Studia Teologiczno-Historyczne Śląska Opolskiego, 2014, T. 34

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    Mityczny feniks w służbie chrześcijaństwa – analiza zagadnienia na podstawie wybranych źródeł ikonograficznych
    Grzywa, Anna (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2014)
    The mythical phoenix bird was a symbol that was used by Christian writers as well. Consequently, it was used both in literature and the art. In the early Christian iconography the phoenix is usually portrayed on its own; relatively rare at the time of death in the flames or at collective scenes, mostly in the so-called tradition legis. For Christians, it was above all a symbol of resurrection of Christ, it likewise symbolised longevity and future happiness. The symbol of phoenix read in the catechumenal key pointed to the new life that catechumens commence through the baptismal mystery.
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    Przedstawienia komunii św. Onufrego w zachodnioruskim malarstwie ikonowym
    Szczęśniak, Maria (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2014)
    The representations of St. Onuphrius’ communion in west Russian icon painting became popular in 17th and 18th century. This subject has its source in life of the saint. The comparison with the other representations of communion in art shows that the representations drew on both: Latin and Greek tradition of painting. St. Onuphrius communion is an excellent example of combination of western and eastern culture – their iconography, spirituality and trends. Borderland is a place where many different influences and inspirations merge and coexist. The representation of St. Onuphrius’ communion is one of the best proofs of this interaction.
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    Spotkanie nad morzem: początki i rozkwit legendy o św. Augustynie w sztuce europejskiej
    Ożóg, Kazimierz S. (Uniwersytet Opolski. Redakcja Wydawnictw Wydziału Teologicznego, 2014)
    Text treated about the issue connected with St. August iconography which is medieval legend about the child encountered on the beach who is explaining to the Doctor of a Church the absurdity of his trial to understand the mystery of Holy Trinity. Analysis take over the earliest – generally of 15th Century painting from Italian area – images, as well as, engravings that contemporary belong to the British Museum, and originating mainly in German countries in 16th Century. Variety of possible frames according to this legend shows not only differences in a form of crafts, but also opposite ways of looking at the figure of August and a value of this anecdote in order to understand the meaning of all his achievements. Apart from literally correctness of illustrations from this story, there is also a image of a child being present in a study of the Saint, who accompanied him at work.