The History of the Blessed Virgin Mary and the History of the Likeness of Christ

2009 ◽  
Author(s):  
E.A. Wallis Budge
Author(s):  
Mariia Helytovych

The article contains an analysis of the iconostasis of the Assumption of Mary Church located in the vil. Nakonechne (Yavoriv district, Lviv region), which represents the most fully preserved iconostasis ensemble of the XVI century. For the first time, its reconstruction was completed taking into account all saved icons. The article deals with stylistic, iconographic and artistic features of this ensemble, as well as its connection with other iconostases of that time. More precisely, the dating of the monument is argued. In the article, the author suggests to consider an ensemble from Nakonechne as a phenomenon in the history of Ukrainian icon painting, which reflected the most characteristic tendencies that took place in the painting of the second half of the XVI century. The author traces his influence on the iconography of the end of the XVI – the beginning of the XVII century


Author(s):  
E. Tumeliene ◽  
V. Nareiko ◽  
J. Suziedelyte Visockiene

Cultural heritage is an invaluable example of human culture and creativity. The majority of them can become unstable or can be destroyed due to a combination of human and natural disturbances. In order to restore, preserve, and systematize data about architectural heritage objects, it is necessary to have geodetic, photogrammetric measurements of such data and to constantly monitor condition of the objects. The data of immovable cultural objects for many years are stored in photogrammetric data archives. Such archives have Germany, Lithuania, England and other countries. The article gives a brief introduction of the history of data archives formation and presents a photogrammetric and modern methods of modelling the spatial geometric properties of objects currently used to reveal immovable cultural properties and to evaluate geometric sizes. The pilot work was done with the Concept Capture simulation program that was developed by the Bentley company with photos of the Blessed Virgin Mary painting in Pivašiūnai of Trakai district. A shot from the ground with 12.4 MP resolution Pentax K-x camera was done using lenses with different focal lengths. The painting of the Blessed Virgin Mary is coordinated by 4 reference geodesic points and therefore after the modelling work it was possible to evaluate the accuracy of the created model. Based on the results of the spatial (3D) model, photo shooting and modelling recommendations are presented, the advantages of the new technology are distinguished.


2004 ◽  
Vol 39 ◽  
pp. 271-279
Author(s):  
A.D. Wright

After the disruption of French Catholicism during the Wars of Religion of the second half of the sixteenth century, the Catholic revival of the seventeenth century famously involved a restoration of Marian piety. When the second monarch of the new Bourbon dynasty, Louis XIII, had dedicated the kingdom to the Blessed Virgin Mary in 1637, the long- and anxiously-looked-for male heir to the throne, the future Louis XIV, was finally born in 1638, easing a sense of crisis which was as much political and religious as purely familial. The widowed Queen Anne of Austria, regent for her son from 1643, subsequently ordered the building of the great Parisian shrine of Val-de-Grace. Yet the conspicuous Marian devotion of the French Catholic revival did not emerge in isolation, but rather in relation to a new and intense Christocentric piety. Central to the latter was the leading figure of the revival, Pierre de Berulle (1575-1629), founder of the French Oratory, and subsequently cardinal. The nature of his piety also led to concentration on the priesthood, seen as an essentially male imitation of Christ. In that further context a second major figure must also be considered, Jean-Jacques Olier (1608-57), who was certainly influenced by Berulle. But in one historic interpretation that influence was altered, in the direction of a Christian pessimism, by the process of transmission via a third figure, Charles de Condren (1588-1641). Yet the relations between these persons and their priestly and pastoral piety may be open to another interpretation, and one in which the place of a complementary Marian devotion has considerable implications for the much-debated history of seventeenth-century and subsequent French Catholicism.


2019 ◽  
Vol 16 (4) ◽  
pp. 434-446
Author(s):  
Nadezhda A. Kiseleva

The article reveals artistic features of the unique ancient frescoes of the Protoevangelium cycle of the Spaso-Preobrazhensky Cathedral of the Mirozhsky Monastery in Pskov, dedicated to the life of the parents of the Blessed Virgin Mary, as well as her childhood and youth. The article considers a brief history of the first artistic ima­ges of the Virgin, her life and the Protoevangelium cycles in the history of world art and the monumental painting in the period from 2nd to the 12th century. In previous scientific publications, the attention was paid to the history of the monastery, the disclosure of ancient fresco technique and technology, the conditions of frescoes preservation, as well as the main characters and the content of the scenes. The novelty of this study lies in the analysis of artistic features of the Protoevangelium compositions of the Spaso-Preobrazhensky Cathedral of the Mirozhsky Monastery and in the disclosure of a narrower to­pic insufficiently covered in the specific literature and requiring further in-depth research: the perception of the ancient frescoes’ background details by vie­wers of the 21st century. The article analyzes the artistic features of additional, secondary background details of the frescoes, whose thoroughness is unique for the medieval period of Christianity formation in Russia. The author focuses on our contemporaries’ perception of the features of the composition and color of the Mirozhsky Monastery’s Protoevangelium frescoes’ background in comparison with similar scenes of medieval murals in temples of Kiev, Veliky Novgorod, Polotsk and other cities. The artistic compositions of the Spaso-Preobrazhensky Cathedral were developed on the initiative of Archbishop Nifont, one of the most educated people of his time, and made by Byzantine masters invited to Pskov to paint the walls in the first half of the 12th century. The frescoes of the Protoevangelium cycle are located in a separate South-Western compartment under the choirs. This article organically complements the scientific publications devoted to the analysis of gospel scenes, acts of the apostles, the life cycle of the Pope Clement, prophets and martyrs depicted in the paintings of the Mirozhsky Monastery.


2021 ◽  
Vol 136 ◽  
pp. 5-37
Author(s):  
Stanisław Wróblewski

The study of patronages of medieval sacred objects is extremely im-portant for the knowledge about the development and formation of religious culture and the mentality of the worshippers. The present atricle concerns all patrociniae found in medieval sources in the Lower Silesian town of Ziębice in the years 1321-1742. In the course of research thirty patrociniae were identified and described. On the basis of the collected source material and previous findings it was possible to demonstrate that the townspeople most revered the Blessed Virgin Mary and St. George and especially celebrated the worship of Corpus Christi and – due to the history of the town and the principality during the Hussite wars – their cults became characteristic of Ziębice. It is worth adding that mostly the patrociniae of Ziębice are connected with the townspeople’s piety through altaria foundations. Among all cations, hagiographic summons dominate and constitute 83% of all titles. Marian dedications, however, were not detailed and appear under the general designation of the Blessed Virgin Mary.


2018 ◽  
Vol 7 (1) ◽  
pp. 123-128
Author(s):  
Anatolii Chernov ◽  
Dariusz Dziubacki ◽  
Martina Cogoni ◽  
Alexandru Bạ̌descu

Abstract. The article presents results of a ground penetrating radar (GPR) investigation carried out in the Church of the Assumption of the Blessed Virgin Mary in Kłodzko, Poland, dating from the 14th to 16th centuries. Due to the 20th century wars, the current state of knowledge about the history of the church is still poor. Under the floor of the Catholic temple, unknown structures might exist. To verify the presence of underground structures such as crypts and tombs, a GPR survey was carried out in chapels and aisles with 500 and 800 MHz GPR shielded antennas. Numerous anomalies were detected. It was concluded that those under the chapels were caused by the presence of crypts beneath the floor.


Menotyra ◽  
2021 ◽  
Vol 27 (4) ◽  
Author(s):  
Regimanta Stankevičienė

Kazimierz and Ewa (of Uwoyni) Burba, the wojskis (officials attending to the needs of soldiers’ families during wars) of Šiauliai and collators of the Church of St Peter and St Paul in Apytalaukis, donated the painting “The Sacred Heart of Jesus” to the high altar of the church in 1817. From 1755, when a fraternity of the Sacred Heart of Jesus was established, this altar had been decorated with an earlier painting of the same name. The painting donated by the Burba decorated the first tier of a new high altar erected after 1817 and the existing high altar that was built before 1920s (?). It is believed that due to its poor condition, the old painting was replaced with a copy during repairs in 1964, and it is this copy that is on the altar to date. In 2019, the painting was restored as it had lost many fragments of the paint layer, especially at the bottom. The prototype of this painting is the painting “The Sacred Heart of Jesus and the Eucharist” by Pietro Tedeschi (the Church of the Blessed Virgin Mary of Mount Carmel, Imola, 1780). It is believed that the painter used an engraving of this image, presumably by Lorenzo Capponi. The painting in the church in Apytalaukis is narrower and therefore the baroque composition created by Pietro Tedeschi is somewhat reduced and adjusted. In addition, the drawing, rhythm, and colours of the painting of 1817 are characteristic of the features of the classicist style and paintings of the Vilnius School of Art. Due to the analogies of stylistics and the wellknown fact of Kazimierz Burba’s acquaintance with the painter Jan Rustem, the painting is hypothetically attributed to this artist. The face of Jesus in the painting in Apytalaukis can be compared to Burba’s portrait by Jan Rustem (unfortunately, only a copy has survived). We propose the title “The Eucharistic Sacred Heart of Jesus” as it defines the iconography of the painting more precisely.


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