THE ART OF STAINED GLASS IN THE ARCHITECTURE OF TEMPLE BUILDINGS OF THE RENAISSANCE PERIOD IN LVIV

2021 ◽  
Vol 3 (2) ◽  
pp. 38-43
Author(s):  
Zadorozhny B ◽  
Keyword(s):  
Fine Arts ◽  
Manufacturing Technology ◽  
Stained Glass ◽  
Special Place ◽  
Renaissance Period ◽  
Glass Art ◽  
Artistic Heritage ◽  
The Church ◽  
Glass Compositions ◽  
Made In

The stained glass art of temples and chapels of the Renaissance period occupies a special place in the fine arts of Lviv. Special attention is drawn to the stained glass windows of Lviv's sacred buildings, which impress with their aesthetics, composition, colours, and artistic expressiveness. In the process of studying stained glass windows in the decoration of Renaissance churches and chapels in Lviv, the manufacturing technology, compositional solution, their colour scheme were analyzed and the main features of their artistic and figurative expression were revealed. Renaissance stained glass windows have not survived, all stained glass windows of Lviv temple buildings were made in the XIX-early XX centuries. The stained glass compositions of the Church of the Assumption are marked by a simple and at the same time refined composition and picturesque colours in light tones in contrast to the Gothic patterns. Ornamental stained glass compositions were used in the interiors of the chapels. Ukrainian artists of monumental art used the latest progressive technologies of making stained glass. Professional foreign artists - connoisseurs of stained glass art - were invited to make stained glass window compositions of Lviv Renaissance temple buildings. All stained glass windows of Lviv's sacred buildings are highly artistic decorative works and belong to Ukrainian artistic heritage.

scholarly journals Las pinturas del retablo mayor de la iglesia del Real Hospital de San Lázaro de Sevilla

2021 ◽  
pp. 87-104
Author(s):  
Matilde Fernández Rojas ◽  
Keyword(s):  
The Real ◽  
Ongoing Work ◽  
Historical Heritage ◽  
Artistic Heritage ◽  
The City ◽  
The Church ◽  
Made In

The brief study that we present is part of an ongoing work on the history, architecture and artistic heritage of the Real Hospital de San Lázaro in Seville, the oldest in the city and the first and only one with a royal foundation, which maintains its function care until today. We present what is known so far about the paintings made in 1553 by the masters Pedro de Villegas Marmolejo and Juan Chacón for the main altarpiece of the church, some of which have remained in a later Baroque style altarpiece. Fortunately, the pictorial set is being restored at the Andalusian Institute of Historical Heritage (IAPH)

AUX FONDEMENTS DE L’INSTITUTION ECCLÉSIALE: LA POSITION DE SAINT PIERRE PARMI LES APÔTRES (MT 16, 13–20) ET SON RETENTISSEMENT Á L’ÉPOQUE APOSTOLIQUE ET PATRISTIQUE

2016 ◽  
Vol 9 (1) ◽  
pp. 91-105
Author(s):  
Jacek Wojda
Keyword(s):  
Special Role ◽  
Church Community ◽  
Special Place ◽  
The Subject ◽  
The Church ◽  
The Way

Big activity passed Popes, with the least Francis Bergoglio, is a question about receptiontheir lives and action, especially in times of modern medium broadcasting. Sometimes presentedcontent could be treated as sensation, and their receptiveness deprived of profound historical andtheological meaning. This article depends of beginnings of the Church, when it started to organizeitself, with well known historically-theological arguments. Peter confessed Jesus as the Christ andgot special place among Apostles. His role matures in young Church community, which is escapingfrom Jewish religion.Peter tramps the way from Jerusalem thru Antioch to Rome, confirming his appointing to thefirst among Apostles and to being Rock in the Church. Nascent Rome Church keeps this specialPeter’s succession. Clement, bishop of Rome, shows his prerogatives as a successor of Peter. Later,bishop of Cartagena, Cyprian, confirms special role both Peter and each bishop of Rome amongother bishops. He also was finding appropriate role for each of them. Church institution, basedon Peter and Apostles persists and shows truth of the beginnings and faithfulness to them innowadays papacy.Methodological elements Presented in the introduction let for the lecture of Gospel and patristictexts without positivistic prejudices presented in old literature of the subject.

Italians and others: some quattrocento views of nationality and the church

1982 ◽  
Vol 18 ◽  
pp. 243-260
Author(s):  
Diana M. Webb
Keyword(s):  
Central Italy ◽  
Italian Society ◽  
Self Awareness ◽  
The Past ◽  
Renaissance Period ◽  
The Church

In his excellent study of medieval Italian society, Hyde makes a thought-provoking comparison of ‘the Italians of the age of Dante’ with the humanists of a later generation. The former he sees as distinguished by ‘a sense of continuity with the past and with other parts of the Catholic world’ from the humanists who ‘concentrated on what was close at hand, digging deep rather than spreading wide, so that their world revolved around central Italy.’ It is not my intention here to dispute this assertion, but to use it to stimulate reflection on the nature of Italian self-awareness in the early renaissance period, in the light of a further contrast between Hyde’s two ages which he does not himself emphasise.

Relations between the Russian Empire and the Orthodox Church of the East as Exemplified in the Collection of Greek Engravings of The Church Archaeological Museum at the Moscow Theological Academy

2020 ◽  
pp. 61-77
Author(s):  
Анна Леонидовна Краснова
Keyword(s):  
Russian Empire ◽  
Orthodox Church ◽  
Church Of The East ◽  
Holy Places ◽  
The Subject ◽  
The Russian Empire ◽  
The 19Th Century ◽  
The Relationship ◽  
The Church ◽  
Made In

В XVIII в. на основании общего интереса к святыням Востока, а также единой тенденции для крупных монастырей изготавливать гравюры на память для паломников, многие греческие гравюры свидетели русско-афонских отношений попадают на территорию Российской Империи. Сохранились такие гравюры и в Церковноархеологического кабинете Московской духовной академии, собрание которых насчитывает 29 эстампов. Пять гравюр из этого собрания имеют надписи на греческом и на славянском языке. Надписи свидетельствуют о месте и времени создания гравюры, о граверах и заказчиках, являются источниками кратких исторических сведений. В статье приведены выявленные дополнительные факты об этих гравюрах, которые свидетельствуют о наличии церковных, экономических и политических отношений на базе культурных связей между Российской Империей и странами православного Востока. The Russ has always been supporting the relationship with the Orthodox Church of the East. As a result of these connections, we have a lot of icons and other gifts from The Mount Athos, The Saint Catherine’s Monastery and others holy places. There are five Greek engravings in the collection of The Museum of Church Archaeology at the Moscow Theological Academy, which have inscriptions in Greek and Slavic. These engravings were to be spread in Slavic countries. They are dated from the 17th to the 19th century. Some of them were made in Moscow. The images and the inscriptions of the engravings are the subject of a research presented in this article.

The Maaseik embroideries

1984 ◽  
Vol 13 ◽  
pp. 65-96 ◽  
Author(s):  
Mildred Budny ◽  
Dominic Tweddle
Keyword(s):  
Middle Ages ◽  
Eighth Century ◽  
Anglo Saxon ◽  
Form Part ◽  
The Church ◽  
Made In ◽  
The Middle Ages

Among the relics in the treasury of the church of St Catherine at Maaseik in Limburg, Belgium, there are some luxurious embroideries which form part of the so-called casula (probably ‘chasuble’) of Sts Harlindis and Relindis (pls. I–VI). It was preserved throughout the Middle Ages at the abbey church of Aldeneik (which these sister-saints founded in the early eighth century) and was moved to nearby Maaseik in 1571. Although traditionally regarded as the handiwork of Harlindis and Relindis themselves, the embroideries cannot date from as early as their time, and they must have been made in Anglo-Saxon England. Indeed, they represent the earliest surviving examples of the highly prized English art of embroidery which became famous later in the Middle Ages as opus anglicanum.

scholarly journals Anglican Parish of Blenheim: strengthening to the Church of the Nativity

1983 ◽  
Vol 16 (1) ◽  
pp. 64-68
Author(s):  
C. C. Davidson
Keyword(s):  
Reinforced Concrete ◽  
Brick Masonry ◽  
Initial Assessment ◽  
Structural Types ◽  
The Church ◽  
Made In

The Church of the Nativity in
Blenheim is in two distinct structural types. The nave, narthex and tower are
of brick veneered reinforced concrete
and steel portal frames constructed
about 1959 to replace an old timber building. Check calculations showed this to generally meet latest code requirements. The transept and chancel was, prior to the strengthening work, of unreinforced brick masonry built about 1906 - with some reinforced buttresses and reinforced concrete bands. The whole building is roofed with concrete tiles. The initial assessment of the building was made in terms of Clause 301A of the Municipal Corporation Act in 1976. This building is regarded as one of Blenheim's finest older buildings and the members of the Church did not wish to lose, or detract from, its character, either by obvious strengthening or rebuilding.

scholarly journals Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 227
Author(s):  
Damir Tulić ◽  
Mario Pintarić
Keyword(s):  
Small Town ◽  
18Th Century ◽  
Stylistic Analysis ◽  
Parish Church ◽  
The Church ◽  
Made In

In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar, produced between 1759 and 1762 by the famous Venetian sculptor Giovanni Maria Morlaiter. More precisely, the Ceregnano angels were made after Morlaiter’s terracotta models for the angels of Zadar, preserved at the Ca’Rezzonico museum in Venice. A stylistic analysis of sculptural decoration at the Ceregnano altar has allowed the author to attribute it to Giovanni Maria’s son Gregorio Morlaiter (Venice, 1738 – 1784), heir to his father’s workshop. The same master has been attributed with a small tabernacle with putti installed in 1776 on the high altar of the church of Sant’Andrea della Zirada in Venice.

scholarly journals An Italian Renaissance Gate for the Khan: Visual Culture in Early Modern Crimea

2020 ◽  
pp. 124-160
Author(s):  
Nicole Kançal-Ferrari ◽  
◽  
Leylya S. Seytkhalilova ◽  
Renart V. Saranayev ◽  
◽  
...  
Keyword(s):  
Visual Culture ◽  
Early Modern ◽  
Italian Renaissance ◽  
Renaissance Period ◽  
New Interpretation ◽  
Made In

The introduced work is a translation from English of the Turkish researcher Nicole Kançal-Ferrari`s article, which was published in Muqarnas magazine in 2017. The article is under the name: “An Italian Renaissance Gate for the Khan: Visual Culture in Early Modern Crimea”. The author gives a new interpretation of this famous Gate in the Khan`s Palace in Bakhchisarai. She considers that it was made in the Renaissance period and the author of the Gate was very famous Italian sculptor and engraver Alevisio the New (1494?–1551).

scholarly journals Ukrainian Catholicism: The Church-Ritual Aspect

2004 ◽  
pp. 96-105
Author(s):  
S.R. Kyiak
Keyword(s):  
Jesus Christ ◽  
Byzantine Empire ◽  
Independent State ◽  
Special Place ◽  
Church Life ◽  
The Church

In Ukrainian church life, the influence of the Byzantine Empire, which has existed for over eleven centuries, holds a special place. This unique Greek superpower became the first independent state where faith in Jesus Christ became part of the entire state complex. It was this faith that united Byzantium with the Ecumenical Church, whose center of history was rooted in Rome.

The Team as a Creative System. Conditions and Incentives for Effective Creative Collaboration within the Framework of the Project “Ecoartlogia – Stained Glass Ggallery in the Open Air”

Diogenes ◽  
2020 ◽  
Vol 28 (1) ◽  
Author(s):  
Velina Staleva ◽  
◽  
Anastasia Tonkova ◽  
◽  
Keyword(s):  
Interdisciplinary Collaboration ◽  
Fine Arts ◽  
Creative Collaboration ◽  
Stained Glass ◽  
Collaborative Action ◽  
Project Analysis ◽  
The Arts ◽  
Effective Form ◽  
Classical Technique ◽  
Creative Team

The article studies the magnitude of teamwork as an effective form of collaboration when realizing a creative project through mural techniques. To exemplify the context of the theoretical part, we review the concept, the process and the result of the project “EcoARTologiA – Stained Glass Gallery in the Open Air”, realized with students and teachers from the Department of Mural Painting in the Fine Arts Faculty at “St. Cyril and St. Methodius” University of Veliko Tarnovo. Project analysis in the context of the topic dwells on the frames of reference towards the project activities which illustrate why a creative team is considered an effective form of collaborative action in the arts. In terms of artistic achievements and successful realization of aesthetically valuable works in the classical technique of stained glass painting the results confirm the success of the joint creative activity anticipated from the project. The article is intended for professionals interested in the interdisciplinary collaboration between the fields related to the contemporary visual dimensions of mural monumental arts and the importance of project activities for monumental arts education.

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