Artykuły w czasopismach na temat „Our Lady of Yankalilla Church”
Kliknij ten link, aby zobaczyć inne rodzaje publikacji na ten temat: Our Lady of Yankalilla Church.
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych artykułów w czasopismach naukowych na temat „Our Lady of Yankalilla Church”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj artykuły w czasopismach z różnych dziedzin i twórz odpowiednie bibliografie.
1
Kahl, Janet. "An Australian Our Lady". Nova Religio 21, nr 2 (1.11.2017): 59–72. http://dx.doi.org/10.1525/nr.2017.21.2.59.
Pełny tekst źródłaStreszczenie:
This article offers a description of three Australian Marian pilgrimage sites—Penrose Park (Roman Catholic), Yankalilla (Anglican), and Coogee (post-Christian). At Penrose Park, devotion to the Virgin Mary reveals its deep roots in Catholicism through the presence of traditional motifs found at global Marian shrines such as Czestochowa, Lourdes, and Fatima. The Yankalilla shrine, formed within traditional Anglican parameters, also contains familiar Marian symbolism but has adopted non-institutional and non-Christian ideas that are attractive to spiritual seekers and are part of popular culture. At Coogee, the Virgin Mary emerged outside the confines of formal religious tradition. Thus is the Australian “Our Lady” framed by international motifs from transnational shrines yet identified with uniquely local bushland and beach settings along with elements from Australian culture and history.
2
Menes, Orlando Ricardo. "Fetish: Our Lady of Regla Church, Cuba". Callaloo 34, nr 4 (2011): 1004–5. http://dx.doi.org/10.1353/cal.2011.0231.
Pełny tekst źródła
3
Westbrook, Donald A. "Our Lady of Zeitoun (1968–1971)". Nova Religio 21, nr 2 (1.11.2017): 85–99. http://dx.doi.org/10.1525/nr.2017.21.2.85.
Pełny tekst źródłaStreszczenie:
This article situates the mass mariophanies reported at Zeitoun (Cairo), Egypt, from 1968 to 1971 in their historical, political, interfaith, and ecumenical contexts. The series of luminous apparitions above St. Mary’s Coptic Orthodox Church were first observed by nearby Muslim public transit workers. Soon after, the site attracted tens of thousands of Christian and Muslim pilgrims, many of whom observed bright light in the form of the Virgin Mary in addition to other manifestations, such as dove-shaped lights hovering above or near the church. Miraculous healings were also reported. The Zeitoun apparitions serve as a unique instance within the broader study of Marian apparitions by providing a non-Catholic example that took place within a Muslim-majority nation over a span of nearly three years. Moreover, full contextualization of the events in Zeitoun requires interdisciplinary attention spanning Middle Eastern, Islamic, and ecumenical studies; as such, the apparitions invite further and fuller examination in the secondary literature.
4
Clark, Patricia. "What I Wanted, and: Our Lady of Victory Church". Prairie Schooner 91, nr 4 (2017): 172–73. http://dx.doi.org/10.1353/psg.2017.0175.
Pełny tekst źródła
5
James, Jason. "Undoing Trauma: Reconstructing the Church of Our Lady in Dresden". Ethos 34, nr 2 (marzec 2006): 244–72. http://dx.doi.org/10.1525/eth.2006.34.2.244.
Pełny tekst źródła
6
Gunnes, Gyrid Kristine. "Our Lady of the heterotopia: An empirical theological investigation of heterotopic aspects of the Church of Our Lady, Trondheim". Diaconia 8, nr 1 (1.04.2017): 51–68. http://dx.doi.org/10.13109/diac.2017.8.1.51.
Pełny tekst źródła
7
Forney, Kristine K. "Music, ritual and patronage at the Church of Our Lady, Antwerp". Early Music History 7 (październik 1987): 1–57. http://dx.doi.org/10.1017/s026112790000053x.
Pełny tekst źródłaStreszczenie:
The development of fourteenth- and fifteenth-century sacred polyphony is linked closely not only to the Mass and divine services of the Roman Catholic Church, but equally to the rise of lay devotional congregations who sponsored their own services, often musically elaborate, at private chapels and altars. Within this popular phenomenon of lay devotion in the Low Countries, several northern confraternities can be cited for their very early regular use of polyphony. A polyphonic Salve service was established in 1362 by the Marian confraternity at St Goedele in Brussels, and Reinhard Strohm has shown that, by 1396, the Marian Guild of the Dry Tree (Ghilde vanden droghen Boome) in Bruges sponsored weekly masses sung in polyphony by its guild members. That polyphony was central to some fourteenth-century confraternity services is confirmed by the records of the Illustrious Confraternity of Our Lady in 's-Hertogenbosch, founded in 1318 in St John's Church.
8
Kościołek, Anna. ""Rosyjskie Wilno" Andrzeja Murawjowa". Acta Polono-Ruthenica 3, nr XXIII (30.09.2018): 45–57. http://dx.doi.org/10.31648/apr.2820.
Pełny tekst źródłaStreszczenie:
The article is an attempt to present the impressions of Andrey Muraviev, religious writer, theologian, poet, playwright, church and state activist, from his stay in Vilnius in 1863, on the basis of his work entitled The Russian Vilnius. It consists of six essays on Vilnius religious monuments: the Chapel of Our Lady of Ostra Brama, St. Paraskeva Orthodox church, Orthodox cathedral of Our Most Holy Lady, Orthodox church of translation of St Nicholas’ relics, Holy Trinity cathedral, Holy Spirit church and monastery complex. The author was only interested in monuments which would document the city’s connections to Russia and Orthodox Christianity. His reflections might be considered as a literary justification for the program of Russification of the north-west country, developed by the writer’s brother, Mikhail, who went down in Polish historical memory as Veshatiel.
9
Babić, Ivo. "Barokna preinaka crkve Gospe od Karmela u Trogiru". Ars Adriatica, nr 6 (1.01.2016): 175. http://dx.doi.org/10.15291/ars.536.
Pełny tekst źródłaStreszczenie:
In the 17th century, a new church (of Our Lady of Carmel) was erected in place of the medieval church, probably by the Bokanić workshop. However, this new church seems to have been radically altered early in the 18th century, supposedly by Ignacije Macanović with his assistants.
10
Taylor, William. "Our Lady in the Kernel of Corn, 1774". Americas 59, nr 4 (kwiecień 2003): 559–70. http://dx.doi.org/10.1353/tam.2003.0059.
Pełny tekst źródłaStreszczenie:
Marian apparitions and miraculous images in Mexico inevitably bring to mind one renowned figure — Our Lady of Guadalupe and its shrine at Tepeyac in the Valley of Mexico. Guadalupe is, indeed, a touchstone to the history of Catholicism and popular devotion in Mexico, and Mexico is a special case of a religious image becoming the main symbol for an emerging nation. As Jeannette Rodríguez recently wrote, “To be of Mexican descent is to recognize the image of Our Lady of Guadalupe.” But devotion to Our Lady of Guadalupe has a history. This image has not always been, and in some ways still is not, the dominant symbol throughout Mexico, and the location of its principal shrine on the edge of Mexico City is as much a key to its importance as is its association with the oldest Marian apparition officially recognized by the Catholic Church. Dozens of different shrines to other miraculous images have captured the hearts of thousands, sometimes millions of followers in Mexico. They still do.
11
Debonne, Vincent. "Gothic Architecture on the Western Fringe of the Empire. The Church of Our Lady in Tongeren (Belgium)". Zeitschrift für Kunstgeschichte 83, nr 4 (16.12.2020): 443–70. http://dx.doi.org/10.1515/zkg-2020-4001.
Pełny tekst źródłaStreszczenie:
AbstractBy combining carbon-14 dating of mortar, rereading known written sources and both archaeological and formal analysis, the construction history of the Gothic church of Our Lady in Tongeren can be thoroughly revised. Numerous similarities with religious architecture in Lorraine, the Rhineland, and the Meuse valley reveal the architectural historical significance of Our Lady’s church on the western fringe of the Holy Roman Empire. Inside the church, differences in design are related to the separate spaces used by canons, parishioners, brotherhoods, and the urban commune of Tongeren. The elaborate Rayonnant Gothic architecture of the eastern part of the church bears witness to the prestige associated with the church’s chapter, which claimed an episcopal past.
12
Mercer, Giles. "Alphege (954–1012): A Saint for His Time and for Our Time". Downside Review 138, nr 2 (kwiecień 2020): 68–78. http://dx.doi.org/10.1177/0012580620931396.
Pełny tekst źródłaStreszczenie:
The following has been adapted from talks given at St Alphege Church, Solihull; Our Lady and St Alphege Church, Bath; and St Joseph’s Church, Peasedown St John, and to the English Catholic History Association, Winchester Catholic History Society and Prinknash Abbey Book Club. Alphege is one of the outstanding saints from these lands, Bath’s greatest son, a gifted monastic leader, a radical bishop of Winchester and a self-sacrificing archbishop of Canterbury. He was to be revered throughout pre-Reformation England and beyond. I will make some general points about Alphege’s world, then set out what we know about the life and death of Alphege and finally suggest why he is important for us today.
13
Gunnes, Gyrid. "Towards a Queer Sister-Folk Church? Reimaginations in Lutheran Scandinavian Folk Church". Ecclesial Practices 5, nr 1 (28.07.2018): 91–106. http://dx.doi.org/10.1163/22144471-00501006.
Pełny tekst źródłaStreszczenie:
The article argues that the inclusion of material created from an ethnographic research strategy opens the possibility for theological reimagination of two aspects of Scandinavian creation theology: the meaning of ecclesial space and the notion of folk. The article uses elements from queer theory/theology as sensitising devices for recognizing the potential of such theological reimagining. The empirical material is based on ethnographic fieldwork in the Church of Our Lady, Trondheim, Norway, an ecclesial practice committed to rituals of hospitality. Reading the displacement of street space and church sanctuary space in the light of elements of queer theory/theology, the article aspires to show how the notion of folk and the meaning of sanctuary space is destabilized and unsettled through these practices.
14
Thurlby, Malcolm. "The Lady Chapel of Glastonbury Abbey". Antiquaries Journal 75 (wrzesień 1995): 107–70. http://dx.doi.org/10.1017/s0003581500072991.
Pełny tekst źródłaStreszczenie:
After the devastating fire of 1184, the Lady Chapel of Glastonbury Abbey was constructed on the site of the Old Church (Vetusta Ecclesia), the wattle church traditionally associated with Joseph of Arimathea. The lavish decoration of the chapel is frequently mentioned in the literature. In many cases authors emphasize the old-fashioned, Romanesque character of much of the ornament in contrast to the seemingly more progressive contemporary early Gothic mouldings of nearby Wells Cathedral. Nevertheless, it is generally recognized that the designer of Glastonbury Lady Chapel knew of the latest developments in French Gothic architecture as witnessed in his use of crocket capitals and sharply pointed arches in the vault. This juxtaposition of Romanesque and Gothic motifs has led to the categorization of the Lady Chapel as Transitional. Convenient as such a label may be as a term of reference in charting a purely typological evolution, it does little for our understanding of the use of some distinctly different elements in contemporary structures located in the same region. Is it the case that the patron and/or master mason of Glastonbury Lady Chapel are simply more conservative than at Wells Cathedral? Could Glastonbury Lady Chapel be consciously archaizing in an effort to emphasize the antiquity of the site? Should we perhaps think in terms of a traditional Benedictine monastic style at Glastonbury as opposed to an innovative style for the secular canons of Wells? Or is the rich decoration at Glastonbury Lady Chapel to be explained in a more general sense as an imitation of the art of church treasures? To address these questions the first part of this essay will examine the stylistic sources of the Lady Chapel. The meaning of the style of the Lady Chapel in the context of the beginnings of Gothic architecture in Britain will be discussed. Attention will then be turned to the sculpture of the Lady Chapel (Thurlby 1976a).
15
Souza, Luiz A. C., Adriano R. Ramos i Cristina Avila. "THE MOTHER CHURCH OF OUR LADY OF CONCEPTION, MINAS GERAIS, BRAZIL — THE UNFINISHED STORY". Studies in Conservation 37, supplement1 (wrzesień 1992): 24. http://dx.doi.org/10.1179/sic.1992.024.
Pełny tekst źródła
16
Souza, Luiz A. C., Adriano R. Ramos i Cristina Avila. "THE MOTHER CHURCH OF OUR LADY OF CONCEPTION, MINAS GERAIS, BRAZIL — THE UNFINISHED STORY". Studies in Conservation 37, sup2 (wrzesień 1992): 24. http://dx.doi.org/10.1179/sic.1992.37.s2.024.
Pełny tekst źródła
17
Krebs, Jill. "“Prayer is the answer”: Apocalypticism, Our Lady, and Catholic Identity". Religion and American Culture: A Journal of Interpretation 26, nr 1 (2016): 1–30. http://dx.doi.org/10.1525/rac.2016.26.1.1.
Pełny tekst źródłaStreszczenie:
AbstractApocalyptic beliefs are common in modern Marian apparitions and represent an important area of tension between believers and skeptics—tension that in part determines the official Church stance toward, as well as popularity and longevity of, the apparition. Apocalypticism therefore is an important component of Catholic identity for many Marian devotees. Drawing from a case study of a modern apparition site in rural Emmitsburg, Maryland, I argue that apocalyptic beliefs shape Catholic identity by framing social and religious changes as evidence of coming chastisement; galvanize action among believers, who both prepare for and attempt to avert apocalypse; and validate the Catholic identity of those individuals marginalized within their communities because of those same apocalyptic beliefs. Using Christian Smith's subcultural identity theory of religious persistence and strength, as well as literature on apparitional movements, I describe the dynamics of apocalyptic belief in modern Marian apparitions, explore how the tension engendered by apocalypticism promotes strong identity through symbolic boundary marking, and argue that such beliefs shape Catholic identity for apocalyptic Catholics.
18
Ninh, Thien-Huong T. "Global Chain of Marianism". Journal of Vietnamese Studies 12, nr 2 (2017): 49–82. http://dx.doi.org/10.1525/jvs.2017.12.2.49.
Pełny tekst źródłaStreszczenie:
Although Vietnamese Catholics in the United States and Cambodia have been isolated from each other for at least thirty years (1975–2005), this paper argues that they have recently established diasporic ties with each other through a global chain of Marianism. Both groups have experienced racialization in their host countries, which are in turn inflected by their local church hierarchies. These experiences have motivated them to establish ties with each other. Their US-Cambodia relationships are mediated through the Vietnamese-looking Our Lady of Lavang and Our Lady of the Mekong, which make up a global circuit of distinctively Vietnamese Marianism.
19
Antczak, Mateusz. "Jurassic animals and algae in the flooring of Our Lady of Sorrows Church in Poznań". Biological Letters 52, nr 1-2 (1.12.2015): 37–43. http://dx.doi.org/10.1515/biolet-2015-0013.
Pełny tekst źródłaStreszczenie:
Abstract The flooring of Our Lady of Sorrows Church in Poznań is made of Jurassic rocks from the Świętokrzyskie Mountains (also known as Holy Cross Mountains) and contain abundant marine invertebrate fossils: sponges, bivalves, brachiopods, various families of cephalopods, etc. Some of them can be identified to the genus level. The fossils make it possible to describe the environment and ecosystem of the Jurassic sea and biostratigraphy of the sediment. There are also some significant inorganic structures, which suggest post-diagenetic tectonic movements.
20
Park, Karen E. "Adele Brise". Nova Religio 21, nr 2 (1.11.2017): 73–84. http://dx.doi.org/10.1525/nr.2017.21.2.73.
Pełny tekst źródłaStreszczenie:
This article explores the prophetic and priestly, or sacramental, authority of visionary Adele Brise, a Belgian immigrant to Wisconsin who in 1859 received a vision of the Virgin Mary that became known as the apparition of Our Lady of Good Help. In this article, I show that when the prophetic dimension of Mary’s locution to Brise was fulfilled, Brise’s authority increased dramatically; moreover, when Brise subsequently was excommunicated for refusing to remain silent about the apparition, she preached to and said Mass for her followers. When, 150 years later, Church authorities approved the apparition as “worthy of belief,” they created an official interpretation of Brise’s obedience to Church authorities, but such obedience is not supported by archival or other contemporary accounts. The story of Adele Brise and the apparition of Our Lady of Good Help provides an important context for understanding the tension between clergy and laity within the context of Marian apparitions, and it illustrates the extent to which these apparitions can provide access to sacred authority for visionaries and their followers.
21
Kolega, Marija. "Ranokršćanski sloj arhitekture u Nadžupnom kompleksu Sv. Asela u Ninu". Ars Adriatica, nr 4 (1.01.2014): 15. http://dx.doi.org/10.15291/ars.486.
Pełny tekst źródłaStreszczenie:
Archaeological excavations in the complex of the Arch Parish Church of St Asel discovered an entire early Christian complex consisting of a north singlecellchurch and, to its south, a group of baptismal buildings which was soon transformed into a longitudinal building with an eastern apse. A number of remodelling interventions between the sixth and the eighth century confirm that the early Christian church and its baptistery survived the turbulent centuries of the Migration Period. The next major building phase was identified during the conservation works carried out on the church walls and there is no doubt that it occurred at the turn of the ninth century when the church became the cathedral of the Croatian bishop. Both churches, the north and the south, were provided with new stone furnishings while the baptismal font was altered so as to conform to the liturgical changes which were introduced into the baptismal rite. Archaeological evidence has demonstrated that the font remained in use until the sixteenth century when the apse of the south church was destroyed to make way for the chapel of Our Lady of Zečevo (1510-1530). The buildings to the south suffered a major destruction in 1780 when the Lady chapel was extended at the expense of its north wall which was torn down and the southern structure was cut in half.
22
OP, Gabriel Torretta. "Our Lady reconsidered: John Knox and the Virgin Mary". Scottish Journal of Theology 67, nr 2 (3.04.2014): 165–77. http://dx.doi.org/10.1017/s0036930614000040.
Pełny tekst źródłaStreszczenie:
AbstractThe cult of the Virgin Mary had a complicated history in Scotland during the sixteenth century, with historical, devotional and literary evidence indicating both widespread acceptance of the church's traditional practices and growing dissatisfaction with them, particularly in elite culture. Anti-Marian polemics entered Scottish Christianity through various sources, including the Lollards around Kyle, the prominent witness of Patrick Hamilton, the preaching of Thomas Guillaume and George Wishart, the theological climate at St Leonard's college in St Andrews, as well as a number of popular works.John Knox (1514–72) incorporated many of his contemporaries’ concerns in his own treatment of the question, being trained at St Andrews University and heavily influenced by Guillaume and Wishart. Knox considered the cult of Mary using the same tool that he used to analyse the cult of the saints in general, the mass, and liturgical ritual, contending that they could not be reconciled with his stringent doctrine of sola scriptura, in particular as read through the lens of Deuteronomy 12:32.Yet for all that Mary and her place in Christian life and devotion formed a major aspect of sixteenth-century Scottish religious praxis, Knox gave little attention to her, preferring to indicate her proper place in Christian theology by presenting a vision of Christianity which omitted her almost entirely. Knox does indirectly indicate what he considers to be the proper Christian attitude towards the Virgin, however, through his explication of sola scriptura and its implications for genuine religious practice as opposed to idolatry, and his understanding of 1 Timothy 2:5 and the unique mediation of Christ. Where Knox does directly address the Marian question, he expresses his rejection of her cult in far more restrained terms than readers of his polemics against the mass may expect; while he is firm and unequivocal in denying Mary's intercessory role and in uprooting Marian devotional practice, his rhetorical restraint points to the irreducible dignity of Mary in the scriptural texts.This article analyses the theology of Mary which Knox reveals in occasional comments scattered through his writings and attempts to place his ideas in their historical and theological context. By explicating the precise nature of Knox's objection to the cult of Mary, the article attempts to open the door for future Reformed–Catholic dialogue on the person of Mary and her place in the church of Christ.
23
Sygulska, Anna. "CONTEMPORARY TWO-STOREY CHURCHES – ACOUSTIC INVESTIGATIONS". Journal of Architecture and Urbanism 39, nr 2 (30.06.2015): 140–48. http://dx.doi.org/10.3846/20297955.2015.1056444.
Pełny tekst źródłaStreszczenie:
The paper discusses the idea of two-storey churches, with insight into socio-political conditions which influenced their construction. The analysis of the issue was carried out on the basis of investigations in five two-storey churches in Poznań. The churches under investigation were: Visitation of Blessed Virgin Mary Church, Christ the King Church, Our Lady of Częstochowa Church, St. Lawrence Church, and Christ the Redeemer Church. In total, ten interiors were examined. The churches were erected in the late 70s and early 80s of the 20th century. The acoustic conditions were analyzed in terms of cubature, the shape of the interior and finishes. The upper and lower churches were compared within one building; the investigation also involved comparing the churches against each other. Moreover, functionality of the buildings was analyzed, which included aspects of acoustic as well as architectural functionality.
24
Gunnes, Gyrid Kristine. "An Ecclesiology of a Queer Kenosis? Risk and Ambivalence at Our Lady, Trondheim, in Light of the Queer Theology on Kenosis of Marcella Althaus-Reid". Feminist Theology 28, nr 2 (styczeń 2020): 216–30. http://dx.doi.org/10.1177/0966735019889340.
Pełny tekst źródłaStreszczenie:
This article argues for the use of the queer kenotic theology of Marcella Althaus-Reid as a theological framework for analysing two stories of ambivalence and risk emerging from an ecclesial practice committed to hospitality. Following Natalie Wigg-Stevenson in envisioning theology not as proclamation but as conversation, the article is an example of what theology can look like when ethnographic material is juxtaposed with systematic theology. The empirical material is created using ethnography as a research strategy in the ecclesial practice of the Lutheran church of Our Lady, Trondheim, Norway. In 2007, this church reopened as an ‘open church’ for people who live with different kinds of marginalization. As the sacred medieval space encounters the messy and chaotic lives of people, a powerful displacement of space, practices and bodies occur. The article concludes by discussing how the empirical material feeds back to kenotic theology and queer theology.
25
Rodin, Krista. "The Spirit of Salzburg in Stucco and Stone: The Church of Our Dear Lady of the Franciscans". International Journal of the Image 11, nr 3 (2020): 51–76. http://dx.doi.org/10.18848/2154-8560/cgp/v11i03/51-76.
Pełny tekst źródła
26
Gill, Sean. "Marian Revivalism in Modern English Christianity: the Example of Walsingham". Studies in Church History 39 (2004): 349–57. http://dx.doi.org/10.1017/s0424208400015205.
Pełny tekst źródłaStreszczenie:
On 19 August 1897, a newly carved image of Our Lady of Walsingham, sent from Rome by Pope Leo XIII, was solemnly installed in the Roman Catholic Church in Kings Lynn. Since no plan of the original medieval shrine survived, the chapel that contained the image was modelled upon the Holy House of Loreto. The following day a pilgrimage led by the parish priest and by Fr Philip Fletcher, one of the prime movers behind the Marian revival, went from Lynn to the Slipper Chapel at Walsingham. This was an important focus of worship since it was the only building to have survived substantially intact near the great pilgrimage site destroyed at the Reformation. In 1934 the Archbishop of Westminster, Cardinal Bourne, led the first annual Roman Catholic pilgrimage to the Slipper Chapel, in which a new image of Our Lady of Walsingham based upon that of the seal of the medieval Priory had been placed. In the intervening years, the Anglo-Catholic vicar of Little Walsingham, the Revd Arthur Hope Patten, had created a similar shrine in the Anglican parish church in 1922, and had gone on in 1931 to build a separate chapel with its own sanctuary of the Holy House of Nazareth.
27
Wegman, Rob C. "Petrus de Domarto's Missa Spiritus almus and the early history of the four-voice mass in the fifteenth century". Early Music History 10 (październik 1991): 235–303. http://dx.doi.org/10.1017/s0261127900001145.
Pełny tekst źródłaStreszczenie:
In 1449, the records of the church of Our Lady at Antwerp mention a new singer, Petrus de Domaro (see Figure 1). He does not reappear in the accounts of 1450, and those of the subsequent years are all lost. Musical sources and treatises from the 1460s to 80s call him, with remarkable consistency, P[etrus] de Domarto, and reveal that he was an internationally famous composer in the third quarter of the fifteenth century.
28
Thao Nguyen, SJ. "Inculturation for mission: The transformation of the French Notre-Dame des Victoires into Our Lady of La Vang in Vietnam 1998". Missiology: An International Review 45, nr 2 (kwiecień 2017): 180–90. http://dx.doi.org/10.1177/0091829616669958.
Pełny tekst źródłaStreszczenie:
The article discusses the indigenization of the French Notre-Dame des Victoires into Our Lady of La Vang in Vietnam in 1998. It argues that the La Vang project was a missionary strategy employed by the church to engage in mission through dialogue with Vietnamese culture and religions in a postcolonial period. The article also demonstrates that because Vietnamese Catholics and Buddhists share their common practices and experience spiritual transformation through devotion to Mary and Guan-yin (the Buddhist female Bodhisattva), interreligious dialogue between Vietnamese Buddhists and Catholics will become more fruitful, given the discovery of significant commonalities between the two traditions. In addition, the transformation of the French Notre-Dame des Victoires into the image of a Vietnamese woman helps the Church rediscover Vietnamese cultural roots through which a contextual theology for the Vietnamese needs to be constructed and developed.
29
Konieczny, Mary Ellen. "Sacred Places, Domestic Spaces: Material Culture, Church, and Home at Our Lady of the Assumption and St. Brigitta". Journal for the Scientific Study of Religion 48, nr 3 (wrzesień 2009): 419–42. http://dx.doi.org/10.1111/j.1468-5906.2009.01458.x.
Pełny tekst źródła
30
FUKUSHIMA, Ayako, i Yoshitake DOI. "THE BUILDING PROCESS AND THE LAITY INVOLVEMENT OF OUR LADY OF MOUNT CARMEL CHURCH IN WANCHAI, HONG KONG". Journal of Architecture and Planning (Transactions of AIJ) 78, nr 688 (2013): 1431–40. http://dx.doi.org/10.3130/aija.78.1431.
Pełny tekst źródła
31
Ferreira, Sílvia, Elsa Murta, Irina Crina Anca Sandu i Manuel Costa Pereira. "The pulpits of the Church of Our Lady of Pena in Lisbon: an historical, stylistic and technical study". Conservar Património 19 (2014): 5–20. http://dx.doi.org/10.14568/cp2013009.
Pełny tekst źródła
32
Hamilton, Bernard. "Our Lady of Saidnaiya: an Orthodox Shrine Revered by Muslims and Knights Templar at the Time of the Crusades". Studies in Church History 36 (2000): 207–15. http://dx.doi.org/10.1017/s042420840001442x.
Pełny tekst źródłaStreszczenie:
The fortified convent of Saidnaiya (often called Sardeney by medieval Western writers) is situated on a rocky outcrop some twelve miles to the north of Damascus. It claims to have been founded by Justinian, but it is not mentioned in the De aedificiis of Procopius, and its origins are uncertain. The earliest surviving description of it may be that given by Burchard of Strasbourg, the ambassador of Frederick Barbarossa to the court of Saladin, who visited Saidnaiya in c. 1175: in this church twelve virgin nuns and eight monks devoutly serve God and the Blessed Virgin. In this church I saw a wooden panel … placed behind the altar in an embrasure in the wall of the sanctuary guarded by an iron grille. On this panel a likeness of the Blessed Virgin had once been painted, but now, wondrous to relate, the picture on wood has become incarnate and oil, smelling sweeter than balsam, unceasingly flows from it. By which oil many Christians, Saracens and Jews are often cured of ailments. … To this place on the feast of the Assumption of the glorious Virgin and on that of her Nativity all the Saracens of that province flock to pray together with the Christians, and the Saracens perform their devotions there with great reverence.
33
Płotkowiak, Maciej. "STAINED-GLASS WINDOW SET IN THE CHURCH OF OUR LADY THE QUEEN OF THE CROWN OF POLAND IN SZCZECIN". space&FORM 2020, nr 41 (15.02.2020): 279–98. http://dx.doi.org/10.21005/pif.2020.41.e-02.
Pełny tekst źródła
34
O’Brien, Susan. "Making Catholic Spaces: Women, Decor, and Devotion in the English Catholic Church, 1840-1900". Studies in Church History 28 (1992): 449–64. http://dx.doi.org/10.1017/s0424208400012614.
Pełny tekst źródłaStreszczenie:
Nanda took in her surroundings… At the end of the corridor stood a statue of Our Lord in white robes wearing a red, thorn-circled heart on his breast like an order. The bent head with its pale brown hair and beard was girlish and gentle; the brass halo had been polished till it winked and reflected each flicker of the little glass lamp that burned on the pedestal… At the end of the passage hung a large oil painting of Our Lord, showing his five wounds … Between the lines [of desks] stood a statue of Our Lady, supported on each side by angels with folded wings and flying girdles. Nanda thought it was a privilege to be near so holy company. Her desk was empty but for a small picture of the Sacred Heart gummed inside the lid. … ‘I never thought there were so many holy pictures in the world,’ she thought to herself. Every room she had entered since she had arrived at the Convent of the Five Wounds had had its picture or statue.’
35
Cruz González, Cristina. "Mexican Instauration: Devotion and Transformation in New Spain". Religion and the Arts 18, nr 1-2 (2014): 87–113. http://dx.doi.org/10.1163/15685292-01801006.
Pełny tekst źródłaStreszczenie:
This article interrogates the devotional histories and archival evidence related to Our Lady of Angels in Tecaxic and Tlatelolco. Both Marian paintings survived lengthy periods of neglect and dilapidated shrines. Throughout the late colonial period, the Franciscan Order and church elites exploited the notions of “incorruptibility” and “ruined spaces” in their desire to regulate piety and rogue religiosity. (In)corruptibility delineated the divine and sanctioned official intervention. Yet official support never proved enough—both histories draw our attention to the politics of patronage and the complex task of renovation and instauration; they ultimately demonstrate the instability of sanctuary structures and the precarious nature of icon devotion.
36
Brown, Mary Elizabeth. "Italian Immigrant Catholic Clergy and an Exception to the Rule: The Reverend Antonio Demo, Our Lady of Pompei, Greenwich Village, 1899–1933". Church History 62, nr 1 (marzec 1993): 41–59. http://dx.doi.org/10.2307/3168415.
Pełny tekst źródłaStreszczenie:
Italians have long been the exception to generalizations about ethnic American Catholicism. As early as the 1880s, American bishops considered them a “problem.” In 1946, Henry J. Browne summarized the “problem”: Italians did not regularly attend mass, did not receive the sacraments, did not contribute to the support of the church, did not educate their children in their faith, did not respect the clergy, and did not appreciate that they should be doing better in all these areas. Although Browne's work has become the subject of revisionist criticism among students of Italian American Catholicism, specialists in other aspects of American Catholicism have incorporated into their work generalizations generated by the Italian-American experts.James Sanders's study of Chicago parochial schools referred to Italians as least likely to support such schools. David J. O'Brien's history of the diocese of Syracuse emphasizes the difficulties Italians faced and the troubles they created for the clergy and hierarchy. Dolan's survey of American Catholic history has a large bibliography on which to base its conclusion that “thereligion of the [southern Italian] people was not the same as the official religion of the church.
37
Pugliese, Olga Zorzi. "Beautifying the City: 1960s Artistic Mosaics by Italian Canadians in Toronto". Quaderni d'italianistica 28, nr 1 (1.01.2007): 93–113. http://dx.doi.org/10.33137/q.i..v28i1.8551.
Pełny tekst źródłaStreszczenie:
Italian Canadian craftsmen deserve recognition for their contribution to the aesthetics of Toronto's architectural environment through their role in the production of mosaic artworks. After an early period in the 1930s (which witnessed the ROM and Foster Memorial projects) there was a second phase of activity in the 1960s, in part as a result of the efforts of the entrepreneur Remo De Carli. Major works in churches (e.g. Our Lady of Sorrows Church), business establishments, banquet halls, and private homes were designed by Italian-trained artists in Canada, especially Vittorio Corsaletti, Luigi Nasato, and Vincenzo Vanin.
38
McCracken, Ellen. "Fray Angélico Chávez and the Colonial Southwest: Historiography and Rematerialization". Americas 72, nr 4 (październik 2015): 529–47. http://dx.doi.org/10.1017/tam.2015.66.
Pełny tekst źródłaStreszczenie:
In the summer of 1924, townspeople recount, 14-year-old Manuel Chávez built models of colonial New Mexico mission churches in the dirt outside Our Lady of Guadalupe Church in the village of Peña Blanca. He was staying with the Franciscan friars after expressing his desire to enter the seminary, where he would become the first native New Mexico Hispano to be ordained a Franciscan priest in the centuries since the Spanish colonization. Still a boy, but one who was about to embark on a life-changing path, the small missions he playfully constructed in the dirt and staunchly protected foretold the strategy of rematerialization that would characterize his future: he would become a pioneering Franciscan historian who organized and interpreted the vast collection of Catholic Church documents from the colonial period in New Mexico through the twentieth century. The author of two dozen books and over 600 shorter works, Fray Angélico Chávez (1910–1996) was a visual artist, literary figure, historian, genealogist, translator, and church restorer—one of New Mexico's foremost twentieth-century intellectuals.
39
den Hartog, Elizabeth. "In the Midst of the Nations... The Iconography of the Choir Capitals in the Church of Our Lady in Maastricht". Zeitschrift für Kunstgeschichte 62, nr 3 (1999): 320. http://dx.doi.org/10.2307/1482954.
Pełny tekst źródła
40
Motušić, Eugen. "Porušena crkva Rođenja Blažene Djevice Marije u Silbi". Ars Adriatica, nr 4 (1.01.2014): 347. http://dx.doi.org/10.15291/ars.508.
Pełny tekst źródłaStreszczenie:
It is known that the Church of the Nativity of the Blessed Virgin Mary at Silba was demolished in 1828 so as to provide the necessary building material for the completion of the new parish church which inherited the dedication from the old one. As we learn from the archival records, the demolition was authorized by the Archbishop of Zadar Josip Nowak who stipulated that the Franciscan Church of Our Lady of Carmel would function as the local parish church while the new one was being built. All that remains from the old church today is the bell tower which continued to be used by the new parish church. It is obvious from the schematic ground plan and the dimensions of the demolished church, recorded in the now lost document from the parish church archive, that it was a single-nave longitudinal structure with a rectangular sacristy to the east, two shallow chapels extending from the lateral walls and a porch of the lopica type (resembling a loggia) at the front which abutted onto the corner of the bell tower with its own south corner. Apart from the high altar, placed against the back wall, the church had three pairs of side altars. The analysis of the canonical visitations carried out during the second quarter of the seventeenth century demonstrates that the church, recorded for the first time in 1579, was a modest building in which the oil for the anointment of the sick was being kept because the local parish church of that time, dedicated to St Mark, was too far from the village. The church was provided with five side altars put up by the more distinguished individuals and members of the lay fraternities the most prominent of which was that of Our Lady of the Rosary after which the church was called by eighteenth-century locals. Based on the analysis of the 1670 visitation of Archbishop Evangelisto Parzaghi who described the renovation during which certain altars changed their places, the article argues that the church was completed just before this visit. The bell tower was mentioned as a campanile for the first time in 1678.By means of comparative analysis, it can be established that the Church of the Nativity of the Virgin at Silba belonged to the same architectural type as a large group of simple yet spacious churches which were built in rural communities along the east Adriatic coast by local masters during the seventeenth and eighteenth centuries. The activity of such masters on the island of Silba is corroborated by contemporary birth, marriage and death records as well as a number of monuments such as a tombstone in the Church of St Mark and the door lintel in the house of master builder Franić Lorencin (1660), both of which depict building and carving tools. The analysis of the land registry maps and topographical drawings of 1824 and 1833 shows that the church’s south wall, to the east of the chapel of Our Lady of the Rosary, was laid in a different direction compared to that of the rest of the wall, indicating that this portion belonged to an earlier layer of the building which, judging from everything, seems to have been medieval. Therefore, the wall was widened and extended towards the west during the rebuilding documented in the visitation of 1670. This possibility, which a future excavation of the site ought to be confirm, is strengthened by the frequency of such alterations as can be seen on the seventeenth- and eighteenth-century churches on the island of Ugljan and in particular on the Church of St Lawrence at Lukoran, built in 1632, which is the best example of that architectural type.Another feature of these churches is the lopica-type porch which stands out as an architectural element typical of Istria and the Quarnero gulf to which, geographically speaking, the island of Silba gravitates. The lopica porch of the Church of the Nativity at Silba had a particularly elongated plan and featured two symmetrical sets of three supports and an axial main entrance into the porch, that is, the church. It is unlikely that the porch was added prior to the late seventeenth century because during that time, Silba was exposed to the raids of the Turkish pirates who threatened it directly. It is certain that the bell tower was used for defensive purposes and the addition of a porch would have diminished its importance as a fortification structure and hampered the visual communication with the entrance to the church.The examination of the architecture of the bell tower revealed two different building phases: an earlier one which included the body of the bell tower and a later one which saw the addition of the pyramidal structure together with a shallow square drum. In its original form, the bell tower had a compact body featuring a round-headed opening at the centre of each side of the two topmost storeys. Their stylistically undefined morphology corresponds to modest bell towers which were built in this area from the late sixteenth to the eighteenth century. The original pyramidal top had to be dismantled in 1858 due to wear and tear and it was replaced by the present one which has oval openings at the bottom of each side of the drum. This structure is almost identical to the top of the bell tower of the Church of Our Lady of the Rosary at Preko on the island of Ugljan which was built in 1844.Based on the archival records, the article also establishes that the substantially repainted image of the Virgin and Child with SS Mark and Matthew, today at the high altar of the parish church, was originally larger. It was the object of ex-voto veneration and numerous offerings had been placed in its glass case. The painting was cropped so that it could be inserted into the niche of the marble altar piece designed by Ćiril M. Iveković (1898) which meant the loss of the two evangelists. According to the preserved contract and drawing, the lower part of the altar was set up in 1860 by Giovanni dalla Zonca, an altar maker from Vodnjan, and it featured the still preserved wooden statues of SS Peter and Paul which are dated to the mid-seventeenth century on the basis of their stylistic features. Therefore, it can be concluded that painting and the statues were taken from the high altar of the demolished church.
41
Kisiel, Piotr. "The Sanctuary of a sacred nation: National discourse in the style and décor of the Licheń Sanctuary". Nationalities Papers 44, nr 2 (marzec 2016): 319–39. http://dx.doi.org/10.1080/00905992.2015.1087990.
Pełny tekst źródłaStreszczenie:
The Basilica of Our Lady of Licheń, located near Konin in the Greater Poland Voivodeship, provides a unique insight into a nationalistic discourse in contemporary Poland. It was created not only as a Catholic shrine but also as a place of patriotic indoctrination. This paper examines not only the architecture and design of the Church and the surrounding Sanctuary, but also the ideas of Rev. Eugeniusz Makulski, the site's founder, and Barbara Bielecka, its architect, in order to understand one of the important currents in a debate on the Polish post-Communist identity. A close analysis of this religious shrine is intended not only to understand this particular site but also to examine how national identity is (re)defined in architecture. As this paper shows, the employment of symbolic devices allows the creation of a coherent story of the Polish nation as a religious community with a history intrinsically linked to the Catholic Church. However, the annexation of the lay sphere (nation) by the sacred one (religion) leads to problematic results when it comes to the universality of the religion and the “nationalization” of the Catholic Church itself.
42
Puszka, Alicja. "Sodalicje Mariańskie na ziemiach polskich wobec wojny i odzyskania niepodległości w 1918 r." Teka Komisji Historycznej 15 (2018): 45–59. http://dx.doi.org/10.18290/teka.2018.15-5.
Pełny tekst źródłaStreszczenie:
The Sodality of Our Lady is a Catholic society for lay persons, initiated by Jan Leunis SJ in Rome in the 2nd half of the 16th century. Originally, the Sodality comprised students and later all classes and professional groups. The aim of this elite society was the formation of lay Catholics aware of their vocation in the Church, and propagation of the rite and the cult of Virgin Mary. The supreme goal of the Sodality was obeying the rule “Per Mariam ad Jesum”. The rules of the Sodality concerned visiting prisoners, working in hospitals, helping the poor and the ill, teaching faith, and Christian upbringing of youth. Sodalities deteriorated after the secularization of the Jesuit order, which was their basis in 1773. Towards the end of the 19th century they were being revived on the Polish lands. Sodalities of Our Lady combined religious devotion with the love of the homeland and efforts for the country’s benefit. During World War I the society engaged in charity helping in hospitals, welfare institutions, taking care of the disabled and orphans. Sodalities contributed particularly to the upbringing of the new patriotic generation of Poles. Regaining independence helped sodalities to develop their activities and contributed significantly to the rebirth of religious life of the society in the Second Polish Republic.
43
Llamas, Rosario, i Ana Isabel Santos. "The main altarpiece of Our Lady of the Elms church in Torre de Juan Abad, Spain: technical study and condition state". Conservar Património 17 (2013): 39–58. http://dx.doi.org/10.14568/cp2012007.
Pełny tekst źródła
44
Ferreira, Sílvia. "The church of the Benedictine convent of Our Lady of Estrela in Lisbon: foundation, destruction and repair/reinvention of a heritage". Conservar Património 26 (2017): 79–90. http://dx.doi.org/10.14568/cp2017009.
Pełny tekst źródła
45
Stankiewicz, Aleksander. "„Bitwa pod Lepanto” Tomasza Dolabelli z Kaplicy Różańcowej przy kościele podominikańskim w Poznaniu". Seminare. Poszukiwania naukowe 2020(41), nr 3 (30.09.2020): 141–58. http://dx.doi.org/10.21852/sem.2020.3.10.
Pełny tekst źródłaStreszczenie:
The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.
46
Niegowski, Krzysztof. "XXXI Międzynarodowy Festiwal Muzyki Religijnej im. ks. Stanisława Ormińskiego w Rumi (Rumia, 24-26.10.2019)". Seminare. Poszukiwania naukowe 2020(41), nr 3 (30.09.2020): 141–58. http://dx.doi.org/10.21852/sem.2020.3.11.
Pełny tekst źródłaStreszczenie:
The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.
47
Romanillos, Prof Emmanuel Luis A. "Retracing the Ritarian Roots: Talangpaz Sisters and Augustinian Recollects of San Sebastian Church". Philippine Social Science Journal 2, nr 1 (30.07.2019): 97–112. http://dx.doi.org/10.52006/main.v2i1.60.
Pełny tekst źródłaStreszczenie:
This historical account retraces the roots of Saint Rita College that commenced its foundation totally unheralded in 1907. In the horizon, we find the foundresses of the Congregation of the Augustinian Recollect Sisters: Mother Dionisia de Santa María, Mother Cecilia Rosa de Jesús and the Augustinian Recollects of the San Sebastian Church in Manila. The two foundresses were blood sisters who left their hometown in 1719 and traveled to San Sebastian de Calumpang in Manila where the cherished icon of Our Lady of Mount Carmel. They found a small house in Bilibid Viejo where they lived a life of seclusion, contemplation, and mortification. Their virtue and piety attracted the Augustinian Recollects of San Sebastian Convent. Not long after the Beaterio de San Sebastian was founded. It was 16 July 1725 when they lived as terciarias and followed the Rule of Saint Augustine under the protection of the Recollect religious of San Sebastian Convent. In 1907, the Recollect Fathers urged the sisters of the Beaterio to open a school for girls, after defraying the construction of the new edifice. And the Beaterio came in into being in 1907 Saint Rita Academy, later Colegio de Santa Rita, or Saint Rita College.
48
Bachanek, Grzegorz. "AKT POŚWIĘCENIA NARODU POLSKIEGO NIEPOKALANEMU SERCU MARYI WEDŁUG SŁUGI BOŻEGO KARDYNAŁA AUGUSTA HLONDA". Studia Theologica Varsaviensia 55, nr 2 (14.07.2018): 159. http://dx.doi.org/10.21697/stv.2017.55.2.08.
Pełny tekst źródłaStreszczenie:
In 1946, after the end of the II World War, in view of the menaces linked tocommunist atheism an act of entrustment of the nation to the Immaculate Heart ofOur Lady was performed on the initiative of the Primate of Poland August Hlond.Looking at the origins of the event, on the one hand we can see the reference to theoath of King John II Casimir Vasa, and on the other hand to the revelations of Fatima,which are an encouragement to entrust humanity to the Immaculate Heart of Mary.A. Hlond sees the urgency of moral and religious renewal of the nation in the timesof damages caused by war and new dangers linked to communist atheism. Choicesmade by Poland and Poles have a particular meaning for our Slavic neighbours andthe whole world. In the period of violent political changes, A. Hlond looks at thefuture of the Church, Poland and the world with hope. It is Mary who can securethe future and protect the Church from the powers of darkness and bring victory.
49
Pawlak, Wiesław. "The Writings of Jakub Susza (Jacob Susha). A Page from the History of Uniate Literature in the Polish-Lithuanian Commonwealth in the 17th Century". Tematy i Konteksty specjalny 1(2020) (2020): 435–47. http://dx.doi.org/10.15584/tik.spec.eng.2020.24.
Pełny tekst źródłaStreszczenie:
The article presents the writings of Jakub Susza (Jacob Susha, c. 1610– 1687), the Uniate bishop of Chełm 1652–1687. His most important works: the Latin biographies of Josaphat Kuntsevych (Cursus vitae et certamen martyrii b. Iosaphat Kuncevicii..., Rome 1665) and Meletius Smotrytsky (Saulus et Paulus Ruthenae Unionis sanguine beati Iosaphat transformatus sive Meletius Smotriscius..., Rome 1666) and the history of the revered icon of Our Lady of Chełm (Phoenix redivivus albo obraz starożytny chełmski Panny i Matki Przenajświętszej, Zamość 1646, Lvov 1653, Zamość 1694), all represent little-known literature written within the Uniate Church. Jakub Susza’s intellectual development, his education in Jesuit colleges in Braniewo, Pultusk and Olomouc, and the characteristic features of his works (the consistent use of Polish and Latin as literary languages, the use of western Latin and Polish literary models) contribute to his image as an example of latinisation and occidentalisation (which at that time meant polonisation) of higher Uniate clergy in the Commonwealth, though as a bishop he took care to preserve the religious identity of the Eastern church.
50
Tracz, Szymon. "Obraz Matki Boskiej Częstochowskiej z daru króla Jana Kazimierza w Rajczy". Artifex Novus, nr 3 (1.10.2019): 34–57. http://dx.doi.org/10.21697/an.7062.
Pełny tekst źródłaStreszczenie:
ABSTRAKT
Łaskami słynący obraz Matki Boskiej Miłosierdzia Kazimierzowskiej w Rajczy (64 x 45,8 cm), malowany jest w technice olejnej na ręcznie kutej blasze miedzianej. Niezachowaną, pierwotnie hebanową ramę z podpórką, pozwalającą umieszczać dzieło na domowym ołtarzyku, zastąpiła nowa, profilowana i złocona rama. Obraz znajduje się w głównym ołtarzu kościoła parafialnego pw. Św. Wawrzyńca, diakona i męczennika i św. Kazimierza, królewicza w Rajczy. 1 VII 2017 wizerunek został ukoronowany koroną biskupią. Obraz o najwyższej klasie artystycznej, stanowi najlepszą znaną obecnie kopię cudownego obrazu Matki Boskiej Częstochowskiej jaka powstała w drugiej ćwierci XVII w. Wizerunek namalowano bezpośrednio z oryginału, za czym przemawiają jego cechy formalne, m.in. z precyzyjnym uwzględnieniem tzw. koron władysławowskich, jakie w latach1625-1633 ufundowano dla ozdoby jasnogórskiego oryginału. Kopia najprawdopodobniej powstała w malarni jasnogórskiej, a jej autorem być może był paulin o. Jan Felicjan Ratyński. Obraz, co potwierdzają źródła historyczne, podarował do mającego się zbudować w Rajczy nowego kościoła król Jan II Kazimierz Waza (1609-1672), właściciel dóbr żywieckich. Stało się to po jego abdykacji w drodze do Francji w Żywcu 4 lipca 1669 r. Od 1684 r. wizerunek jest przechowywany w Rajczy – najpierw w drewnianym kościele, a po jego rozbiórce wobecnym nowym. Pomiędzy majem 2016, a lutym 2017 roku przeprowadzono specjalistyczną konserwację oraz badania fizyczno-chemiczne podobrazia, co zwiększyło naszą wiedzę o obrazie. Cudowny wizerunek Matki Boskiej Kazimierzowskiej poprzez swój związek z królem Janem Kazimierzem, będąc również kopią jednego z najbardziej rozpoznawalnych polskich obrazów maryjnych, zajmuje w polskiej sztuce miejsce wyjątkowe. Jego wartość artystyczno-historyczna idzie w parze wraz z wartością kultową, stanowiąc ważny punkt odniesienia dlachrześcijańskiej pobożności.
SUMMARY
A miraculous painting of Our Lady of Mercy of Kazimierz in Rajcza (64 x 45.8 cm) was painted in oil technique on handforged copper sheet. Unpreserved, originally an ebon frame with a support, allowing to place the masterpiece on a home altar, was replaced with a new, profiled, gilded frame. The painting is placed in the main altar of the parish church of St. Lawrence, a deacon and martyr and St. Casimir in Rajcza. On July 1, 2017 the painting was crowned with an episcopal crown. The painting recognized as of the highest artistic class is the best-known copy of a miraculous painting of Our Lady of Częstochowa that originates from the second quarter of the 17th century. There are some features such as precise mapping of the so-called crowns of Władysław IV, founded to adorn the original painting from Jasna Góra Monastery, that make scientists believe that while making the painting for the King, the artist was directly looking at the original painting of Our Lady of Częstochowa. The copy was most likely created in the Jasna Góra painting house, and its author may be a Pauline Father, JanFelicjan Ratyński. It is confirmed by historical sources that King John II Casimir Vasa (1609–1672), the owner of Żywiec estates, gave the painting to a new, soon-to-be built church in Rajcza. The King did it after his abdication, on July 4, 1669, in Żywiec when he was on the way to France. Since 1684 the painting has been placed in Rajcza, first in the wooden church, and after its removal, in a current one. Between May 2016 and February 2017 specialized conservation as well as physical and chemical tests of canvass stretcher were carried out to update the knowledge about the painting. Through its relations with King John II Casimir Vasa and the fact that it is the copy of one of the most recognizable Polish Marian paintings, the miraculous painting of Our Lady of Mercy of Kazimierz holds a unique place in Polish art. Its artistic and historical value goes hand in hand with a cultural value, constituting an important point of reference for Christian piety.