Porta Aurea最新文献

{"title":"Danziger Nachlassinventare in der zweiten Hälfte des 16. bis zum Anfang des 17. Jahrhunderts","authors":"Edmund Kizik","doi":"10.26881/porta.2022.21.10","DOIUrl":"https://doi.org/10.26881/porta.2022.21.10","url":null,"abstract":"Charakterystyczne cechy sporządzonego w Gdańsku w styczniu 1593 roku spisu mienia po pewnych zamordowanych przez własną służącą zamożnych małżonkach skłaniają do zadania pytania o genezę inwentarza – specyficznego, sformalizowanego dokumentu urzędowego. W Archiwum Państwowym w Gdańsku zachowały się tysiące analogicznie spisanych inwentarzy mienia wraz z dokumentami towarzyszącymi dla okresu od drugiej połowy XVI wieku aż do początków XIX wieku. Pozwala to zarówno na badania nad kulturą materialną, jak i wnikliwą analizę praktycznego rozwoju tych instrumentów prawnych. Uwierzytelnione inwentarze mienia służyły zabezpieczeniu mienia zmarłego oraz wyliczeniu jego wartości netto. Zabezpieczały roszczenia wierzycieli, umożliwiając przeprowadzenie zgodnych z prawem działów spadkowych tudzież wyliczenie należnych podatków. \u0000Pod względem formalnym inwentarze po zmarłych gdańszczanach nie odbiegają od dokumentów znanych z innych nowożytnych miast Rzeczypospolitej, jak i Rzeszy Niemieckiej, Niderlandów, Szwecji, Francji czy Anglii. Na podstawie źródeł gdańskich oraz publikowanych materiałów porównawczych dla różnych regionów nowożytnej Polski oraz Europy autor niniejszego artykułu stawia tezę, że powszechna umiejętność sporządzania pośmiertnych inwentarzy mienia oraz ich charakterystyczne cechy formalne (układ rzeczowy, wyliczenie wartości i stworzeniem bilansu) są efektem powszechnej recepcji doskonalonych od XIV wieku przez kupców włoskich technik prowadzenia rachunkowości handlowej. Usystematyzowania wiedzy wraz z praktycznymi wskazówkami na temat prowadzenia rachunków, sporządzania inwentarza oraz tworzenia okresowego bilansu dokonał Fra Luca Pacioli de Burgo (1445–1514?), franciszkanin i profesor matematyki, w opublikowanej w 1494 roku pracy Summa de Arithmetica, Geometrica, Proportioni et Proportionalita. Drugie wydanie dzieła znane jest przede wszystkim za sprawą sławnych ilustracji wykonanych przez zaprzyjaźnionego Leonarda da Vinci. Co istotniejsze, Luca Pacioli nie tylko popularyzował istotę używania cyfr arabskich, lecz także omówił zasady sporządzania inwentarza oraz prowadzenia podstawowych ksiąg rachunkowych. Przedstawił rachunek strat i zysków, bilans wszystkich kont, czyli zaczątek przyszłego bilansu majątkowego. Dzięki rozwojowi drukarstwa zamysł Paciolego szybko upowszechnił się w XVI wieku. W całej Europie łacińskiej nauczyciele rachunkowości oraz notariusze adaptowali pomysły Paciolego do miejscowych warunków prawnych i społecznych. Wpłynęło to również na powszechną standaryzację tworzeniu inwentarzy mienia w drugiej połowie XVI wieku i w XVII wieku. Nie inaczej było w Gdańsku, gdzie pierwszą i jedną z najlepszych ówczesnych prac opisujących techniki prowadzenia rachunkowości gospodarczej był podręcznik Sebastiana Gamersfeldera Buchhalten durch zwei Bücher nach italianicher Art und Weise (1570). Niniejszy artykuł powstał w związku z przygotowaniem do druku osobnego studium poświęconego gdańskim nowożytnym inwentarzom pośmiertnym.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"14 9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114928228","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 Copper Engraving \"The Pope in the Lateran\" by Jan van Londerseel after a Painting by Hendrick Aerts","authors":"Rainer Kobe","doi":"10.26881/porta.2021.20.01","DOIUrl":"https://doi.org/10.26881/porta.2021.20.01","url":null,"abstract":"Architektura na miedziorycie Papież na Lateranie Jana van Londerseela powstała według nieznanego obrazu czynnego w Gdańsku malarza – Hendrika Aertsa. Pochodzący z Mechelen artysta był najpewniej uczniem Vredemana de Vriesa. Zmarł młodo, bo w 1603 r., ale architektura z jego obrazu służyła za wzór wielu malarzom wnętrz kościelnych. Badanie wykazało, że rycina Londerseela zawiera zarówno w sferze wizualnej, jak i w łacińskiej inskrypcji niezauważone dotychczas przesłanie skierowane przeciwko papieżowi i Kościołowi katolickiemu. Ten rodzaj konfesyjnej polemiki koresponduje z sytuacją w Holandii na początku XVII w., kiedy Londerseel wykonał rycinę, ale nie ma nic wspólnego z obrazem Aertsa. Na podstawie szczegółów odbitki można udowodnić, że gotycka architektura kościoła przedstawiona na rycinie jest odwróconym odwzorowaniem modelu namalowanego przez Aertsa. Gabinet obrazów Johanna Michaela Brettschneidera zachowany w Miejskim Muzeum Zamkowym w Rheydt, namalowany sto lat później, przedstawia fragment wnętrza kościoła Aertsa tak, jak prawdopodobnie wyglądało ono pierwotnie: wnętrza kościoła, o którego uroku decyduje wyłącznie architektura fantastyczna.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125190765","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":"Trzy projekty gdańskich terenów rekreacyjno- -wypoczynkowych z lat siedemdziesiątych XX w.","authors":"Iga Tomaszewska","doi":"10.26881/porta.2021.20.10","DOIUrl":"https://doi.org/10.26881/porta.2021.20.10","url":null,"abstract":"Leisure and recreational areas in Gdańsk during the times of the Polish People’s Republic is a poorly researched subject. There are very few lectures, publications, or studies on the topic; however, the state of research is not surprising because of the somewhat ambiguous nature of Gdańsk. The city is seen as a university centre, industrial centre, but not strictly as a place where the recreational function dominates. The article focuses on architectural conceptions of leisure and recreational areas during the seventies; it is fascinating how the architects of the time tried to create everyday recreational areas in this historic city, where two kinds of structures coexisted, combining solemn buildings from the past with everyday forms for the present man. The author’s main aim was to expose and describe in detail three of the most curious, but unrealized projects: ‘the seaside Park of Culture and Leisure in the Gdańsk agglomeration’, ‘the recreational centre over the flow of the Motlava River’ and ‘the bathing beach at the outlet of Karol Marks Street’.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134182229","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":"Ikonografia witraży Wiktora Ostrzołka w gdańskim kościele Mariackim (1977–1980)","authors":"Jacek Friedrich","doi":"10.26881/porta.2021.20.09","DOIUrl":"https://doi.org/10.26881/porta.2021.20.09","url":null,"abstract":"In 1966, a commemorative decoration appeared inside St Mary’s Church in Gdansk: its main component was the painting showing Poland’s Baptism placed in the chancel. Meanwhile, a pillar by the Priests’ Chapel was decorated with a standard bearing striped concentration camp uniform cloth with numbers of priests -prisoners in Nazi camps. This referred directly to the décor of the Priests’ Chapel created not long before, and in which Polish priests murdered during WW II had been commemorated in 1965. Thus the millennial decoration of the chancel clearly associated the history of the Polish state with the history of Christianity in Poland, while the decoration of the Priests’ Chapel emphasized the martyrology of Polish priests. Both motifs were clearly continued in two large –size stained glass windows installed in the church in the late 1970s: one of them fills in the window in the Priests’ Chapel, while the other is to be found in the window closing the church’s chancel. Both were designed by Wiktor Ostrzołek, a leading stained glass designer in post -WW II Poland. \u0000The iconographic programme of the first refers to the martyrology of priests, yet it does not limit itself to priests -martyrs in recent history, but shows those connected with it from the very beginning: St Adalbert, Five Martyr Brothers, St Stanislaus, St John Sarkander, St Andrew Bobola and Maximilian Kolbe. Respective figures are interconnected with the use of a clear red line serving as a metaphor of the martyrs’ blood. Its continuity connecting St Adalbert with St Maximilian, thus the beginnings of the Polish state with the present, at the same time shows the continuity of the presence of the Catholic Church in Polish history. \u0000This continuity is even more unequivocally expressed by the iconographic programme of the chancel stained glass. Here it is the figure of Mary that stands out; she enshrouds the presentations referring to the Church’s mission, and in particular to the Church’s mission in Poland, in her protective mantle. A deep interconnection between the history of Poland and the Roman Catholic Church was presented in the three acts of entrusting Poland to God and Mary: the Baptism of Poland in 966, the Lvov Oath of John Casimir in 1656, and the Jasna Góra Pledge connected directly with the 1966 millennial celebrations.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115084348","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":"Nawiązania do tradycji budownictwa wiejskiego w architekturze Wolnego Miasta Gdańska w dobie narodowego socjalizmu","authors":"Jagoda Załęska‑Kaczko","doi":"10.26881/porta.2021.20.08","DOIUrl":"https://doi.org/10.26881/porta.2021.20.08","url":null,"abstract":"After the establishment of the Free City of Danzig, the process of the renovation and inventory of arcaded houses (Vorlaubenhäuser) and timber -framed churches in the vicinity of Gdańsk began, along with the increasing scientific interest in them. At the same time, in numerous projects from the 1930s, the interest of architects in traditional rural construction, related to the orders of the Nationalist Socialist Party for certain types of structures, can be observed. In the suburbs of Gdańsk and Sopot, standard, posed as idyllic workers’ housing estates were founded, which were to combine the advantages of living in the countryside and in the city. The network of kindergartens of the National Socialist People’s Welfare (Nationalsozialistische Volkswohlfahrt) as well as youth hostels used by the Hitler Youth (Hitlerjugend) and the League of German Girls (Bund Deutscher Mädel) was expanded. According to the Blut -und -Boden ideology, a network of camps for the Land Service (Landdienst) for the Hitlerjugend, community houses for members of the NSDAP Party, and exemplary farms were also founded. \u0000The repertoire of local materials, traditional architectural details, as well as references in interior design were intended as manifestations of the regional identity, used by the National Socialist authorities to serve the purposes of the Party propaganda, which was creating the myth of an idyllic, strong, homogeneous national community and proving the uninterrupted continuity of German culture in the Free City of Danzig, despite its separation from the German Reich.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133746364","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":"Polityka rosyjskiej Cerkwi prawosławnej wobec cudownych obrazów katolickiej proweniencji na wschodnich terenach dawnej Rzeczypospolitej w XIX w. na kilku przykładach","authors":"Volha Barysenka","doi":"10.26881/porta.2021.20.04","DOIUrl":"https://doi.org/10.26881/porta.2021.20.04","url":null,"abstract":"Due to the liquidation of the Union in 1839 and the transfer of Catholic churches to the Orthodox Church after the rebellions of 1830–1831 and 1863–1864 in the territories of the former Polish -Lithuanian Commonwealth which were incorporated into the Russian Empire, a great deal of sacred art pieces of western -Christian art became property of the Orthodox Church. As per directions of the Church authorities, the images of Jesus Christ, Our Lady and the Saints of the Undivided Church could remain in Orthodox churches, while those of Catholic and Greek -Catholic Saints were to be given back to Catholics. The images that were left in Orthodox churches were to be changed to meet the Orthodox rules. That usually meant addition of an inscription or repainting of the image partially or fully. \u0000The situation was different in relation to miraculous images. After being transferred to the Orthodox churches they remained unchanged, even in the cases when their iconography was unacceptable for the Orthodox Church or when they represented Catholic Saints, such as Ignatius Loyola or Anthony of Padua. This was related to the effect miraculous images had on local communities. The cult of miraculous images was above -confessional; believers of different Christian confessions went on pilgrimages to them. Leaving these images as is they were aimed at converting Catholics to Orthodoxy to strengthen the position of the Russian Empire on the land of the former Polish - -Lithuanian Commonwealth. To justify the functioning of western -Christian images in the Orthodox Church, both new legends were developed stating the images had Orthodox origins and were taken by Catholics, and attempts of theological rationale were made. These activities were successful: the images that survived through the disasters of the 20th century are still in the cult of the Orthodox Church along with the legends of their Orthodox origin developed in the 19th century.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131249393","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":"Gmach Gdańskiej Biblioteki Miejskiej przy ulicy Wałowej","authors":"M. Omilanowska","doi":"10.26881/porta.2021.20.06","DOIUrl":"https://doi.org/10.26881/porta.2021.20.06","url":null,"abstract":"Following Germany’s unification in 1871, Gdansk was a major municipal centre and a port on the Empire’s map, however it was well past its heyday. In the Gründerzeit, it could not reach as quick a pace of development as other cities of the Reich, and by the late 19th century it did not boast any university. The attempt to catch up on the substantial delay in creating modern public architecture in Gdansk was only made after the fortifications had been dismantled (1895–97). A triangular plot close to St James’s Gate was reserved for the purpose of education and science. It was there that a seat of the city archive and the building of the Secondary School of SS Peter and Paul (Oberrealschule St. Petri und Pauli) were raised. The third edifice was planned as the new home for the Gdansk Library. The precious book collection, whose core was formed by the collection bequeathed by Joannes Bernardinus Bonifacius d’Oria of Naples in 1596, was kept in a former Franciscan monastery, and later in St James’s Church. Attempts to raise a new building to house the collection in the 1820s as designed by Carl Samuel Held failed. Neither was the plan to erect the new library building as an extension of the Dungeon and Prison Gate Complex implemented. It was only Karl Kleefeld’s design from 1901–1902 planning to raise an impressive Gothic Revival complex that finally came to life. Completed in January 1905, the Library welcomed the first readers already on 16 February. \u0000Kleefeld designed the building’s mass on the L -plan layout with a truncated corner and wings. The main reading room boasted elegant, sumptuous, and coherent wooden furnishing, and the gallery’s centrepiece was a ledge decorated with 14 panels featuring bas -relief cartouches with the emblems of the cities of West Prussia. Differing in size, the edifices, were given red -brick elevations with plastered details and glazed green filling, with a sgraffito frieze on the reading room elevation between the ground and first floors. It was the Gdansk Renaissance that dominated in public buildings’ architecture of the city in the last quarter of the 19th century. The resumed popularity of Gothic Revival in its local forms in Gdansk public buildings’ architecture, such as those in the afore - -described Kleefeld’s designs, resulted undoubtedly from a rapid growth of research into historic structures, yet on the other hand it reflected the return to the local tradition (Heimatschutz), which could be observed in the architecture of the German Reich at the time. \u0000Judged in the context of an extremely modest programme of public projects in Gdansk of the period, the creation of the Bildungsdreick with the edifices of the archive, library, and secondary school is to be regarded as a major event in the history of creating public architecture of the city. \u0000As seen against other projects of the time in other Reich cities, the Gdansk City Library stood out neither with its scale, nor innovatory character of the layout sol","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":" 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120829329","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":"Przekształcenia znaku „Solidarność” projektu Jerzego Janiszewskiego w twórczości opozycyjnej lat osiemdziesiątych XX w.","authors":"Katarzyna Szychta-Mielewczyk","doi":"10.26881/porta.2021.20.11","DOIUrl":"https://doi.org/10.26881/porta.2021.20.11","url":null,"abstract":"The ‘Solidarity’ logo designed by Jerzy Janiszewski in 1980 is one of the best -known Polish symbols of all time. In the 1980s, it was widely reproduced on various materials, especially including ‘popular’ works, namely samizdat, such as leaflets, banknotes, post stamps and cards, posters, also pins, or even… towels etc. They were essential information carriers evidencing that the underground organizations were still dynamically operating. \u0000This article is mainly an analysis of such ‘popular’ works which contain the ‘Solidarity’ logo. This symbol is set in various contexts: independently, in combinations with slogans or graphics, also as, e.g., editor’s signature etc. Nevertheless, they are not always the exact imitations of the ‘Solidarity’ sign; various factors led to a wide range of modifications (which were unintentional, such as imprecise copies of the letters) and transformations (which were intentional, such as representing the letters as people). \u0000This review is enriched with references to several contemporary works using the ‘Solidarity’ logo. They prove how the meanings of the ‘Solidarity’ sign have changed over the years: in the 1980s, it was the symbol of society united beyond different ideologies to fight against the communist regime; today, it is a symbol of groups united under common demands, which, however, might not be approved and shared by every Pole.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134191881","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":"Działalność architekta Friedricha Fischera (1879–1944) w Gdańsku i Sopocie","authors":"Ewa Barylewska -Szymańska","doi":"10.26881/porta.2021.20.05","DOIUrl":"https://doi.org/10.26881/porta.2021.20.05","url":null,"abstract":"The person of the architect Friedrich Fischer has been somewhat forgotten, even though he played a meaningful role in the beginnings of the existence of the Free City of Gdańsk as its first conservator and the first head of the Ground Construction Office. \u0000Before and during WW I Fischer worked privately as an architect, mostly in the Gdańsk and Sopot area, and among chosen projects one located in Wrzeszcz, in Uphagena Street, as well as the architect’s own house at 30 Stefana Żeromskiego Street in Sopot can be named. \u0000 \u0000Fischer was also a scholar who obtained a doctorate in 1910 and prepared a postdoctoral thesis, as well as a lecturer at the Department of Architecture at the Technical University (until April 1925). \u0000 \u0000In 1918, he became involved in building administration, carrying out projects for the Housing Estate Office, of which he was the head. He created designs of the street now known as Hallera Street in Wrzeszcz and plans of green areas on former fortification grounds. He also initiated works on the plan of Great Gdańsk, eventually known as the ‘Althoff plan’. In 1923–1925, he was the head of the Ground Construction Office. \u0000From this period his designs of the first version of the school in Pestalozziego Street in Wrzeszcz and the unrealised fair building in Gdańsk are known. He designed the completed housing estates in today’s Zbyszka z Bogdańca and Dubois Streets in Gdańsk - -Wrzeszcz as well as several churches for the Catholic community of the Free City of Gdańsk: St Anthony’s Church in Gdańsk -Brzeźno, the Church of Our Lady of Sorrows in Głęboka Street in Gdańsk - Knipawa, and the Church of Christ the King in the small town of Piekło, in the former Wielkie Żuławy District. \u0000Fischer was active as Conservator of Architectural Monuments for four years. During this period the function of Conservator of Historical Monuments was merged with the function of the head of the Ground Construction Office. During his service as conservator the preservation of the historical form of the city became a priority \u0000The model of proceedings in the Free City area established by Fischer constituted an important point of reference in the following years. He was also involved in the preparation of the Preservation of Historical Monuments Act proclaimed in 1923. \u0000In March 1925, Fischer moved to Hannover, where he became associate professor specialising in medieval architecture. He remained in that city and at its university until his death.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129053481","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":"Inspiracje Grigorija G. Gagarina i jego rola w procesie kształtowania stylu rosyjsko - -bizantyńskiego w architekturze dziewiętnastowiecznego Imperium Rosyjskiego – zarys zagadnienia","authors":"M. Cyuńczyk","doi":"10.26881/porta.2021.20.03","DOIUrl":"https://doi.org/10.26881/porta.2021.20.03","url":null,"abstract":"The paper represents an attempt to outline Grigory G. Gagarin’s artistic interests and his influence on creating one of the national style variants in the 19th -century Russian Empire: the Russian -Byzantine style. This article is not only a selection of theoretician’s quotes, but also an attempt to create an appropriate background and clear context for his theses. Moreover, the paper is to constitute a coherent outline of his thoughts having an impact on the creating of the national style and the search for architectural inspiration from selected periods of history. \u0000An interesting fact is that because of Gagarin’s first attempts to develop consistent norms and determinants of inspiration, among others, for architects and artists, he created foundations to formulate in the future a clear theoretical assumption of the Russian -Byzantine style. What is more, the theoretician did not avoid the confrontation of Russian art with Western European culture. Gagarin tried to not only indicate the relationships between the evolution of specific styles in art and architecture, but also their mutual influences and consequences. \u0000In the paper’s narration another important thread in the theoretician’s activity is also mentioned: his attitude to the cultural heritage of the North and South Caucasus. In the 19th century, the region’s territories formed the southwestern borders of the Russian Empire, and moreover they were the destinations of Gagarin’s diplomatic activities for the Romanov dynasty and the Russian Empire. \u0000The paper is an introduction to further research not only into Gagarin’s position in the process of creating the national style in the Russian Empire in the19th century. Furthermore, the research will bring up his functioning in the Western European artistic-cultural society of that time and his attempts to find mutual inspiration in Western and Eastern Europe.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"09 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127412560","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}