scholarly journals 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

2020 ◽  
Vol 13 ◽  
pp. 81-105
Author(s):  
Anna Siemieniec ◽  
Keyword(s):  
Virgin Mary ◽  
Orthodox Church ◽  
Public Attention ◽  
Urgent Task ◽  
Art Historians ◽  
Church Art ◽  
Formal Solutions

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.

Marienbild und Militanz in Friedrich Schillers Die Jungfrau von Orleans. Longue durée, Nachleben und Aktualisierung barockkatholischer Schlagbilder im Zeitalter der Revolutionskriege

2018 ◽  
Vol 81 (2) ◽  
pp. 213-230
Author(s):  
Ulrich Port
Keyword(s):  
French Revolution ◽  
Turn Of The Century ◽  
Virgin Mary ◽  
Joan Of Arc ◽  
Late Medieval ◽  
Explosive Force ◽  
Longue Duree ◽  
Longue Durée ◽  
The Times ◽  
Church Art

Abstract This essay demonstrates how Baroque Catholic motifs of an aggressive and militant Virgin Mary are envisioned in Friedrich Schiller’s tragedy Die Jungfrau von Orleans – motifs which seem to be anachronistic with regard to the late medieval setting of the Joan of Arc story as well as with regard to the date of origin of Schiller’s play (1800 –1801). But precisely this anachronism can be read as a symptom of the times around 1800: namely as a return of repressed stocks of images from the age of confessionalization which gained explosive force for different reasons in the first decade after the French Revolution. In the eighteenth century these visual and verbal images of the Virgin Mary had only been cultivated by late Baroque church art and within a popular religious longue durée, which had been criticized and neutralized by enlightened Catholicism and which had been attacked by revolutionary iconoclasm. At the turn of the century, they started a peculiar Nachleben and were – in the sense of Aby Warburg’s Revenants – remembered again, being reactivated and refreshed as Schlagbilder.

›Reframing‹ mittelalterlicher Skulpturen: Verschönerung, Umnutzung, Neuinterpretation?

2017 ◽  
Vol 80 (2) ◽  
pp. 273-291
Author(s):  
Ulrike Bergmann
Keyword(s):  
Historical Context ◽  
Virgin Mary ◽  
Art Historians

Abstract Medieval wooden sculptures were in most cases reframed several times during their history. Sculptures have thus been repainted or reused in different contexts. The reasons for these reframings have been different, for example change of taste, use, or place, or repair of damage. Sculptures of the Virgin Mary were especially subject to these later changes, because they were the focus of veneration and thus were exposed to touching hands, burning candles, and incense. In addition, the image of the Virgin was often exposed to fashionable new stylings. Medieval reframings can only be traced by very close examination of the object and are difficult to link with a specific historical context. Therefore, this study concentrates on some examples of medieval sculptures in Cologne, which have been the subjects of intense studies by restorers and art historians.

Iconography «The Immaculate Conception of the Virgin» on the Materials of Ukrainian Icons of the Mother of God, XVIII-XIX Centuries

2020 ◽  
pp. 13-28
Author(s):  
Елена Александровна Сирая
Keyword(s):  
Virgin Mary ◽  
Public Understanding ◽  
God Images ◽  
The West ◽  
Xviii Century ◽  
European Culture ◽  
Immaculate Conception ◽  
Artistic Life ◽  
The Masses ◽  
Church Art

Настоящая публикация посвящена одной из актуальных проблем культурного и духовного взаимодействия Украины и Запада. Данное исследование направлено на выявление истоков новых иконографий, а также видоизменения традиционных иконографий Богоматери на Украине в XVIII-XIX вв. Поднят и рассмотрен вопрос об опосредованном влиянии западноевропейской культуры XVIII в. на духовную и художественную жизнь Украины на примере появления и развития иконографии образа Богоматери «Непорочное Зачатие». В контексте исторического положения рассмотрено проникновение католического понимания зачатия Девы Марии в сознание православных иерархов Украины. В свою очередь это повлекло появление иконографии «Непорочного Зачатия». Распространение в XVIII в. этой западной иконографии Богоматери отражало изменение общественного понимания данного образа. Выделены основные иконографические особенности типа «Immaculata Conceptio» и рассмотрены на примерах украинских Богородичных икон XVIII-XIX вв. В статье публикуются неизвестные широким массам изображения Богородичных икон редкой иконографии. Систематизация знаний в области изучения икон Богородицы данного периода на Украине поможет лучше представить общую картину развития иконографии Богоматери. Данная статья может дополнить знания в области изучения памятников церковного искусства Нового времени и послужить иконографическим материалом для иконописцев и историков церковного искусства. The article is devoted to one of the topical №s of cultural and spiritual interaction between Ukraine and the West. This research is aimed to identify the origins of a new iconography as well as some modifications of a traditional iconography of the Mother of God in Ukraine in the XVIII-XIX centuries. It raises the question of an impact which the Western European culture had on a spiritual and artistic life in Ukraine in the XVIII century and how it mediated the creation and development of the iconography of the «Immaculate Conception» image of the Virgin. In the context of a historical situation, the penetration of the Catholic understanding of the conception of Virgin Mary in the minds of Orthodox Ukrainian hierarchs is considered. In its turn, it led to the formation of the «Immaculate Conception» iconography. The spread of a Western iconography of the Mother of God in the XVIII century reflected a change in public understanding of this image. The main iconographic features of the «Immaculata Conception» type are shown through the examples of Ukrainian icons of the Mother of God of the XVIII-XIX centuries. The article presents images of some rare dipterous icons whose iconography isquite unknown to the masses. Structuring the knowledge of Ukrainian icons of the Mother of God in the mentioned period might help to present more fully a process of iconographic development of the Mother of God images. This article could also complement to the research done in the field of studying modern Church art monuments and serve as an iconographic material for icon-painters and Church art historians.

“Like a doll …”

2020 ◽  
Vol 24 (5) ◽  
pp. 517-552
Author(s):  
Diana Pereira
Keyword(s):  
Virgin Mary ◽  
Metropolitan Museum ◽  
Art Historians ◽  
The Many ◽  
The Impact ◽  
David Morgan ◽  
Devotional Sculpture

Abstract In the 1990s there was a growing and renewed interest on the practice of clothing images of saints after, as Richard Trexler put it, the negligence demonstrated towards it by art historians until then. In 2018, following the publication of new and unprejudiced studies about it, the presence of two dresses belonging to statues of the Virgin Mary in the Metropolitan Museum of Art’s exhibition “Heavenly Bodies: Fashion and the Catholic Imagination” testified to the impact clothed images had on fashion creators and, according to David Morgan, the Church’s ritual and performative life. While focusing on the miraculous image of Nossa Senhora da Lapa from Quintela, Portugal, this article aims to acknowledge the many roles played by its clothes and jewels, assessing the complexity of this phenomenon and aiming for a wider understanding of how the faithful engaged with devotional sculpture.

Mary in the Hymnody of the East

2019 ◽  
pp. 105-121
Author(s):  
John Anthony McGuckin
Keyword(s):  
Literary Tradition ◽  
Virgin Mary ◽  
Eastern Orthodox ◽  
Christian Tradition ◽  
Orthodox Church ◽  
The World ◽  
The New Testament ◽  
Unbroken Line ◽  
The Church

Beginning with a notice of the major Marian hymnal elements in the New Testament text, this study goes on to consider how the most ancient Christian tradition of celebrating the role of the Virgin Mary in the salvific events the Church commemorates at prayer runs on in an unbroken line into the earliest liturgical examples from the Byzantine Greek liturgy. The study exegetes some of the chief liturgical troparia addressed to the Theotokos in the Eastern Orthodox Church ritual books. It analyses some of the more famous and renowned poetic acclamations of the Virgin in Byzantine literary tradition, such as the Sub Tuum Praesidium, the Akathist, and the Nativity Kontakion of Romanos the Melodist, but also goes on to show how the minor Theotokia (or ritual verses in honour of the Virgin), taken from the Divine Liturgy and from the Eastern Church’s Hours of Prayer, all consistently celebrate the Mother of God’s role in the salvific work of Christ in the world.

scholarly journals Religiøs ikonografi og politisk agitation

1986 ◽  
Author(s):  
Carsten Riis
Keyword(s):  
Virgin Mary ◽  
Historical Background ◽  
Considerable Degree ◽  
16Th Century ◽  
Orthodox Church ◽  
Historical Aspect ◽  
Explanatory Text ◽  
The City ◽  
The Church ◽  
Religious Aspect

About the painting “The Siege of Constantinople” as found on six churches from the 16th century in Moldavia. In the first decades of the 16th century the late Byzantine iconography flourished in Moldavia on church exteriors. On six churches within a radius of 30 kilometres are found a siege scene, “The Siege of Constantinople”, in connection with a painting of the Akathist Hymn. The article seeks the historical background of the painting in the siege of Constantinople by the Turkish army in 1453. In uncovers, through an interpretation of the painting from the Moldovita Monastery, the Moldavian painters’ knowledge of the fall of Constantinople. At the same time, this was the defeat of the centre of the Orthodox Church to which Moldavia belonged. From the connection with the Akathist Hymn and the explanatory text which follows the painting on the church in Arbore, the religious aspect of the paintings is connected to the Persian siege of Constantinople in 626, where an intervention by Virgin Mary was believed to have saved the city. During the Turkish pressure in the 1530’s, this tradition is moulded into an anti-Turkish ideological manifest in Moldavia. This takes place by altering the historical scene for the events in 626, and in this manner the situation of Moldovia is incorporated into the paintings. The church of Arbore has been painted as the last one and has an account which varies in considerable degree from the five others regarding the historical aspect, because at that time Turkish control of the area increased. However, its religious aspect is still Christian and anti-Turkish. After 1541 the picture is no longer painted, probably because of even stronger Turkish control.

Our Lady of Zeitoun (1968–1971)

2017 ◽  
Vol 21 (2) ◽  
pp. 85-99
Author(s):  
Donald A. Westbrook
Keyword(s):  
Public Transit ◽  
Middle Eastern ◽  
Bright Light ◽  
Virgin Mary ◽  
Orthodox Church ◽  
Secondary Literature ◽  
Coptic Orthodox ◽  
Muslim Majority ◽  
Marian Apparitions ◽  
The Church

This article situates the mass mariophanies reported at Zeitoun (Cairo), Egypt, from 1968 to 1971 in their historical, political, interfaith, and ecumenical contexts. The series of luminous apparitions above St. Mary’s Coptic Orthodox Church were first observed by nearby Muslim public transit workers. Soon after, the site attracted tens of thousands of Christian and Muslim pilgrims, many of whom observed bright light in the form of the Virgin Mary in addition to other manifestations, such as dove-shaped lights hovering above or near the church. Miraculous healings were also reported. The Zeitoun apparitions serve as a unique instance within the broader study of Marian apparitions by providing a non-Catholic example that took place within a Muslim-majority nation over a span of nearly three years. Moreover, full contextualization of the events in Zeitoun requires interdisciplinary attention spanning Middle Eastern, Islamic, and ecumenical studies; as such, the apparitions invite further and fuller examination in the secondary literature.

scholarly journals Temple Art and Icon Painting at The Universities - the Spiritual Formation of Students in Russia

2018 ◽  
Vol 7 (3.5) ◽  
pp. 54
Author(s):  
G.A Rebinsky ◽  
E.S Gamov ◽  
A.V Martynova ◽  
S.B Tonkovid
Keyword(s):  
Spiritual Formation ◽  
Orthodox Church ◽  
State Technical ◽  
Temple Art ◽  
Technical University ◽  
Church Art

This article shows the results of the research of the term "icon". The importance of icons in the Orthodox Church is shown. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. The main aspects of the methodology of making icons, traditions and modern problems in church art are described. Information on achievements in the field of icon painting at the Lipetsk State Technical University is adduced. (FSEI HE «LSTU»)

New light on the visit of Grigori Tsamblak to the council of Constance

1976 ◽  
Vol 13 ◽  
pp. 223-229 ◽  
Author(s):  
Muriel Heppell
Keyword(s):  
Orthodox Church ◽  
The West ◽  
Military Aid ◽  
Urgent Task ◽  
The Subject

The council of Constance, convened by Sigismund, king of the Romans, in 1413 had as its primary aim the reform of the western church in head and members. Its most urgent task, which in fact took almost three years to accomplish, was to end the schism which had divided the western church since 1378; it also took measures to combat the ‘Wycliffite heresy’, which resulted in the condemnation and burning of John Hus, and later of his friend and supporter, Jerome of Prague. However, the problem of relations with the eastern, or Orthodox church was not forgotten, though it played only a marginal role in the council’s activities. This subject was kept before the notice of the council by the presence of delegates from Constantinople, who were among the first to arrive, and by some sermons on the subject. For the Byzantines, some kind of understanding with the western church seemed to offer the only hope of securing effective military aid from the west, which might yet save Constantinople from the Turks; and indeed it was the belief that Sigismund would place this topic on the agenda of the council that induced the emperor Manuel II Palaiologos to send representatives to Constance.

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