Porta Aurea最新文献

{"title":"Gdyńska architectura militaris autorstwa Mariana Lalewicza","authors":"M. Omilanowska","doi":"10.26881/porta.2019.18.06","DOIUrl":"https://doi.org/10.26881/porta.2019.18.06","url":null,"abstract":"","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128399932","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":"Rozproszony, lecz nie zaginiony. Losy poliptyku św. Mikołaja z około 1435 roku z kościoła Najświętszej Marii Panny w Gdańsku","authors":"Weronika Grochowska","doi":"10.26881/porta.2019.18.02","DOIUrl":"https://doi.org/10.26881/porta.2019.18.02","url":null,"abstract":"","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124190256","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":"Dworzec Morski w Gdyni – historia i architektura na tle wybranych budynków morskich terminali pasażerskich w Europie","authors":"Szymon Jocek","doi":"10.26881/porta.2019.18.07","DOIUrl":"https://doi.org/10.26881/porta.2019.18.07","url":null,"abstract":"Dworzec Morski w Gdyni to obiekt niezwykle ciekawy nie tylko ze względu na swoją architekturę, lecz także historię i kilkakrotnie zmienianą funkcję. Mimo że jest jednym z najbardziej okazałych modernistycznych gmachów Gdyni, do dzisiaj nie został w pełni zbadany, a jego historia ma wiele luk, których zapewne nigdy nie uda się uzupełnić1. Podjęta na początku lat dwudziestych XX w. decyzja o budowie portu w Gdyni zakładała skupienie w jednym miejscu różnorakich funkcji związanych z gospodarką morską: portu handlowego, wojennego, rybackiego, stoczni i portu pasażerskiego. Już w 1923 r. z Gdyni wypłynął pierwszy statek, który na swój pokład zabrał polskich emigrantów – francuski s/s Kentucky. Zaokrętowanie odbywało się z tymczasowego drewnianego mola2, a warunki podróży dalekie były od luksusów. Jednak niewątpliwie był to symboliczny moment dla Gdyni, która wkrótce miała się stać portem przesiadkowym dla setek tysięcy polskich emigrantów. Do roku 1927 do obsługi pasażerów w porcie służyła drewniana stacja emigracyjna – niewielki barak stojący u nasady mola. W związku z budową portu wewnętrznego przystań żeglugi transoceanicznej przeniesiono na Nabrzeże Pilotowe (w pobliżu Kapitanatu Portu), a do odprawy pasażerów wzniesiono Magazyn nr 1, czyli tzw. blaszak3. Był on znacznie bardziej przestronny. Doprowadzono do niego bocznicę kolejową, która łączyła go z nabrzeżem. Jednak nadal nie oferował on warunków godnych nowoczesnego miasta – a takie aspiracje miała Gdynia. Skromny był nie tylko budynek,","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114689636","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":"Nostalgia i mizeria socrealizmu: \"Gertruda Wysocka – przodownica pracy\" Juliusza Studnickiego jako alegoria realna","authors":"H. Bilewicz","doi":"10.26881/porta.2019.18.08","DOIUrl":"https://doi.org/10.26881/porta.2019.18.08","url":null,"abstract":"„Wbrew wszelkim intuicjom rozwój wizji obrazowej w sztuce przebiega nie na linii powiązań między okiem i wyobraźnią artysty a światem, który go otacza, lecz na szlakach wiodących od jednego dzieła sztuki do następnego [...]; każde konkretne dzieło sztuki rodzi się z innego dzieła czy innych dzieł, zawierających rozpoznane w nim pokrewne tendencje generalne lub choćby cząstkowe. Sztukę rodzi przede wszystkim sama sztuka”2.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132454101","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":"Architektura w śródmieściu Gdyni po 1989 roku wobec tradycji modernistycznej","authors":"Alicja Melzacka","doi":"10.26881/PORTA.2018.17.09","DOIUrl":"https://doi.org/10.26881/PORTA.2018.17.09","url":null,"abstract":"The following article explores the recurring stylistic tendencies in the architecture of Gdynia after 1989, and seeks to identify their origins. The study encompasses four distinguished areas in the city centre, and places emphasis on the relationship between the contemporary (and postmodern) architecture and the architectural legacy of Gdynia’s inner city, which can be broadly defined as ‘modernist’. Based on a series of case studies, the Author has distinguished three intertwined architectural tendencies, each of them referring in their own way to the local context. Often manifested in the same architectural designs and, therefore, inseparable, these tendencies cannot be strictly delimited. They are: ‘regionalist tendency’ deploying architectural forms of the interwar origin, ‘semiotic tendency’ which perceives architecture as the system of signs, and ‘technologising tendency’ of which strive for the ‘high-tech’ appearance can be considered an ideological continuation of the modern imperative of progress. To conclude, contemporary architecture in Gdynia represents, widely understood, contextualism: comprising all of the aforementioned tendencies. Tis status quo is reinforced by the strong need to maintain the continuity of the city’s architecture, but also of its identity. As a result of operating with a relatively limited range of means of expression, architecture in Gdynia constitutes a coherent whole, which can be considered an advantage for the local landscape. Nonetheless, the notorious and often naive application of widely accepted patterns originating from the vocabulary of West European modernism, and the limitations inherent in that approach, should be definitely pointed out for further scrutiny.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128305135","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":"Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981","authors":"A. Polańska","doi":"10.26881/PORTA.2018.17.08","DOIUrl":"https://doi.org/10.26881/PORTA.2018.17.08","url":null,"abstract":"With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131678709","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":"Wystawa \"100 lat realizmu w sztuce polskiej\" w Akademii Sztuk Pięknych ZSRR w Moskwie (1952) w kontekście polsko-radzieckich stosunków kulturalnych w latach 1949-1955","authors":"Irina Gavrash","doi":"10.26881/porta.2018.17.07","DOIUrl":"https://doi.org/10.26881/porta.2018.17.07","url":null,"abstract":"The article analyses the exhibition named „100 lat realizmu w sztuce polskiej” [100 Years of Realism in Polish Art] at the Academy of Fine Arts in Moscow in 1952 and its reception in the artistic environment of USSR in the context of Polish-Soviet artistic relations in 1949–1955. The exposition, prepared by the Committee of the International Cultural Cooperation with and the Ministry of Culture and Art, consisted of the Polish art of the 19th century and the art of a few previous years. It was supposed to present to the Soviet party the progress of the implementation of Socialist Realism in Poland on the basis of the Soviet example and Polish tradition of realistic art. However, the implementation of the scheme deviated from the official declarations due to both including in the exhibition the turn of the century, as well as presenting the issues of modernism and the selection of modern pieces, resulting from the specific emphases in the cultural policy of the time. The contemporary department was composed of pieces of artists from the ‘Sopot School’, combining in its art the Socialist Realism doctrine with elements of colourism. Opening the method onto elements of the Impressionism tradition was dictated by a need to break the deadlock which the Polish art found itself in soon after the 1st OWP. The exhibition caused a reaction in the environment of Soviet critics and artists, exposing differences in attitude towards art in the two countries, which, in the conditions of the political dominance of USSR, had been deepened further with time, impinging on the artistic relations dynamics.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129735369","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":"Gdańskie instytucje kultury jako miejsca (jakiej?) pamięci","authors":"M. Wróblewska","doi":"10.26881/porta.2018.17.11","DOIUrl":"https://doi.org/10.26881/porta.2018.17.11","url":null,"abstract":"The article contains reflections on the cultural image of Gdańsk and its cultural institutions as they near the mark of thirty years of self-governance. On the basis of the analysis of aspects connected with some of the themes derived from permanent exhibitions presented at selected cultural institutions in Gdańsk, an attempt is undertaken to highlight the problems and phenomena which remain in close connection with the processes of constructing the post-communist cultural identity of the city. Among the crucial factors which are subject of the analysis first and foremost mention has to be made of the specificity of the local memory and identity which can be referred to as insertive, yet with the dominant tendency towards historicism. Those features, in turn, lead to describing some of the cultural institutions as places of memory, both with reference to their architecture, as well as to the narratives they present. An important place in the course of those deliberations is assigned to Gdańsk’s cultural policy and its role in programming the local memory and identity, presented on the basis of the analysis of the development strategies published by the city over the analysed period of time. The state of events in Gdańsk is finally juxtaposed with popular trends in the development of new museology in Europe, where tendencies towards increasing introspection, revision, and anthropological approach can be observed.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131052400","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 gdańskich obiektów zabytkowych w pierwszej połowie XIX w. w kontekście rodzącej się myśli konserwatorskiej","authors":"Magdalena Staręga","doi":"10.26881/PORTA.2018.17.03","DOIUrl":"https://doi.org/10.26881/PORTA.2018.17.03","url":null,"abstract":"The article discusses modifications in antique structures of Gdańsk in the first half of the 19th century. The exact time frame for the phenomenon explored is marked by the seizure of the city by the Kingdom of Prussia as a result of the Second Partition of Poland in 1793, and the early 1860s. It was a highly difficult period in the history of Gdańsk. Terrible economic situation resulted in an extremely small number of new, important architectonic projects being implemented. Instead, the authorities began adapting old buildings to new needs, often not without significant alterations. Other major modifications to historic structures were introduced in the course of repairs and reconstructions of deteriorated and war-damaged buildings. \u0000The first half of the 19th century is a time which saw a substantial change in the perception of historic sites and their value. The article highlights the occurrence of this process in Gdańsk. Reconstructions involving classicist stylistic forms, which gave way to the coexistence of old and new formal marks, as well as later ones, introduced in the course of regothicisation, characterised by aiming at stylistic cohesion are examined. \u0000The modifications extended to many of Gdańsk’s most important historic buildings. Architects such as Karl Friedrich Schinkel or Friedrich August Stüler were involved in the discussed process. The number and extent of undertaken redevelopments indicates that they constitute a significant aspect of the 19th-century Gdańsk architecture.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131287695","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":"Uwagi na temat gdańskiego budownictwa publicznego drugiej połowy XVI i pierwszej połowy XVII wieku pod kątem zaopatrzenia w materiał kamieniarski","authors":"F. Skibiński","doi":"10.26881/PORTA.2018.17.01","DOIUrl":"https://doi.org/10.26881/PORTA.2018.17.01","url":null,"abstract":"Works of architecture and stone sculpture would never have been created without the existence of a supply network enabling access to assets crucial for their production, including stone. Based on archive quarries and analysis of existing works of architecture and stone sculpture, this article focuses on the importation of stone for the building and stonecutting industry in early modern Gdańsk. In the second half of the 16th and the first half of the 17th century the city was experiencing an era of economic prosperity and became a major center of architecture and stone sculpture in the Baltic region and the Polish-Lithuanian Commonwealth. The Gdańsk authorities put much effort into securing suitable stone necessary to carry out their ambitious projects. Builders and sculptors based in the Baltic metropolis applied various kinds of stone imported from abroad, including limestone from Oland and Sweden, sandstone quarried in Bückeburg and Bentheim, Belgian marble, and English alabaster. The kind of stone most commonly used in local architecture and sculpture was, however, the sandstone from the Isle of Gotland. To obtain this material the city authorities often approached the Danish king, as revealed by numerous letters preserved in Gdańsk and Copenhagen archives. Each year several shipments of Gotland stone would arrive in the city, the amount of stone reaching up to 10,000 cubic feet. Some of the material destined for the public building works was then prepared by workers supervised by the ‘Bauknecht’. He was an official appointed by the city authorities to support the public building industry and to facilitate the work of specialized building and sculpting workshops by overlooking low-skilled workers and supply of materials. Some of the local builders and stonecutters were also involved in the importation of stone from Gotland. Besides carrying out major architectural and sculptural works, at least some of the guild masters running large workshops were engaged in the supply of necessary materials. For this reason, they had to maintain a network of professional contacts within the Baltic region and beyond. The most prominent among them was Willem van der Meer, called Barth, a stonecutter from Ghent established in Gdańsk. Between roughly 1590 and 1610, he supplied the city with a large amount of Gotland stone, including that used for the building of the Great Arsenal. Other important members of the local milieu engaged in the stone trade were Willem and Abraham van den Blocke as well as Wilhelm Richter, continuator of Van den Blocke’s enterprise often engaged by the city authorities. These findings broaden our understanding of the professional practices of builders and stone sculptors in Gdańsk and the Baltic region in the late 16th and in the 17th centuries.","PeriodicalId":408035,"journal":{"name":"Porta Aurea","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123908776","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}