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Burzliwe losy ikonostasów projektu Adama Stalony-Dobrzańskiego oraz ikon Sotyrysa Pantopulosa wykonanych dla katedry prawosławnej pw. Narodzenia Przenajświętszej Bogurodzicy we Wrocławiu oraz cerkwi pw. Narodzenia Najświętszej Marii Panny w Gródku

Sacrum et Decorum Pub Date : 1900-01-01 DOI: 10.15584/setde.2020.13.5

A. Siemieniec

{"title":"Burzliwe losy ikonostasów projektu Adama Stalony-Dobrzańskiego oraz ikon Sotyrysa Pantopulosa wykonanych dla katedry prawosławnej pw. Narodzenia Przenajświętszej Bogurodzicy we Wrocławiu oraz cerkwi pw. Narodzenia Najświętszej Marii Panny w Gródku","authors":"A. Siemieniec","doi":"10.15584/setde.2020.13.5","DOIUrl":"https://doi.org/10.15584/setde.2020.13.5","url":null,"abstract":"Contemporary Orthodox church art in Poland is an issue that influences many areas of research. Current research focuses both on the work of individual artists, as well as on new formal solutions used by them, and aimed at enriching the Orthodox tradition. Apart from Jerzy Nowosielski and Adam Stalony-Dobrzański, who contributed to the renaissance of Orthodox church art in Poland, the works of Sotyrys Pantopulos and their correct attribution also deserve more attention. Two sets of icons depicting the Pantocrator and the Virgin Mary painted in 1969 by Pantopulos for the iconostasis designed by Stalony-Dobrzański for the Orthodox Cathedral of the Nativity of the Most Holy Mother of God in Wrocław and the Orthodox Church of the Nativity of the Virgin Mary in Gródek near Białystok are examples of this. For many years their authorship was mainly attributed to Stalony-Dobrzański. Today, both pairs of icons found a secondary location as a result of the reconstruction of an iconostasis (Gródek, 1995) or its dismantling (Wrocław, 2019) – in this case, according to the opinion of the church’s custodians, as a structure that does not meet the requirements of the Orthodox liturgy. For that reason art historians have an urgent task to bring the importance of these works to public attention, and ultimately to have them entered into the heritage register. It appears that this is the only chance to preserve this legacy in an unchanged condition.","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":"129812492","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}

引用次数: 0

In memory of Ryszard Ryba (1935–2022)

Sacrum et Decorum Pub Date : 1900-01-01 DOI: 10.15584/setde.2022.15.9

Paweł Batory

{"title":"In memory of Ryszard Ryba (1935–2022)","authors":"Paweł Batory","doi":"10.15584/setde.2022.15.9","DOIUrl":"https://doi.org/10.15584/setde.2022.15.9","url":null,"abstract":"Ryszard Ryba is a Polish sculptor active in the second half of the 20 th century. He was primarily a creator of sacred art, and his works can be found in the churches of the Podkarpacie and Lesser Poland regions (the present dioceses of Przemyśl, Rzeszów, Tarnów and Sandomierz). In addition to sculpting, he was involved in designing sacred interiors and elements of their decor (tabernacles, sedilia, pews, confessionals, etc.), participating in the development of principles for adapting church interiors to the conditions of the reformed liturgy after the Second Vatican Council. He is also the author of graphic and drawing series, which he created especially in the first twenty years of the 21 st century. His sculptures, especially those from the beginning of his creative path, are characterised by great simplicity. Their impact is due to their powerful, synthetic form, acting as an expressive sign. With time, his great narrative talent became revealed more and more clearly, and the qualities that built the mood of unique softness and tenderness came to the fore. He was also increasingly willing to reach for topics related to family and everyday life. His artistic oeuvre, however, constitutes a coherent whole which is still intensely impressive.","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":"117035867","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}

引用次数: 0

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