Barok

Zakończone niedawno prace konserwatorskie prowadzone w koście­ le bożogrobców w Miechowie ukazały na nowo i przypomniały o istnieniu na terenie Małopolski niezwykle interesującego, rokkowego rozwiązania dekoracyjnego z 2. połowy XVIII wieku. Dotychczas nnajwiększym zainteresowaniem cieszyła się średniowieczna przeszłość klasztoru oraz, co oczywiste ze wzg!ędu na unikatowy charakter obiektu, renesansowa Kaplica Grobu Bożego z grobem Chrystusa, będąca rzadkim naśladownictwem analogicznego rozwiązania z samej Jerozolimy. Węższemu natomiast gronu specjalistów, rekrutującemu się głównie ze znawców tkanin i technik haftu, bliskie sąniezwykle cenne paramenty i szaty liturgiczne znajdują­c e się w kościelnym skarbcu.

Luca Giordano je bio vrhunski talijanski slikar i grafičar u periodu kasnog Baroka. Rođen je u Napulju te je tamo i umro, bio je poznat pod nadimkom : "Luca fa presto", što znači Luca slika brzo. Zahvaljujući svojim slikarskim sposobnostima svoju karijeru je započeo rano, te je već 1654.godine bio slobodni slikar dokazanih kvaliteta, koji je imao mnogobrojne narudžbe. U ranoj dobi svoje karijere zbog utjecaja njegovog učitelja, bio je baziran na slikanje figura filozofa te na imaginarne figure. U nastavku svoje karijere, zahvaljujući brzini i načinu rada kojim je slikao uspješno je oponašao i kopirao djela drugih slikara. Koristio je tenebrizam te je već izgradio jedinstvene karakteristike koje su bile prepoznatljive i koje su označavale njegov rad. Luca je studirao u Rimu, Parmi i Veneciji nakon čega se uspješno izgradio kao umjetnik te je razvio vlastiti barokni stil koji je spajao rimski i venecijanski utjecaj umjetnosti uz korištenje mnogo veselih i toplih boja, po čemu je bio poznat. Najveća djela je radio u Firenzi, Španiji te u rodnom Napulju. U Firenzi je u periodu od 1682-90. ostavio mnogobrojne freske iza sebe, oslikao je kupolu Cornisijeve kapele Chiesa del Carmine, strop biblioteke Riccardiana u bivšoj Medici palati te dugu galeriju Medici-Riccardi. Luca je oslikavao površine na koje su prethodno nanesena 3 sloja maltera, podloga mora biti suha i ravna. Podloga koja je tradicionalna dugi niz godina korištena je i u to vrijeme, ona se sastoji od gašenog kreča i pijeska. Na drugom sloju maltera pravio se detaljan crtež kako bi se znalo gdje će šta stajati i šta će se prvo raditi. Gornji sloj završenog ravnog maltera prirpemljen je sa mramornim prahom. Pripremalo se dovoljno maltera koliko nam je bilo potrebno za dio slike koja se radi taj dan. Duga galerija je rađena u periodu 1683-85. a njen naručitelj je bio Francesco Riccardi. Freske oslikane u galeriji sadrže alegorijske figure i mitološke teme sa isprepletenim događajima, dok se u sredini nalazi porodica Medici koja slavi iako je okružena svim tim događajima. Zahvaljujući modernim metodama istraživanja, naučnici su kreirali projekt u kojem bi sudjelovali posjetitelji na kojima bi se proučavala analiza utjecaja koje na njih ostavlja posmatranje freski u galerijji Medici-Riccardi. Analiza se sastojala od proučavanja psihofizičkih i neuroloških aspekata, te su došli do podataka

Ieder jaar klinkt in de weken voor Pasen overal de Matthäus-Passion van de Duitse componist Johann Sebastian Bach. In honderden kerken en concertzalen in Nederland wordt de passie uitgevoerd door professionele en amateurmusici, een traditie die terug lijkt te gaan tot het moment dat Bach deze voor het eerst uitvoerde op een Goede Vrijdag in Leipzig. Toch werd Bachs passie bijna een eeuw niet uitgevoerd, totdat Felix Mendelssohn de partituur herontdekte en het werk nieuw leven inblies. Een historische verkenning van een wederopstanding.

Figury należące do dignitas, jednej z części tworzących elocutio, retoryka antyczna dzieliła na figury słów i figury myśli: pierwsze opierały się na konkretnych sposobach łączenia słów, drugie zaś polegały na przekazaniu danego sensu. Poza tą klasyczną klasyfikacją w wieku XVII
wyróżniano też osobną kategorię w postaci figur amplifikacji, służących do powiększania (lub pomniejszania) jakiegoś zagadnienia (Ulčinaitė 1984: 91). Pojawiła się wówczas propozycja jeszcze innego podziału, autorstwa Nicolausa Caussinusa: francuski uczony odróżniał bowiem figury służące do sprawiania przyjemności oraz przeznaczone do wzruszania i pouczania (Ulčinaitė 1984: 90). [...]
Figury słów są bez wyjątku figurami dźwiękowymi, co wydaje się zrozumiałe, skoro opierają się one na odpowiednich sposobach łączenia (lub rozłączania, przeciwstawiania sobie czy odmieniania) wyrazów, czyli na wywoływaniu u odbiorców pożądanych przez mówcę wrażeń słuchowych.

***

„Sensualność w kulturze polskiej. Przedstawienia zmysłów człowieka w języku, piśmiennictwie i sztuce od średniowiecza do współczesności”, projekt realizowany przez Instytut Badań Literackich Polskiej Akademii Nauk
http://sensualnosc.bn.org.pl/pl/

Hasła mojego autorstwa przygotowane w ramach projektu:
http://sensualnosc.bn.org.pl/pl/team/user/barbara.popiel/

U članku se analiziraju tragovi osmanske vladavine na drniškome području, vladavine koja je trajala gotovo dvjesto godina i utjecala na urbanu strukturu grada i na kulturu života. Po dolasku Mlečana, osmanski su tragovi mahom bili zatirani, stoga je arhitektonskih svjedoka turske prisutnosti u Drnišu preostala tek nekoliko, a najznačajnija je džamija Halila hodže inkorporirana u današnju crkvu sv. Ante Padovanskoga.

ÖZET
Minyatürlü yazmalar, dönemlerinin önemli olaylarının betimlendiği görsel malzemeler olarak, belge niteliği taşırlar.
Nakkaşlar, dönemlerinin cülus, cenaze, şehname, savaş, sünnet düğünü, gibi önemli olaylarının geleceğe en doğru şekilde
aktarılması için birçok eser üretmişlerdir. Minyatürlü yazmalar kalabalık grupların yer aldığı figürlü kompozisyonların yanı sıra,
her bir varakta tek bir figürün çalışıldığı örnekler de barındırırlar. XVI. yüzyıl sonuna kadar tek figürlü portrelere, Siyer-i Nebi,
silsilename ve şemailname gibi minyatürlü yazmalarda rastlanır.
XVI. yüzyılın sonu itibarıyla padişah ve din büyüklerinin yer aldığı tek figürlerlü albümlere, günlük yaşam içindeki
sıradan insanların betimlendiği, kıyafet albümü olarak tanımlanan minyatürlü yazmalar da eklenir. İ.Ü. Nadir Eserler
Kütüphanesi’nde T 5502 numara ile yer alan, H. 1208 tarihli, Hubanname ve Zenanname bu albümler arasında yer alır.
Enderunlu Fazıl’ın metnini yazdığı eserin, minyatür sanatçısının Halimzade Fethi Efendi olduğu düşünülmektedir. Eser
tezyinatı açısından, XVIII. yüzyıl minyatür ve tezhibinin iyi bir örneğidir. Metin olarak da basılmış olan eserin, Türkiye’deki
minyatürlü tek nüshası, dört kıtada yaşayan, otuz yedi adet erkek figürünün bulunduğu Hubanname ve otuz dokuz adet kadın
figürünün bulunduğu Zenanname adıyla iki ayrı bölümde çalışılmıştır. Eser tek bir cilt içinde toplanmıştır. Natüralist çiçeklerin
kullanıldığı unvan sayfalarının dışında,hem Hubanname, hem de Zenanname bölümlerinde figürlerin ellerinde, ayaklarında ve
kıyafetlerinde natüralist çiçeklerin kullanıldığı görülmektedir.
Türklerin çiçek sevgisinin yazma eserlerin tezyinatlarında da tezahür etmesi şaşırtıcı değildir. Bitkisel çiçeklerin
tasarımlarda yer almalarıyla başlayan süreç, yarı stilize ve natüralist çiçeklerin kullanımlarıyla zenginleşerek devam eder.
Özellikle Türk Rokokosu olarak adlandırılan dönemden günümüze kalan örneklerde, her biri tanımlanabilecek kadar ayrıntılı
şekilde nakşedilmiş her tür çiçeğin tezhipli ve minyatürlü yazmalarda yoğun şekilde kullanıldığı görülmektedir.
Bu çalışma kapsamında, XVIII. yüzyılın Türk Rokokosu örneklerinden Hubanname ve Zenanname minyatürlü
yazmasının kadın ve erkek figürlerinin bulunduğu varaklarındaki çiçek çeşitliliği ele alınacak; dönemin önemli iki sanatçısı,
Levni (TSM H 2164) ve Buhari’nin (İ.Ü. NEK T 9364) kıyafet albümlerindeki figürlü varaklarda kullanılan natüralist çiçekler ile
karşılaştırmalar yapılacaktır.
Anahtar Kelimeler: Hubanname ve Zenanname, Enderunlu Fazıl, Halimzade Fethi Efendi, XVIII. yüzyıl tezyinatı,
minyatür
ABSTRACT
Miniature manuscripts, as visual materials depicting the important events of their periods, have the qualification of
documents. Miniaturists had produced many artworks in order to convey the important events of their periods such as
enthronement, funeral, şehname, war, circumcision feast in the most accurate way to future. On miniaturized manuscripts,
there are also examples of a single figure on each leaf as well as figured compositions with crowded groups. Until end of XVIth
century, single-figure portraits can be seen in miniature manuscripts such as Siyer-i Nebi, silsilename and şemailname.
As from end of XVIth century, miniature manuscripts, which were described as clothing albums, depicting ordinary
people in daily life, were also added to the single-figure albums featuring the sultan and religious elders. Hubanname and
Zenanname with no.T 5502 and dated H. 1208 in the Rare Artworks Library of Istanbul University is included in such albums.
It is thought that Halimzade Fethi Efendi was the miniature craftsman of the artwork written by Enderunlu Fazıl. In terms of
the artwork decoration, it is a good example of XVIIIth century miniature and illumination. Miniature single copy in Turkey of
the artwork, which was printed as text, miniatures had been worked in two separate sections named Hubanname which on
thirty seven men figures and named Zenanname which on thirty nine women figures who were living in four continents. The
artwork was gathered within a single volume. Apart from the title pages where naturalist flowers were used, it was seen that
naturalist flowers were used on the hands, feet and clothes of the figures in both the Hubanname and Zenanname sections.
It is not surprising that flowers love of Turkish people is also seen on the decorations of the manuscripts. The process
that begins with the inclusion of herbal flowers in designs continues with the use of semi-stylized and naturalist flowers by getting rich. Especially, in the examples from the period called Turkish rococo, it is seen that all kinds of flowers, each of which
were engraved in such detail as to be described, were used extensively in illuminated and miniature manuscripts.
Within scope of this study, the variety of flowers on the leafs of the Hubanname and Zenanname miniature manuscript
with male and female figures which is one of examples of Turkish Rococo of XVIIIth century will be handled, comparisons will
be made with the naturalist flowers used in the figured leaves on the clothing albums of Levni (TSM H 2164) and Buhari (IU
NEK T 9364) who were two important craftsmen of the period.
Keywords: Hubanname and Zenanname, Enderunlu Fazıl, Halimzade Fethi Efendi, ornamentation of XVIIIth century,
miniature

The Former Reformati Order’s Monasteries Route

The Former Reformati Order’s Monasteries Route, that we would like to invite you to, passes through the eastern areas of our country (voivodeships: Podlaskie, eastern part of Mazovian, Lubelskie, Podkarpackie) and western areas of Ukraine. In Poland the route is over 500 km long and crosses: Boćki (Podlaskie Voivodeship), Węgrów (Mazovian Voivodeship), Biała Podlaska (Lubelskie Voivodeship), Lublin (Lubelskie), Zamość (Lubelskie) and Przemyśl (Podkarpackie  Voivodeship). The route ends in Rawa Ruska, Ukraine. In each of these places there was a monastery and church complex of the Reformati. The Reformati have never constituted a separate order. They derive from the Order of Friars Minor Ordo Fratrum Minorum ( OFM), commonly known as Franciscans. More precisely, the Reformati are the Franciscans of Primitive Observance.

From the time perspective Simon Ferdinand Lechleitner appears to be the major composer of the late Baroque whose works were recognised in a number of music cultural centres of the Polish--Lithuanian Commonwealth in the second quarter of the 18th century. Nonetheless, he is not much contemporarily appreciated. Among his 70 musical compositions, 39 of which are preserved as complete works or fragments, only few have been analysed or printed.
Publication contains the development of a passion dialogue consistent with the literary text of summa passionis, already known in the 16th century in Europe, confirming its popularity in the Polish-Lithuanian Commonwealth. "Dialogus De Passione Christi Domini ex F" dated on the 2nd quarter of the 18th century is a unique example of Polish, late Baroque passion vocal and instrumental music.

Simon Ferdinand Lechleitner z perspektywy czasu jawi się jako czołowy kompozytor późnego baroku, którego dzieła znane były w wielu ośrodkach kultury muzycznej Rzeczypospolitej Obojga Narodów w drugim ćwierćwieczu XVIII wieku. Mimo to współcześnie wciąż pozostaje niedoceniony. Spośród zidentyfikowanych ok. 70 kompozycji, z których 39 zachowało się w całości lub we fragmentach, tylko nieliczne zostały poddane analizie czy wydane drukiem.
Niniejsza publikacja zawiera opracowanie dialogu pasyjnego zgodnego z tekstem literackim tzw. summa pssionis, znanym już w XVI wieku w Europie, potwierdzając jego popularność w Rzeczypospolitej Obojga Narodów. „Dialogus de passione Christi Domini ex F” datowany na 2. Ćwierć XVIII wieku, zachowany w zbiorach Opactwa Sióstr Benedyktynek w Staniątkach, stanowi unikatowy przykład polskiej, późnobarokowej pasyjnej muzyki wokalno-instrumentalnej.
Na edycję składają się wstęp, analiza stanu badań i zarys biografii kompozytora oraz komentarz rewizyjny. Głównym elementem jest edycja utworu, wraz z partiami głosów dołączonymi do publikacji.

Bu yazı kapsamında Bernini'nin "Apollo ve Daphne" heykeli incelenmektedir. Barok sanatın özgün nitelikleri ve biçimsel dilinin irdelenmesinin ardından, Barok heykel ve mimari arasındaki ilişki irdelenmiş, incelenen yapıtın heykeltıraşı olan Bernini hakkında bilgi verilmiş, başlıca yapıtları incelenmiştir. Makalenin devamında "Apollo ve Daphne" heykelinin mitolojik kökeni, yapım sürecinin nasıl şekillendiği, eserin biçimsel özellikleri ele alınmıştır. Son olarak yapıtın özgün nitelikleri değerlendirilmiştir. Abstract In this article, "Apollo and Daphne" sculpture by Gian Lorenzo Bernini, 2one of the leading artists of Baroque Art, is examined. After examining the original qualities and figurative language of Baroque art, the relationship between Baroque sculpture and architecture, artistic identity of Bernini, who is the sculptor of the studied work, and his main works are examined. In the rest of the article, the mythological origin of the sculpture "Apollo and Daphne", construction process of the sculpture and the figurative features of the work are discussed. Finally, the original qualities of the art-work are evaluated

The article concerns the altar of St. Mary Magdalene funded by the Głogów canon Gottfried Jakob Urban Schönborn around 1697, located in the Collegiate Chapel of St. Mary Magdalene until 1945, when it was destroyed during the war.The altar was made of grey Silesian marble from Przeworno and white marble, probably from Supíkovice. Below the altar stone was a socle with an oval cartouche, flanked by two pedestals on which stood statues of James the Elder and St. Urban the pope. The Głogów reredos can be compared only to the 1694 altar of the Holy Family in the Chapel of St. Ivo and Holy Family in the Church of Our Lady on the Sand Island in Wrocław. The author of the Głogów piece is not known – he may have been a member of the workshop or collaborator of another sculptor who came, hypothetically, from the Southern Netherlands, and made the pulpit in the Collegiate Church according to models characteristic of Flanders.

Sinema; resim, edebiyat, heykel, mimari, müzik ve gösteri sanatları ile etkileşim içinde olan ve bunları bünyesinde toplayan, mecralararası bir sanat formudur. Anlatı dili olan sinematografi ise resim sanatıyla daima çok yakın ve özel bir ilişki içindedir. Sinematografi kompozisyon, perspektif ve renk gibi normları temelde resim sanatından miras almıştır. Yeni ifade biçimleri arayan film yapımcıları için, dijital üç boyutlu (3B ) sinema heyecan verici ve fırsatlarla dolu bir gelişme sayılmaktadır. 3B sinemanın anlatı dili stereoskopidir (3B sinematografi). Stereoskopinin sinematografiden ayrılan en önemli özelliği ise perspektif kurulumunu perde yüzeyinin önünde ve dışında başlatması, görüntüleri perdenin sınırlarının dışına taşı(r)masıdır. Kompozisyonu kanvasın dışına taşırmak barok resmin önemli özelliklerinden biridir. Bu bağlamda barok resim sanatı ve stereoskopi örtüşür. Bu makale, genel olarak Barok sanatın, özelde ise Caravaggio’nun resimlerinin, Wim Wenders’in Pina (2011) belgeselindeki Bahar Ayini (The Rite of Spring) sekansı üzerindeki etkisini irdelemeyi amaçlamaktadır. 

-------------------------------------------------------------------------------------------------------------------------------------------




Cinema is as an intermedial art form that interacts with novel, music, performance arts etc. But cinema, through its narrative style / language cinematography, has been in a very close relation with painting. Cinematographic (composition, perspective, color, graphic) norms, conventions and styles have been constituted from art of painting. The emergence of 3D Cinema have given new possibilities and potentialities for a new form for filmmakers which explores new intermedial relationships. 3D cinemas narrative style / language is called Stereoscopy (3D cinematography). Stereoscopies necessity to calculate on-screen and off-screen depth for dimension opens new intermedial fields between art forms. In this article I will discuss the influence of baroque painting in Pina documentary’s stereoscopy.

The article concerns the pulpit from the Collegiate Church of the Virgin Mary funded in 1697, where it was to be found until 1945, when it was seriously damaged during the war. Its surviving elements are on display today in the Collegiate Church and the local museum. The pulpit has not been studied extensively despite its high artistic value – the first man to note its visual qualities was an anonymous author of a visitation document drawn up between 1706 and 1711.The Głogów pulpit is the second known Catholic pulpit in Silesia with a figural support. Despite some references to the Silesian tradition, in its artistic and formal origins it is primarily Netherlandish, more specifically Flemish.

Prigorski glasnik, broj 124, Sveti Ivan Zelina, 17. prosinca 2015., str. 20-21

Prikaz izložbe "Crkve i kapele zelinskoga kraja" u Muzeju Sveti Ivan Zelina

Vidjeti također: https://www.academia.edu/23699138/Potemkinovi_gradovi_na%C5%A1ega_muzeja_-_odgovor_Danku_Dujmovi%C4%87u

Artykuł mówi o sposobie, w jakim ks. Józef Baka - późnobarokowy polski poeta i misjonarz, jezuita - wykorzystuje estetykę brzydoty (turpizmu) w swoim zbiorze pt. "Uwagi śmierci niechybnej". Utwory z niego pochodzące zostały skrupulatnie przeanalizowane dla ukazania ogromu brzydoty, przemocy, obrzydliwości, brutalności i bylejakości, jakie Baka widzi we wszystkim, co nie ma charakteru sacrum. Wszystko to udowadnia, jak oryginalnym misjonarzem i głosicielem Słowa Bożego był autor.

Bu çalışmada disiplinlerarası etkileşimin tarihi incelenmiş olup, Antik Yunan ve Ortaçağ’da farklı disiplinlerin nasıl bir arada ele alındığına dair örnekler verilmiştir. Renk ve ses analojisinin tarihsel sürecine değinerek, Rönesans sanatçısının çok yönlülüğü ve Arcimboldo’nun geliştirmiş olduğu ilk renk klavseni fikri üzerinde durulmuştur. Rönesans’tan itibaren pozitif bilimlerin önem kazanması ve hümanizm düşüncesiyle birlikte plastik sanatlar ve müziğin geçirdiği paralel evrim, bu iki sanatın birbiriyle olan ilişkisini güçlendirmiştir. Bu bağlamda çalışmada Barok dönemin resim ve müzik estetiğindeki benzer düşüncelerine ve koşutluklarına yer verilmiş, Fransız rahip ve biliminsanı Castel’in tartışmalara yol açan ve disiplinlerarası bakışla geliştirdiği renk klavyesi tasarımı incelenmiştir. 18. yüzyıl disiplinlerarası deneyselliğin yoğun yaşandığı bir dönemdir ve önceki sanat teorilerinden farklı olarak estetik anlamda otonomiyi önemser. Castel, Newton’un Opticks kitabından ve Pitagoras’ın Kürelerin Yasası teorisinden ilham alarak notaları renklerle ilişkilendirdiği bu enstrümanın, dinleyiciyi en az müziğin kendisi kadar etkileyeceğini düşünür. Renk ve ses etkileşimine dayalı bu girişim potansiyel olarak iki sanatı kombinlemek üzerine tasarlanmıştır. Castel’in hayalindeki renk müziği fikrinin işleyişi ve etkileri, bu konudaki başarısı ya da başarısızlığı, ilham verdiği sanatçılar ve teorisyenlerin bu tasarım hakkındaki görüşleri çalışmanın merkezini oluşturur.

Korpus hrvatske književnosti na latinskom za sada još nije dovoljno proučen da bi se odredio njegov konačan korpus i napisala obuhvatna povijest hrvatskog latinizma. Ta se književnost stoga predstavljala u kraćim književnopovijesnim pregledima. Ovaj članak predstavlja postojećih preglede hrvatskog latinizma i preispituje njihov odnos prema otvorenom problemu novolatinske književnosti, mogućnosti eventualnog definiranja njezinih epoha, perioda ili stilskih formacija. Autori pregleda povijesti hrvatskog latinizma s različitim se stupnjem uzdržljivosti izražavaju o periodizaciji unutar korpusa novolatinske književnosti, pri čemu najmanji konsenzus postoji oko književnopovijesnog etiketiranja književnosti u najslabije proučenom 17. stoljeću i pitanja njegove kompatibilnosti s paralelnim i susjednim manirističkim i baroknim književnostima na narodnim jezicima.

Probni otisak teksta. Tekst je  kasnije presložen s izvornih 5 (kao ovdje) na 4 stranice (u otisnutoj inačici).

Potpisi ispod zadnje 2 slike su od strane grafičkog urednika pogrejšeno obratno navedeni.

Vidjeti također: http://www.matica.hr/hr/485/Virtuoz%20baroknoga%20kiparstva/

Pośród akt w zbiorach archiwum Państwowego w Poznaniu znajduje się kontrakt zawarty pomiędzy klasztorem w Bledzewie a rzeźbiarzem Christianem Grunewaldem wraz z rachunkami. Wymieniono w nim kilka rzeźb kamiennych. Artykuł jest próbą opisu tych kamiennych rzeźb, obecnie znajdujących się w Bledzewie i Rokitnie, wśród których są figury św. Jana Nepomucena w Bledzewie oraz św. Benedykta i św. Bernarda w Rokitnie, a także cztery kamienne wazy.


Among the files in the collections of the State Archives in Poznań there is an agreement concluded between the monastery in Bledzew and the sculptor Christian Grunewald including his bills from 18 th. A few stone sculptures were mentioned in it. The article is an attempt to describe these stone sculptures, which are currently in Bledzew and Rokitno, among which there are statues of St. John of Nepomuk in Bledzew and St. Benedict and St. Bernard in Rokitno. There are also four stone vases.

ÖZET Bu makalede, Londra'da bulunan Christie's Müzayede Evi'nde, 2010 ile 2013 yılları arasında satışa sunulmuş, XIX. yüzyıl Osmanlı dönemine ait dört adet Mushaf-ı Şerîf'in serlevha bezemeleri tanıtılmıştır. XIX. yüzyılın ikinci yarısına tarihlenen bu eserler, Osmanlı sanatında 'Batılılaşma/Yenileşme' olarak da adlandırılan XIX. yüzyılda tam anlamıyla etkisini göstermiş olan Batı kökenli bir zevki temsil eden örneklerdir. Müzehhep serlevha sayfaları, motif/kompozisyon özellikleri ve dönemlerinin tezhip anlayışını temsil etmeleri bakımından ele alınmışlardır. İncelenen örneklerin, XIX. yüzyıl Osmanlı tezhip sanatında klâsik üslûptan farklı olarak gelişmiş olan ve 'Türk rokokosu' adıyla anılan bu üslûba ilişkin tanımlayıcı nitelikler taşıdığı düşünülmektedir. ABSTRACT This paper introduces illuminated headings of four different Mushaf-ı Şerîfs from XIXth century Ottoman period which were sold at London Christie's auctions between 2010 and 2013. These illuminated manuscripts, dated second half of XIXth century, represent a Western-oriented taste which effected thoroughly in the XIXth century called 'Westernization/Innovation' in Ottoman art. Illuminated headings are examined through their motifs/composition styles and evaluated in terms of representing their period's illumination style. It is thought that the illuminated headings examined in this paper convey descriptive features regarding the style, which is called 'Turkish rococo', developed differently from the classical style in XIXth century Ottoman art of illumination.

Artykuł stanowi asumpt do badań nad złożoną kwestią mistycyzmu ludzi świeckich we wczesnonowożytnej literaturze ascetycznej. Pomimo średniowiecznego elitaryzmu w głoszeniu „drogi doskonałości chrześcijańskiej”, tradycyjnie kojarzonej ze stanem zakonnym, już wczesny renesans, a następnie czasy potrydenckie zaproponowały tak osobom żyjącym w małżeństwie, jak i całym rodzinom swego rodzaju duchowość monastyczną. Egzemplifikacji owej tendencji do uwzględniania możliwości uświęcenia i mistycznego oglądu rzeczywistości w ramach świeckiej codzienności dostarczają dzieła Erazma z Rotterdamu, św. Franciszka Salezego oraz Maríi z Ágredy (casus Świętej Rodziny). Istotny dla całego toku rozumowania jest krótki rys historyczny, który w oparciu o koncepcję długiego trwania idei wskazuje na patrystyczne i średniowieczne źródła wczesnonowożytnego ujęcia mistyki chrześcijan „żyjących w świecie”

U članku se po prvi puta iznose tumačenja simbolike arhitektonskih elemenata i florealne dekoracije Komersteinerovih oltara, kao i gestikulacije kipova sv. Ladislava kralja i Emerika kneza s oltara sv. Ladislava (1688.-90.) koji se danas čuva u Muzeju za umjetnost i obrt, a izvorno se nalazio u bočnoj lađi Zagrebačke katedrale

Vidjeti također: http://www.matica.hr/hr/485/Virtuoz%20baroknoga%20kiparstva/

This article is concerned with one of the largest surviving collections of 18th-century lute tablature manuscripts, from the Cistercian abbey of Grüssau in Silesia (now Krzeszów, Poland). The collection consists of 15 volumes of manuscript lute tablature, containing more than 2,000 pieces for Baroque lute. I focus on a group of otherwise unknown compositions from these sources, all connected with the entwined monogram ‘HK’. Contemporary sources, including previously unexplored correspondence, suggest that these initials can be associated with Father Hermann Kniebandl, who also seems to have been one of the scribes represented in the collection—the first to have been identified in the entire collection up to now. Furthermore, among the works copied in this hand are seven pieces identified with the ‘HK’ monogram which may be the first identified autograph compositions by Kniebandl. Until now, his name has been associated only with the title-pages of two manuscripts from the Grüssau collection, but both are dedications copied by other scribes (though the music that follows in one of these sources is copied in his hand).

The text deals with the baroque pulpit at the Collegiate in Głogów (1697) - an important but underrated marble sculpture in modern literature. The purpose of the work is to describe the pulpit from the formal-style side and to draw attention to the ideological content of the inscriptions and images contained on it. The article has been published in Polish and contains summaries in English and German.

U radu se nadopunjuju biografski podaci o liječniku Luigiju Tonoliju koji je 1815. u Makarskoj liječio oboljele od kuge. Pažnja se posebno usmjerava na kasnobaroknu palaču u kojoj je L. Tonoli živio tijekom svog boravka u Makarskoj, a čija se izgradnja u dosadašnjoj literaturi dovodila u vezu s njim. Iznose se novi podaci o izvornom izgledu palače, te njenom arhitektonskom razvoju od 18. stoljeća do danas, čime se prvotna  pripadnost ladanjsko-gospodarskog  sklopa veže uz  plemićku obitelji Ivičević.

The destruction of the collegiate church during WWII and the territorial changes in Silesia that took place after the end of this military conflict contributed to the loss of a significant part of the cultural heritage of Głogów. The most valuable surviving elements of church decor are today in museums in Poland and Russia, and in the collegiate itself, which was successfully restored thanks to great effort. However, there is still a large number of monuments related to this catholic temple that require inventory and protection. An important issue that should be given attention is also the appropriate exhibition of the movable heritage of the church, which can be used to popularize its long and interesting history.

Etopeja, po grecku ethopoiia, po łacinie ethopoeia/ethopeia, należała do dźwiękowych figur myśli wykorzystywanych w retoryce. Polegała na włożeniu wypowiedzi w usta innej niż orator osoby, znanej i uważanej przez publiczność za autorytet. Za pomocą etopei naśladowano charakter i emocje danej postaci, uwzględniając jej wiek, płeć, wykształcenie, pochodzenie, zamożność, sposób życia (Aiwanowicz
2008: 67). Figura ta miała więc charakter swoistej imitacji oddziałującej na słuchacza.
Etopeja stanowiła środek artystyczny ożywiający i uatrakcyjniający mowę, jednocześnie zaś służyła wzbudzaniu zaufania publiczności: orator zdawał się przytaczać opinię innej osoby, która nie była zaangażowana w sprawę, a zarazem cieszyła się poważaniem u słuchaczy. Wskutek tego wypowiedź, pozorowaną na przytoczenie cudzych słów, odbierano jako wiarygodną, obiektywną oraz przekonującą. Etopeja była szczególnie przydatna przy naganach oraz pochwałach; używając jej, orator mógł się uchronić przed zarzutem własnej niechęci lub nadmiernej życzliwości wobec przedmiotu mowy czy też chełpliwości, jeśli przemawiał we własnym interesie (Korolko 1990: 118).

***

„Sensualność w kulturze polskiej. Przedstawienia zmysłów człowieka w języku, piśmiennictwie i sztuce od średniowiecza do współczesności”, projekt realizowany przez Instytut Badań Literackich Polskiej Akademii Nauk
http://sensualnosc.bn.org.pl/pl/

Hasła mojego autorstwa przygotowane w ramach projektu:
http://sensualnosc.bn.org.pl/pl/team/user/barbara.popiel/

Указујући на почетку на односе историјске авангарде према књижевно-уметничкој епохи барока, овај рад ће се потом усредсредити на посматрање, описивање и тумачење могућих извора барокне инспирације у песми Јуче и данас српског авангардног песника Растка Петровића, као и на разумевање њиховог утицаја на значење овог песничког дела у целини. Испитивањем присуства доминантних барокних топоса и мотива, као што су пролазност, danse macabre, метаморфоза, итд. циљ ће бити успостављање традицијске нити како са европском барокном уметношћу, тако и са специфичном домаћом књижевношћу овог периода. Транспозиција појединих делова барокне поетике у овој песми сагледаће се и из перспективе интермедијалности, будућида у самом тексту постоје јасни показатељи присуства различитих врста уметности и уметничких медија.

Кључне речи: Растко Петровић, Јуче и данас, авангарда, барок, смрт

Pointing out the relationship of the historical avant-garde and the literary-artistic epoch of the baroque, this paper will focus on observing, describing, and interpreting possible sources of baroque inspiration in the poem Yesterday and Today (Juče i danas) by the Serbian avant-garde poet Rastko Petrović, and their influences on the meaning of this poetic work as a whole. By examining the presence of dominant baroque topoi and motifs, such as transience, metamorphosis, the danse macabre, etc., the aim will be to establish a thread of tradition with both European baroque art and the specific domestic literature of this period. The transposition of certain parts of baroque poetics in this poetic work will also be seen from the perspective of intermediality, since there are clear indications of the presence of different types of art and art media in the poem.

Keywords: Rastko Petrović, Juče i danas (Yesterday and Today), avant-garde, baroque, death

ABSTRACT
In the Baroque period, the figure of the “mirror” had been undertaken within parallel conceptions and put in competition with painting, which paved the way for the emergence of many new and intertwining concepts. These conceptions were also related to the discipline of architecture, for that, the “mirror” was a figure multiplying the “space,” thus, playing with the very boundaries of architecture. If the “mirror” was Baroque or in-between the discourses about Baroque, then the space became “imploded,” which led to the questioning of the relationship between the observer and observed with the parallel concepts in this context. While examining the Baroque mirrors, the two seminal works that we may refer to are the 1656 painting of Las Meniñas by Diego Velázquez de Silva (1599-1660), and the poem of Sonnet du Miroir by Louis d’Espinay d’Etelen’in (1604-1644). Although d’Espinay d’Etelen has not been known as much as Velázquez, his work expresses the Baroque culture to just the same degree as Velázquez’s work, as will be shown in this paper. As is known, the codification of the concept of mimesis—which has rooted in antiquity—as the Neoclassical style was in the seventeenth century. This codification comprises the main idea of both works by Velázquez and d’Etelen. Although this text begins by reading d’Etelen’s sonnet, it may be useful to view Velázquez’s famous painting while reading the poem.

ÖZET
Barok dönemde ‘ayna’ figürünün, resimde ve şiirde birbirine paralel anlayışlarla işlenmesi ve resimle yarıştırılması, birbiri içine giren pek çok yeni kavramın doğmasına yol açmıştı. Bu anlayışlar, ‘ayna’nın esasen ‘mekân’ı çoğaltan bir figür olması sebebiyle mimarlık disiplinini de ilgilendirmekteydi. ‘Ayna’nın Barok olması ya da Barok hakkındaki söylemlerin arakesitinde yer alan bir ‘ayna figürü’ olması ise, mekânı ‘kendi içine’ döndürürken, izleyen-izlenen arasındaki ilişkinin ve bu bağlamda ortaya çıkan kavramların da sorgulamasını beraberinde getirmekteydi. ‘Barok aynalar’ı bu kavramlar doğrultusunda incelerken referans alabileceğimiz iki önemli eser 1656’da Diego Velázquez de Silva (1599-1660) tarafından yapılan Las Meniñas [Nedimeler] adlı tablo ile Velázquez kadar tanınmış olmayan, fakat Barok kültürü aynı oranda ifade eden, Louis d’Espinay d’Etelen’in (1604-1644) Sonnet du Miroir adlı şiiridir. Çıkışı antikiteye rastlayan mimesis kavramının Neoklasik tarz olarak kodifiye edilmesi, bilindiği gibi, on yedinci yüzyılda gerçekleşmiştir. Bu kodifikasyon, hem Velázquez hem d’Etelen’in eserlerinin ana temasını oluşturmaktadır. Ana tema, paragone (resim ve şiir arasındaki çekişme) kavramına dayanmakta ve insan, nesne ve mekân üzerine yansımaktadır. Bu sebeple, Barok dönemdeki ayna figürünü Velázquez’in Las Meniñas’ı ve d’Etelen’in Sonnet du Miroir’ı üzerinden karşılaştırmalı olarak ele almak, Barok dönemdeki resim ve şiir sanatları arasındaki ilişkiyi anlamanın yanı sıra yine bu dönemdeki mekân kavramını anlamamızı da sağlayacaktır.

V članku skozi analize arhivskih virov ugotavljam ustreznost imena baročnega kiparja, ki ga od Sergeja Vrišerja naprej poznamo kot Janez Gregor Božič, saj ta oblika imena nima ustrezne podlage, najdemo jo le v enem viru. Lapsus je do sedaj ostal spregledan, saj je bila večina pozornosti osredotočena na kiparjev slog. Razprava hkrati ponuja še pregled nad vsemi znanimi arhivskimi viri kot tudi nekaj novih pogledov na kiparjev opus.

In the article, through the analysis of archival sources, I determine the relevance of the name of the Baroque sculptor, known from Sergej Vrišer onwards as Janez Gregor Božič. It turned out that this form of the name does not have a suitable basis, as it is found in only one source. The lapse has so far remained overlooked, as most attention has been paid to the sculptor’s style. At the same time, the discussion offers an over­ view of all known archival sources, as well as some new perspectives on the sculptor’s oeuvre.

RESIDENCES OF THE MNISZECH FAMILY IN THE SAXON PERIOD. HISTORY AND IDEOLOGICAL CONTENT OF ARCHITECTURE

This book is devoted to the residences of three representatives of the Mniszech family who lived during the reign of the House of Wettin: Józef and his sons, Jerzy August and Jan Karol. The aim of the anlysis was to indicate the role of architecture in the self-creation of the image and the sanctioning of the political status of magnates. A particularly important issue was the reference to the wider context, namely Central European culture. The main point of reference remains the buildings of Dresden (e.g. the Dutch Palace, the city palaces, the planned new royal residence) and the projects of architects of German-speaking lands (e.g. M.D. Pöppelmann, J. C. Knöffel, C. Schlaun). 
A considerable number of hitherto unknown or not fully exploited archival materials from Poland and abroad (e.g. Moscow, Kiev, Lviv, Dresden), old prints, eighteenth-century maps and architectural drawings, as well as restoration expert opinions verified during own in situ research, were used in the study. The conclusions of the analyses became the starting point for a deeper reflection on the status of the Mniszech family and the symbolic meaning of their seat.
The first part is devoted to the history and sources of prestige of the Mniszech family. The family's rapid rise to prominence in just a few generations was crowned by the Marshal's staff. The fate of, among others, Tsarina Marina is discussed, as well as the legendary history of the family (service with Charles the Great, origin of the coat of arms). The Mniszch family (along with the Bieliński and Lubomirski families) were one of the three great marshal families that dominated the Polish Republic. Another important issue was their relationship with Heinrich Brühl - by marrying the minister's daughter, Maria Amalia, Jerzy August Mniszech committed a widely commented misalliance, which further demonstrates the political and social significance of the family using the Kończyce coat of arms.
Subsequent chapters are dedicated to Józef, Jerzy August and Jan Karol Mniszech. They are opened with biographical notes, followed by a discussion of the most important residences - with a reconstruction of their history, forms, interior design, decoration and a comparison with European architecture of the period (especially German buildings).
The eighteenth-century fate of the castle in Laszki Murowane in the time of Józef Mniszech speaks most of the attitude to the past of his own family. The architectural form has remained almost unchanged. On the other hand, the surroundings of the residence were transformed into a rich garden composition, and the inventory from 1748 shows the richness in the decoration of the rooms and the works of art displayed therein. The two largest rooms in the castle (the Royal Hall and the Hall of the Family) are used to present, among other things, ceiling paintings devoted to Tsarina Marina, portraits of the Mniszech family and images of the kings of Poland. Unlike other places with a long history, such as Dukla, where the fortifications were dismantled, the past of Laszki Castle was of considerable value.
The Mniszech family also owned facilities acquired as dowry or received from the king. The genesis of the facility acquired in this way may also have been a source of prestige. It is enough to mention the manor in Jaworów - the favourite place of stay of King John III Sobieski, the Brzostowica belonging previously to the Chodkiewicz family, or the palace in Wiśniowiec, where decorations referring to the previous owners have been preserved. In this case, the ties of the Mniszech family with the Wiśniowiecki dukes were emphasised.
The taste of the owners was most evident in the newly built palace. The most innovative solutions were used, having direct analogues in the architecture of Saxony, as well as - in their original genesis - in French residences. The most spectacular project was the construction of a residential complex at ul. Senatorska in Warsaw. The immediate genesis of the forms was the architecture of Dresden: the Dutch Palace and designs by Marcus Conrad Dietze. The hiring of Burkhard Christoph von Münnich, an engineer who served in the army of Augustus II, made it possible to introduce complex structural solutions and the first mansard in Warsaw. German carpenters were brought in to build the roof, increasing the already high cost of construction. However, the Grand Marshal of the Crown spared no expense on a building that was a symbol of his position in the city.
Jerzy August Mniszech also made admirable investments. The palace in Gdansk gained a fine mass with Rococo ornamentation of the facade and interiors (including supraports by the court painter of Augustus III, C. W. E. Dietrich, copies of works by Watteau). The courtyard was preceded by a fence with sculptural decoration with a rich ideological programme. In turn, the magnate's residence in Podkarpacie was transformed, while creating a vast palace and garden complex and giving Dukla the function of a residential town. The sacred buildings confirmed the magnate's patronage ambitions - the Bernardine Church was supported by him, while the parish church was turned into a mausoleum. Architects from the Saxon circle (among them Andreas Gärtner) were employed in work on the palace, and also from Lviv in the case of ecclesiastical works. Finally, an important point of reference to record the investments made by Jerzy August Mniszech is the outstanding level of patronage of Minister Heinrich von Brühl, who was his father-in-law.

Works on the Mniszechs' residences were often entrusted to foreign architects: the German ones in Warsaw (B.C. von Münnich) and Dukla (A. Gärtner and architects from his circle), and the French in Gdansk (P. Ricaud de Tirregaille). The outstanding Polish architect Jakub Fontana was in turn engaged to  build the palace at ul. Miodowa in Warsaw. In the case of this residence, we are facing a typical urban residence, introduced in a street-type development, which in view of the limited size of the property led to an even stronger development of the representative programme through the architectural forms themselves (façade, gate with heraldic decoration, monumental hallway with a full staircase) and the interior design.
The Mniszech family belonged to a group of open-minded magnates, experts in European culture, and politicians able to consciously create their image. Representatives of the two generations living in the Saxon period developed a fairly consistent perception of the role of art. There were constant references to the glory of the ancestors, especially to the idea of imperialism, embodied in the person of Marina Mniszech. Family connections and especially ties with princes were also exposed. There were also references to royal power, for example in the decoration of the portrait rooms in Laszki Murowane, in the takeover of the manor house in Jaworowo after King John III Sobieski, or in the references to the House of Wettin, who ruled at that time, for example through the choice of architectural forms with Saxon origins. Prestige also characterised the current status of the Mniszechs as a marshal family. The functions held deserved to be emphasised - especially the Grand Crown staff, which made Józef Wandalin Mniszech the second most important person in the state following the King. All the more attention was therefore paid to the visual setting of the exercised power (among other things, to the ceremonial spaces in the seats). In the course of analysing the history of the family, the architectural forms and the decoration of the residences, it becomes apparent that various sources of prestige are combined.