Liturgia Sacra, 2013, R. 19, nr 1 (41)

Stały URI dla kolekcjihttps://theo-logos.pl/handle/123456789/28245

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Macierzyństwo Theotokos wyrażone na ikonach bizantyńskich, ruskich i bałkańskich w kontekście tajemnicy wcielenia Logosu
Cyrek, Olga (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2013)
The article describes the icon, which is shown by the Mother of God with Child and where the underlined is the feeling of motherhood which she bestows her son. Iconographie type called Glykofilusa shows Mother lovingly hugging a child to his cheek. Her face and eyes expresses pity, sorrow and love. A variant of this type of performances is Pelagonitissa, which strongly emphasizes the movement of the infant playing with the hands of the Mother of God. Emmanuel as the eternal Logos is shown on the image of praying to Mary, who keeps on his chest medallion with the image of Christ in the form of the Child. Also in the different stages of the life of Mary and the Christ feels that the Theotokos has for her son deep motherly. You can see it on the icons of Christ’s birth and Meetings of the Lord. Visions of Our Lady are Christ-centered and are through the adoption of the dogma of the Incarnation of the Word of God-Logos. The recognition of the divinity of Christ is synonymous with emphasis on the dignity of the Theotokos as Mother of God.
Sacrum i profanum w obrazie „Maria in sole” Geertgena tot Sint Jans (część I)
Kubies, Grzegorz (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2013)
This little painting (24.6 x 18.1 cm) Maria in sole by Geertgen tot Sint Jans from the Museum Boijmans van Beuningen in Rotterdam which served as the right wing of a diptych transmits religious, cosmological and secular ideas. Its pendant, the left wing which is exhibited in the National Galleries of Scotland in Edinburgh depicts Passion Scenes with Saint Dominic and Saint Jerome. The study is divided into two parts. In the fist one, after presenting the painter active in Haarlem (famulus ac pictor who lived with the knightly monks of the Commandery of Saint John) in the second half of the 15th century, I discuss the painting in two contexts. Apocalyptical Andachtsbild – mulier amicta sole (Rev 12,1), the Virgin Mary clothed in the light of Christ and Rosarium Pirginis Mariae expressed among others by the three concentric rings formed by translucent angels (they represent three mysteries of the Rosary: joys, sorrows and glories of the Virgin Mary) belong to the field I called in the title of the article sacrum. Both sections are accompanied by theological and iconographie reflections. Four thematic sections of the study are as follows: Et signum magnum paruit in caelo: mulier amicta sole Rosarium Virginis Mariae Motus autem non est ens completum, sed est via in ens... Musica coelestis vel mundana

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Przeglądaj Liturgia Sacra, 2013, R. 19, nr 1 (41) wg Temat "art history"