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Maski z kościoła w Inowrocławiu. Znaczenie płaskorzeźby romańskiej oraz jej miejsce w historii sztuki 伊诺弗罗茨瓦夫教堂的面具。罗马式浮雕的意义及其在艺术史中的地位

Sztuka i Kultura Pub Date : 2023-12-18 DOI: 10.12775/szik.2022.001

Przemysław Waszak

{"title":"Maski z kościoła w Inowrocławiu. Znaczenie płaskorzeźby romańskiej oraz jej miejsce w historii sztuki","authors":"Przemysław Waszak","doi":"10.12775/szik.2022.001","DOIUrl":"https://doi.org/10.12775/szik.2022.001","url":null,"abstract":"The last twenty years have seen intensified research into Romanesque architecture n Poland. This paper addresses the issue of Romanesque sculpture and presents it by means of describing several projecting reliefs preserved in the Romanesque, partially reconstructed, church dedicated to the Name of the Blessed Virgin Mary, a symbol of Inowrocław. The church is important for the local community. Many publications on Romanesque masks and representations have been published since the 19th century, also recently. It is worth noticing that the opinions of researchers in the fields of history and history of art are inconsistent. This text addresses the ensemble of Inowrocław sculptures analysed from a contemporary research and methodological perspective in respect of the history of medieval art, as such an approach allows for complementing the state of research. Artistic analogies, aesthetic sources, and the practice of ornamenting the Houses of God with stone masks have been presented, and new interpretations of iconography, form, and meaning have been discussed. Formal issues concerning artistic geography, style, significance, meaning, and technique have been considered and compared. Besides, extensive reference has been made to the interpretation of the law of the frame. Another reference has been made with regard to the issue of the cultural meaning that was later provided to these popular artistic objects in Polish art history. A stylistic genesis and the closest formal analogies have been indicated. The starting point for the considerations presented herein was the notion of sites of memory.","PeriodicalId":510859,"journal":{"name":"Sztuka i Kultura","volume":"89 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139175622","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

Poznański Odwach z XVIII wieku: historia – architektura – autorstwo 波兹南十八世纪的奥德瓦赫：历史-建筑-作者

Sztuka i Kultura Pub Date : 2023-12-18 DOI: 10.12775/szik.2022.002

R. Mączyński

{"title":"Poznański Odwach z XVIII wieku: historia – architektura – autorstwo","authors":"R. Mączyński","doi":"10.12775/szik.2022.002","DOIUrl":"https://doi.org/10.12775/szik.2022.002","url":null,"abstract":"The Poznań Guardhouse located in the middle of the Stary Rynek (Old Market) square is a historic monument of very fine quality which dates from the Enlightenment. It is easily recognizable due to its location at the centre of tourist routes. It is also frequently visited, and is now the seat of the Museum of the Wielkopolska Uprising of 1918–1919 – a branch of the Wielkopolska Museum of the Struggle for Independence. Publications printed to this day claim that the building was designed and erected by Johann Christian Kamsetzer, King Stanisław August’s first architect. However, this is not true. Established attributions of monuments dating from the reign of Stanisław August have been repeated many times and therefore are longlived. There would be nothing wrong with this had not many of them been made without being confirmed on the basis of source documents, or without even taking into consideration the specific context of the epoch or the artist’s background. They were made based on loose associations, without putting forward any arguments. Sometimes they contributed to whole sequences of attributions arising. One speculation led to another, and they were repeated in print, thereby creating ‘indisputable facts’. The Poznań Guardhouse is a good example of this.","PeriodicalId":510859,"journal":{"name":"Sztuka i Kultura","volume":"6 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139172870","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

Pozycja dzieła i instytucji sztuki w dobie mediów społecznościowych: Zachęta oraz Cosmos Muzeum 艺术品和艺术机构在社交媒体时代的地位：扎琼塔和宇宙博物馆

Sztuka i Kultura Pub Date : 2023-12-18 DOI: 10.12775/szik.2022.003

Karolina Osińska

{"title":"Pozycja dzieła i instytucji sztuki w dobie mediów społecznościowych: Zachęta oraz Cosmos Muzeum","authors":"Karolina Osińska","doi":"10.12775/szik.2022.003","DOIUrl":"https://doi.org/10.12775/szik.2022.003","url":null,"abstract":"This work focuses on considering the position that an artwork and an institution of art hold in the age of social media. Two popular places in Warsaw: Zachęta and Cosmos Muzeum were used as examples for undertaking a comparative analysis. The work has been divided into two parts – the first is of a theoretical and methodological nature. It introduces the complex issues of contemporary art, visuality in social media, as well as the art of narration and self-creation. The second part of the work is a comparative analysis of two examples – each of them contains subsections on the identity of a place and its history, presence in social media and activities outside art. The direct inspiration for taking up the considerations was the fate of a series of installations created by the Japanese contemporary artist Yayoi Kusama, which once broke popularity records on Instagram, and Kusama was called “the most instagrammed artist in the world”. The collection of materials for analysis took place at a specific time, during the coronavirus pandemic, which left a clear mark on the activities of cultural institutions. It was a time when social media benefited and through which cultural institutions could continue their activities and reach recipients. For many cultural institutions and museums, the pandemic has become an opportunity to find new forms of communication and present art and Zachęta can be used as an example. This is important especially for contemporary art, which is often perceived as difficult to accept and incomprehensible. The article also presents the main problems and issues of contemporary art against the background of the specificity of contemporary culture immersed in the virtual world, with social media at the forefront. The article also focuses on the issue of visuality and aesthetics.","PeriodicalId":510859,"journal":{"name":"Sztuka i Kultura","volume":"35 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139172638","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