Liturgia Sacra, 2011, R. 17, nr 2 (38)

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Przeglądaj Liturgia Sacra, 2011, R. 17, nr 2 (38) wg Temat "art history"

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  • Miniatura
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    Michał Anioł i Wolfgang Amadeusz – dwie wizje końca świata
    Grajewski, Czesław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
    This article refers to the subject often undertaken by artists in the history of art – the vision of the end of the world. The author focuses on two specific masterpieces: Michelangelo Buonarotti’s fresco The Last Judgement (completed in 1541) and Wolfgang Amadeus Mozart’s funeral mass Requiem KV 626 (unfinished in 1791). Despite the fact that their works are divided by the period of over two centuries, common fragments can be found in both biographies. For example, the protectorate of lords and the price paid for being an artist. Connoisseurs of art often highlight that both the Judgement and the Requiem are an expression of the fear of death and the sense of guilt for the evils committed. In addition to theme, both works are connected to each other by one more thing: in the spring of 1770, Mozart after hearing Gregorio Allegris’s Miserere twice, wrote it down from memory. This piece of work was covered by several restrictions. It was allowed to perform it only during the great week and only in the Sistine Chapel, where Michelangelo had placed his fresco. It is possible that even 250 years after the creation of Last Judgement, Mozart had this fresco in mind when composing Requiem in Vienna. The author of the article tries to find these elements of the painting and music, in which both artist have included their own idea of the last hours of the world’s existence.
  • Miniatura
    Pozycja
    Symbolika barw, czas i przestrzeń na akatystowych ikonach Bogurodzicy. Schemat ikonograficzny bizantyński i ruski
    Cyrek, Olga (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
    Among the paintings deserve attention Marian icons, which emphasized the Theothokos titles contained in the so-called liturgical hymns (acatist). It is this type of imagery includes such icons as Mother of God life v giving source, Veil of Our Lady (Protection) and the Mother of God enthroned. On these icons of the Theotokos is surrounded by cosmic attributes that indicate that sehe is the Queen of Heaven and is associated with all creatures. The central place is occupied by Mary and Child, and is surrounded around her smaller paintings. Just like any icon theological content transitted through a specific work of art, or color, form and line. Prospective lines do not concide in one point here, but guided by the viewer. Colors have a symbolic meaning. Space and time do not have the icon nothing to do with the laws of physics, but reversed the laws of nature. The icon is after all done from the standpoint of eternity, thus uniting in one plane scene taking place at different times. The main characters are placed on the axis of the icons and have larger size, so you create a proper hierarchy of forms. While less important elements are treatet conventionally.
  • Miniatura
    Pozycja
    Szaty liturgiczne to też dzieła sztuki. Wybrane przykłady z XVIII wieku w polskich zbiorach
    Bender, Agnieszka (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2011)
    Despite Poland’s tumultuous history, rich and sometimes outstanding collections of liturgical vestments remain in churches and museums. Of world renown is the, now scattered, largest collection of medieval paraments found in a walled-up chapel in Saint Mary’s Church in Gdansk. The number and diversity of 17th century Italian patterned silk fabrics used to make chasubles in Poland is greater than such collections in Italy itself. The most diverse and best preserved are the liturgical vestments from the 18th century. These works demonstrate the phenomenon of meeting and even blending together of influences and inspirations from the West and the East, seen both in the techniques used and in the means of decoration. Damask from Lyon was commonly used to make liturgical vestments along with Turkish and Persian fabrics. Paraments made of re-used kontush (Polish noblemen’s outer garment) sashes constitute a separate group of objects. A large group of embroidered vestments as well as unique chasubles made from tapestries are also noteworthy.