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1
Fortin, John R. "Saint Anselm’s Prayer to Saint John the Baptist." American Benedictine Review 72, no. 1 (March 2021): 71–83. http://dx.doi.org/10.1353/ben.2021.a923925.
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2
Живојиновић, Драгић. "СТЕФАН ДУШАН И МАНАСТИР СВЕТОГ ЈОВАНА ПРЕТЕЧЕ НА МЕНИКЕЈСКОЈ ГОРИ КОД СЕРА STEPHEN DUŠAN AND THE MONASTERY OF ST. JOHN THE FORERUNNER ON THE MOUNT MENOIKEION BY SERRAI". Историјски часопис, № 70/2021 (30 грудня 2021): 69–90. http://dx.doi.org/10.34298/ic2170069z.
Повний текст джерелаАнотація:
The monastery of St. John the Baptist on the Mount Menoikeion in the vicinity of Serrai was founded in around 1275. It enjoyed considerable favour of the Queen Simonis and since 1332 its patron was John Kantakouzenos. After the Serbian conquest of eastern Macedonia, the monastery prospered owing to the care of Stephen Dušan. The ties between the Serbian ruler and the monastic community are testified by the Greek documents of Dušan’s chancery. There are nine preserved prostagmata and chrysobulls of the Serbian King and Tsar from the period of 1345–1355. The analysis of their data, along with the use of other sources, will provide a basis for the attempted sketch of relations between Stephen Dušan and the influential Greek spiritual institution in southeast Macedonia.
3
Richter, Elinor M. "DONATELLO'S "SAINT JOHN THE BAPTIST" IN SIENA." Source: Notes in the History of Art 5, no. 3 (April 1986): 21–26. http://dx.doi.org/10.1086/sou.5.3.23202397.
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4
Smith, Kathryn. "“A Lanterne of Lyght to the People”: English Narrative Alabaster Images of John the Baptist in Their Visual, Religious, and Social Contexts." Studies in Iconography 42, no. 1 (2021): 53–94. http://dx.doi.org/10.32773/mlbe2471.
Повний текст джерелаАнотація:
English narrative alabaster reliefs depicting the public life and martyrdom of John the Baptist are a fascinating yet understudied corpus. The starting point of this essay and its place of return is a series of three fifteenth-century panels depicting Saint John the Baptist Before Herod Antipas, The Burial of Saint John the Baptist, and The Burning of Saint John the Baptist’s Bones and the Scattering of his Ashes. Once possibly part of an altarpiece made for export, the reliefs are now in The Victoria and Albert Museum. Drawing on a broad range of literary, liturgical, homiletic, folkloric, and artistic sources, the essay examines the multifaceted nature of late medieval devotion to John the Baptist, focusing in particular on the saint’s connection to women, fertility, and healing, and on the festal, celebratory dimensions of his cult. The essay concludes by offering a reading of the V&A reliefs in light of the popular beliefs and customs that would have informed the English alabaster carvers’ lived experience and speculates on the roles of lived experience and memory in the creation and reception of images.
5
Dragić, Marko, and Helena Dragić. "Saint John the Baptist in Croatian Traditional Heritage." Croatica et Slavica Iadertina 15, no. 1 (March 10, 2020): 275–330. http://dx.doi.org/10.15291/csi.2977.
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Sv. Ivan Krstitelj, prethodnik i krstitelj Isusov, iznimno se štuje u kršćanstvu. Ivan Krstitelj rodio se pola godine prije Isusa. U smislu folklornih običaja u Hrvata najbogatiji su Badnjak, blagdan sv. Jurja (23. travnja) i blagdan sv. Ivana Krstitelja (24. lipnja). U hrvatskoj tradicijskoj baštini, kao i u tradicijskoj baštini drugih naroda u Europi i svijetu, uz blagdan sv. Ivana Krstitelja vezuju se razni običaji, ophodi, divinacije, vjerovanja, hodočašća, procesije, svete mise, pučka veselja, sajmovi, ivanjske pjesme, molitve. U Hrvata i uopće u Europi običaj je paljenja ivanjskih vatri u sumrak uoči blagdana sv. Ivana Krstitelja. Stari je običaj da se mladić i djevojka uzmu za ruke i preskaču vatru ivanjskoga krijesa, a vatru mladež preskače i pojedinačno. Taj običaj ima lustrativnu i apotropejsku funkciju. Pored krjesova, u hrvatskoj tradicijskoj baštini u ivanjske vatre spadaju i bakljari, mašalanje, lilanje. Prastaro je vjerovanje da vještice, more i druga demonska bića neće moći djelovati dokle god se vidi ivanjskih vatra i dokle god im se dim proširi. Blagdan sv. Ivana Krstitelja prije izlaska sunca prate i ophodi krijesovalja (krisnica, ladarica), hodanje po pepelu od ivanjskoga krijesa, umivanje i kupanje na vrelima, u rijekama i moru. Nekoć su se kuće, dvorišta, ulazna vrata (kapije) kitili za blagdan sv. Ivana Krstitelja, a žene i djevojke u zoru iznosile su odjeću i tkanine da ih ivanjske zrake obasjaju i zaštite od moljaca. Uz blagdan sv. Ivana Krstitelja vezuju se ljubavne divinacije kao i divinacije o tome tko će od ukućana prvi umrijeti. U čast sv. Ivanu vjernici poste, zavjetuju se i na blagdan mnogi bosonogi hodočaste svetištima posvećenima sv. Ivanu te na koljenima obilaze oko svetišta ili oko kipa sv. Ivana Krstitelja moleći za izlječenje svojih tjelesnih i duševnih boli. Nakon procesije i svete mise tradicionalno se organiziraju pučka veselja. Narod sv. Ivanu Krstitelju pjeva usmene lirske pjesme i upućuje molitve.
6
Todd, Margo. "What's in a Name? Language, Image, and Urban Identity in Early Modern Perth." Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 85, no. 1 (2005): 379–95. http://dx.doi.org/10.1163/187607505x00236.
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AbstractThe corporate identity of the Scottish royal burgh of Perth was in the Middle Ages tied closely to its patron saint, John the Baptist. After the reformation of 1559-60 had abolished all veneration of saints, this identification did not disappear. The town was still called Sanctjhonstoun, the festivals of the Baptist continued to serve as calendar dates, and the St. John's bell continued to call parishioners to the kirk. Even more striking, images of the Baptist survived — on the bells, in the hammermen's silver marks, and in the town seal. Protestant usage would eventually shift the meanings associated with the Baptist, but the saint would never disappear entirely from the town's constructed identity.
7
Andrews, Frances. "Doubting John?" Studies in Church History 52 (June 2016): 17–48. http://dx.doi.org/10.1017/stc.2015.2.
Повний текст джерелаАнотація:
This essay focuses on the figure of John the Baptist in prison and the question he sent his disciples to ask Christ: was he ‘the one who is to come’ (Matthew 11: 2–3)? Having observed how the Fathers strove to distance John from the perils of doubt in their readings of this passage, it traces the way their arguments were picked up by twelfth- and thirteenth-century biblical exegetes and then by authors of anti-heretical dispute texts in urban Italy, where the Baptist was a popular patron saint. So as to give force to their own counter-arguments, learned polemicists, clerical and lay, made much of heretics’ hostility to John, powerfully ventriloquizing a doubting, sceptical standpoint. One counter-argument was to assign any doubts to John's disciples, for whose benefit he therefore sent to ask for confirmation of the means of Christ's return, neatly moving doubt from questions of faith to epistemology. Such ideas may have seeped beyond the bounds of a university-trained elite, as is perhaps visible in a fourteenth-century fresco representing John in prison engaging with anxious disciples. But place, audience and genre determined where doubt was energetically debated and where it was more usually avoided, as in sermons for the laity on the feast of a popular saint.
8
WALTER, Ch. "Salome and the Head of Saint John the Baptist." Revue des Études Arméniennes 23 (January 1, 1992): 509–23. http://dx.doi.org/10.2143/rea.23.0.2017149.
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9
White, Eric Marshall. "ALBRECHT ALTDORFER'S BOTANICAL ATTRIBUTE FOR SAINT JOHN THE BAPTIST." Source: Notes in the History of Art 15, no. 2 (January 1996): 15–21. http://dx.doi.org/10.1086/sou.15.2.23205516.
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10
Barolsky, Paul. "THE MYSTERIOUS MEANING OF LEONARDO'S "SAINT JOHN THE BAPTIST"." Source: Notes in the History of Art 8, no. 3 (April 1989): 11–15. http://dx.doi.org/10.1086/sou.8.3.23202683.
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11
Gausová Zörnerová, Markéta. "Vznik a zánik narativu na příkladu putování jedné svatojánské sochy." Lidé města 25, no. 3 (December 1, 2023): 305–23. http://dx.doi.org/10.14712/12128112.3961.
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Using the example of the statue of St John of Nepomuk outside Saint John the Baptist Church (Na Prádle) in Prague’s Lesser Town, the author presents a reflection on the wide range of ideas upon which the narrative of a historical monument located in the city’s landscape depends on. This sculpture is especially admired as an example of Baroque art. The location of this statue in front of Saint John the Baptist Church is one of the factors that creates the impression of a picturesque and visually attractive spot. At the same time, however, this statue is known to have been originally located on the opposite shore of the Vltava River. Until the beginning of the 20th century, it was part of a religious cult, and its presence in the Cattle Market (now Charles Square) was seen as part of a greater pilgrimage site in which St John of Nepomuk was revered. By studying sources and literature, the author gradually uncovers layers of meanings intertwined with this particular work. At the same time, the author reflects on the possible consequences of transferring (not only) religious monuments from their original locations, especially with regard to the city’s memory.
12
Haldenwang, Sigrid. "Zu den Heiligennamen „Bartholomäus“ und „Johannes“ im Siebenbürgisch-Sächsischen, die auf biblische Heilige und deren Geburtstage zurückgehen." Germanistische Beiträge 47, no. 1 (December 1, 2021): 193–208. http://dx.doi.org/10.2478/gb-2021-0011.
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Abstract The article initially covers the historical information regarding two biblical saints „Saint Bartholomew“ and „John the Baptist“ and their birthdays. In vernacular documents from 1900 to 1980 inclusively, the Transylvanian-Saxon names „Bartholomew“ and „John“ were related to the respective saint. The vernacular documents show that their birthdays were playing a role in seasonal determination for peasant work as well as being used in descriptive country sayings, in idioms and in traditional customs. The case examples are taken from the Transylvanian-Saxon Dictionary, the North Transylvanian Dictionary, as well as relevant specialist and vernacular literature.
13
Keshelava, Grigol. "Hidden Cardiovascular Anatomy in “Saint John the Baptist” by Leonardo da Vinci." AORTA 10, no. 02 (April 2022): 89–91. http://dx.doi.org/10.1055/s-0042-1742698.
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AbstractLeonardo da Vinci conducted many anatomical studies during his life. Today, almost the complete set of these anatomical drawings and comments is owned by the British Crown and resides in the Royal Library at Windsor Castle, United Kingdom.Through the program Paint X, we moved two details on the painting “Saint John the Baptist.” The moving details are circled along the faint contour by Leonardo da Vinci himself. We obtained heart and aortic arch imaging.
14
Keshelava, Grigol. "Hidden Cardiovascular Anatomy in “Saint John the Baptist” by Leonardo da Vinci." AORTA 10, no. 02 (April 2022): 89–91. http://dx.doi.org/10.1055/s-0042-1742698.
Повний текст джерелаАнотація:
AbstractLeonardo da Vinci conducted many anatomical studies during his life. Today, almost the complete set of these anatomical drawings and comments is owned by the British Crown and resides in the Royal Library at Windsor Castle, United Kingdom.Through the program Paint X, we moved two details on the painting “Saint John the Baptist.” The moving details are circled along the faint contour by Leonardo da Vinci himself. We obtained heart and aortic arch imaging.
15
Jules Iskandar, Amine. "The Monastery of Saint John the Baptist of Hrach: Two Syriac Epigraphs." Arts and Architecture Journal 1, no. 2 (December 1, 2020): 29–49. http://dx.doi.org/10.21608/aaj.2020.234700.
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16
Lisdiyanto, Stephanus. "Mangupa Lahiron Daganak sebagai Representasi Penghayatan Iman Kristiani Umat Suku Batak Toba." Jurnal Teologi Kontekstual Indonesia 4, no. 1 (June 30, 2023): 63. http://dx.doi.org/10.46445/jtki.v4i1.589.
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In this article, the author would like to express his appreciation for the faith of the Toba Batak Catholics in the parish of St. John the Baptist, Perawang Riau, Padang Diocese, related to the Mangupa Lahiron Daganak tradition carried out in the Toba Batak tribal community. The Mangupa Lahiron Daganak tradition is one of the ceremonies to welcome and give thanks for the birth of a child in the Toba Batak family. This tradition is no longer carried out completely by Toba Batak Catholics in the parish of Saint John the Baptist Perawang Riau. Several instruments are used in the ritual of the Mangupa Lahiron Daganak ceremony. The function of this instrument is to make the ceremony run smoothly, wisely, and meaningfully. The instruments used in the ceremony contain symbols that are meaningful in people's lives. The purpose of this paper is to find and interpret the symbols in the Mangupa Lahiron Daganak ceremony, not only from a social point of view but more on theological meanings that can strengthen the appreciation of the faith of Catholics, especially the Toba Batak people. The results showed that the Toba Batak Catholics in the St. John the Baptist Perawang Riau parish were able to find social meaning, which was then transformed into an appreciation of the Christian faith, even though the Toba Batak people in the St. John the Baptist Perawang Riau parish no longer held the full Mangupa Lahiron Daganak ceremony.
17
Herráez Ortega, María Victoria. "Orfebrería y liturgía en San Isidoro de León. Custodias y relicarios del siglo XVI." Estudios humanísticos. Geografía, historia y arte, no. 19 (February 9, 2021): 311. http://dx.doi.org/10.18002/ehgha.v0i19.6768.
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<span>The treasury of San Isidoro of León keeps three magnificent mostrances of the l6th century. Two of them, corresponding to the Early Renaissance, are used as reliquaires of Saint Martino and Saint John Baptist. The change in the function doesn't pose any structural problem; it was taking place as the monastery, which enjoyed a cultural and economic development during the l6th century, owned a more luxurious and adecuate piece for the exposition of the Sacrament. The iconographic program shows, anyway, the original function.</span>
18
Anderson, Michael Alan. "The One Who Comes After Me." Journal of the American Musicological Society 66, no. 3 (2013): 639–708. http://dx.doi.org/10.1525/jams.2013.66.3.639.
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Abstract Studies of the past two decades have shown that late medieval and Renaissance composers participated in a culture of symbolic representation by inscribing Christian figures and concepts into musical design. One figure who has been overlooked in this line of scholarship is John the Baptist, the precursor of Christ. This essay outlines the Baptist's historical impact on the conception of Christian temporality and proceeds to demonstrate some distinct experiments in fourteenth- and fifteenth-century music for John that express his predecessory character through emblematic manipulations of temporal parameters. By the sixteenth century, several inscriptions found in Vatican manuscripts reveal that the Baptist was associated with a particular musical craft that controls masterfully the unfolding of time: the art of canon. Drawing heavily on Scripture (especially John 1:15, 27, 30) to articulate the compositional conceits, the rubrics likened the leader (dux) and follower (comes) of a canon to the relationship between John (the forerunner saint) and Jesus. The analogy intensified around the papal chapel choirbook Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 38.
19
Jolly, Anna. "A Terracotta Bust of Saint John the Baptist Attributed to Agnolo di Polo." Bulletin of the Detroit Institute of Arts 73, no. 1-2 (March 1999): 72–80. http://dx.doi.org/10.1086/dia23182665.
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Baert, Barbara. "The Head of Saint John the Baptist on a Platter: the Gaze of Death." IKON 4 (January 2011): 163–74. http://dx.doi.org/10.1484/j.ikon.5.100693.
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Marzo, Alessia. "Nuove miniature del Maestro del Libro d’Ore di Modena e altri frammenti tardogotici lombardi a Torino." Zeitschrift für Kunstgeschichte 86, no. 3 (September 1, 2023): 318–39. http://dx.doi.org/10.1515/zkg-2023-3003.
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Abstract Seven unpublished illuminated fragments from the Museo Civico d’Arte Antica in Turin are examined and placed in the context of Lombard Late Gothic book illumination. An antiphonary with Proper and Commons of Saints decorated by the Master of the Modena Book of Hours is partially reconstructed. A miniature depicting the Imago Pietatis is traced back to one of that master’s masterpieces, the Parma Book of Hours. The well-known miniature with Saint John the Baptist is all that survives of a lost Book of Hours closely related to Michelino da Besozzo’s models, while an initial with Saint Augustine is traced back to a lost antiphonary made in Pavia, perhaps to be ascribed to the Master of Laura Bossi around 1485.
22
Peno, Zdravko. "Sophia - the truth about the pre-eternal logos or a beautiful fairytale about the “The world’s ideal personality”." Zbornik Matice srpske za drustvene nauke, no. 164 (2017): 697–710. http://dx.doi.org/10.2298/zmsdn1764697p.
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Sophia - the Wisdom of God - is an important theme in ?Russian religious renaissance?, which encompassed many Russian intellectuals by the end of 19th and the beginning of 20th century. Particularly important figure among them was Pavel Florensky, nicknamed ?Russian Leonardo Da Vinci?, who was a priest of great erudition and expert in patristic theology. However, Pavel Florensky?s and other Russian thinkers? efforts to develop the theme of Sophia in accordance to the Fathers of the Church does not mean that they were trying to find evidence for the existence of Sophia in patristic literature; they were actually trying to prove that this teaching had always existed in theological tradition. One might confidently claim that Florensky?s theology of Sophia was not an essential contribution to Christian faith and theology. Florensky?s distancing from patristic Christology and his emphasizing of the idea of sophianity in iconology produced an incorrect definition of Christian identity among the sympathizers of this teaching. In the very essence of sophianism there is the idea of sophianity that, when combined with the idea of absolute unity, transforms into pluripotent pansophianism. According to George Florovsky, this approach was an esthetic temptation for Russian theology. The idea of sophianity was also criticized by Saint John of Shanghai, Florensky?s contemporary, who claimed that, for sophianists, Theotokos and Saint John the Baptist, depicted in deesis of the Church of Sophia in Novgorod, were almost as necessary for the salvation of mankind as was the Son of God. Theotokos and John the Baptist are followed by the remainder of humanity, and all of them, ?according to the measure of their own sophianity?, occupy corresponding places in the ?ideal person of humanity?. For sophianists, accomplishing unity with God means accomplishing identity of sophianity, and not accomplishing theosis in real unity with Christ in the Eucharist.
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Nassif, Charbel. "Les gravures des livres imprimés au XVIIIe siècle au Monastère-Saint-Jean-Baptiste à Khenchara – Mont Liban." Collectanea Christiana Orientalia 21 (May 30, 2024): 73–96. http://dx.doi.org/10.21071/cco.v21i.17046.
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This article aims to present the books of the printing press founded by the AleppianʿAbdAllāhZāḫir (1684-1748) at the Saint John the Baptist Monastery in Khenchara (Mount Lebanon) in the 18th century, the motherhouse of the Choueirite Basilian Order. The Khenchara printing press stands out as one of the most important in the 18th century in the Middle East, playing a crucial role in the spread of Catholicism while making a significant contribution to the enrichment of the Melkite Greek Church through the printing of liturgical works. Its artistic heritage is remarkable, blending iconographic motifs from the Byzantine tradition with Western motifs, thus illustrating the cultural and religious diversity that characterizes the Melkite environment.
24
Zaspa, Iryna, and Oleksandr Bezruchko. "Photo Art Project ‘Female Multi-Component Associative Image ‘Fern Blossom’. Part 1." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 286–96. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248776.
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The author’s idea. What the phenomenon of ‘Fern blossom’ is, whereas according to scientific data, the fern does not bloom and does not form inflorescences. Fern flower in the East Slavic mythology has the character of a magical plant that gives a person magical power. With the help of the fern flower, the owner of it could understand the language of animals and trees, see hidden precious treasures under the ground, heal people from various diseases, predict the future and more. It is believed that the fern blossom can be found only on Ivan Kupala night. This holiday is traditional in Ukraine and is named after the Christian Saint John the Baptist, but originates in the distant past from the pagan faith.
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Sulikowska-Bełczowska, Aleksandra. "Old Believers and the World of Evil: Images of Evil Forces in Old Believer Art." Ikonotheka 27 (July 10, 2018): 71–91. http://dx.doi.org/10.5604/01.3001.0012.2318.
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The article considers the Old Believers’ beliefs about, and the manner of depicting, the Antichrist, the end of the world, Satan and the devils. It discusses how both Old Believer literature and philosophy relate to their art, which was created between the second half of the 17th century and 1917. The subject matter includes popular images from Old Believer iconography, such as images of John the Baptist, the Angel of the Desert, the Archangel Michael, the Archistrategos of the Heavenly Hosts, Saint Nicetas fighting a devil, or Saint George slaying a dragon, as well as several illustration sets from various editions of the Old Believer Annotated Apocalypse. Many of the Old Believer icons, drawings and craftworks from various groups and workshops display angels, but also Satan and the devils. The latter may be considered particularly controversial in the light of the doctrine of icon painting and of the Old Believers’ particular beliefs. The article attempts to answer the question as to what reasons stood behind the fear of such representations and why they were ultimately accepted by the faithful.
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Pearson, Andrea. "Visuality, Morality, and Same-Sex Desire: The Infants Christ and Saint John the Baptist in Early Netherlandish Art." Art History 38, no. 3 (February 3, 2015): 434–61. http://dx.doi.org/10.1111/1467-8365.12135.
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Stouck, Mary-Ann. "Of Talking Heads and Other Marvels: Hagiography and Lay Piety in Sir Gawain and the Green Knight." Florilegium 17, no. 1 (January 2000): 59–72. http://dx.doi.org/10.3138/flor.17.004.
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Among the unresolved issues in our understanding of Sir Gawain and the Green Knight is the function of the hagiographical references, comprised both of saints whom the poet mentions explicitly (Julian, Peter, Giles, John the Evangelist and/or Baptist), and of those whom he seems to have in mind but does not explicitly name. Since Ronald Tamplin's 1969 essay in Speculum substantially introduced the subject, scholars have traced numerous parallels between the stories of the saints and Gawain's adventures with a view to discovering whether the analogies function positively or ironically—that is, whether Gawain is more or less saint-like in his behaviour. Briefly, then, there is broad agreement as to the special importance of saints' references in the poem, but there remains disagreement as to their significance.
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Tadic, Milutin, and Aleksandar Petrovic. "Mathematical-geographical intention in orienting mediaeval churches of the Serbian monastery Gradac." Glasnik Srpskog geografskog drustva 91, no. 4 (2011): 141–58. http://dx.doi.org/10.2298/gsgd1104141t.
Повний текст джерелаАнотація:
The subject of the paper is an exact analysis of the orientation of the Serbian monastery churches: the Church of the Virgin Mary (13th century), St. Nicholas' Church (13th century), and an early Christian church (6th century). The paper determines the azimuth of parallel axes in churches, and then the aberrations of those axes from the equinoctial east are interpreted. Under assumption that the axes were directed towards the rising sun, it was surmised that the early Christian church's patron saint could be St. John the Baptist, that the Church of the Virgin Mary was founded on Annunciation day to which it is dedicated, and that St. Nicholas' Church is oriented in accordance with the rule (?toward the sunrise?) even though its axis deviates from the equinoctial east by 41? degrees.
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Stopka, Krzysztof. "Jeszcze o losach "Ewangeliarza ze Skewry"." Lehahayer 6 (December 31, 2019): 329–34. http://dx.doi.org/10.12797/lh.06.2019.06.08.
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Some More Insight into the Fate of the "Skevra Evangeliary"
The colophons of the Armenian manuscripts from Crimea that were recently published by Tatevik E. Sargsyan make it possible to put forward a thesis that the 12th-century evangeliary created in Skevra (Cilician Armenia), which is now held in the National Library in Warsaw, was kept in Crimea during the 15th century. At the time it belonged to Simeon, a monk from the hermitage of St. Gregory the Illuminator, next to Saint John the Baptist Church in Otuz, and was later sold in 1422 to its next owner known under the name of Khutlupek. There are no other records of this book prior to those found in Lwów (Lviv) in 1592. Its history before that year remains unknown.
30
Gillot, Claude. "Recto: Actors Making Ready, 1705/10 Verso: Studies of the Holy Family and Saint John the Baptist, 1705/10." Art Institute of Chicago Museum Studies 26, no. 1 (2000): 34. http://dx.doi.org/10.2307/4104419.
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Rose, Edwin J. "The Church of Saint John The Baptist, Reedham, Norfolk: The Re-Use of Roman Materials in A Secondary Context." Journal of the British Archaeological Association 147, no. 1 (January 1994): 1–8. http://dx.doi.org/10.1179/jba.1994.147.1.1.
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Сазонова, Наталия Ивановна, Елена Робертовна Фендель, Максим Викторович Артамонов, and Ярослава Юрьевна Шкляр. "SIBERIAN MONASTERY AND THE CITY SPACE: PROBLEMS OF INTERACTION (ON THE EXAMPLE OF THE TOMSK SAINT JOHN THE BAPTIST CONVENT)." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(31) (February 10, 2022): 127–52. http://dx.doi.org/10.23951/2312-7899-2022-1-127-152.
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Анализируются роль и место сибирского монастыря в пространстве города на примере Иоанно-Предтеченского женского монастыря, существовавшего с 1876 по 1922 год в городе Томске, выявляются проблемы взаимодействия традиции монастырского строительства с секуляризирующейся культурой сибирского общества XIX века. С древности монастырь являлся фактором освящения пространства как города, так и прилегающих к нему территорий. В таком случае монастыри становились как бы «спутниками» города, находясь на его окраинах – месте взаимодействия с неосвященной окружающей территорией. Кроме того, существовала практика сооружения монастырей вне города, если речь шла о миссионерстве среди нехристианских народов. Процесс присоединения Сибири к Русскому государству идёт в условиях постепенной секуляризации культуры, нарастания влияния светского элемента. Поэтому известные традиции монастырского строительства продолжают существовать, но постепенно изменяются. Дальнейшая секуляризация культуры, а также государственная политика ограничения монашества, которую проводит правительство с XVIII века, приводят к тому, что сакральная и градообразующая роль монастыря как духовного центра перестает восприниматься городским сообществом. К концу XIX века городские власти начинают воспринимать монастырь не как сакральный объект, а как конкурента города, претендента на городские земли. Анализ структуры и составляющих пространства Томского Иоанно-Предтеченского женского монастыря позволяет говорить о том, что ему в целом удалось сохранить символическую структуру пространства обители. Столкновение традиции и ценностей, которые представляет монастырь, с секулярной культурой приводит в начале XX века к разрушению монастыря, а затем к полной десакрализации его пространства. В условиях сложного отношения городского сообщества к монастырю как части пространства города, а также переформатирования бывшего пространства обители выходом являются историческая реконструкция и музеефикация территории бывшего монастыря. The article analyzes the role and place of the Siberian monastery in the space of the city on the example of the Saint John the Baptist Monastery, which existed from 1876 to 1922 in Tomsk, reveals the problems of the interaction of the tradition of monastic construction with the secularizing culture of the Siberian society of the 19th century. Since ancient times, monastery has been a factor of consecration of both the city and the adjacent territories space. In this case, monasteries became “satellites” of the city, being on its outskirts – a place of interaction with the unconsecrated surrounding territory. Monasteries were often built outside the city if missionary work among non-Christians was necessary. The accession of Siberia to the Russian state took place in the conditions of a gradual secularization of culture as a result of the growing influence of secular elements. Therefore, the well-known traditions of monastic construction continued to exist, but changed gradually. The further secularization of culture, as well as the state policy of restricting monasticism, which had been carried out by the government since the 18th century, led to the fact that the sacred and city-forming role of the monastery as a spiritual center ceased to be perceived by the urban community. By the end of the 19th century the city authorities began to perceive monastery not as a sacred object, but as a competitor to the city, a contender for urban lands. The analysis of the structure and components of the Tomsk Saint John the Baptist Convent estate suggests that the convent preserved the symbolic structure of a monastery land. The confrontation of monastery traditions and values with secular culture led to the destruction of the convent at the beginning of the 20th century and the total desacralization of its land. In the context of a complicated attitude of the urban community to the convent as a part of the city space, and considering the reformation of the monastery space, the proposed aim of the research is a historical reconstruction and establishment of a museum on the territory of the former convent.
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Van Den Brink, Peter B. R. "Davidgeeft Uria de brief voor Joab: Niet Govert Flinck, maar Jacob Backer." Oud Holland - Quarterly for Dutch Art History 111, no. 3 (1997): 177–86. http://dx.doi.org/10.1163/187501797x00203.
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AbstractThe large Daivid gives Uriah Joab's letter in the Gemäldegalerie Alte Meister in Dresden has long been regarded as a late work by Govert Flinck, and compared with his David and Bathsheba, dated 1651, in Dublin. The two paintings are undoubtedly comparable as far as the composition is concerned. Nevertheless, these two history pieces differ considerably in style and technique. The figures in the Dublin picture are clearly recognizable as Flinck's stock-in-trade types, whereas none of the figures in David and Uriah seem to display any relationship to his painted oeuvre. Kurt Bauch pointed out the close relationship between the Dresden composition and the work of Jacob Backer as early as 1926, but did not question the traditional attribution. However, David gives Uriah Joab's letter was indeed painted by Jacob Backer and not by Flinck, his younger companion in Lambert Jacobsz.' Leeuwarden workshop. The painting, an early one, might best be compared with Backer's Saint John the Baptist Admonishing Herod and Herodias, signed and dated 1633, in Leeuwarden. Other paintings from this period, such as David and Nathan, Tribute Money (Stockholm) and thc recently auctioned Christ und the Woman Taken in Adultery, also have much in common stylistically with David and Uriah. Two figures in the Dresden painting certainly merit a closer examination. The old clerk who has just written Uriah's death sentence is a familiar face in Backer's oeuvre. He can be seen in several other paintings, including the early Democritus and Hippocrates, now in the collection of Alfred Bader. This face was evidently one of Backer's favourite 'tronies', for he painted at least four versions of this old man's head, two of which are also in Dresden. Another familiar face is that of Uriah himself. We encounter it in two studies, one of a Shepherd in Leeuwarden, the other of a Drinker in Berlin. Like the 'tronies' of the old man, these two seem to have been painted in the early 1630s. One wonders why the obvious relationship between the Dresden painting and several of Backer's history pieces and 'tronied' went unnoticed for so long. The chief reason seems to be that our knowledge of Backer's early development as a history painter has always been obscure: the signed Duvid and Nathan and the signed and dated Saint John the Baptist were published only recently.
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Muralha, Vânia S. F., Sara Canaveira, José Mirão, Susana Coentro, Teresa Morna, and Carlo Stefano Salerno. "Baroque glass mosaics from the Capela de São João Baptista (Chapel of Saint John the Baptist, Lisbon): unveiling the glassmaking records." Journal of Raman Spectroscopy 46, no. 5 (March 16, 2015): 483–92. http://dx.doi.org/10.1002/jrs.4669.
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Хионина, А. Ю. "The Icon of Saint John the Baptist with Selected Saints in prayer to the Icon of Our Lady of the Sign in collection of Ekaterinburg Museum of Fine Arts." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 188–95. http://dx.doi.org/10.46748/arteuras.2024.01.014.
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Статья посвящена исследованию иконы избранных святых из собрания Екатеринбургского музея изобразительных искусств, выполненной в 1914 году, согласно датирующей вкладной надписи, и представляющей собой образец поздней старообрядческой иконописи. Рассматривается исторический контекст вкладной иконы: мобилизация ратников на Первую мировую войну, указ «Об укреплении начал веротерпимости», культурная традиция русского старообрядчества в целом и уральских старообрядцев в частности. Автор статьи подробно останавливается на выборе избранных святых и иконографии их образов в рамках старообрядческой иконописной традиции и круге памятников уральской иконописи. Подбор святых и выбор иконографии образов демонстрируют комплексное отношение к функциональному назначению икон со святыми молитвенниками. The article examines the Icon of Saint John the Baptist with Selected Saints from the collection of the Ekaterinburg Museum of Fine Arts. The icon was created in 1914, as indicated by the dating inscription, and represents a late example of Old Believer iconography. The inscribed icon's historical context is taken into consideration, including the mobilisation of soldiers for the First World War, the emperor’s act of religious freedom of 1905, and the cultural tradition of Russian Old Believers, particularly those in the Ural region. The article discusses the selection of saints and their iconography within the Old Believer icon-painting tradition and the range of Ural icon-painting monuments. Selection of saints and chosen types of iconography demonstrate a complex attitude to the functional purpose of icons with saint patrons.
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Rohmann, Gregor. "Tanz als Krankheit, Tanz als Therapie. Die Formierung eines religiös-medizinischen Konzepts (15. und 16. Jahrhundert)." Das Mittelalter 23, no. 2 (November 6, 2018): 281–307. http://dx.doi.org/10.1515/mial-2018-0016.
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Abstract‘Dancing mania’ has often been understood as an expression of purportedly ‘typical medieval’ mass hysteria. Yet evidence suggests that a better interpretation would be to see it as a disease, the idea of which was shaped by patterns tracing back to antique cosmology. During the later Middle Ages, this concept became reality as a form of suffering primarily determined by spiritual forces (e.g. the might of Saint John the Baptist) which typically struck only individuals or small groups in narrowly defined regions. This article closely examines a key shift in the semiotic setting of how this disease was interpreted: During the 15th and early 16th centuries, it became medicalised and desacralized. Evidence of this development can be found in isolated instances of ‘dancing mania’ in towns of the Rhine and Moselle area which at first glance would appear to be of little significance. As a medical concept, ‘dancing mania’ would survive the Reformation, and as a concept of primarily medical understanding it would later be re-integrated into the renewed Catholic culture of the late 16th and 17th centuries.
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Zalewska, Karolina. "The Retable of the Main Altar from the Parish Church of Saint John the Baptist in Łekno (German: Bast), Dating from 1588." Ikonotheka 27 (July 10, 2018): 187–209. http://dx.doi.org/10.5604/01.3001.0012.2333.
Повний текст джерелаАнотація:
The triptych from Łekno was painted in 1588 and commissioned by one of the five sons of Duke Philip I of Wolgast of the Griffin dynasty. The painter, who signed the work with the initials CS (and may perhaps be identified as Christoff Schreiber), used graphic patterns in the composition of biblical scenes and included crypto-portraits of Griffin rulers in the depictions of the Last Supper and Crucifixion. After Anna of Stettin married Ulrich III of Mecklenburg, another (also unknown) artist repainted the face of one of the apostles into a high-quality portrait of the duke of Mecklenburg.
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Tucci, G., V. Bonora, A. Conti, and L. Fiorini. "DIGITAL WORKFLOW FOR THE ACQUISITION AND ELABORATION OF 3D DATA IN A MONUMENTAL COMPLEX: THE FORTRESS OF SAINT JOHN THE BAPTIST IN FLORENCE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 21, 2017): 679–86. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-679-2017.
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In recent years, the GeCo Laboratory has undertaken numerous projects to digitalize vast and complex buildings; the specific nature of the different projects has resulted in a case-by-case approach, each time working on past experiences and updating not only the hardware and software tools but also the management and processing methods. This paper presents the workflow followed for the survey of the Fortress of Saint John the Baptist in Florence, an on-going interdisciplinary project. Presently Florence’s main trade fair congress centre, at the same time it hosts various buildings that bear witness to the fortress’s life-history, combining constructions from the Medici and Lorraine eras with recently built exhibition facilities. Now new research has been required due to the realization of new pavilions and the regeneration of the whole complex. This has included a critical survey, material testing, diagnostic investigations and stratigraphic analyses to define the building’s state of preservation. The working group comprises specialists from different institutions, amongst which the Italian Military Geographic Institute, the University of Florence, the National Research Council Institute for the Preservation and Enhancement of the Cultural Heritage, and the Florence City Council.
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Dimitrova, Elizabeta. "On the donors' composition and the new dating of the fresco painting of the Church of the Holy Virgin in Mateic." Zograf, no. 29 (2002): 181–90. http://dx.doi.org/10.2298/zog0329181d.
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The painted decoration of the Church of the Holy Virgin in Mateic, the second largest fresco ensemble from the 14th century in the Balkans' region comprises one of the most interesting donors' compositions of the Late-Byzantine period. The figures comprised by the donors' composition are united by the conception of the Deesis scene, composed by the image of Christ in the lunette of the southern wall, the representation of the Virgin Hodegetria above the entrance to the diaconicon and the figure of John the Baptist, depicted in the southern part of the eastern wall of the naos. The broader context of the donor's composition, in addition to the images of the donors - tzarina Jelena and young king Uros, who in the presence of tzar Dusan, present the model of their endowment to the patron saint, contains also the image of the patriarch Joanikije, depicted as the head of Serbian Orthodox Church. Within the donor's composition, one can see the images of Makarije, the abbot of the monastery and St. Stephan the great martyr dressed in deacon attire, represented with his traditional role as a defender of the rulers and donors from the Nemanjic dynasty...
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Jolivet-Lévy, Catherine, та Nicole Lemaigre Demesnil. "Yoḥannәs Mäțmәq (Saint-Jean Baptiste) de Gazen (Tәgray) : l’église et son baptistère. Nouvelles hypothèses". Annales d'Ethiopie 34, № 1 (2022): 213–44. http://dx.doi.org/10.3406/ethio.2022.1719.
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Dedicated to the rock-hewn church of John the Baptist (Yoḥannәs Mäțmәq) of Gazen, in Eastern Tәgray, which has received little attention so far, this paper aims to specify its chronology and to shed light on its function. It is a vast three-aisled basilica, covered with ceilings, the naves being separated by pillars supporting an architrave. The sanctuary, extended by a semicircular apse, is flanked by annexes, including, at the southern end, a baptistery, which adds to the very few examples so far recorded in Ethiopia. If the precise ceremony ritual procedures escape us, we can at least reconstruct the dynamics of circulation of baptismal candidates. The architecture of the church has many points in common with the basilicas of the Aksumite period, but also, more broadly, with the early Christian churches of the Eastern Mediterranean, which leads us to suggest a 6th century or early 7th century dating ; this hypothesis is not contradicted by the evidence recently brought by archaeology for this region. Furthermore, this chronology, if accepted, could invite reconsideration of that of other rock-cut churches (Dәgum Sәellase, Bäraqit Maryam, Ḥawzen Täklä Haymanot). Easily accessible, of imposing dimensions, with benches along the walls and endowed with a baptistery, the church of Yoḥannәs Mäțmәq was intended to accommodate a large number of faithful. Its use was not limited to a funeral function, hitherto privileged in scholarship ; the hypothesis of a pilgrimage center, where baptism could be carried out, can be considered. Finally, the church of Gazen, whose commissioners are unknown, but which testifies to a substantial investment, may have played a role in the Christianization process of the rural populations of Eastern Tәgray.
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Žeňuch, Vavrinec. "Obraz Užskej stolice na základe kanonickej vizitácie z roku 1734." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (February 24, 2022): 439–54. http://dx.doi.org/10.1556/060.2020.00034.
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Text kanonickej vizitácie sleduje farnosti Užhorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, dnes Сторожниця) a Ruská.V Užhorode bol chrám zasvätený svätému Jurajovi, ktorý sa nachádzal na soľnej ulici. Vo vnútri chrámu boli umiestnené tri väčšie a dva menšie oltáre. Väčšie oltáre boli zasvätené svätému Ladislavovi, sv. Štefanovi, sv. Jurajovi a sv. Panne Márii. Menšie oltáre boli zasvätené sv. Alžbete, sv. Kataríne a sv. Jánovi Nepomuckému so svätou Rozáliou a Kristom v uprostred.Farnosť Jovra mala farský chrám zasvätený Panne Márii Kráľovnej. Chrám bol murovaný a mal tri oltáre. Prvý bol zasvätený Panne Márii, menšie boli zasvätené sv. Barbore a sv. Šebastiánovi. V Jovre vyučoval učiteľ Michal Kertés, ktorý bol platený v naturáliách a jedným florénom.Farnosť Ratovce mala murovaný chrám v hroznom stave. Chrám sa rekonštruoval v roku 1734 a oltár bol bez obrazu či patrocínia. Správcom farnosti bol Ján Enickej jeho rekatolizačná činnosť bola zameraná na modlenie litánii s umiestnení obyvateľmi v ich jazyk.Farnosť Ruská sa nachádzala v nábožensky zmiešanom regióne. Chrám bol murovaný z tehál nachádzali sa v ňom dva oltáre. Tretí oltár sa začal vyrábať, mal byť zasvätený sv. Krížu. Farnosť spravoval Andrej Moštenský, ktorý sa modlí s miestnymi v ich jazyku modlitby ako Otče náš, ruženec, krédo alebo litánie.Vo farnosti Pavlovce nad Uhom stál murovaný chrám s jedným oltárom. Oltár nemal patrocínium, preto nemôž chrám v minuloti používali kalvíni. Správcom miestnej farnosti bol Mikuláš Berekovič.Farnosť Senné spravoval Ján Ziffian. Miestny chrám bol tehelný a nachádzali sa v ňom tri oltáre. Hlavný bol s titulom Nanebovzatia Panny Márie. Na menšom oltári boli na okrajoch vyobrazenia evanjelistov a v strede sa nachádzali obraz sv. Panny Márie, sv. Juraja a Baránka Božieho. Ako tretí oltár bol zasvätený sv. Jurajovi. Titul chrámu bol sviatok Navštívenia Panny Márie.Onokovská farnosť sa nachádzala severnej od Užhorodu. Chrám v Onokovciach bol drevený, zasvätený Nanebovzatiu Panny Márie. Patrocínium chrámu bolo totožné s titulom chrámu, ďalšie obrazy sa v kostole nenašli. Farnosť spravoval Sebastián Kašaj, ktorý mal 40 rokov. V jeho okolí boli hlavne obyvatelia gréckeho rítu.Najšpecifiskejšou farnosťou bola Vojnatina. Farnosť bola misijným územím, kde pôsobil Ján Patkovič. Medzi Užhrorodom a Michalovcami, bolo veľké množstvo rozbitých alebo zdevastovaných chrámov. Ako prvý bol obnovených chrám vo Vojnatine. Chrám bol tehelný, vo vnútri sa nachádzal len jeden oltár, ktorý bol zasvätený sv. Krížu a bol presunutý z Užhorodu.The canonical visitation focused on parishes Uzhgorod (Ужгород), Vojnatina, Onokovce (Оноківці), Senné, Pavlovce nad Uhom, Ratovce (Ратівці), Jovra (Ёр, today Сторожниця), and Ruská.In Uzhgorod, there was a temple dedicated to Saint George, which was situated on the salt street and inside were three bigger and two smaller altars. The bigger altars were dedicated to Saint Ladislaus and Saint Stephen, Saint George, and Saint Mary the Virgin, while the smaller altars were dedicated to Saint Elisabeth and Saint Catherine, Saint John of Nepomuk with Saint Rosalie, and Christ in the middle.The parish Jovra had a parish temple dedicated to Virgin Mary Queen. The local temple was from brick and had three altars. The first one was dedicated to Virgin Mary, the smaller ones were dedicated to Saint Barbara and Saint Sebastian. In Jovra, there was a teacher named Michal Kertés, who was paid in kind and with one florin.The parish Ratovce had a brick temple in a horrible condition. The temple was being under reconstruction in the year 1734 and there was an altar without a picture or a patron. The administer of the parish was John Enickei, his re-Catholic activity was focused on praying litany with the locals in their language.The parish Ruská was located on a confessionally mixed territory. The temple was made from brick and there were two altars. The third one was being produced, it should have been dedicated to Holy Cross. The parish was administered by Andrej Moštenský, who prayed prayers such as Our Father, Hail Mary, I believe in God, or Litany with the locals in their language.In the parish Pavlovce nad Uhom, there was a brick temple with one altar. The altar did not have a patrocinium since the temple had been used by the Calvinists. The administer of the local parish was Nicolas Berekovič.The parish Senné was administered by John Zaffian. The local temple was made from brick and inside there were three altars. The main was with the title of Assumption of Virgin Mary. The smaller altar had depictions of Evangelists in corners, and in the middle, there was a picture of Virgin Mary, Saint George, and Lamb of God. The third altar depicted John the Baptist. The title of the temple was Visitation of the Virgin Mary’s holiday.Onokov’s parish was located north of Uzhgorod. The temple in Onokovce was made from wood and dedicated to the Assumption of Virgin Mary. The title of the temple was depicted on an altar, other altars or pictures were not found in the church. The parish was administered by Sebastian Kašaj, who was 40 years old. In his surroundings, there were mainly presbyters orientated to Greek ceremony.The most specific parish was Vojnatina. The parish was a mission village where John Patkovič worked. Between Uzhgorod and Michalovce, there was a big amount of broken or devastated temples. As the first one, the temple in Vojnatina was renewed. The temple was from brick and inside there was one altar with the title of Holy Cross brought from Uzhgorod.
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Nabil Guirguis, Marianne, Khaled M. Dewidar, Shaimaa M. Kamel, and Maged F. Iscandar. "Semiotic analysis of contemporary Coptic Orthodox church architecture; A case study of Virgin Mary and Saint John the Baptist church in Bab El Louk, Cairo, Egypt." Ain Shams Engineering Journal 9, no. 4 (December 2018): 3093–101. http://dx.doi.org/10.1016/j.asej.2018.03.006.
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Stamnas, A., O. Georgoula, and P. Patias. "DEVELOPMENT OF A PROTOCOL FOR A GIS RELATED TO THE RESTORATION OF CULTURAL HERITAGE BUILDINGS AND SITES THROUGH DOCUMENTATION STAGE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 705–12. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-705-2021.
Повний текст джерелаАнотація:
Abstract. The Conservation and the Restoration of Cultural Heritage is a particularly specialized and interdisciplinary process. It requires scientific monitoring and planning and incorporation of skills and knowledge in the academic milieu. Relevant studies programs and courses are primarily designed to explore the possibility of cooperation between scientists (archaeologists, architects, surveyors, engineers etc.). Participating in such an educational institution (Interdepartmental Program of Postgraduate Studies “Protection, Conservation and Restoration of Cultural Monuments”, AUTh, Greece), the development of a protocol for a GIS related to the restoration of cultural heritage buildings and sites through documentation stage was born out of necessity.Α GIS application including the documentation (geometric, architectural, structural etc.) of the historical complex of Saint John, the Baptist (19th century, Kavala, Greece), while using modern 3D representational techniques (laser scanner, topography, photogrammetry, GPS), and the related thematic information (analysis, archive data) has been organized for that purpose and has been used as a case study.The main objectives of the project are to give guidelines regarding the collection, the processing and the management of heritage data, to articulate the cross-disciplinary collaboration/synergy and to provide an educational toolkit. The methodology is proposed to be applied to other objects of study such as archaeological sites, individual structures, monuments and sites of different dating and use (e.g., industrial, religious, fortification etc.).
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Voulgaropoulou, Margarita. "Artistic, Commercial, and Confessional Exchanges between Venetian Crete and Western Europe: The Multiple Lives of an Icon of the Virgin and Child from Harvard Art Museums." Arts 12, no. 4 (June 26, 2023): 130. http://dx.doi.org/10.3390/arts12040130.
Повний текст джерелаАнотація:
In the collections of the Harvard Art Museums there is an icon of the Virgin and Child with Saints John the Baptist and Roch. Although a typical product of Cretan icon painting of the turn of the sixteenth century, the icon stands out from similar contemporary artworks due to its unusual subject matter and materiality. The iconographic analysis of the icon places it at the intersection of the Latin and Byzantine traditions and suggests that it was intended as a votive offering against the plague, featuring one of the earliest depictions of the anti-plague saint, Roch of Montpellier in Eastern Orthodox art. Examination of the verso of the icon further underscores the Western European associations of the panel. The presence of an elaborate incised design on the back side of the icon suggests that the wooden panel originated from a reused piece of furniture, in all probability, a fifteenth-century Italian chest. With this case study as a point of reference, this article discusses the commercial, artistic, and cross-confessional exchanges that took place in the ethnically and culturally pluralistic societies of Venice and its Mediterranean colonies, including the trans-confessional spread of cults, the dissemination of artistic trends, as well as the mutual transfer of artworks and objects of prestige, such as icons and chests.
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Bilyk, Nadiia, та Alina Uhryn. "PRESERVATION OF JOHN GEORGЕ PINZEL’S CREATIVE HERITAGE IN THE MUSEUMS OF TERNOPIL". Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, № 2 (23 травня 2023): 163–69. http://dx.doi.org/10.25128/2411-3271.19.2.22.
Повний текст джерелаАнотація:
In the 60-80’s of the XX century by the aid of the search work of art expert V. Svientsitska, B. Voznytskyi, V. Stetsko the art works of John George Pinzel were saved (? –1761). Thus, the sculptures and carved icons of the talented artist appeared in the museum collections of Galicia. Today, part of the creative heritage is stored in the holdings of two museums in Ternopil: Ternopil Regional Museum of Local Lore (TRMLL) and Ternopil Regional Museum of Art (TRMA). Only since the proclamation of Ukraine’s independence J. G. Pinzel’s heritage has become an object of study. We thank the director of the Lviv Art Gallery B. Voznytskyi for returning the name of the sculptor and his creative achievements to the field of interest of Ukrainian scientists. Afterwards, the figure of I. G. Pinzel became central in the writings of the Ternopil researcher V. Stetsko. Topicality of the article is conditioned by the need of studying the state of conservation of the creative heritage of J. G. Pinzel in the museums of Ternopil. The purpose of the article is to carry out a comprehensive analysis of the sculptor’s works in the collections of TRMLL and TRAM, to highlight cultural projects on the representation of the artist’s work with the assistance of museums. Today, six sculptures and three reliefs created by J. G. Pinzel in the 18th century for Buchach churches are stored in the museums of Ternopil. The first works of the artist came to the collection of TRMLL in 1978. In 1993, four works by J. G. Pinzel (sculptures: Saint Vincent a Paulo and Saint Francis Borgia; bas-reliefs: Miracle of Saint Nicholas and Beheading of John the Baptist were exhibited in TRMLL in the section “Culture of the Region of the end of the XVII – first half of the XIX century”. In January 2012, the exhibition opened to mark the 250th anniversary of the sculptor’s death. The project curator V. Stetsko represented 300 exhibits. Six sculptures and two bas-reliefs of the artist were exhibited in a separate hall. For the first time, four allegorical figures have been demonstrated: Allegory of Faith, Wisdom, Courage and Allegory of St. Tobias. In 2014, all the artist’s works were placed in a separate “John George Pinzel Hall”, decorated in Baroque style. Significant contribution to the preservation and promotion of the creative work of J. G. Pinzel belonged to Vira Stetsko (1956–2016), art expert, local historian, scientific associate of TRMLL. Her work “Pinzel and Ternopil Region” (2007) was published in Ternopil. V. Stetsko hypothesized, that J. G. Pinzel carved his portrait on the sculpture “Allegory of Courage”. TRMA plays a significant role in preserving J. G. Pinzel’s creative heritage. Today the collection of the institution contains only one work of the sculptor – the bas-relief “Road to Emmaus”. The masterpiece is presented in the hall of “Art of Ukraine” in the section of sacred art of Galicia. The TRMA exposition previously stored Deacon Doors from the Protection of the Blessed Virgin Mary Church Town of Buchach. The reliefs were known as Guardian Angel and Annunciation. Thereafter, at the request of the residents of Buchach, the directorate of the art museum was forced to transfer the monument of sacred art to the church. The creative heritage of J. G. Pinzel, stored in the collections of museums of Ternopil, is of particular relevance, since the artist’s achievements represent a close connection of Western Ukrainian lands with European culture. The masterpieces of the sculptor from the Ternopil museums were selected for the exhibition of works by J. G. Pinzel in The Louvre in 2012. Today, every visitor of Ternopil museums can learn about the genius of the sculptor J. G. Pinzel, who was able to combine artistic traditions of the Baroque style with the canon of local professional carving in his own works.
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Martens, Didier. "Un disciple tardif de Rogier de la Pasture: Maître Johannes (alias Johannes Hoesacker?)." Oud Holland - Quarterly for Dutch Art History 114, no. 2-4 (2001): 79–106. http://dx.doi.org/10.1163/187501701x00406.
Повний текст джерелаАнотація:
AbstractThe triptych which has hung above the main altar of Our Lady of the Immaculate Conception at Maria-ter-Heide (Brasschaat, near Antwerp) since the nineteenth century unfolds a highly unusual iconographical programme. The representation on the central panel is a 'Holy Kinship' with Saint Anne; the left and right shutters show a 'Tree of Jesse', and the 'Kinship of Effra and Ismeria' respectively. This unusual combination of themes, and the coat of arms of the abbey at Tongerlo on the staff of the kneeling donor on the left shutter, enable us to identify the triptych from an old description, predating 1615, of the art treasures in the abbey at Tongerlo. As early as 1888 canon Van Spilbeek was able to demonstrate on the basis of two entries in the abbey's ledgers that the retable was made around 1513-1515. It was commissioned by the then abbot of Tongerlo, Antonius Tsgrooten. The painter's name appears on both bills of payment of 1513-1515. He was called Johannes, and he was married to Marie Hoesacker. His apparent lack of a surname might intimate that he was a foundling. Hitherto, the triptych in Maria-ter-Heide was the only known work by 'Johannes'. The author suggests that he also painted the monumental triptych with scenes from the lives of Christ and Mary which has been on loan to the museum at Àvila since 1971 from the Provincial Council. In 1968 Karel G. Boon attributed this work to an anonymous North-Netherlandish painter. According to Boon the same artist painted two wings with John the Baptist and Saint Agnes (Paris, private collection) and a 'Baptism of Christ' (Madrid, private collection). 'Johannes' could be the maker of these three works. What is more, the painter of the triptych in Maria-ter-Heide could be credited with two retable wings which have been in the Museo de Santa Cruz in Toledo since the 19608. Their subjects are 'Saint Andrew with Saint Francis' and 'Saint James with Saint Antony of Padua'; on the back of these panels is a 'Visitation'. Judging by the numerous figures he borrowed from Rogier van der Weyden, 'Johannes' seems to have been fascinated by the great Brussels master. His interest in Van der Weyden's art and the fact that he worked for the abbot of Tongerlo suggest that he was active in Brabant. The Dutch elements which Boon claimed to recognise on the Àvila triptych are quite inconspicuous, proving how dangerous it is to determine an artist's provenance solely on the basis of aesthetic impressions. The iconographic programme on the triptychs in Maria-ter-Heide and Avila and the retable wings in Toledo is highly unusual. This indicates that they were not made for the open market on the painter's own initiative, but were ordered specially. Perhaps 'Johannes' ability to convert such iconographic programmes into pictures was one of the reasons for his success a success which, in view of the presence of two of his works in Castile, assumes an international dimension.
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Honisch, Erika Supria. "Drowning Winter, Burning Bones, Singing Songs." Journal of Musicology 34, no. 4 (2017): 559–609. http://dx.doi.org/10.1525/jm.2017.34.4.559.
Повний текст джерелаАнотація:
In 1587 the Flemish composer Carolus Luython, employed by Holy Roman Emperor Rudolf II, published an unusual motet collection in Prague. Titled Popularis anni jubilus, the collection describes the sounds and rituals beloved by Central European peasants, recasting them as the ecstatic songs of rustic laborers (jubilus) famously celebrated by Saint Augustine in his Psalm commentaries. Highlighting the composer’s collaboration with the Czech cleric who wrote the motet texts, this study serves as a corrective to the interpretative frameworks that have broadly shaped discourses on Central European musical and religious practices in the early modern period. To make sense of the print’s raucous parade of drunken revelers, mythological figures, honking geese, and the Christ child, this analysis sets aside the hermetic lens typically used to account for the cultural products of the Rudolfine court and turns instead to contemporary theological tracts and writings by Augustine and Ovid that were foundational to the literary worlds of Renaissance humanists. Doing so brings into focus an ordered sequence of motets that offers some of the earliest and most vivid documentation in Central Europe of lay practices associated with the major feasts of the church year, from the bonfires on the Nativity of St. John the Baptist to the drowning of winter on Laetare Sunday. At the same time, this study shows the extent to which such “folk” traditions, parsed along national lines since the nineteenth century, had in fact long occupied common ground in the diverse territories of Habsburg Central Europe.
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Bartůňková, Lucie, Zdeňka Míchalová, Renata Tišlová, and Zdeněk Kovářík. "Interdisciplinary Research and Restoration of the Epitaph of the Family of Jan Hodějovský of Hodějov in the Parish Church of the Birth of Saint John the Baptist in Český Rudolec." Průzkumy památek 27, no. 2 (December 15, 2020): 67–82. http://dx.doi.org/10.56112/pp.2020.2.04.
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Kolářová, Šárka. "The Renaissance Crypt and the Painted Armorial Gallery in Honour and Eternal Memory of the Lords of Vrábí in the Church of Saint John the Baptist at Stražiště near Březnice." Průzkumy památek 27, no. 2 (December 15, 2020): 35–66. http://dx.doi.org/10.56112/pp.2020.2.03.
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Popovici, Traianus, and Marius Mosoarca. "Conservation, consolidation and restoration of the Holy Annunciation Church, Vatasesti village, region of Oltenia, Romania - Architectural and structural particularities." MATEC Web of Conferences 396 (2024): 20009. http://dx.doi.org/10.1051/matecconf/202439620009.
Повний текст джерелаАнотація:
The present article discusses the process of architectural and structural diagnosis of a late 18th century, brick masonry built, Christian church located in Vătășești village, Vâlcea county, Romania, presenting the particularities discovered. The church is dedicated to Saint John the Baptist and The Holy Annunciation and it is listed under the LMI code (List of historical monuments of Romania) VL-II-m-B-09968. Its registration in the list of historical monuments inscribed in the National Cultural Heritage of Romania was realized especially thanks to its original byzantine style mural paintings (frescoes) still left almost intact on the interior walls, the only serious damage made to it being found on the paintings once found on the outside walls. In order to properly conserve, consolidate and restore the vernacular monument, the process of diagnosis had to include research and investigations of various and complementary areas such as 3D scanning using laser scan technology, the archaeological report, the mural paintings restoration experts report, the chemical analysis of the painted surface, the biological analysis of different materials, humidity reports, stratigraphy research, the geological and topographical reports, the compression strength of bricks test and structural analysis using 3D modelling and the Etabs software. The materials and techniques used for the consolidation and restoration works had to be non-invasive, ecological and reversible, using steel nets and hydraulic lime for the consolidation of the brick masonry. The architectural interventions on the drainage system, facades, roof, interior floors, lighting system, and all the interventions that the article describes were subordinated by the need to preserve and highlight the Romanian orthodox frescoes that give great value to the monument. This article explains the importance of proper research and measurements ought to be done in order to have a well-coordinated process later, designing the consolidation and restoration project.