Svevende dåpsengler Elisabeth Andersen
ICO. Iconographisk post,
05/2021
1, 2021
Journal Article
Peer reviewed
Open access
Flying, or descending baptismal angels served as mobile sculptures and hung from the ceilings of churches, in the areas between altars and pulpits. The angels “came to life” during the Baptism ...service: by means of a special mechanism located in the attic, they were made to descend before the eyes of the congregation, holding the font in one or both hands. The angels were carved in wood, often in human size, painted and gilded. Their hair and clothes were sculpted as fluttering in the wind while the wings were poised to flap. They started to appear in the middle of the 17th century in north Germany, and peaked in popularity in the 18th century, mainly around Saxony, Pomerania and Prussia, Denmark, Sweden and Norway. Despite the marvel and fascination of these animated angels, they also elicited feelings of discomfort, and sometimes even horror. They could also be troublesome for the clerg y and were therefore removed from church interiors during the second half of the 19th century. In the middle of the 20th century, however, they underwent a small revival and returned to their churches, although mostly in a decorative role. In this article, I examine the Scandinavian flying baptismal angels as a phenomenon: Why did churches get animated angels as baptismal fonts? In what way do the Swedish, Danish and Norwegian angels differ from one another? And what problems did these unconventional and “lively” baptismal angels cause?
The goal of the research. Work purpose consists of the handwritten and printed materials analysis related to the “Lemkivshchyna” Society Museum activities, which are stored in the Archive of the ...Historical Museum in Sanok (Poland) as well as the study of the formative stages of the art museum collection (1931―1944) in the context of socio-cultural factors and its importance for Ukrainian cultural heritage. Methodology. In the research process, historical-comparative and historical-chronological methods were used to systematize archival documents, which helped to classify them according to thematic blocks. This facilitated to outline of the prerequisites for the creation of the museum and its structure, the main milestones of activity, the typology of the art collection, cooperation with other institutions, etc. Scientific novelty. The comprehensive analysis of the “Lemkivshchyna” archive (correspondence, reports, inventory books, reviews in periodicals, etc.), which is stored in the Historical Museum in Sanok was carried out. Special attention is given to features of exhibits acquisition and the art collection formation, its uniqueness, and significance for the Ukrainian cultural environment in the historical dimension. It was revealed that the objects were added to the collection thanks to the collecting activities of the museum staff, in particular, the director Lev Gets, in cooperation with representatives of the Lemko`s communities. The process was determined by the urgent need to preserve local material culture. Conclusions. The “Lemkivshchyna” Society Archive materials are almost unknown in Ukrainian humanitarian studies. It is necessary to publish original, uninterpreted documents, which are an important source for studying the activities of Ukrainian museums during the 1920s and early 1940s. First of all, these are factual sources that allow us to characterize the activities of the museum as objectively as possible and to analyze its artwork collection. In particular, the archive makes it possible to partially trace the subsequent history of the collection after the liquidation of the “Lemkivshchyna” museum, which was partly succeeded by the Historical Museum in Sanok.
The paper analyzes the iconostasis of the Church of the Holy Apostles Peter and Paul, located in Vrčin. The iconostasis was painted in 1896 by Lazar Krdžalić, an artist who studied in Russia for ...about six years. The artist began his studies at the icon painting school in Moscow, and finished at the Saint Petersburg Academy of Fine Arts. His wife, Olga Krdžalić, helped him paint the iconostasis. The size of the iconostasis partition of the church in Vrčin influenced the iconographic repertoire and the selection of icons with the most prominent saints. The images on the iconostasis are read horizontally, starting from the lower zone and the most important throne icons. In the first and second zones, the most important events from the cycle of major holidays are shown. The Resurrection of Christ is depicted in the central part of the second zone. The icon is larger than other icons, which was intended to highlight the most important event in Christian history. Icons of St. Nicholas and St. John are attached to the scenes from the Great Holidays cycle. The high iconostasis partition ends with a cross on which the Crucifixion is depicted, carrying important symbolic meaning. The crucifixion is completed with the figures of the Virgin Mary, John the Baptist, Michael the Archangel, Saint George, and the scene of the Lamentation of Christ. The iconostasis of the church in Vrčin was painted following Serbian theological practice, heavily influenced by Russia during this period. The application of the iconographic solution that Lazar Krdžalić adopted during his schooling in Russia and its adaptation to the clients indicate that the design of the Vrčin iconostasis follows the practice that was established in the Kingdom of Serbia during the second half of the 19th century.
As a part of religious revival in the 19th century church of the Saint Demetrius in the village Dobrotin near Lipljan, was renewed. In accordance with the donor's inscription in the nave church was ...painted by Kostadin from Veles, with the help of his colleague Ignjat, in 1862. They created the decorative program of wall painting that was common for the parish churches in the Diocese of Raška and Prizren in the 19th century. It was based upon current iconographical recommendations and the wishes of the organizers who influenced the content. The program was organized in three horizontal zones on the walls, and vault was painted as well. Wall painting in the church of the Saint Demetrius bears different meanings, depending on the sacral topography of the church. While this program illustrates Christ's incarnation and economy of salvation in the altar, in the nave active piety, that included righteous life, sacrifice for the religion and atonement of sin, is promoted. Simultaneously, program consists of saintly figures that had prominent role in the everyday life of the community, as healers and protectors. Also, national saints have prominent place in this program, as a part of national and religious glorification and identity creation.
В статье дается детальный обзор реставрационных работ в Свято-Троицком Ипатьевском монастыре и других храмах г. Костромы начиная с конца 1950-х – начала 1960-х годов. Показано, что костромские ...искусствоведы выводят начало формирования стиля костромских иконописцев из московской школы иконописи. Отмечено, что в ходе раскрытия фресок и икон реставраторами открывались новые шедевры древнерусского искусства, которые описывались и вводились в научный оборот. Приведены основные этапы данной реставрационной и научно-исследовательской работы; названы имена ведущих специалистов. Пояснено, что работа велась сначала на общероссийском, затем, существенно позднее, на региональном уровне, что было связано с отсутствием достаточного количества реставраторов и искусствоведов в Костроме.
The Chapel of the Resurrection of Christ is an example of the mid-18th century baroque church combining two traditions – Western European and Russian, which is manifest in the decor of the church ...interiors, plots and stylistics of religious painting. The church has a number of unique artistic features, including the iconostasis program, the color characteristics of the interior, the picturesque ensemble of wall images, and the inclusion of mirrors and plafond paintings in the cult space. Three plafonds painted in the 19th century each feature a different style, and their stories correspond to the mid-18th century plafonds lost in the 1820 fire. The plafond painting is a bright contribution to the decor filled with profound semantic and symbolic contents. During the German occupation of Pushkin (1941–1944), the Chapel was barbarically looted. From 2015, work is under way to recreate the painting ensemble of the church, including the plafonds in the altar, central hall, and choirs.
The article explores the main principles behind modern church paintings. The author examines the key factors affecting the structure of mural paintings and pays special attention to their semantic ...content. The main objective of the analysis is to identify means of expressive visualisation of the Divine Oeconomy, which is the semantic fundamental of the murals’ iconography. The author employs the methods of iconographic and iconological analysis correlating with the objectives of the study. It is concluded that the soteriological aspect of mural iconography is one of the most traditional and semantically justified. It is reflected in the composition and the choice of colours as well as in the selection and juxtaposition of motifs and their correlation with the architectural elements of the Kaliningrad Cathedral. The soteriological aspect does not diminish the significance of other factors determining the iconography of the murals, i. e. the architectural design, the dedication of the Cathedral, liturgical aspects etc. On the contrary, it contributes to a deeper understanding of such aspects.
The church of St Nicholas, which is now located on the territory ofJiráskovy sady Park in Hradec Králové, Czech Republic, was originallybuilt in the village of Habura (Slovakia). During the 2017 ...restoration,the iconostasis was dismantled, which made it possible to study thewall painting, preserved in fragments. The article examines the iconson the church walls, in the sanctuary and in the iconostasis, and thewall painting in the context of the activity of their authors. Most ofthe icons are attributed to the centre of church art in the town ofRybotychi (today the village of Rybotycze in Fredropol district ofthe Subcarpathian Voivodeship of Poland). In addition to the mannerof painting and of the frame carving of the icons, the history of thechurch’s relocation shows that it was originally built in the epicentreof the activity of these masters on the border of the Peremyshl (todaythe town of Przemyśl, Subcarpathian Voivodeship of Poland) andMukachevo (today a town in Ukraine) dioceses of the Ukrainian (thancalled Rus’ka) church. The chronology of the icon painting is relatedto the transfers and rededications of the church. The connectionof the wall painting with the painting style of the master Yakivof Rybotychi, who, as we assume, was the leading master of thiscentre in the 1670s and 1680s, is substantiated. Associated with hisauthorship are icons originating from the churches of Habura’sneighbouring villages. This confirms our hypothesis that the wallpainting was created in the 1670s. Church icons belong to masterswhose other works have been identified in museum collections andin churches in Slovakia, Poland and Ukraine.
The article studies the process of separation of the two layers of painting of the icon “St. Apostle Philip”, which is kept in the church in the Bonevychi village (Sambir district, Lviv region, ...Ukraine). The expediency of using the chemical method of separation for these work and similar ones, according to the state of preservation and technique of execution, is substantiated. The study shows that the upper layer of the icon was made in the late 19th – early 20th centuries in the technique of oil painting on top of the new gesso (levkas). The original painting of the icon was done in the technique of tempera with the use of silvering and engraving on the background. When studying the manner of painting of the original layer of the icon and based on archival documents about the church in Bonevychi, it was found that first image was painted in the early 18th century to the newly built in 1702 wooden church in Bonevychi. The manner of painting shows that the author of the original icon was a master from the center of church art in the town of Rybotychi (now a village in the Subcarpathian Voivodeship (Województwo podkarpackie) of Poland).
В статье автор анализирует научные труды доктора искусствоведения, профессора, заслуженного деятеля искусств Российской Федерации, художника Анны Вадимовны Рындиной, посвященные сложению иконографии, ...технике изготовления, анализу стиля, атрибуции предметов древнерусской мелкой пластики XIV–XV веков и деревянной церковной скульптуре XIV–XVIII веков. Целью работы является обобщение, анализ и оценка вклада академика А.В. Рындиной в развитие научного понимания древнерусского и церковного искусства Нового времени. Для достижения этой цели проведен обзор и анализ научных публикаций, монографий и статей, написанных искусствоведом, а также реализованных ею научно-просветительских проектов.
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