Pub Date : 1900-01-01DOI: 10.15584/setde.2020.13.1
Grażyna Ryba
{"title":"Wprowadzenie","authors":"Grażyna Ryba","doi":"10.15584/setde.2020.13.1","DOIUrl":"https://doi.org/10.15584/setde.2020.13.1","url":null,"abstract":"","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117185293","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 : 1900-01-01DOI: 10.15584/setde.2021.14.4
Grażyna Ryba
Bronze and glass are materials that have been used for centuries in Christian church decoration as carriers of symbolic meaning. When the front façade of a church had a carved bronze door and the window placed on the axis above it was glazed, often filled with stained glass, there was a symbolic juxtaposition of material and colour: the carved bronze door in the earthly zone of the secular and the colourful glass images placed above it symbolising the sacred. The article cites examples indicating the search for new forms of expression and the formation of a new symbolism related to metal and glass in contemporary sacred art. The changes involve the introduction of colour into the decoration of bronze doors, glass inlays and the gradual domination of large panes of glass. Often, the expressiveness of glass begins to be complemented by forms created using new techniques of handling artificial light. The artists’ exploration often leads to the expansion of the church entrance, inclusion of various forms of installations, and increasingly often they turn to the use of new media. Contemporary artists are to a large extent inspired by the Church’s stance, which emphasises the importance of the liminal space between the sacred and the secular, and consequently more and more often refers to the symbolism of the door and sponsors new innovative solutions.
{"title":"Brąz i szkło w symbolice przestrzeni granicznej. Między sacrum wnętrza świątyni chrześcijańskiej a zewnętrznym profanum","authors":"Grażyna Ryba","doi":"10.15584/setde.2021.14.4","DOIUrl":"https://doi.org/10.15584/setde.2021.14.4","url":null,"abstract":"Bronze and glass are materials that have been used for centuries in Christian church decoration as carriers of symbolic meaning. When the front façade of a church had a carved bronze door and the window placed on the axis above it was glazed, often filled with stained glass, there was a symbolic juxtaposition of material and colour: the carved bronze door in the earthly zone of the secular and the colourful glass images placed above it symbolising the sacred. The article cites examples indicating the search for new forms of expression and the formation of a new symbolism related to metal and glass in contemporary sacred art. The changes involve the introduction of colour into the decoration of bronze doors, glass inlays and the gradual domination of large panes of glass. Often, the expressiveness of glass begins to be complemented by forms created using new techniques of handling artificial light. The artists’ exploration often leads to the expansion of the church entrance, inclusion of various forms of installations, and increasingly often they turn to the use of new media. Contemporary artists are to a large extent inspired by the Church’s stance, which emphasises the importance of the liminal space between the sacred and the secular, and consequently more and more often refers to the symbolism of the door and sponsors new innovative solutions.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124848336","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 : 1900-01-01DOI: 10.15584/setde.2022.15.2
Maria Nitka
The 19 th century was a time when, as noted by Michael Thimann, there occurred a transition of painting from the sphere of worship to the space of art. The parting of the paths of art and the sacred sphere also affected a genre as important for connecting these spheres as altar painting. The present paper discusses Henryk Siemiradzki’s altar paintings, which constitute this outstanding academic artist’s attempts to place painting intended for worship in churches. Siemiradzki created several altar paintings: starting with a copy of "Christ on the Cross" by Johann Köler (1867), then his own version of this theme for the chapel of Our Lady of the Rosary in his hometown Kharkiv (1871), then "Zmartwychwstanie [Resurrection]" (1878) for the Church of All Saints in Grzybów in Warsaw, and above all large altarpieces: "Chrystus uciszający burzę [Christ Calming the Storm]" (1882) for the Evangelical church in Krakow and "Wniebowstąpienie [The Ascension]" (1891) for the Church of the Resurrectionists in Rome in via San Sebastianello. The paper is an attempt to reveal the relationship between the form, the content and the sacred function of these images. The analysis focuses primarily on "Chrystus uciszający burzę [Christ Calming the Storm]" and "Wniebowstąpienie [The Ascension]", in which the artist faced the canon of the altar painting genre in the most complete way. The iconography of these works, their connections with the centuries-old visual tradition of Christianity, and finally the semantics of the composition are analysed, looking for a theological understanding of the depicted events. It has been shown that the commissions discussed are in line with the format and function of the genre of altar painting, and at the same time they are the fruit of Siemiradzki’s profound reflection on the role of the sacred image in the liturgy, in the interior, and above all in the theological discourse that was supposed to affect the hearts, minds and souls of the faithful. It is emphasized that in the commissions undertaken, the artist was able to respond to the requirements of various confessions, by painting pictures that corresponded to the mission and expectations of a Catholic parish, a religious order or a Protestant community. Siemiradzki’s works are therefore presented as an example of an academic artist’s reflection and his search for solutions concerning the meaning of altar paintings in the multidimensional sacred space, as inscribed into the centuries-old dialogue between the sacred sphere and art within this genre.
{"title":"Religious paintings as liturgical images in the oeuvre of Henryk Siemiradzki","authors":"Maria Nitka","doi":"10.15584/setde.2022.15.2","DOIUrl":"https://doi.org/10.15584/setde.2022.15.2","url":null,"abstract":"The 19 th century was a time when, as noted by Michael Thimann, there occurred a transition of painting from the sphere of worship to the space of art. The parting of the paths of art and the sacred sphere also affected a genre as important for connecting these spheres as altar painting. The present paper discusses Henryk Siemiradzki’s altar paintings, which constitute this outstanding academic artist’s attempts to place painting intended for worship in churches. Siemiradzki created several altar paintings: starting with a copy of \"Christ on the Cross\" by Johann Köler (1867), then his own version of this theme for the chapel of Our Lady of the Rosary in his hometown Kharkiv (1871), then \"Zmartwychwstanie [Resurrection]\" (1878) for the Church of All Saints in Grzybów in Warsaw, and above all large altarpieces: \"Chrystus uciszający burzę [Christ Calming the Storm]\" (1882) for the Evangelical church in Krakow and \"Wniebowstąpienie [The Ascension]\" (1891) for the Church of the Resurrectionists in Rome in via San Sebastianello. The paper is an attempt to reveal the relationship between the form, the content and the sacred function of these images. The analysis focuses primarily on \"Chrystus uciszający burzę [Christ Calming the Storm]\" and \"Wniebowstąpienie [The Ascension]\", in which the artist faced the canon of the altar painting genre in the most complete way. The iconography of these works, their connections with the centuries-old visual tradition of Christianity, and finally the semantics of the composition are analysed, looking for a theological understanding of the depicted events. It has been shown that the commissions discussed are in line with the format and function of the genre of altar painting, and at the same time they are the fruit of Siemiradzki’s profound reflection on the role of the sacred image in the liturgy, in the interior, and above all in the theological discourse that was supposed to affect the hearts, minds and souls of the faithful. It is emphasized that in the commissions undertaken, the artist was able to respond to the requirements of various confessions, by painting pictures that corresponded to the mission and expectations of a Catholic parish, a religious order or a Protestant community. Siemiradzki’s works are therefore presented as an example of an academic artist’s reflection and his search for solutions concerning the meaning of altar paintings in the multidimensional sacred space, as inscribed into the centuries-old dialogue between the sacred sphere and art within this genre.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134057949","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 : 1900-01-01DOI: 10.15584/setde.2020.13.2
J. Królikowski, Uniwersytet Papieski Jana Pawła Ii w Krakowie Polska ks.
Almost from its very beginning, the faith of the Church incorporated art in its various forms of expression into the process of interpreting its doctrine. Quite quickly the Church included in this process the dogma of creation, i.e. the calling of the world into existence by God. At first, in polemic against ancient Manichaean tendencies, this dogma contributed to a positive view of matter, and thus to the possibility of using it in the realm of religion: since it comes from God, it cannot be an obstacle to worshipping him. Over time, the theme of creation itself was also incorporated into art, above all because it shaped Christian aesthetics, which always in some way reflected the essential elements of the Christian vision of the world and matter: radiance, proportion, harmony. Scholastic theologians in the Middle Ages drew attention to the fact that aesthetics, referring to the creative work of God, can play a supportive role in man’s return to God, thanks to the fact that it lifts his spirit towards the Creator. In the Middle Ages the motif of God the Creator, especially as the Creator of all things, also appeared in art. Under the influence of Enlightenment and positivist tendencies, matter lost its symbolic and theological bearing, becoming only a material made available to man, and thus the motif of creation disappeared from art. This means that there is a need to search for the possibility of including the truth about creation in art.
{"title":"Przemiany symboliczno-teologicznego znaczenia materii i ich odzwierciedlanie się w estetyce i sztuce chrześcijańskiej","authors":"J. Królikowski, Uniwersytet Papieski Jana Pawła Ii w Krakowie Polska ks.","doi":"10.15584/setde.2020.13.2","DOIUrl":"https://doi.org/10.15584/setde.2020.13.2","url":null,"abstract":"Almost from its very beginning, the faith of the Church incorporated art in its various forms of expression into the process of interpreting its doctrine. Quite quickly the Church included in this process the dogma of creation, i.e. the calling of the world into existence by God. At first, in polemic against ancient Manichaean tendencies, this dogma contributed to a positive view of matter, and thus to the possibility of using it in the realm of religion: since it comes from God, it cannot be an obstacle to worshipping him. Over time, the theme of creation itself was also incorporated into art, above all because it shaped Christian aesthetics, which always in some way reflected the essential elements of the Christian vision of the world and matter: radiance, proportion, harmony. Scholastic theologians in the Middle Ages drew attention to the fact that aesthetics, referring to the creative work of God, can play a supportive role in man’s return to God, thanks to the fact that it lifts his spirit towards the Creator. In the Middle Ages the motif of God the Creator, especially as the Creator of all things, also appeared in art. Under the influence of Enlightenment and positivist tendencies, matter lost its symbolic and theological bearing, becoming only a material made available to man, and thus the motif of creation disappeared from art. This means that there is a need to search for the possibility of including the truth about creation in art.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125828330","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 : 1900-01-01DOI: 10.15584/setde.2021.14.5
Małgorzata Kierczuk-Macieszko
Since the 1990s, more than 50 different religious works, ranging from altars to single sculptures, have been created at the current Fine Arts School Group in Lublin. Some of these objects went to places of worship or religious institutions, while others remain the property of the school or their authors. This extensive collection is the result of a dual educational concept developed at the school. On the one hand, it is based on studying (copying, compiling) historical patterns; on the other, it offers freedom of artistic vision. In both cases the students follow the guidance of the same teachers, who introduce these concepts interchangeably, deliberately varying the tasks. Treated complementarily, they give interesting results both in the course of education and in the graduates’ independent work. The selection of works presented in this article does not aspire to be an exhaustive presentation of the presence of the sacred in woodcarving works created in the circle of the Lublin School. Nevertheless, their selection illustrates in a suggestive manner artistic solutions representative for each of the two educational currents.
{"title":"Obiekty snycerskie o tematyce religijnej zrealizowane w kręgu Państwowego Liceum Sztuk Plastycznych im. Cypriana Kamila Norwida w Lublinie","authors":"Małgorzata Kierczuk-Macieszko","doi":"10.15584/setde.2021.14.5","DOIUrl":"https://doi.org/10.15584/setde.2021.14.5","url":null,"abstract":"Since the 1990s, more than 50 different religious works, ranging from altars to single sculptures, have been created at the current Fine Arts School Group in Lublin. Some of these objects went to places of worship or religious institutions, while others remain the property of the school or their authors. This extensive collection is the result of a dual educational concept developed at the school. On the one hand, it is based on studying (copying, compiling) historical patterns; on the other, it offers freedom of artistic vision. In both cases the students follow the guidance of the same teachers, who introduce these concepts interchangeably, deliberately varying the tasks. Treated complementarily, they give interesting results both in the course of education and in the graduates’ independent work. The selection of works presented in this article does not aspire to be an exhaustive presentation of the presence of the sacred in woodcarving works created in the circle of the Lublin School. Nevertheless, their selection illustrates in a suggestive manner artistic solutions representative for each of the two educational currents.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120849575","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 : 1900-01-01DOI: 10.15584/setde.2022.15.3
Beata Studziżba-Kubalska
Józef Mehoffer’s competition design for the painting decoration of the Franciscan Church in Kraków in 1894 has not yet been found. This article is an attempt to reconstruct the artist’s decorative concept on the basis of the surviving sketches for the project, as well as notes drawn and written in a sketchbook from 1893–1894. The artist, who was in Paris in February 1894, heard about the competition from Tadeusz Stryjeński. The project he sent to the jury in May 1894 did not meet the formal requirements; it was too sketch-like and unpolished and was not accepted. Mehoffer began work on it with detailed studies of sources and iconography, documented by his drawings and notes in his sketchbook. These bear witness to his technical dependence on Jan Matejko and the painters of the historicist school. The artist’s meticulous approach in this respect was perhaps one of the reasons why the project was not completed within the three-month deadline set by the jury. A stylistic analysis of Mehoffer’s sketches for the decoration of the Franciscan Church leads to the conclusion that they were created under the influence of Matejko’s polychrome decoration of the presbytery of St Mary’s Church in Kraków, as well as other sacral decoration of the second half of the 19 th century, associated with the current of academic historicism – an important model for the Polish artist was undoubtedly the polychrome decoration of the chapels of Notre Dame Cathedral in Paris – by Eugène Viollet-le-Duc and Maurice Ouradou. Mehoffer owed much of his inspiration for the iconography of his design, in which the dominant motifs were depictions of 13 th -century Polish saints, nuns, female rulers and Piast princes, to Matejko’s work, "The Defeat of Legnica – The Rebirth of Poland. 1241", 1888. The overall vision for the decoration of the Franciscan Church, which he did not include in the competition design but described in his notes, went beyond historicism. It demonstrates the artist’s sensitivity to the new trends in art at the turn of the 20 th century, and the fact that he was already aware of the profound changes taking place in the style of monumental painting and in the perception of its function.
Józef Mehoffer在1894年为Kraków的方济各会教堂的绘画装饰设计的竞赛设计至今尚未找到。本文试图以该项目幸存的草图以及1893-1894年写生本上的笔记为基础，重构艺术家的装饰理念。这位艺术家于1894年2月在巴黎，从Tadeusz Stryjeński那里听说了比赛的消息。他在1894年5月提交给评审团的项目不符合正式要求;它太像草图，没有经过润色，没有被接受。梅霍弗开始对资料和图像进行详细的研究，并在速写本上记录了他的绘画和笔记。这些都证明了他在技术上对Jan Matejko和历史主义学派画家的依赖。艺术家在这方面的一丝不苟可能是该项目未能在评审团设定的三个月期限内完成的原因之一。对Mehoffer为方济各会教堂装饰设计的草图进行风格分析后得出的结论是，这些草图是在Matejko为Kraków的圣玛丽教堂长老会设计的彩色装饰以及19世纪下半叶的其他神圣装饰的影响下创作的。与当时的学院派历史主义有关——波兰艺术家的一个重要典范无疑是巴黎圣母院教堂小教堂的彩色装饰——由eug Viollet-le-Duc和Maurice Ouradou创作。Mehoffer的设计灵感主要来自于Matejko的作品，“Legnica的失败-波兰的重生，1241”，1888年。在他的设计中，主要的主题是13世纪的波兰圣徒，修女，女性统治者和Piast王子的描绘。方济各会教堂装饰的整体愿景超越了历史主义，他没有将其包括在竞赛设计中，但在他的笔记中进行了描述。它表明了艺术家对20世纪之交艺术新趋势的敏感性，以及他已经意识到纪念性绘画风格及其功能感知发生的深刻变化。
{"title":"Józef Mehoffer’s competition design for the polychrome decoration of the Franciscan Church in Kraków, 1894. An attempt to reconstruct the artist’s decorative concept","authors":"Beata Studziżba-Kubalska","doi":"10.15584/setde.2022.15.3","DOIUrl":"https://doi.org/10.15584/setde.2022.15.3","url":null,"abstract":"Józef Mehoffer’s competition design for the painting decoration of the Franciscan Church in Kraków in 1894 has not yet been found. This article is an attempt to reconstruct the artist’s decorative concept on the basis of the surviving sketches for the project, as well as notes drawn and written in a sketchbook from 1893–1894. The artist, who was in Paris in February 1894, heard about the competition from Tadeusz Stryjeński. The project he sent to the jury in May 1894 did not meet the formal requirements; it was too sketch-like and unpolished and was not accepted. Mehoffer began work on it with detailed studies of sources and iconography, documented by his drawings and notes in his sketchbook. These bear witness to his technical dependence on Jan Matejko and the painters of the historicist school. The artist’s meticulous approach in this respect was perhaps one of the reasons why the project was not completed within the three-month deadline set by the jury. A stylistic analysis of Mehoffer’s sketches for the decoration of the Franciscan Church leads to the conclusion that they were created under the influence of Matejko’s polychrome decoration of the presbytery of St Mary’s Church in Kraków, as well as other sacral decoration of the second half of the 19 th century, associated with the current of academic historicism – an important model for the Polish artist was undoubtedly the polychrome decoration of the chapels of Notre Dame Cathedral in Paris – by Eugène Viollet-le-Duc and Maurice Ouradou. Mehoffer owed much of his inspiration for the iconography of his design, in which the dominant motifs were depictions of 13 th -century Polish saints, nuns, female rulers and Piast princes, to Matejko’s work, \"The Defeat of Legnica – The Rebirth of Poland. 1241\", 1888. The overall vision for the decoration of the Franciscan Church, which he did not include in the competition design but described in his notes, went beyond historicism. It demonstrates the artist’s sensitivity to the new trends in art at the turn of the 20 th century, and the fact that he was already aware of the profound changes taking place in the style of monumental painting and in the perception of its function.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122408983","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 : 1900-01-01DOI: 10.15584/setde.2020.13.7
Grzegorz Niemyjski, im. Eugeniusza Gepperta we Wrocławiu Polska Akademia Sztuk Pięknych
{"title":"Wierzę w sztukę","authors":"Grzegorz Niemyjski, im. Eugeniusza Gepperta we Wrocławiu Polska Akademia Sztuk Pięknych","doi":"10.15584/setde.2020.13.7","DOIUrl":"https://doi.org/10.15584/setde.2020.13.7","url":null,"abstract":"","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122660162","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 : 1900-01-01DOI: 10.15584/setde.2022.15.7
K. Pawłowska
{"title":"Review of Danuta Czapczyńska- Kleszczyńska’s book S. G. Żeleński – o rodzinie i witrażach [S. G. Żeleński – the family and stained glass art]","authors":"K. Pawłowska","doi":"10.15584/setde.2022.15.7","DOIUrl":"https://doi.org/10.15584/setde.2022.15.7","url":null,"abstract":"","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130129752","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：