Liturgia Sacra, 2020, R. 26, nr 2 (56)

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Przeglądaj Liturgia Sacra, 2020, R. 26, nr 2 (56) wg Temat "art history"

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    Ambony typu lubiąskiego i lubiąsko-głogowskiego w sztuce barokowej Śląska oraz Wielkopolski. Geneza, ewolucja i migracja form
    Kolbiarz, Artur (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2020)
    The pulpit of the church of the Cistercian abbey in Lubiąż, designed by Matthias Steinl, was a landmark work for the development of modern pulpits in Silesia. Its popularity has resulted in several repetitions, where the scale of the similarities and differences in terms of the original division of replication allows us to enter the monument into two sets. The first relates to works paraphrasing the forms of the Lubiąż pulpit exclusively, made at the turn of the 17th and 18th centuries and covers the central and south-eastern part of Lower Silesia, as well as the south-west part of Upper Silesia. A significant role in its popularization was played by the patronage of the Silesian aristocracy (both secular and ecclesiastical), support of monasteries, as well as the artistic center in Wrocław. The second group includes monuments combining Lubiąż concepts with ideas contained in the pulpit of the collegiate church in Głogów. Built during the second quarter of the 18th century, the range covered mainly the Silesian-Greater Poland borderland. In this case, Głogów probably played the main role as a pattern propagating center.
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    Pijcież, moi przyjaciele. Upijcie się! Idea duchowego pijaństwa i mistyka oblubieńcza w protestanckim wnętrzu kościelnym
    Wisłocki, Marcin (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2020)
    The increasing significance of bridal mysticism as a distinctive tendency in seventeenth-century Lutheran devotion made a great impact on emblematic concepts in both emblem books and in ecclesiastical spaces. These concepts were transformed in order to emphasize chosen theological ideas related to the Song of Songs. The basis for the examination is a co prehensive program of the southern gallery in the church at Steinhagen by Stralsund (c. 1670–1680), inspired by Georg Philipp Harsdörffer’s emblems in Johann Michael Dilherr’s Göttliche Liebesflamme (1651), yet revealing slight alterations within biblical verses in order to present various play on meanings. The theological core constitutes the idea of spiritual drunkenness, widely known from medieval literature. It was visualized with the help of a pictura from Andreas Friedrich’s Emblemata nova (1617), yet transformed in the spirit of illustrations to mystical visions. This highly individual example reveals a strong influence of Johann Arndt as a crucial representative of the heart devotion (Herzfrömmigkeit).