Deveolpment of Constitutional Law on the Territory of Ukranie (IX-XIII Centuries)

2021 ◽  
pp. 1006-1014
Author(s):  
Oksana Pylypchuk
Keyword(s):  
Eighteenth Century ◽  
Constitutional Law ◽  
Political Regime ◽  
Democratic State ◽  
History Of ◽  
The Times ◽  
Grand Duchy Of Lithuania ◽  
History Of Formation ◽  
Grand Duchy ◽  
Submission Date

The article is devoted to the history of formation and development of Ukrainian constitutionalism. It is shown that during the times of Kievan Rus and the Galicia-Volyn principality monarchical states with elements of a democratic state and political regime were formed on Ukrainian lands. It is highlighted that the formation of the Ukrainian nation and its path to its own state was carried out under the conditions of aristocratic democracy of the Grand Duchy of Lithuania and the Polish-Lithuanian Commonwealth. It is emphasized that the Ukrainian people in the XV century became part of a large European society, which became the basis for the emergence of constitutional ideas in the Ukrainian ethnic lands, the creation of the Cossacks and the revival of their own Ukrainian state in the former Kievan Rus. It is noted that the results of the development of Ukrainian constitutionalism in the eighteenth century was presented in the Constitution of Hetman P. Orlyk in 1710, which became one of the most democratic constitutions in Europe at that time. Fecha de envío / Submission date: 25/02/2021 Fecha de aceptación / Acceptance date: 19/04/2021

scholarly journals Knighthood in the Grand Duchy of Lithuania from the Late Fourteenth to the Early Sixteenth Centuries

2006 ◽  
Vol 11 (1) ◽  
pp. 39-66
Author(s):  
Rimvydas Petrauskas
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Early Development ◽  
High Ranking ◽  
Late Middle Ages ◽  
History Of ◽  
The Difference ◽  
The Times ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy

The main aim of this article is to collect and assess all accessible data about the early development of chivalric culture in the GDL and to identify possible trends. This phenomenon is perceived as part of the history of the European knighthood in the late Middle Ages. The article also seeks to investigate the meaning of the conception of the knight in the GDL documents of the fifteenth century in order to determine the spread of knighthood in the nobility of the Grand Duchy. In the research of these aspects the flourishing of the knighthood culture at the court of Grand Duke Vytautas in the early-fifteenth century is distinguished as a period when high-ranking representatives of the country’s nobility were awarded titles; and a new enhancement is noticeable in the times of Alexander Jogailaitis when an initiative, a unique phenomenon in Poland-Lithuania, was undertaken to establish a brotherhood of knights. In the analysis of the use of the concept of knighthood, emphasis is placed on the difference between the singular use of the knightly title and the pluralistic estate conception.

scholarly journals Belweder Krzysztofa Zygmunta Paca i jego żony Klary Izabelli

Artifex Novus ◽  
2020 ◽  
pp. 10-27
Author(s):  
Anna Sylwia Czyż
Keyword(s):  
Ground Floor ◽  
History Of ◽  
The Times ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy

Artykuł dotyczy mało znanego, pierwszego etapu funkcjonowania pałacu Belweder w Warszawie (Ujazdów), który został wybudowany z drewna (1659–1663) przez Krzysztofa Zygmunta Pac, kanclerza Wielkiego Księstwa Litewskiego jako ekskluzywna podmiejska willa. Jej powstanie nawiązywało do tradycji otium, willi włoskich, ale też do znanego z czasów dynastii Wazów kreowana siedzib otoczonych ogrodami, które również spełniały funkcje reprezentacyjną. Fundując Belweder Pac stworzył ekskluzywną, choć drewnianą, siedzibę położoną na malowniczej skarpie Wisły, przy reprezentacyjnej trasie prowadzącej do Warszawy. Podarował ją swojej żonie, Klarze Isabelli de Mailly Lascaris, krewnej królowej Ludwiki Marii, spowinowaconej z najwybitniejszymi rodami francuskimi, a także z cesarzami bizantyjskimi. W ten sposób Krzysztof Zygmunt Pac nawiązał do tradycji miejsca, bowiem dobra Ujazdów były związane z Anną, księżniczką mazowiecką oraz Anną Jagiellonką. Dzięki wykorzystanym w artykule źródłom ikonograficznym i archiwalnym udało się zrekonstruować wygląd budynku i otaczających go ogrodów, a także przywołać wyposażenie pałacu z czasów Krzysztofa Zygmunta Paca. Parterowy pałac zbudowano na planie kwadratu, na wysokim cokole, z reprezentacyjną galerią otwierającą się na widok od strony Wisły. Projektantem budowli był najpewniej Tylman van Gameren.   The Belvedere Palace of Krzysztof Zygmunt Pac and Klara Isabelle de Mailly The article deals with the little-known, first stage of the history of the Belvedere residence in Warsaw when it was constructed and arranged (1659–1663) by Krzysztof Zygmunt Pac, Chancellor of the Grand Duchy of Lithuania. Referring to a tradition, established in the times of the Vasa dynasty, of seats surrounded by gardens and of an antique otium and Italian villa, Pac created an exclusive seat, albeit made of wood, situated on a picturesque escarpment of the River Vistula, on the ceremonial route leading to Warsaw. He gave it to his wife, Klara Isabella de Mailly Lascari, a relative of Queen Marie Louise and a descendant of the most eminent French families, who at the same time was related to the Byzantine emperors. In this way Krzysztof Zygmunt Pac drew upon the tradition of the place, as Ujazdów had been connected with Anna, Princess of Mazovia as well as Anna Jagiellon. Thanks to iconographic and archival sources as yet not analysed, it was possible to reconstruct the outline of the building and at least partially map its furnishings. The villa was constructed on a square plan, erected on a high plinth as a ground-floor building with four sections, with a representative gallery opened wide onto the Vistula side. It appears from this that the palace was designed by Tylman van Gameren.  

scholarly journals The Architects of the Fontana Family in the Polish-Lithuanian Commonwealth. The History of a Clan

Menotyra ◽  
2020 ◽  
Vol 27 (1) ◽  
Author(s):  
Auksė Kaladžinskaitė
Keyword(s):  
Eighteenth Century ◽  
Family Members ◽  
Baroque Architecture ◽  
Biographical Information ◽  
Family Ties ◽  
Royal Court ◽  
History Of ◽  
Polish Art ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy

At the turn of the eighteenth century, the newcomers of the Fontana family settled in the Polish-Lithuanian Commonwealth and eventually rallied a clan of architects and engineers based on family ties. In the middle of the eighteenth century, some of the individuals connected by familial ties resided in Warsaw and worked in the milieu of the royal court, but the zone of their activity and influence covered almost the whole territory of the Polish-Lithuanian Commonwealth. In the historiography of Polish art, the Fontanas and other architects related to them have been studied in some detail, but those family members who resided and worked in the Grand Duchy of Lithuania have not been adequately researched. The phenomenon of this clan is not featured in the circulation of the history of Lithuanian art, nor has its role in the evolution of eighteenth-century architecture of the Grand Duchy of Lithuania been assessed. The biographical information on the Fontana family and the data on their architectural activities suggest that the Fontana family of architects, which operated in the Polish-Lithuanian Commonwealth, comprised a group based on kinship that consciously sought to firmly establish themselves and assert leadership in the field of architecture. In the eighteenth century, the architects of the Fontana family introduced the stylistic trend of “Classicist” Baroque to the architecture of the Grand Duchy of Lithuania. This style encompassed the echoes of Northern Italian mannerism, ascetic and austere traditions of mature baroque of Rome, as well as ideas and variations of forms transformed in the milieu of Warsaw triggered by following such precursors as Tylman van Gameren. Classicist Baroque stimulated a wide response. In the eighteenth-century arena of baroque architecture of the Grand Duchy of Lithuania, it was competing against its main rival, the school of Vilnius Baroque.

“History Misappropriation or Compreension?” (Russian Lihuanian Studies in the 19th and the Beginning of the 20th Century)

2020 ◽  
Vol 58 ◽  
pp. 219-236
Author(s):  
Andrey Yu. Dvornichenko
Keyword(s):  
20Th Century ◽  
Russian Empire ◽  
Soviet Period ◽  
Medieval History ◽  
Scientific Paradigm ◽  
Russian State ◽  
History Of ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy

The abundant Russian historiography of the medieval history of Grand Duchy of Lithuania (Lithuanian-Russian State) has become in the last decades the centre of the discussions and is often subject to groundless criticism. This historiography was not very lucky in the Soviet period of the 20th century either, as it was severely criticized from the Marxist-Leninist position. When discussing Russian historiography the author of this article is consciously committed to the Russian positions. There are no reasons to consider this historiography branch either Byelorussian or Ukrainian one, as that was really Russian historiography, - the phenomenon that formed under the favorable specific conditions of Russian Empire before the beginning of the 20th century. The said phenomenon can be studied in different ways: according to the existing then main trends and schools or according to their affiliation with specific universities of Russian Empire. But according to the author of this article the best way to study the issue is in accordance with the main concepts of history. And then the pre-revolutionary historiography appears as an integral scientific paradigm that turns out to be the most divaricate branch of the Lithuanian studies of the time. It created, in its turn, the most vivid and objective historical picture that can still serve as the basis for the studies of Lithuanian-Russian state.

Shakespeare and the Birth of Polish Romanticism: Vilna 1786–1846

1996 ◽  
Vol 21 (2) ◽  
pp. 141-146
Author(s):  
Jaroslaw Komorowski
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Science And Art ◽  
Complex Process ◽  
Grand Duchy Of Lithuania ◽  
Polish Culture ◽  
The Town ◽  
Grand Duchy

The first phase of a long and complex process of the Polish reception of William Shakespeare's oeuvre ended in the middle of the nineteenth century with the popularization of new translations and the gradual elimination of French and German classicist adaptations. Vilna, vital centre of Polish culture, science and art, was the birthplace of Polish Romanticism and a hotbed of theatrical innovation. Vilna was also, at the turn of the eighteenth century, the capital of the Grand Duchy of Lithuania, and one of the major cities of the Polish-Lithuanian Commonwealth. The school stage of Vilna Academy, established by Stefan Batory in 1578, had been active since 1582. In 1639, English actors belonging to Robert Archer's company may have visited the town; though the performances planned by King Wladyslaw IV did not take place. A permanent professional theatre was opened in 1785, when Wojciech Boguslawski, the greatest personality of the theatre of the Polish Enlightenment, came up from Warsaw with his troupe.

scholarly journals Pomiędzy tradycją zakonu a tradycją rodu – treści ideowe fasady kościoła Benedyktynek pw. św. Katarzyny w Wilnie

Artifex Novus ◽  
2019 ◽  
pp. 58-75
Author(s):  
Anna Sylwia Czyż
Keyword(s):  
Community Life ◽  
The Family ◽  
History Of ◽  
The Will ◽  
The Common ◽  
Grand Duchy Of Lithuania ◽  
The One ◽  
The Military ◽  
The Church ◽  
Grand Duchy

ABSTRAKT Sprowadzone do Wilna między 1616 a 1618 r. benedyktynki utworzyły niewielką i skromnie uposażoną wspólnotę. Ich sytuacja zmieniła się w 1692 r., kiedy to dzięki bogatym zapisom Feliksa Jana Paca mogły wystawić murowany kościół konsekrowany w 1703 r. Hojność podkomorzego litewskiego nie była przypadkowa, bowiem do wileńskich benedyktynek wstąpiły jego córki Sybilla i Anna, jedyne potomstwo jakie po sobiepozostawił. Z nich szczególne znaczenie dla dziejów klasztoru miała Sybilla (Magdalena) Pacówna, która w 1704 r. została wybrana ksienią. Nie tylko odnowiła ona życie wspólnoty, ale stała się również jedną z najważniejszych postaci ówczesnego Wilna. Po pożarze w 1737 r. Sybilla Pacówna energicznie przystąpiła do odbudowy klasztoru i kościoła, którą kończyła już jej następczyni Joanna Rejtanówna. Wzniesioną wówczas według projektu Jana Krzysztofa Glaubitza fasadę ozdobiono stiukowo-metalową dekoracją o indywidualnie zaplanowanym programie ideowym odwołującym się i do tradycji zakonnej i rodowej – pacowskiej. W fasadzie wyeksponowano ideały związane z życiem benedyktyńskim sytuując je wśród aluzji o konieczności walki na płaszczyźnie ducha i ciała, włączając w militarną symbolikę także konieczność walki z wrogami Kościoła i ojczyzny oraz charakterystyczną dla duchowości benedyktyńskiej pobożność związaną z krzyżem w typie karawaka oraz zOpatrznością Bożą. Jednocześnie przypominano o bogactwie powołań w klasztorze benedyktynek wileńskich przyrównując mniszki do lilii. Porównanie to dzięki obecności w fasadzie herbu Gozdawa (podwójna lilia) oraz powszechnego w XVII i XVIII w. zwyczaju określania Paców „Liliatami” można było odnosić także do ich rodu, w tym do zasłużonej dla klasztoru ksieni Sybilli. Tak mocne wyeksponowanie fundatorów było nie tylko chęciąupamiętnia darczyńców, ale wraz z całym architektonicznym i plastycznym wystrojem świątyni wiązało się z koniecznością stworzenia przeciwwagi dla nowego i prężnie rozwijającego się pod patronatem elity litewskiej klasztoru Wwizytek w Wilnie. Przy tym charakter dekoracji fasady kościoła pw. św. Katarzyny wpisuje się w inne fundacje Paców: kościół pw. św. Teresy i kościół pw. śś. Piotra i Pawła będąc ostatnią ważną inicjatywą artystyczną rodu w stolicy Wielkiego Księstwa Litewskiego. SUMMARY The Benedictines, who had been brought to Vilnius between 1616 and 1618, formed a small and modest community. Thanks to the generous legacy of Feliks Jan Pac, in 1692 their situation changed as they could erect a brick church, which was then consecrated in 1703. The generosity of the Lithuanian chamberlain was not a coincidence; his two daughters, Sybilla and Anna, the only offspring he left, had joined the Benedictine Sisters in Vilnius. Sybilla (Magdalena) Pac, who became an abbess in 1704, was particularly important for the history of the monastery. Not only did she renew the community life, but she also became one of the most important personalities of the then Vilnius. After the fire in 1737 Sybilla Pac vigorously started rebuilding the monastery and the church, which was completed by her successor, Joanna Rejtan. The facade which was then erected after Johann Christoph Glaubitz’s design was adorned with stucco and metal decorations with a perfectly devised ideological programme which referred to the tradition of the order and to the one of the Pac family. The facade presented ideals connected with the Benedictine life, which placed them among the hints of having to fight at the level of spirit and body, incorporating among the military symbols also the need to fight the enemies of the Church and the state, and the typical for the Benedictine spirituality piety connected with the Caravaca cross and the Divine Providence. At the same time, it reminded of the Benedictine vocations comparing nuns to lilies. This comparison, due to the presence of the Gozdawa coat-of-arms (double lilie) and the common nickname of the Pac family in the 17th and 18th cc. “the Liliats”, could also apply to their lineage, including the abbess Sybilla and her services to the monastery. Exposing founders in such an emphatic way was not only the will to immortalise them, but was also, together with the entire architectural and artistic decor of the church, connected with the need to counterbalance the new and dynamicallydeveloping Visitation Monastery in Vilnius. At the same time, the nature of the facade decoration of the Church of St. Catherine is in line with other foundations of the Pac family: St Theresa’s Church and the St Peter and St Paul Church, and was the last significant artistic initiative of the family in thecapital of the Grand Duchy of Lithuania

scholarly journals Kitabistyka: źródła, metodologia i perspektywy badawcze

2018 ◽  
Vol 24 (2) ◽  
pp. 111-124
Author(s):  
Czesław Łapicz
Keyword(s):  
Research Methodology ◽  
16Th Century ◽  
Major Research ◽  
Historical Texts ◽  
Slavic Languages ◽  
History Of ◽  
Vilnius University ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy ◽  
Oriental Language

The paper contains a synthetic discussion of original and little known philological manuscripts which had been created since the 16th century by Tatars – Muslims of the Grand Duchy of Lithuania – as characteristic Slavic aljamiado. The preserved manuscripts in which Slavic languages – Polish and Belarusian – were recorded in the Arabic alphabet are enormously important for the history of both languages and the Slavic-Oriental language relations. Various types of these historical texts (kitabs, chamails, tajweeds, etc.) contain the first, that is the oldest (16th century), translation of the Quran into a Slavic language (Polish) recorded in the Arabic alphabet (so-called tafsir). These sources are studied within the framework of an original philological sub-discipline of Kitab Studies whose origin and development should be credited to Professor Anton Antonovich from Vilnius University. The author of the paper discusses the research methodology pertaining to these sources, particularly the transliteration of Slavic texts recorded in the Arabic alphabet into the Latin alphabet, and introduces prospective major research tasks for Kitab Studies.

THE CULTURAL-HISTORICAL MEMORY OF THE GRAND DUCHY OF LITHUANIA AS AN EXPRESSION OF NATIONAL IDENTITY AND AS A CULTURAL CAPITAL FACILITATING INTEGRATION INTO THE EUROPEAN UNION

2008 ◽  
Vol 1 (2) ◽  
pp. 160-171
Author(s):  
Antanas Andrijauskas
Keyword(s):  
Cultural History ◽  
Historical Memory ◽  
Cultural Orientation ◽  
First Century ◽  
The European Union ◽  
Latin West ◽  
Border Culture ◽  
History Of ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy

The object of the article is the duality of the cultural‐historical memory of the Grand Duchy of Lithuania between the worlds of the Latin West and the Byzantine Slavic East, strongly affected the historical memory and mentality of the Lithuanian nation and shaped many of the forms of cultural and national self‐identification, forms which are historically changing and characteristic for a border culture. After concisely discussing various aspects of the cultural history of the GDL, that have strongly affected Lithuanian historical memory, it is possible to state that homogeneity was alien for Lithuanian culture, which had insinuated itself between the Latin West and the Byzantine East and which, from the first century of the appearance of the state, was distinguished by a heterogeneous cultural orientation with diverse directions.

Sign in / Sign up

Export Citation Format

Share Document