi – położona w Paśmie Chęcińskim Miedzianka oraz leżąca w obecnej aglomeracji kieleckiej Miedziana Góra. Artykuł porusza zagadnienie handlu pigmentami miedziowymi (azurytem, malachitem i grynszpanem) pochodzącymi z przedmiotowych złóż na przestrzeni XVI–XVIII w. W źródłach archiwalnych informacje na temat handlu materiałami artystycznymi pojawiają się w dokumentach prawnych dotyczących przywilejów górniczych oraz aktach gospodarczych, w tym rachunkach dworów królewskich i biskupich, a także lustracjach dóbr królewskich i majątków biskupstwa krakowskiego oraz krakowskiej kapituły katedralnej. Cenne wiadomości o funkcjonowaniu kopalń pozyskano również z fragmentarycznie zachowanych w odpisach chęcińskich ksiąg żupniczych oraz akt miejskich, gdzie zawarte są również szczegóły dotyczące zarówno sprzedawców, jak i ich dłużników. Zebrane informacje wskazują, że pigmenty ze złóż świętokrzyskich wykorzystywano do dekoracji zamków królewskich w Krakowie i Warszawie oraz zamku wielkoksiążęcego w Wilnie, a niektóre z nich, jak np. malachit, eksportowano do Europy Zachodniej.
{"title":"Handel pigmentami miedziowymi ze złóż świętokrzyskich w świetle źródeł archiwalnych","authors":"M. Witkowski, Sylwia Svorová Pawełkowicz","doi":"10.12775/aunc_zik.2021.010","DOIUrl":"https://doi.org/10.12775/aunc_zik.2021.010","url":null,"abstract":"W regionie geograficznym Gór Świętokrzyskich, w pobliżu Kielc, znajdowały się dwa ważne w okresie staropolskim ośrodki wydobycia rud miedzi – położona w Paśmie Chęcińskim Miedzianka oraz leżąca w obecnej aglomeracji kieleckiej Miedziana Góra. Artykuł porusza zagadnienie handlu pigmentami miedziowymi (azurytem, malachitem i grynszpanem) pochodzącymi z przedmiotowych złóż na przestrzeni XVI–XVIII w. W źródłach archiwalnych informacje na temat handlu materiałami artystycznymi pojawiają się w dokumentach prawnych dotyczących przywilejów górniczych oraz aktach gospodarczych, w tym rachunkach dworów królewskich i biskupich, a także lustracjach dóbr królewskich i majątków biskupstwa krakowskiego oraz krakowskiej kapituły katedralnej. Cenne wiadomości o funkcjonowaniu kopalń pozyskano również z fragmentarycznie zachowanych w odpisach chęcińskich ksiąg żupniczych oraz akt miejskich, gdzie zawarte są również szczegóły dotyczące zarówno sprzedawców, jak i ich dłużników. Zebrane informacje wskazują, że pigmenty ze złóż świętokrzyskich wykorzystywano do dekoracji zamków królewskich w Krakowie i Warszawie oraz zamku wielkoksiążęcego w Wilnie, a niektóre z nich, jak np. malachit, eksportowano do Europy Zachodniej.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48894831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-04DOI: 10.12775/aunc_zik.2021.001
Michał Mencfel
Przedmiotem studium są znaczenia, jakie nadawano pojęciu „muzeum” w XVIII wieku. Analizie poddano definicje terminu „muzeum” zawarte w traktatach kolekcjonerskich oraz przede wszystkim w słownikach i encyklopediach. Teksty źródłowe pochodzą w większości z niemieckiego i francuskiego obszaru językowego, gdyż w nich szczególnie wyraźnie zaznaczyło się zjawisko zmiany zbioru desygnatów nazwy „muzeum”, a zarazem były one nośnikami nieco odmiennych tradycji. Wskazuje się na trzy główne przemiany, jakie dokonały się w rozumieniu słowa „muzeum” w XVIII wieku. Po pierwsze, „muzeum” zaczęło w sposób konsekwentny oznaczać przestrzeń realną, a nie również wirtualną (dyskursywną). Po drugie, zaczęło ono oznaczać przestrzeń raczej publiczną niż prywatną. Po trzecie – przestrzeń kolekcjonerską, ekspozycyjną, służącą w pierwszym rzędzie doświadczeniu sensualnemu, a nie przestrzeń wiedzy, służącą przede wszystkim doświadczeniu intelektualnemu. W konsekwencji złożonych procesów kulturowych stopniowo ukształtowało się rozumienie nazwy „muzeum” jako realnej i publicznej przestrzeni ekspozycyjnej.
{"title":"„Muzeum” w XVIII wieku. Z dziejów semantyki pojęcia","authors":"Michał Mencfel","doi":"10.12775/aunc_zik.2021.001","DOIUrl":"https://doi.org/10.12775/aunc_zik.2021.001","url":null,"abstract":"Przedmiotem studium są znaczenia, jakie nadawano pojęciu „muzeum” w XVIII wieku. Analizie poddano definicje terminu „muzeum” zawarte w traktatach kolekcjonerskich oraz przede wszystkim w słownikach i encyklopediach. Teksty źródłowe pochodzą w większości z niemieckiego i francuskiego obszaru językowego, gdyż w nich szczególnie wyraźnie zaznaczyło się zjawisko zmiany zbioru desygnatów nazwy „muzeum”, a zarazem były one nośnikami nieco odmiennych tradycji. \u0000Wskazuje się na trzy główne przemiany, jakie dokonały się w rozumieniu słowa „muzeum” w XVIII wieku. Po pierwsze, „muzeum” zaczęło w sposób konsekwentny oznaczać przestrzeń realną, a nie również wirtualną (dyskursywną). Po drugie, zaczęło ono oznaczać przestrzeń raczej publiczną niż prywatną. Po trzecie – przestrzeń kolekcjonerską, ekspozycyjną, służącą w pierwszym rzędzie doświadczeniu sensualnemu, a nie przestrzeń wiedzy, służącą przede wszystkim doświadczeniu intelektualnemu. W konsekwencji złożonych procesów kulturowych stopniowo ukształtowało się rozumienie nazwy „muzeum” jako realnej i publicznej przestrzeni ekspozycyjnej.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44888458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-27DOI: 10.12775/AUNC_ZIK.2019.001
Karol Guttmejer
{"title":"Kościół Trynitarzy w Wilnie. Uwagi o jego budowaniu","authors":"Karol Guttmejer","doi":"10.12775/AUNC_ZIK.2019.001","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2019.001","url":null,"abstract":"","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":"50 1","pages":"7"},"PeriodicalIF":0.0,"publicationDate":"2021-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47494725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-27DOI: 10.12775/AUNC_ZIK.2020.001
Jagoda Agnieszka Marciniak
The paper is aimed at presenting the results of an art expertise of a painting unknown and unpublished until 2018, which was found in private collection. On the basis of these studies, it was concluded that the painting was most likely created by Pacino di Buonaguida, a Florentine painter and illuminator, active between 1303 and 1340. The depicted scene was identified as The Greeting of Saint Proculus by the Pope. The painting may be linked to a retable attributed to Pacino di Buonaguida and placed inside the church of San Procolo, located in Via de’ Giraldo in Florence. This masterpiece constitutes probably a hitherto unknown part of the Legend of Saint Proculus, bishop of Ternia and patron of the church, which belongs to a set of seven representations recognized in the literature so far. All the pieces share the painting style (including characteristic typification of figures and focus on details), iconography, dimensions, technique of execution and framing system. The article also attempts to determine the original location of paintings in the altarpiece, since their shapes and sizes allow for many interpretations and reconstructions. While the most widespread thesis maintains that they formed a predella of the altarpiece, made up of seven scenes, there are indications that the series of the Legend of Saint Proculus was more complex. Assuming the existence of a link between the aforementioned painting and the altarpiece of Saint Proculus in the church of San Procolo in Florence, this work would be the only one created by Pacino di Buonaguida to be found in Polish collections. The identification of an unknown work constitutes an incentive to research the artist’s creation, thus significantly altering the existing recognition of the retable situated in the church of San Procolo and opening up new possibilities for its interpretation.
这篇论文的目的是介绍2018年之前在私人收藏中发现的一幅未公开的画作的艺术鉴定结果。在这些研究的基础上，人们得出结论，这幅画最有可能是由帕西诺·迪·布纳吉达创作的，他是一位佛罗伦萨画家和照明者，活跃于1303年至1340年之间。所描绘的场景被教皇确定为圣普罗库鲁斯的问候。这幅画可能与Pacino di Buonaguida的一幅画作有关，该画作被放置在位于佛罗伦萨Via de ' Giraldo的San Procolo教堂内。这一杰作可能是圣普罗库鲁斯传说中迄今为止未知的一部分，他是特尼亚的主教和教堂的赞助人，属于迄今为止文学中公认的七种表现形式。所有作品的绘画风格(包括人物的典型特征和对细节的关注)，图像，尺寸，执行技术和框架系统都是相同的。本文还试图确定祭坛上绘画的原始位置，因为它们的形状和大小允许许多解释和重建。虽然最普遍的观点认为，它们是由七个场景组成的祭坛画的predella，但有迹象表明，圣普罗克洛斯传说的系列要复杂得多。假设上述画作与佛罗伦萨圣普罗科洛教堂的圣普罗科洛斯祭坛之间存在联系，那么这幅作品将是帕西诺·迪·博纳吉达在波兰收藏的唯一一幅作品。对一件未知作品的识别构成了研究艺术家创作的动力，从而显著改变了对位于San Procolo教堂的桌子的现有认识，并为其解释开辟了新的可能性。
{"title":"Nieznane dzieło Pacina di Bonaguidy ze zbiorów prywatnych – przyczynek do badań nad malarstwem florenckiego Trecenta","authors":"Jagoda Agnieszka Marciniak","doi":"10.12775/AUNC_ZIK.2020.001","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2020.001","url":null,"abstract":"The paper is aimed at presenting the results of an art expertise of a painting unknown and unpublished until 2018, which was found in private collection. On the basis of these studies, it was concluded that the painting was most likely created by Pacino di Buonaguida, a Florentine painter and illuminator, active between 1303 and 1340. The depicted scene was identified as The Greeting of Saint Proculus by the Pope. The painting may be linked to a retable attributed to Pacino di Buonaguida and placed inside the church of San Procolo, located in Via de’ Giraldo in Florence. This masterpiece constitutes probably a hitherto unknown part of the Legend of Saint Proculus, bishop of Ternia and patron of the church, which belongs to a set of seven representations recognized in the literature so far. All the pieces share the painting style (including characteristic typification of figures and focus on details), iconography, dimensions, technique of execution and framing system. The article also attempts to determine the original location of paintings in the altarpiece, since their shapes and sizes allow for many interpretations and reconstructions. While the most widespread thesis maintains that they formed a predella of the altarpiece, made up of seven scenes, there are indications that the series of the Legend of Saint Proculus was more complex. Assuming the existence of a link between the aforementioned painting and the altarpiece of Saint Proculus in the church of San Procolo in Florence, this work would be the only one created by Pacino di Buonaguida to be found in Polish collections. The identification of an unknown work constitutes an incentive to research the artist’s creation, thus significantly altering the existing recognition of the retable situated in the church of San Procolo and opening up new possibilities for its interpretation.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":"51 1","pages":"7"},"PeriodicalIF":0.0,"publicationDate":"2021-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44562057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-25DOI: 10.12775/aunc_zik.2018.008
Paula K. Śwituszak, Ewa Pięta, J. Olszewska-Świetlik, J. Adamczyk, C. Paluszkiewicz
Specjalistyczne badania, przeprowadzone na XVII-wiecznej, dwustronnej tarczy zegarowej, ze zbiorow Muzeum Warmii i Mazur w Olsztynie, pozwolily nie tylko na identyfikacje pigmentow zastosowanych to wykonania oryginalnej polichromii oraz materialow warstw wtornych, ale takze na rozpoznanie typow i określenie zakresu wystepowania produktow chemicznej degradacji warstw barwnych. Dzieki analizie historycznej i stylistycznej, mozliwe bylo rowniez ulokowanie badanego obiektu w kontekście dziejow sztuki zegarmistrzowskiej, a takze odtworzenie jego losow od pol. XX wieku to czasow obecnych. Zgromadzony material stal sie podstawą do stworzenia szczegolowej dokumentacji na temat stanu zachowania obiektu, a takze odegral kluczową role w trakcie podejmowania kolejnych decyzji w trakcie prowadzonych prac konserwatorskich.
{"title":"Tarcza zegarowa z pierwszej połowy XVII wieku z Muzeum Warmii i Mazur w Olsztynie – zagadnienia historyczno-stylistyczne oraz technologiczno-konserwatorskie.","authors":"Paula K. Śwituszak, Ewa Pięta, J. Olszewska-Świetlik, J. Adamczyk, C. Paluszkiewicz","doi":"10.12775/aunc_zik.2018.008","DOIUrl":"https://doi.org/10.12775/aunc_zik.2018.008","url":null,"abstract":"Specjalistyczne badania, przeprowadzone na XVII-wiecznej, dwustronnej tarczy zegarowej, ze zbiorow Muzeum Warmii i Mazur w Olsztynie, pozwolily nie tylko na identyfikacje pigmentow zastosowanych to wykonania oryginalnej polichromii oraz materialow warstw wtornych, ale takze na rozpoznanie typow i określenie zakresu wystepowania produktow chemicznej degradacji warstw barwnych. Dzieki analizie historycznej i stylistycznej, mozliwe bylo rowniez ulokowanie badanego obiektu w kontekście dziejow sztuki zegarmistrzowskiej, a takze odtworzenie jego losow od pol. XX wieku to czasow obecnych. Zgromadzony material stal sie podstawą do stworzenia szczegolowej dokumentacji na temat stanu zachowania obiektu, a takze odegral kluczową role w trakcie podejmowania kolejnych decyzji w trakcie prowadzonych prac konserwatorskich.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45890538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-20DOI: 10.12775/AUNC_ZIK.2017.016
Jolanta Czuczko, Aleksandra Cybul, D. Wojciechowska
The use of gellan gels in conservation of historic paper objects sensitive to water: research and practice Within the broad range of historic objects on paper substrates exists a large group of objects generally described as water-sensitive. In the vast majority of cases, it is caused by the character of the medium layers: painting, writing, drawing or even graphic, which exhibit the tendency to become soluble in an aqueous environment. This property is a serious impediment to performing safe aqueous conservation proZastosowanie żeli gellan do konserwacji zabytków papierowych... JOLANTA CZUCZKO, ALEKSANDRA CYBUL, DOMINIKA WOJCIECHOWSKA
结冷胶在保护对水敏感的历史纸质物品中的应用:研究与实践在广泛的历史纸质物品中，存在着一大批通常被描述为对水敏感的物品。在绝大多数情况下，它是由介质层的特征引起的:绘画，写作，绘画甚至图形，它们在水环境中表现出溶解的倾向。这种特性严重阻碍了水环境的安全保护proZastosowanie żeli gellan do konserwacji zabytków papierowych…Jolanta czuczko, aleksandra cybul, dominika wojciechowska
{"title":"Zastosowanie żeli gellan do konserwacji zabytków papierowych wrażliwych na działanie wody: badania i praktyka","authors":"Jolanta Czuczko, Aleksandra Cybul, D. Wojciechowska","doi":"10.12775/AUNC_ZIK.2017.016","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.016","url":null,"abstract":"The use of gellan gels in conservation of historic paper objects sensitive to water: research and practice Within the broad range of historic objects on paper substrates exists a large group of objects generally described as water-sensitive. In the vast majority of cases, it is caused by the character of the medium layers: painting, writing, drawing or even graphic, which exhibit the tendency to become soluble in an aqueous environment. This property is a serious impediment to performing safe aqueous conservation proZastosowanie żeli gellan do konserwacji zabytków papierowych... JOLANTA CZUCZKO, ALEKSANDRA CYBUL, DOMINIKA WOJCIECHOWSKA","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45051701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZIK.2017.013
Magdalena Kapka
The artistic output of Jerzy Nowosielski includes works of various subject matter and technique. An important part of his works is monumental painting in the temples of the Roman and Greek Catholic and Orthodox denominations . Among these are wall paintings in built in the Gothic style Greek Catholic Church in Gorowo Ilaweckie, that the painter made in 1984-1985. The article presents selected issues of technology and techniques of polychrome, whose interpretation was based on the results of the following: observation of the paintings in visible and UV light , analysis of the photographs taken in near infrared, UV-fluorescence, energy-dispersive X-ray spectroscopy (XRF), Scanning Electron Microscopy with Energy Dispersive X-ray Spectroscopy (SEM-EDS), Fourier Transform Infrared Spectroscopy (FTIR), microscopic analysis of cross-sections of paint layer samples (standard VIS- and UV- fluorescence microscopy). Identification of pigments was carried out also using the interpretation of photographs taken in the technique "false color" and microchemical analysis of acquired samples of paint layers . These studies helped to define specific features of Jerzy Nowosielski painting, related to the choice of painting materials and methods of their use, especially those that determine the uniqueness of his style and makes his works instantly recognizable.
{"title":"Polichromie ścienne Jerzego Nowosielskiego w cerkwi w Górowie Iławeckim – zagadnienia technologii i techniki malarskiej","authors":"Magdalena Kapka","doi":"10.12775/AUNC_ZIK.2017.013","DOIUrl":"https://doi.org/10.12775/AUNC_ZIK.2017.013","url":null,"abstract":"The artistic output of Jerzy Nowosielski includes works of various subject matter and technique. An important part of his works is monumental painting in the temples of the Roman and Greek Catholic and Orthodox denominations . Among these are wall paintings in built in the Gothic style Greek Catholic Church in Gorowo Ilaweckie, that the painter made in 1984-1985. The article presents selected issues of technology and techniques of polychrome, whose interpretation was based on the results of the following: observation of the paintings in visible and UV light , analysis of the photographs taken in near infrared, UV-fluorescence, energy-dispersive X-ray spectroscopy (XRF), Scanning Electron Microscopy with Energy Dispersive X-ray Spectroscopy (SEM-EDS), Fourier Transform Infrared Spectroscopy (FTIR), microscopic analysis of cross-sections of paint layer samples (standard VIS- and UV- fluorescence microscopy). Identification of pigments was carried out also using the interpretation of photographs taken in the technique \"false color\" and microchemical analysis of acquired samples of paint layers . These studies helped to define specific features of Jerzy Nowosielski painting, related to the choice of painting materials and methods of their use, especially those that determine the uniqueness of his style and makes his works instantly recognizable.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49602418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZIK.2017.005
J. Krawczyk
Transformation of political-economic system in Poland and the dispute about values of built heritage This paper concerns post-1989 changes and modifications of Polish built heritage. For Poland, the year of the fall of the Iron Curtain marked the beginning of political and economic transformation: a transition from a socialist state and a member of the Soviet Bloc to a capitalist state integrated with the European Union. The implementation of democratic institutions and procedures, and the rise of free-market economy based on private property, has nurtured profound changes in the standard of living, which in turn triggered significant transformations of the traditional cultural landscape. Along with the development of pluralistic society, new ideas and approaches arose in the heritage sphere. The phenomenon described by Pierre Nora * This article has been developed from a conference paper given during the session “Re-Writing History in the Time of Late Capitalism: Uses and Abuses of Built Heritage”, at the conference “What does heritage change?” held in Montreal on June 3–8, 2016 and organized by the Association of Critical Heritage Studies. Transformation of Political-Economic System in Poland...
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Pub Date : 2018-06-19DOI: 10.12775/AUNC_ZiK.2017.001
K. Zimna-Kawecka, M. Prarat
he aim of this paper is to present a structural history of the late Romanesque church in Tulce (district Poznan). Noninvasive architectural research of the building was conducted in 2014. Its results were then confronted with the literature on the subject. On this basis it was possible to identify structural changes since the moment the church was built until the 20 th century. The original church was made of brick in Monk bond and Gothic bond. It consisted of three parts: a squarely closed chancel, nave and extension in the western part – probably of the same size as the chancel. Comparative analysis enabled to date the church for around the half of the 13 th century. Later on, in the medieval period, it was reinforced with the buttresses and had the pinnacles rebuilt. The greatest alternations took place in the 18 th century. Partly Romanesque walls were then dismantled and the whole church was extended towards the west. Original windows were either bricked up or enlarged. The initial entrance was also bricked up and there was a tower established above the new part of the main frame. Regardless of the numerous changes, the original form was well preserved as well as the structure of the church, which allowed the reconstruction. Also the analysis of the walls made it possible to follow the 13 th century building process. Therefore, the monument possesses great authentic and historical values, especially in terms of recognition of medieval architecture in Greater Poland (Wielkopolska). This was the base for evaluating the elements from the later periods as they should be submitted to conservational protection as well as the initial structure.
{"title":"Historia budowlana późnoromańskiego kościoła w Tulcach koło Poznania w świetle badań architektonicznych","authors":"K. Zimna-Kawecka, M. Prarat","doi":"10.12775/AUNC_ZiK.2017.001","DOIUrl":"https://doi.org/10.12775/AUNC_ZiK.2017.001","url":null,"abstract":"he aim of this paper is to present a structural history of the late Romanesque church in Tulce (district Poznan). Noninvasive architectural research of the building was conducted in 2014. Its results were then confronted with the literature on the subject. On this basis it was possible to identify structural changes since the moment the church was built until the 20 th century. The original church was made of brick in Monk bond and Gothic bond. It consisted of three parts: a squarely closed chancel, nave and extension in the western part – probably of the same size as the chancel. Comparative analysis enabled to date the church for around the half of the 13 th century. Later on, in the medieval period, it was reinforced with the buttresses and had the pinnacles rebuilt. The greatest alternations took place in the 18 th century. Partly Romanesque walls were then dismantled and the whole church was extended towards the west. Original windows were either bricked up or enlarged. The initial entrance was also bricked up and there was a tower established above the new part of the main frame. Regardless of the numerous changes, the original form was well preserved as well as the structure of the church, which allowed the reconstruction. Also the analysis of the walls made it possible to follow the 13 th century building process. Therefore, the monument possesses great authentic and historical values, especially in terms of recognition of medieval architecture in Greater Poland (Wielkopolska). This was the base for evaluating the elements from the later periods as they should be submitted to conservational protection as well as the initial structure.","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45682756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-06-19DOI: 10.12775/aunc_zik.2017.004
B. Grzegorczyk
{"title":"Patrocinium publicum Juliusa Schottländera","authors":"B. Grzegorczyk","doi":"10.12775/aunc_zik.2017.004","DOIUrl":"https://doi.org/10.12775/aunc_zik.2017.004","url":null,"abstract":"","PeriodicalId":34807,"journal":{"name":"Acta Universitatis Nicolai Copernici Nauki HumanistycznoSpoleczne Zabytkoznawstwo i Konserwatorstwo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49205318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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