Studia Theologica Varsaviensia, 1985, R. 23, nr 1

Stały URI dla kolekcjihttps://theo-logos.pl/handle/123456789/39602

Przeglądaj

Teraz wyświetlane 1 - 11 z 11

Antropologia chrześcijańska Karla Rahnera
Kuc, Leszek (Akademia Teologii Katolickiej w Warszawie, 1985)
Jakub Pokora, Sztuka w służbie reformacji. Śląskie ambony 1550-1650, Warszawa 1982, s. 336, II. 170
Kobielus, Stanisław (Akademia Teologii Katolickiej w Warszawie, 1985)
Kościół popauliński świętego Ludwika we Włodawie – charakterystyka i geneza architektury
Zadrożny, Tadeusz (Akademia Teologii Katolickiej w Warszawie, 1985)
The aim of the article is criticism and revision of certain opinions related not only to the former Paulite church of St. Louis at Włodawa, but, on a small scale, the central architecture in 16-18 centuries as well. The present writer bases it on rich resources of collected and selected archival materials, on the thorough formal analysis of the object, its spatial scheme, construction, and composition of the interior and review and his own classification of central sacral realizations in 16-18 centuries in Europe. The Wlodavian church was erected in 1741-1752 basing on the plans and under supervision of Paweł Antoni Fontana, the architect in ordinary of prince Paweł Karol Sanguszko, the Great Lithuanian Marshall. The octogonal nave is an unusual architectural form among sacral object of Polish province of Paulites. This form is token of respect the local patrons bestowed the parish church of St. Aima at Lubartów, a similar work of the same architect, which was consecrated three years before in 1738. Both the Late-Baroque churches and other churches of the Lublinian Group: the former Piarist parish church of the Sending out of the Apostoles at Chełm Lubelski, the former Shoud Carmelite Church of St. Elias at Lublin and the former Brigittine church of Annunciation at Brześć Litewski, which do not exist any more, are Characterized by: a. plan based on longal octogon combined with a cross, b. scheme of constraction based on a system of eight nave piers and a vault connected with them by two half-domes joined by a central arch, c. articulation emphasizing the predominant role of the nave: pilasters in a great order and an entablature repeating the octogonal plan, d. the line of arcades of the interior in alternating system with reference to the arras of the cross i.e. sanctuary, entrance middle chapels and four low diagonal chapels. In those churches the type of interior with the predominant role of the nave was realized just 0» ln S. Anna del Palafrenieri in Roma (G. B. da Vignola), abbey church of St. Josef Mala Strana in Prague (J. B. Mathey), chapel of the College des Quatre Nations in Paris (L. Le Vau), Superga near Turin (F. Juvarra), Holy Trinity in Salzburg and St. Charles Borrameo in Vienna (Dreifaltigkeistkirche and Karlskirche, J. B. Fischer von Erlach), Seminary Church at Linz (Priesteiseminarkirche, J. L. von Hildebrandt). P. A. Fontana’s concept, realized at Lubarów, Włodawa, Brześć Litewski, Chełm Lubelski and Lublin, was in principle different from the interior of the former Camedolite church in Warsaw-Bielany, in which articulation is uniform in the nave, sanctuary, entrance and middle chapels and emphasizes predominant role of the cross. Works of P. A. Fontana are also different from the known examples of Austrian central architecture in the first half of 18 century, in the past considered to be a model for them. The building experience gathered by the architect in his home land from childhood is more important than possible Austrian inspirations. General and detailed studies of P. A. Fontana’s work ought to explain the origin of the structure of the Wlodavian church. G. Guarlnl’s design for the sanctuary della Consolata in Turin was probably used as a model for the nave vault. H ie situation of each church conditioned the mass of the Lublinian Group churohes, the fronts were effected by contemporary Polish works of architecture.
Kronika Wydziału Teologicznego (I półrocze 1884)
Lewek, Antoni (Akademia Teologii Katolickiej w Warszawie, 1985)
Niebieska Jerozolima – temat biblijny w sztuce
Kobielus, Stanisław (Akademia Teologii Katolickiej w Warszawie, 1985)
The Heavenly Jerusalem is a topic which can hardly be separated from the books of the Old and New Testament. The following article aims at showing the relationship between the semblance of the historical Jerusalem and representations of the Holy City of the eschatological times in different arts. After the decline of the Kingdom of Israel and Judah, after the destruction of Jerusalem and Solomon’s Temple, most of the Jewish were taken captives by the Babylonians. Representations of Yahweh sanctuary and of the ideal Jerusalem (not a real one), created in captivity, made up for the loss of both homeland and the Temple. Ideals, kept alive and cherished by the prophets, were due to come true in the future. Unfortunately, reality ruined the dreams. Their fulfillment had to be transferred into the eschatological times. In particular, when the Temple, rebuilt on the return from captivity, turned into ruins again as a result of the Jewish uprising against the Roman Empire in 70 A. D. New Christian communities resumed some trends of the Judaic tradition concerning the Heavenly Jerusalem, but filled them with new substance. The Heavenly Jerusalem, presented mainly in the Book of Apocalypse by St. John, the Apostle, became the representation of the Church – the bride of the Lamb in the eschatological times. The artists of different epochs turned to those visions from St. John’s Book of Revelation, as well as to the image of the historical Jerusalem, in order to present the heavenly life of the future by means of some earthly forms. To show that, the artists made use of the ideal structure of a temple, town and state, which had its counterparts in painting and craft, too. What they used as well was the exegesis of the Apocalypse and the accounts given by pilgrims and participants of the crusades to the Holy Land.
Nowy podręcznik teologii moralnej
Dziuba, Andrzej Fr. (Akademia Teologii Katolickiej w Warszawie, 1985)
Polskie przedstawienia „scala salutis” na tle tematyki śmierci w sztuce i literaturze średniowiecznej
Rączkowski, Witold (Akademia Teologii Katolickiej w Warszawie, 1985)
The thesis is devoted to three Polish paintings from the first half of the 15th century, which present the rare theme of „scala salutis”/„scala peccatorum”. These are: the miniature from the No. 2. Missale from the Archives of the Metropolitan Chapter at the Wawel Castle in Cracow and wall paintings in the cloister of the post – Augustan St. Catherine’s Church in Cracow and in the cloister of the post – Cistercian monastery in Pelplin. The moment of man's death and the simultaneous individual judgment of his soul are portrayed. Maria intercedes for the dying man to Jesus Christ who in turn intercedes to God the Father. A t the same time the angel and the devil fight for his soul. Analoguous European representations, such as the miniatures from the National Library in Florence, the Casanatense Library in Rome and wall painting in Zeliezowce, Czechoslovakia, have been discussed. Different representations of the double intercession of Maria and Christ to God the Father have also been presented. Analysis of the basic theological sources of the idea of intercession beginning from ancient Christianity follows. The theme was most elaborately developed in the writings of St. Bernard of Clairvaux. Besides painting another field of late Medieval art has been taken into consideration: i.e. homiletic and theological writings and popular lay and religious prose and poetry devoted to motifs of death and intercession. In addition to those rudimentary theological views, the contents of such works as: „Contemptus Mundi”, „The Legend of the Three Alive and Three Dead Ones”, „Vado mori”, and „Man’s Talks with Death” where specific attention was drawn to the Polish „Rozmowa Mistrza Polikarpa ze śmiercią”, as well as such works as „The Complaint of the Dead”, „Oto usta już zamknione” and „Dusza z ciała wyleciała”, have been presented. The English – Dutch morality „Everyman” and the dances of death and „ars moriendi” treatises have also been accounted for. The apocryphal depiction of St. Joseph’s death (“Historii Josephi fabri lignari”) as well as of St. Martin’s death as presented by Sulpcislus Sever and Jacob de Voragine have been pointed out as the archetypes of these works and possibly also of the „scala salutis" presentations. Selected Polish prayers and Marian songs devoted to Maria’s intercession to Christ at the time of man’s death have been discussed. Finally the main factors which determined the fact that the fascination with death was particularly strong in the 14th and 15th centuries have been considered. Those were determined as mostly historical, economic and social reasons. The Cistercian artistic centre, where the theme and lay out of „scala salutis’’ probably emerged, was suggested. Most likely the theme reached Poland by two routes: from Doberan to Pelplin and from Slovakia and Bohemia to Cracow.
Rola krwi w Starym Testamencie
Rumianek, Ryszard (Akademia Teologii Katolickiej w Warszawie, 1985)
Teologia w Polsce
Łydka, Władysław; Zuberbier, Andrzej (Akademia Teologii Katolickiej w Warszawie, 1985)
Treści ideowe dekoracji monumentalnej kościoła świętych apostołów Piotra i Pawła w Nysie, dawniej kościoła klasztornego bożogrobców
Talbierska, Jolanta (Akademia Teologii Katolickiej w Warszawie, 1985)
Waldemar Cwenarski – portret artysty
Mrozowski, Andrzej (Akademia Teologii Katolickiej w Warszawie, 1985)
The "Self-portrait” of Waldemar Cwenarski (1926-1953), painted a few months only before the artist's untimely death, remains his most mature achievement as well as a tragic evidence of the drama of his time. Formally, the painting combines almost complete monochromatism and austerity of its fabric with expressive spontaneity marked with traces of streaming paint. The representation of the artist’s face evokes a monumental and dramatically still image of the death’s-head. However, both his head as well as those of two other persons, who emerge against the dark background of the painting, are covered with cone-shaped caps – a traditional element of the harlequin coat, and hence a sign denoting this sort of occupation. Being a recurrent motif In Cwenarski’s work, the cones-haped cap symbolism, nevertheless, is gradually developed to acquire a profoundly new semantic value. As opposed to the general notion of sadness and death suggested by his art, It seems to symbolize the lost joy of one’s life (eg. „Composition with Children”, 1950); while in the „Self-portrait” it reaches still further, as it were, to demonstrate a tragic ambivalence of an artist’s career in Cwenarski’s time. As the majority of the Polish people, W. Cwenarski painfully experienced the horror of the World War 1939-45 and the wandering life afterwards, until he settled down with his mother in Wroclaw in 1947. He entered the High School of Art there in 1949 – the critical year marking the beginning of the social realism rule in Polish art. According to new principles, an artist was compelled to produce an invariably simplified and optimistic vision of life, and strictly obey the realistic method of representation. A deviation from the rules would be considered an ideological failure on the part of an artist, with him being doomed to disappearance from the public arena as an officially dead. In the case of W. Cwenarski, the social realism principle determined the duplication of his work as a young painter. On the one hand, he tried to adjust his art to the official demands put forward by his professors. A profound need to find means of expression for his true self, on the other hand, made him secretly develop an independent trend of art conceived in what might be termed as the manner of spontaneous expressionism. In a series of outcries of temporarily released emotion, as it were, Cwenarski created such masterpieces as „Conflagration” and „Pieta” (1051). It was in his „Self-portrait”, however, that he succeeded in expressing to the full how well was he aware of the tragic destiny awaiting those in his time who dared to refuse the status of an officially accepted painter for the sake of remaining faithful to their true artistic vision. Only two years after Cwenarski’s death, in 1065, did it become possible for his best works of art to come out of hiding and grant the artist a great posthumous fame.

Przeglądaj

Przeglądaj Studia Theologica Varsaviensia, 1985, R. 23, nr 1 wg Tytuł