Sacrum et Decorum最新文献

{"title":"Semantyka marmuru w teorii i praktyce polskiej rzeźby sakralnej w drugiej połowie XIX wieku","authors":"M. Nitka","doi":"10.15584/setde.2020.13.3","DOIUrl":"https://doi.org/10.15584/setde.2020.13.3","url":null,"abstract":"The article is an attempt to present the semantics of marble in the sacred Polish sculpture of Romanticism. Taking as its starting point the modern theory of art, it first emphasizes the special role of white marble in modern sculptural theory and practice, and then outlines the foundation of this judgment in the art of the classicist era, especially in the theory of J.J. Winckelmann. Together with the spread of classical tastes, the significance of this view for Polish modern sculpture is shown, in which, in accordance with Winckelmann’s taste, white marble was perceived as the noblest raw material, worthy of the images of the gods. In the Romantic era, following G. W. Hegel, marble was regarded as “spiritual” stone, the most suitable for the depiction of the sacred. This was expressed in the theory and practice of sculpture by such artists as Cyprian Norwid and Teofil Lenartowicz, who went to Rome – the capital of sacred art – to sculpt in this material. They were followed by other Polish sculptors who also went to Rome to work in marble. The article shows their struggles, which ended successfully only for T.O. Sosnowski. In his works, however, white marble from “animate” stone went on to become material suitable for making repetitive compositions in the spirit of Italian Purism. Marble evolved from being material suitable for the representation of gods to one used for commercial objects, which was perfectly illustrated by Norwid in his short story „Ad leones!”","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120823214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Współczesne teorie piękna i decorum. Wybór poglądów XX wieku","authors":"Karol Klauza","doi":"10.15584/setde.2021.14.2","DOIUrl":"https://doi.org/10.15584/setde.2021.14.2","url":null,"abstract":"The aim of this study is an attempt to continue the discussion started by the extremely useful and competent synthesis of views on the relations between art and matter, presented in the article “The Transformations of the Symbolic and Theological Meaning of Matter Reflected in Christian Aesthetics and Art” by Janusz Krolikowski. Since the 16th century, European thought on the nature of beauty has been marked by interpretations that draw on the achievements of many academic disciplines. Numerous secular views on aesthetics were expressed in the period between the Baroque and positivism, and the ecclesiastical ones between the era of post-Tridentine theology to the time of accomodata renovatio of the Second Vatican Council and the concept of culture born out of it. Philosophers and art historians, especially of the nineteenth century, sought new justifications for changing views on beauty and its role in building the generational identity of the human being. In the field of philosophy, the views of George Berkeley and Immanuel Kant, among others, are experiencing a renaissance, and in religious thought, the same is true for the views of Joseph Ratzinger, prefect of the Congregation for the Doctrine of the Faith during the pontificate of John Paul II, concretised by the thought of Hans Urs von Balthasar. They correspond with the ideological inspirations of contemporary artists. Christian Churches undertake a dialogue with them in their Magisterium. In this way they develop elements of Christian aesthetics. Polish researchers have also made their contributions to this field.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114142215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Inner light” Stained glass in contemporary French sacred art – an overview","authors":"Agnieszka Kluczewska-Wójcik","doi":"10.15584/setde.2022.15.6","DOIUrl":"https://doi.org/10.15584/setde.2022.15.6","url":null,"abstract":"In the 1920s, a movement of revival of sacred art began in France, which also included stained glass. Its revival was associated with a departure from the illusionistic character of stained glass of the 19 th century and a reference to monumentalism and the spiritual tradition of the Middle Ages. The search for a new concept of stained glass, both in its ideological and technological aspects, resulted in the creation of “artists’ stained glass” (vitraux d’artistes), realised from the middle of the 20 th century on official commissions, thanks to the cooperation of ecclesiastical institutions and state authorities, which acquired a firm legal and financial basis in the 1980s. The stages of this evolution were marked by stained glass ensembles designed by the masters of the post-war avant-garde: G. Rouault and J. Bazaine in Notre Dame de Toute Grâce on the plateau Assy (1937–1946); H. Matisse for Notre Dame du Rosaire in Vence (1940); A. Manessier in Saint Michel in Les Bréseux with the first abstract stained-glass windows (1948); F. Léger, J. Bazaine and J. Le Moal in the interior of Sacré-Coeur in Audincourt, (1949–1951); Le Corbusier in Notre Dame in Ronchamp (1951–1955) and the modern stained glass of J. Villon, R. Bissière and M. Chagall, which was introduced for the first time to a world-class monument of architecture, the Cathedral of Saint-Étienne in Metz (1955). The restoration of the Cathedral of Saint-Cyr et Sainte-Julitte in Nevers provided an opportunity for representatives of the younger generation: R. Ubac, C. Viallat, J.M. Alberola, G. Honegger and F. Rouan (1973–2011), to showcase their vision of stained glass painting. With the exception of Alberola, all were associated with the non-figurative trends that had been developing since the 1950s. The same trend referring to the Cistercian tradition included the outstanding realisations of J.P. Raynaud in Noirlac (1975–1977), P. Soulages in Conques (1986), J. Ricardon in Acey (1991–1994) and A. Nemours, a representative of the Art Concret movement, at Salagon (1998). The return to figuration found a continuation in the projects of G. Garouste for Notre Dame de Talant (1996–1997), C. Benzaken for Saint-Sulpice in Varennes-Jarcy (1991–2007), M. Raysse, associated with the Nouveau Réalisme movement, for Notre-Dame de l’Arche d’Alliance in Paris (1986–1998) and G. Collin-Thiébaut for Saint Gatien in Tours (2010–2013). The creators of vitraux d’artistes accepted the prescribed programmatic framework without giving up their freedom of choice in means of expression and aesthetic conventions. Thanks to the research and creativity of the artists – the introduction of innovative technological processes or a new interpretation of traditional materials and craft methods – but also the courage of the ecclesiastical and, above all, state commissioners, French stained glass has fully integrated itself into the evolution of contemporary visual expression.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123890582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The mural paintings of Modest Sosenko. Characteristics of the style based on representative examples.","authors":"Olesia Semchyshyn-Huzner","doi":"10.15584/setde.2022.15.5","DOIUrl":"https://doi.org/10.15584/setde.2022.15.5","url":null,"abstract":"In the considerable creative legacy of the Ukrainian artist Modest Sosenko (1875–1920), the murals and sacred easel paintings he created for more than ten Galician churches deserve special attention. His contemporaries noted that the artist’s sacred works were characterised by his own ‘Sosenko style’, which boldly and organically combined Byzantine traditions reinterpreted by 16 th – and 17 th – century masters with modern European stylistic requirements of the turn of the 19 th and 20 th centuries. He was a pioneer who paved the way for the development of modern church art, which was helped by the circumstances of his life. After acquiring a thorough European professional education during his studies in Kraków as well as in Munich and Paris thanks to a scholarship funded by Metropolitan Andrey Sheptytsky, Sosenko returned to Galicia and, continuing his mentor’s activities in the field of museums, became a full-time employee of the Church (later National) Museum. His direct contact with old monuments of iconography, manuscripts and incunabula, and folk art allowed him to gain a deep understanding of the peculiarities of Ukrainian national art. Thus, the combination of his personal talent, professional knowledge and museum experience, as well as his close relationship with the head of the Greek Catholic Church – Andrey Sheptytsky, who directed all his efforts towards the revival of the high culture of decorating the sacred space of Eastern Rite churches, gave birth to an intellectual artist, ready to take up the challenge of the present day. However, it is not possible to appreciate Sosenko’s achievements in their entirety. The warfare in the region during the two world wars of the 20 th century, the years of Soviet rule, which was intolerant of cultural, national and spiritual heritage, and even the first years of Ukrainian independence, were not conducive to the preservation of the churches and their decoration. As a result, researchers are forced to conclude that most of Sosenko’s works have been irretrievably lost. The artist’s sources of inspiration, the specific composition of his monumental artworks, the range of colours, the ideological and aesthetic programme can only be reconstructed on the basis of the decorations of two churches in the Lviv region: St. Michael the Archangel in the village of Pidberizci and the Holy Resurrection in the village of Poliany, by making comparisons with fragments of lost murals recorded in archival photographs, and by adding the decoration, already after restoration toning, of the artist’s last sacred object – St. Nicholas Church in Zolochiv. Even such scattered data make it possible to observe many of the author’s characteristics, to determine the process of the formation of Sosenko’s distinct individual artistic style, to which this study is dedicated.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114687456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Malarska „dwujęzyczność” Jerzego Nowosielskiego. Związki między abstrakcją a ikoną w monumentalnych projektach sakralnych","authors":"Krystyna Czerni, Kraków Polska Międzynarodowy Instytut Badań nad Sztuką Irsa","doi":"10.15584/setde.2020.13.4","DOIUrl":"https://doi.org/10.15584/setde.2020.13.4","url":null,"abstract":"The sacred art of Jerzy Nowosielski, an outstanding Polish painter of the second half of the 20th century, is an example of the creative continuation of the Byzantine tradition in Poland, but also an embodiment of the debate with the painting tradition of the East and with the experience of the Church. Both in theory and in painting practice, the artist redefined the concept of the icon, attempting to expand its formula so that it not only spoke of the Kingdom, but also included the image of the earthly, imperfect reality of the pilgrim Church. In his designs of sacred interiors for churches of various Christian denominations, Nowosielski wanted to combine three theological disciplines and their respective ways of representation: Christology, sophiology and angelology. Beside a classical icon, called by the painter a “Christological- Chalcedonian” icon, Nowosielski demanded a “sophiological” icon, bringing into the space of a church an earthly, painful reality, traces of inner struggle and doubt – hence the presence of doloristic motifs in his icons. The “inspired geometry” also became a complement to the holy images; the artist noticed a huge spiritual potential in abstract painting, to which he eventually assigned the role of icon painting. The poetic concept of “subtle bodies” – abstract angels testifying to the reality of the spiritual world – drew from the early Christian theological thought, which argued about the corporeality of spiritual entities, from Byzantine angelology, the tradition of theosophy and occultism, but also from the art of the first avant-garde, especially that from Eastern Europe, which inherited the Orthodox cult of the image. Nowosielski’s bilingualism as a painter – practicing abstraction and figuration in tandem, including within the church – paralleled the liturgical practice of many religious communities using different languages to express different levels of reality: human affairs and divine affairs. The tradition of apophatic theology, proclaiming the truth about the “unrepresentability” of God, was also important in shaping Nowosielski’s ideas. For Nowosielski’s monumental art, the problem of the mutual relationship between painting and architecture proved crucial. The artist based his concept on the decisive domination of painting over architecture and the independence of monumental painting. His goal was the principle of creating a sacred interior as a holistic, comprehensive vision of space which leads the participants of liturgy “out of everyday life” and into a different, transcendent dimension, in which the painter saw the main purpose of sacred art. From his first projects from the 1950s till the end of his artistic practice Nowosielski tried to realize his own dream version of the “ideal church”. In many of his projects he introduced abstraction into the temple, covering the walls, vaults, presbyteries, sometimes even the floors with a network of triangular “subtle bodies”. Forced to compromise, he intr","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123583299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Way of the Cross by Mikuláš Medek","authors":"Leszek Makówka","doi":"10.15584/setde.2022.15.4","DOIUrl":"https://doi.org/10.15584/setde.2022.15.4","url":null,"abstract":"In Czechoslovakia, hardly any new churches were built during the communist regime. The exceptions include the modernist church of St. Joseph in Senetářov in Moravia, for which the modern cycle of \"The Way of the Cross\" was created in 1970. Its author is Mikuláš Medek (1926–1974), an outstanding Czech painter inspired by surrealism and the Informel formula. The composition in Senetářov belongs to the mature period of the artist’s work, in which he used unique metaphors. The author of the paper outlines the historical context of the founding of the church and interprets Medek’s \"The Way of the Cross\" against the background of post-war European art and contemporary solutions of the Passion cycle.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122096444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Christos Mandzios – pomiędzy Polską a Grecją","authors":"Renata Rogozińska","doi":"10.15584/setde.2021.14.3","DOIUrl":"https://doi.org/10.15584/setde.2021.14.3","url":null,"abstract":"The work of Christos Mandzios, a Greek born and resident in Poland, although formally diverse, multithreaded, going beyond traditional media, disciplines and means of artistic expression, is related to the tradition of (ancient) Greek art, especially in the sense of understanding the essence of all creative activities in terms of Truth and Beauty. What can be considered a reminiscence of that bond is the presence of the human figure, taking the shape of an “anthropoid” (according to the artist’s definition), as if derived from pre-archaic times, from Cycladic or Mycenaean Bronze Age idols. Made of various materials – granite, bronze, wrapping paper, glass, bread, fire, earth, grain, grass, the “matter” of light and shadow – it becomes a carrier of existential, religious, spiritual and sometimes political meanings. In addition to permanent and ephemeral works, the sculptor undertakes para-artistic activities, usually in places marked by homelessness: in an orphanage, a prison, the Monar addiction rehabilitation centre, the Wrocław-Główny Railway Station. Apart from the series of works and performative activities entitled Realizacje Paschalne [Paschal Works], related to the symbolism and rituals of the Holy Week, the paper analyses the cycle Zjawiska Świetlne [Light Phenomena], varied in artistic means and related to the metaphysics of light. Particular attention is paid to the happenings: Wypalanie – Brama [Burning out – Gate] and Ślady [Traces], performed on the walls of Prison No. 1 in Wrocław on 11th November 1997. On the one hand, the sculptor shows a strong inclination towards formal experiments, towards constantly transgressing the boundaries of art, to functioning at the boundary of various artistic disciplines; on the other hand, he consistently treats a significant part of his oeuvre as a medium of other, non-formal values, grounded in the transcendentals of classical Christian metaphysics.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134305829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kolory Ofiary – akwarelowe malarstwo pasyjne Danyły Mowczana","authors":"Zofia Szot","doi":"10.15584/setde.2021.14.6","DOIUrl":"https://doi.org/10.15584/setde.2021.14.6","url":null,"abstract":"Ukrainian-born Danylo Movchan is one of the most interesting contemporary artists working in the field of sacred art. His work derives from the art of the Eastern Church and ranges from icon painting through portraits to allegorical and mythological representations. Among his works, characterised by minimalism and the use of light backgrounds, works in watercolour stand out. Referring to the artist’s Passion representations, I present an interpretation of the works, analysing the formal techniques employed by Movchan, with particular reference to the way in which he uses water colours. I look successively at the depictions of the crucifixion, descent from the cross, lamentation and entombment. I address issues such as biblical history, dogma, the emotionality of the depictions and the relationship between Jesus and the viewer contemplating the image. In the text, I try to prove that in Movchan’s art, both iconography and the form of the artwork play an almost equal role in conveying events and scenes of a religious nature and reflections connected with them.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117257433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Monumentalne kompozycje z łysogórskich płyt ceramicznych w wystroju budowli sakralnych","authors":"B. Kostuch, Polska Muzeum Narodowe w Krakowie","doi":"10.15584/setde.2020.13.6","DOIUrl":"https://doi.org/10.15584/setde.2020.13.6","url":null,"abstract":"Ceramic panels produced since 1960 in the “Kamionka” cooperative in Łysa Góra are one of the most versatile materials used for architectural decorations. They made it possible to create small “ceramic accents” as well as large-scale and monumental works. Compositions made of Łysa Góra panels, at first found mainly in secular buildings, started to appear in church architecture from the mid-1960s. The earliest was the cladding on the facade of the Chapel of the Holy Cross in Piaseczno by Krzysztof Henisz in 1965. The article presents realisations found in Polish and foreign churches. Most of the discussed compositions were created in the period when new rules of organisation resulting from the recommendations of the Second Vatican Council were introduced into church interiors. This important theme is also highlighted in the article. The last mentioned work – the altar wall in Harmęże by Anna Praxmayer – was created in the 21st century, just before the definitive demise of the factory in Łysa Góra.","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134496259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"New Christian art? The socio-political context","authors":"Łukasz Murzyn","doi":"10.15584/setde.2022.15.8","DOIUrl":"https://doi.org/10.15584/setde.2022.15.8","url":null,"abstract":"","PeriodicalId":385479,"journal":{"name":"Sacrum et Decorum","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121175225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}