Barok

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.

Artykuł przedstawia analizę oracji weselnej Jakuba Maksymiliana Fredry, którą (prawdopodobnie) wygłosił na ślubie metresy Władysława IV Wazy - Jadwigi Łuszkowskiej z Janem Wypyskim.
Tekst oracji był bardzo często kopiowany do staropolskich sylw z uwagi na skandaliczny wydźwięk najpopularniejszej z dwu jego redakcji.

Abstract:
Formation of topoi quinque gradus amoris in polish Baroque romances novels will be discussed in this article. The love is the most important emotion between protagonists and it has major influence on a romance’s plot. The article is focused on five stages of love: look, conversation, touch, kiss and coitus. This article refers to novels written by: Hieronim Morsztyn, Wacław Potocki, Adam Korczyński and Elżbieta Drużbacka.



Streszczenie:

W artykule omówiono kształtowanie toposu quinque gradus amoris w polskim romansie barokowym. Miłość jest najsilniejszym uczuciem, które rodzi się między kochankami i ma ono istotny wpływ na fabułę. Artykuł koncentruje się kolejno na pięciu stopniach miłości: spojrzeniu, rozmowie, dotyku, pocałunku i fizycznym spełnieniu. W artykule znajdują się odwołania do utworów następujących poetów: Hieronima Morsztyna, Wacława Potockiego, Adama Korczyńskiego oraz Elżbiety Drużbackiej.

Yaklaşık bir yüzyıllık Avrupa sanat tarihini kapsayacak bu araştırmada, Klasik müziğin oluşumunda etkin olan başlıca akımları ve bunlardan en genel hatlarıyla tanıtılacak Rokoko’yu inceleyeceğiz. Bu bağlamda, toplumsal, kültürel ve siyasal çalkantıların, nasıl olup da Avrupa’nın müzik merkezi sayılabilecek Viyana’yı öne çıkarttığını ve kısa yaşantısında bu şehir adıyla anılan Klasik Okulun günümüze değin uzanan müzik akımlarına nasıl yön verdiğini gözlemleyeceğiz.

Tarihin akışında bir sıralama takip etmekten ziyade, kapsamlı olarak inceleme yapmayı konu açısından daha uygun görüyorum. Araştırmamın belkemiğini oluşturacak taslak biçiminde, ele alacağım bölümleri şöyle düzenledim:

✤Rokoko ile Klasiğin tanımları ve bu akımların felsefeleri;
✤Kendilerinden önce gelen Barok döneminden nasıl ayrıştıkları;
✤Klasik müziği oluşturmada katkısı olan okulların başlıcaları ve kısaca tanımları;
✤18. Yüzyıl’da siyasal-toplumsal gelişmeler ve bireyin özgürleşmesinin sanatı etkileyişi;
✤Avrupa müzik tarihinde “Sonat Biçimi” ve oluşumu;
✤Scarlatti ile Haydn’ın – Rokoko ve Klasik arasındaki farklar bağlamında – hayatları, eserleri ve üslupları; ayrıca Romantik döneme geçişte Rokoko’nun ve Klasiğin önemi.

Rad objavljen/Published as:
Brisanje tradicionalnih umetničkih formi: barokna pozornica u filmovima Pitera Grinaveja (Peter Greenaway)", Zbornik radova sa Međunarodne konferencije U potrazi za umetničkom formom: između književnosti, pozorišta, filma i drugih medija, Fakultet dramskih umetnosti, Beograd 2012, 145-148.

Apstrakt
Kranji vid barokne težnje da se izbrišu granice između pojedinačnih umetničkih formi dobio je svog predstavnika u filmovima Pitera Grinaveja. U svojim fimovima on koristi citate iz starije umetnosti, baroknu pozornicu i naturalizam. Slikar po obrazovanju, reditelj je u filmu pronašao medij koji mu omogućava da ostvari sinesteziju, što nedostaje klasičnim likovnim medijima. Savremeni pojam denaturalizacije vidimo u svetlu baroknog pojma rappresentatio koji je okosnica njegovog pozorišnog izraza, i oslanjamo se na sumu ideja postmoderne estetike teoretičara Gija Skarpete.
Ključne reči: Piter Grinavej, film, slikarstvo, barok, naturalizam


Abstract
The Baroque tendency to transgress the limits of individual art forms got its representative in Peter Greenaway. He employs the Baroque stage and naturalism, and other Baroque features, such as loss of focus, intertextuality and intermedia. Painter by education, the director found that film allows sinesthetic experience like no other traditional medium. We suggest that his art project, interpreted mainly as Baroque, is in essence Mannerist, due to his direct quotations from various art sources, and that the contemporary notion of denaturalisation equals the Early Modern notion of rappresentatio which serves as starting point for his theatrical expression.

Key words: Peter Greenaway, film, painting, Baroque, naturalism

Müzik tarihi açısından en önemli dönüm noktalarından biri olan Barok dönem, 17. yüzyılın hemen başında Jacopo Peri'nin (1561-1633) ilk opera denemeleri ile Johann Sebastian Bach'ın ölümü (1750) arasındaki kabaca 150 yılı kapsar. Bu 150 yıl içerisinde yarattığı ihtişamlı ve dramatik tarzı, üslup çeşitliliği, stil unsurları ve yeni müzik formları ile Barok müzik, yalnızca dönemine özgü bir şekilde kalmamış; Klasik, Romantik ve Modern dönemde izlerini net bir şekilde göstermiş ve göstermeye devam etmektedir. (Daniel, 2017) Batı sanat müziğinin kendi kimliğinin en gelişkin ilk görünümüne eriştiği Barok dönemde besteciler ve çalgıcılar çok daha ayrıntılı ve incelikli besteler yapmış; müziğin notasyon şeklini değiştirmişler ve çalgıları yeni teknikler kullanarak çalmaya başlamışlardır.

Dominujący w kulturze wzrokowo-słuchowy odbiór świata w przypadku epoki staropolskiej szczególnie widoczny stał się w wieku XVII. Retoryka, która stanowiła podstawę humanistycznego wykształcenia i umożliwiała czynne uczestniczenie w staropolskiej dyskursywnej formacji umysłowej (Dziechcińska 1987: 69; Salmonowicz 2005: 37-38), doskonale wpisywała się w ten kierunek aktywności nadawczo-odbiorczej. Uważne prześledzenie poszczególnych elementów korpusu retorycznego, którym posługiwała się siedemnastowieczna teoria i praktyka oratorska, pozwala stwierdzić, że spośród pięciu zmysłów węchu, smak i dotyk nie miały tu w zasadzie racji bytu, natomiast wzrok i słuch, niekiedy osobno, najczęściej jednak wspólnie, tworzyły bazę, na której opierały się kolejne czynności oratora. Warto przy tym zwrócić uwagę, że każda z następujących po sobie części korpusu retorycznego: inventio , dispositio , elocutio , memoria i pronuntiatio/actio , charakteryzuje się nasileniem wagi, jaką odgrywały w niej oba wymienione zmysły.
Już sama definicja retoryki jako „umiejętności metodycznego odkrywania tego, co w odniesieniu do każdego przedmiotu może być przekonywające” (Arystoteles 2008: 47) przywoływała, choć nie wprost, wzrok i słuch jako niezbędne elementy: przekonywanie bowiem odbywało się dzięki odpowiedniemu operowaniu słowami, zarówno poprzez budowanie w umyśle konkretnych, odpowiadających celom mówcy obrazów, jak też dzięki wrażeniom słuchowym, które uzyskiwało się wskutek właściwego doboru i zaprezentowania słów.

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„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/

An Encyclopedia text about the Baroque pulpit from the collegiate church in Głogów (Poland). The work of art, dated 1697, belongs to the most magnificent marble pulpits in Silesia, although the author of the pulpit revealing Flemish influence remains unknown.

Öz Bu çalışma, Trabzon'da 1813-1893 yılları arasında inşa edilen dokuz Geç dönem Osmanlı camiinde bulunan ahşap mihrapları inceleme odaklıdır. Mihrapların yapıldığı zaman dilimi XIX. yüzyılın başlarından itibaren Ampir üslup ve yüzyılın ikinci yarısından sonra Eklektik üslupların etkisindedir. İncelenen mihraplar dönemin üslupsal özelliklerini bölgesel mimari ve süsleme tarzı ile kaynaştıran özgün örneklerdir. Başkent İstanbul'dan uzaklaştıkça dönemin üslup etkileri giderek kendine özgü bölgesel bir biçim diline dönüşmekte ve bu durum Trabzon mihraplarında da etkin bir şekilde izlenmektedir. Ahşap mihraplar cami güney duvarlarının ortasında genellikle yarı daire kesitli nişlere sahip dikdörtgen kütlelerdir. Mihrapların hiçbirinde tepelik ve kavsara yoktur. Dikdörtgen çerçeve bordürlerle belirlenmiş, niş oyuntusu aşağıdan yukarıya doğru kademeli bir şekilde ele alınmıştır. Mihrap süslemeleri nişin her iki yanındaki panolar ve çevre bordürlerinde yoğunlaşmıştır. Süslemelerde farklı ve etkili S kıvrım dallar ve bu dalların uçlarına yerleştirilen laleler, C kıvrımlar, zincirek, badem geçme, çarkıfelek, rozet çiçek, yelpaze, ay yıldız ve nar motifleri görülmektedir.

Szczególne miejsce w polskich podręcznikach  retoryki powstających w wieku XVI i XVII zajmowały  wzrok oraz słuch, były to bowiem jedyne zmysły nazywane, a także przywoływane wprost. W sposób najwyraźniejszy i najistotniejszy ujawniały się w ostatniej części korpusu retorycznego, pronuntiatio, na którą składały się właściwie dwa elementy: pronuntiatio (wygłoszenie) i actio (działanie). Pierwsza część dotyczyła odpowiedniego operowania głosem, zróżnicowaniem jego prędkości, tonu i intonacji; druga natomiast obejmowała wskazówki związane z właściwą mimiką i gestykulacją. [...]
Zainteresowanie tematyką pronuntiatio w wieku XVI i XVII wiązało się jednak tylko częściowo z opiniami autorytetów starożytnych. Od wieku XVI rozwijała się bowiem nauka o LINK fizjonomice (Dziechcińska 2010: 22-23), natomiast w pierwszej połowie wieku XVII retorzy europejscy uważnie analizowali znaczenie ostatniego elementu korpusu retorycznego i jego wpływ na wygłaszaną mowę (Dziechcińska 1987: 51; Laurens 1999: 515). Łączyło się to z charakteryzującą epokę staropolską teatralizacją uroczystości publicznych i prywatnych (Dziechcińska 1987: 34; Skwara 2009: 47-55), a także z obecnym w wieku XVII dążeniem do zaskoczenia i poruszenia odbiorcy, w wyniku czego w teorii konceptu gest nabierał charakteru „niemego paralogizmu”, sam stawał się konceptyczny (Gostyńska 1991: 153).

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„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/

Valentino Rovisi (ur. grudzień 1715 w Moenie, zm. 12 marca 1783 w Wenecji) – włoski malarz, freskant okresu rokoka, propagator weneckiego malarstwa dekoracyjnego. Zasługą Rovisiego jest przeniesienie szkoły malarstwa weneckiego na jego rodzinne tereny. Znaczna część jego prac znajduje się w Moenie i pobliskich miejscowościach: w Val di Fassa, Val di Fiemme, Trydencie i Górnej Adydze. Freski są świadectwem jego działalności w Alleghe, Cembra, Cavedine, Roncegno, Moenie i Pietralbie.

U radu se osvrćemo na palaču obitelji Ivanišević u Makarskoj, uz pojedine korekcije i nadopune, te detaljniju arhitektonsku analizu. Također, prvi se put iznose podaci o drugoj gradskoj palači ove obitelji u Makarskoj i uništenom obiteljskom ljetnikovcu u Podgori. Majstoru Tomasu Miraglii iz Apulije pripisuje se izrada bunarske krune s grbom biskupa Stjepana Blaškovića, danas smještena u vrtu franjevačkog samostana u Makarskoj.

The Judgment of Midas comes from the collection of Lublin Museum. The painting from Lublin Museum is a high-quality artwork whose authorship was not determined for a very long time. Many scholars, like Jan Białostocki, have emphasised the quality of the work, but an attempt to determine its author to Gerrit van Honthorst was not made until Filip Chmielewski article.
Beyond Italy’s borders, the most significant Caravaggesque artistic centre was the Dutch city of Utrecht. Caravaggism was easily adopted by northern artists without the need to abandon their own artistic heritage, as Caravaggio himself came under the influence of Northern European painting traditions. At the beginning of their careers, Ter Brugghen, Honthorst, Van Baburen, Jan van Bijlert, Jan van Bronchorst, and Jan ter Borch absorbed Caravaggio’s style in Rome by directly studying either his works or the works of his Roman followers. Over time these artists began to abandon tenebrism in favour of using a brighter colour palette.
The Caravaggisti usually worked on brown or red-brown grounds, mostly applied wet-on-wet in two layers. In Utrecht a very different method of preparing painting surfaces was dominant. The general practice was to lay down two coats of ground. The ground was much cooler and lighter in colour than those used by Caravaggio and his Italian followers, making the chiaroscuro effect much less prominent.
The research have helped to confirm the authorship of Honthorst’s and was conducted as part of an exploratory project: Technique and technology of Caravaggisti paintings based on Polish museum collections. The project was financed by the National Science Centre (2013/09/N/HS2/02116, PRELUDIUM V).

Pomiędzy rokiem 1711 a 1724 z inicjatywy Teodora Potockiego wzniesiono w ogrodach biskupich w Lidzbarku Warmińskim barokowy pawilon. Inwestycja ta związana była z odnową całego kompleksu ogrodowego przedsięwziętą po zniszczeniach spowodowanych przez Szwedów w roku 1705. Architektura obiektu wyróżniała się spośród innych budowli ogrodowych powstających w tym czasie w Prusach Książęcych i na Warmii, co może wskazywać, iż powstała raczej pod wpływem wzorów płynących z poza regionu, być może z samej stolicy Rzeczpospolitej. O wyjątkowej randze budynku świadczy również wykonanie w jego wnętrzu przez Macieja Meyera bogatej dekoracji malarskiej. Pawilon ogrodowy biskupa Potockiego w kolejnych dziesięcioleciach XVIII wieku przebudowywali jego następcy Adam Stanisław Grabowski i Ignacy Krasicki. Zarówno ze względu na rangę artystyczną obiektu jak i mecenasów, którzy przyczyniali się do jego kolejnych przebudów budynek wart jest więc szczegółowego omówienia. Prowadzone w roku 2013 prace restauratorskie w pawilonie, oraz badania archeologiczne w jego otoczeniu odsłoniły cały szereg elementów związanych z kolejnymi fazami budowlanymi obiektu. Dzięki temu możliwe stało się zweryfikowanie i uściślenie poglądów jakie dotyczących jego dziejów budowlanych.

A review (in English) of EX HUMO IN LUCEM. BAROKOWE KAZNODZIEJSTWO ANDRZEJA KOCHANOWSKIEGO (Ex fumo in lucem.  Andrzej Kochanowski’s Baroque sermons) by Anna Nowicka-Struska.  Lublin: Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej, 2008.