Široce koncipovaná metodika reflektuje přesné vymezení sledované problematiky a přehled dosavadní... more Široce koncipovaná metodika reflektuje přesné vymezení sledované problematiky a přehled dosavadního bádání s důrazem na středoevropské prostředí. Představuje možnou druhovou skladbu dochovaných souborů, uvedení do problematiky základního znalectví textilních technik a materiálů včetně těch tkalcovských a vyšívacích. Dále uvádí umělecko-řemeslný přehled a souvislosti, přehled degradativních vlivů a způsoby jejich prevence, evidenci a způsob vedení dokumentačního popisu. Důraz je kladen na praktičnost a přehlednost textu s přihlédnutím k využití metodologických postupů v přímé terénní praxi (církevní a památkové objekty, církevní praxe a výstavní/prezentační expozice aj.).
The publication presents the development of the cathedral and especially the preserved parameters... more The publication presents the development of the cathedral and especially the preserved parameters in the historical context. The catalog presents the development of liturgical parameters of the largest Moravian collection of liturgical vestments from the 17th century. to the first half of the 20th century, aspects of cultural exchange between the Czech lands and the Central and Western European region are also included (paraments were also ordered, for example, from Rome)
Monografie k projektu Transkulturní komunikace, Katedra kulturních a náboženských studií PdF UHK, Ostrava 2014. ISBN – 978-80-87853-09-2, 2014
V každé kultuře se v postavení garantů společenského řádu objevují zcela specifické dílčí skupiny... more V každé kultuře se v postavení garantů společenského řádu objevují zcela specifické dílčí skupiny obyvatel, jejichž úkol je v mnohém odlišný od většinové společnosti. To se nutně musí projevit v odlišném oděvu, který je nositelem snadno rozlišitelných vnějších symbolů odkazujících ke stupni hierarchické podřízenosti. Jen tak je možné dosáhnout skutečné životaschopnosti velkých organizovaných celků. Pro dnešního člověka je asi nejpochopitelnějším příkladem hodnostní systém zavedený v ozbrojených složkách, reprezentující výkonný rozměr státní autority. A nemůžeme vynechat různá církevní společenství. Během staletí se na půdě křesťanského světa v rámci nábožensko-rituálního prožívání života vyvinul zcela specifický systém a řád barev s morálními a symbolickými konotacemi, které člověk dnešní doby používá podvědomě. Ke správnému „čtení“ tohoto typu neverbální komunikace je nutné znát kulturně-antropologické pozadí židovsko-křesťanské tradice, jež měla zcela zásadní vliv na utváření euro-amerického moderního civilizačního modelu. Jednotlivé kapitoly se na pozadí historických souvislostí věnují příslušným barvám, jejich symbolice a rozdílnému užití v profánním světě a v bohoslužbě.
In each culture, there occur very specific subgroups of citizens in the position of guarantors of social order whose task is in many ways different from the majority society. Such a role is necessarily expressed also by different garments that primarily display easily distinguishable external symbols referring to the degree of hierarchical subordination. Only in such a way it is possible to achieve real viability of large organized communities. The ranking system established in armed forces, which represent an executive dimension of state authority, is probably the most understandable example to modern man. Various religious communities cannot be omitted here. Over the centuries, an entirely new system and order of colours with a variety of moral and symbolic connotations, which people today already use quite ubconsciously, has developed, in fact, on the ground of Christian world within the religious--ritual experience of life. Correct „reading“ this type of nonverbal communication necessarily requires knowledge of the cultural-anthropological background of the Judaeo-Christian tradition, which had a crucial influence on the formation of Euro-American modern civilization model. Individual chapters are devoted to the relevant colours, their symbolism and differences in the use in profane world and in worship on the background of historical context.
Gallery of the Curates of Holice. A Story of three Portraits from the Parish Collection.
Three po... more Gallery of the Curates of Holice. A Story of three Portraits from the Parish Collection. Three portraits of priests have been preserved in the collection of the parish authority in the town of Holice. They were originally part of a much larger series. Two of them date to the 18th century, while the third was made not long before the middle of the 19th century. Thanks to the restoration interventions in 2017 and 2018, it was possible to identify the priests. The spiritual and cultural aspect of places such as Holice was culturally very much shaped by local priests even though they kept – unlike aristocrats or patrons – a rather low profile. Galleries of eminent personalities of the church started to appear approximately at the beginning of the 17th century in the socially most significant institutions, i.e. large monasteries, chapters and deaneries of the biggest royal towns, and of course, in Prague and Olomouc where bishops resided. From the end of the 17th century, they could be found in smaller towns and villages too. This unknown “phenomenon” is still on the periphery of academic attention, even though it can lead to very interesting findings. In Holice, a small town in the Pardubice region, only a torso of the original gallery has been preserved – three portraits altogether. The oldest painting depicts Father Václav František Tichý (1686–1753) who was active in Holice as a priest for 37 years (1716–1753). Under him, a new parish church and parish house designed by K. I. Dientzenhofer were built. The priest promoted the cult of John of Nepomuk in the region. He was 36 when the portrait was painted. Its size was reduced in the middle of the 19th century but the recent renovation has restored its appearance and original dimension. In the second picture, we can probably see Tichý’s successor in the office, Father Daniel Johann Alexius de Lowczicz (1706–1794), priest in Holice between 1753 and 1793. With the population becoming ever more numerous, priests were mainly engaged in pastoral work, catechesis and sacraments, and it must be said that the times were far from idyllic. Holice and its surroundings were not spared the consequences of wars, such as that of the Austrian Succession (1740–1741) and especially of the so called Seven Years’ War (1756–1763). Prussian forces stayed in Holice and that proved rather expensive. In 1758, the town was even partially burnt down by the Prussians returning from Olomouc. The priest is depicted wearing home clothes and a small cap (called mitrella). He is holding a newspaper with clearly visible “Prager Post-Zeitung” written on it. It is undoubtedly quite a unique portrayal of one of the first periodically published newspapers which points out the important social status of the reader and also his personal ambitions to be a well-informed spiritus agens of the local life. The third and also smallest painting captures Father Karel Štěpánek (1781–1850) who was active in Holice in the years 1833–1850. He even greeted Emperor Ferdinand on his way to the coronation in Prague in 1836. He is depicted in the way Czech reformers and patriots from among the clergy had their portraits made – wearing an embroidered collar. He is holding A Magazine for National Schools, first educational (pedagogical) magazine in the Czech lands. A really curious thing was discovered during the restoration works in 2017 – the painter had written a critical message in very small letters onto the priest’s forehead and right arm. It starts with: “Behold, you greedy one who has tormented the artist…” and ends: “The greedy ones shall not enter the kingdom of God”. The priest had undoubtedly wanted to save money when commissioning his own portrait. Portraits of priests are only rarely of high artistic value, but they are always important documents of regional histories. In the second half of the 20th century they suffered much damage as many were destroyed or stolen and neglected by national heritage authorities.
in: e-Monumentica, VIII, 2020/1-2, s. 25-36 , 2020
In 1663, a book called Prodromus Moravographiae was published in the town of Litomyšl. It was wri... more In 1663, a book called Prodromus Moravographiae was published in the town of Litomyšl. It was written by dean Tomáš Pešina (1629–1980, he held the position in Litomyšl between 1657 and 1666) who later became a famous writer of historical texts and also a canon at the St. Vitus cathedral in Prague. His emphasis on patriotism influenced many churchmen of that period. That is undoubtedly the reason why his portrait became the “cornerstone” of the deanery’s gallery of Litomyšl. It was based on his portrait from another book written by him, Mars Moravicus. A simple collar points to strict Jesuit formation. A cross on his neck marks his high position in church. In the graphic piece, the cross hangs from a ribbon, while in the portrait from a chain. Pešina had been granted the title of the bishop of Samandria (today Smeredevo near Belgrade in Serbia). The position was vacant because the territory was under Turkish rule. The so called Hungarian bishops are a kind of historical curiosity as they were appointed by the emperor and only rarely confirmed by the pope. We do not know whether Pešina was eventually ordained a bishop by the church. The probably oldest preserved portrait of a priest in eastern Bohemia is from 1666 and depicts Jan Václav Rak († 1691), dean in the town of Vysoké Mýto. He is wearing clothes which look more like clothes of an aristocrat than a churchman: a fashionable coat, silk shirt, and hair and beard styled in the “army manner” (which was in contrast to the church standards of the time). The portrait of Bartoloměj Bulovský (1617?–1679), the parish priest in the town of Ústí nad Orlicí, dated 1675, is also very interesting from the point of view of iconography. Bulovský was originally a Jesuit, but later left the order and worked as a parish priest in eastern Bohemia. His attire suppresses typical Jesuit elements (collar), although he is wearing a small Virgin Mary medallion from Svatá Hora, a pilgrimage place administered by the Jesuit order. His “oriental cap for home use” (pileus sarmaticus) is quite interesting. This Bulovský is probably identical with a Jesuit composer of the same name. Two portraits of priests dating to the 17th century have been preserved in the royal town of Kutná Hora. The first in the set of portraits of the local archdeaconry is that of Jakub Ferdinand Lanškrounský († 1679). His hair and beard are also styled in the “army manner”. Senior clerics of the period did wear black clothes but they were made of luxury materials (velvet, damask). A spectacular, and again very interesting in terms of iconography, portrait then depicts Zachariáš Augustin Klecar of Růžokvět (1646–1693), Tomáš Pešina’s nephew. He is captured in a similar way as dean Rak of Vysoké Mýto. He is holding an interesting little picture in his hands – the archdean was a devotee of John of Nepomuk who did not become a saint until 1729. The portraits of priests do not excel in quality, but they capture people who significantly shaped the Czech milieu. They are also a surprisingly interesting testimony of the fashion of the period and point to the spiritual formation of the portrayed person (Jesuit mode versus that favoured by archbishoprics).
in: Zprávy památkové péče, LXXVIII, 2018/4, s. 307-316 (In Czech with English abstract, see p. 317-318)., 2016
The chapel was an integral part of each noble residence; it was designed for private prayer as we... more The chapel was an integral part of each noble residence; it was designed for private prayer as well as celebrating various church ceremonies or events of importance to members of the aristocratic family. It is not only their artistic decoration that merits research, however, but also the chapels themselves from a liturgical point of view and their ecclesiasticlegal status which significantly influenced the liturgical function and therefore their furnishings. Liturgical life in the chapels of noble residences in the Czech lands definitively fell quiet in 1950; this was a time equally unfavorable
in: A. Nachtmannová - O. Klapetková (edd.), Móda a oděv doby renesance, Praha 2018, s. 103-115. ISBN 978-80-86516-93-6, 2018
Between reform and reformism. Clothing of papal manor-house in time of crisis
After return of po... more Between reform and reformism. Clothing of papal manor-house in time of crisis
After return of popes from Avignon back to Rome and after overcomming conciliar crisis at council of Konstanz (1414-1418) and Basilej (1431-1449) had to renaissace popes reestablish their authority. It assisted them surprisingly visual power of ceremonies, which let easily know, which would otherwise theologists explain for a long time in words. It confirmed importance of papal symposiarch (magister caeremoniarum apostolicarum), who in terms of noble scenography and particular clothing „properties“ focused attention on person of pope. Ponderous medieval form of representative clothing of pope also cardinals started to abbreviate. Pope set up to use new headgear called camauro and reduced hood called mozetta and since 16.century also special train called falda. It all ought emphasize exceptionality of pope in Church, apparent maiestas papalis. Even purple wardrobe admited of transfromation – old type of purple cape decreased, cardinalate started to wear purple biretta and mantelletta (1464).
in: A. Nachtmannová - O. Klapetková (edd.), Společenská role módy po vzniku Československé republiky, Praha 2019, s. 77–94. ISBN – 978-80-7480-131-0 , 2019
Between the Old and the New. The Catholic Clergy Vestments and Discipline in Confrontation with t... more Between the Old and the New. The Catholic Clergy Vestments and Discipline in Confrontation with the Modern World Visual symbols hold a treasure trove of valuable information from every time period and cannot be underestimated. In the course of the tragic 20th century, many totalitarian regimes realised this fact, also because the impact of symbols is often clearer and more urgent than that of their bearers. For the same reason, the perception of the general sense of ceremoniousness that is characteristic of each human changed. The scope of the public presentation of the Nazis as well as communists was analogous to religious festivities albeit in their case mobilisation of directed power and seeming unity, i.e. creating a false picture to the remaining world was the point. Thus, the church nowadays had to renounce their opulent liturgical ceremonies in the style of the ‘victorious church’ in favour of a much more moderate ‘shepherd style’ in response to the reforms of the Second Vatican Council (1963–1965). As it is typical of our church, the ‘media’ career of the clerical collar and cassock was, for example, strongly blotted by the suspended father Josef Plojhar (†1981), a convinced communist and unscrupulous man, as well as the longest‑serving totalitarian minister and government member. His visible collar should have evoked the impression of a democratic country that acknowledged religious freedom. Nonetheless, there were many priests and faithful Christians who suffered for their moral principles in communist prisons. Clerical symbols have been recently discredited by various films that described priests schematically as caricatures and the priesthood as a value that has no place in modern society. Despite this fact, such symbols do not lose their information value even nowadays and are very well understood by society, though not in the fullness they refer to. It is important to remind all priests, both young and old, of the time‑tested rule: External appearance often reveals what is inside. Only by this could the priesthood and its external signs be better accepted by society.
in: A. Nachtmannová – O. Klapetková (edd.), Oděv a textil v životě člověka doby lucemburské, Praha 2017, s. 91–107. ISBN 978-80-86516-88-2
Between asceticism and displeasure. Clothing of lower preiesthood in peak Middle Ages (1250-1415)... more Between asceticism and displeasure. Clothing of lower preiesthood in peak Middle Ages (1250-1415)
With transfer of papal seat from Rome to Avignon in 1309 started new chapter of not only in term of political history, but also culture in itself. Papacy has neber been before in such close contact with advanced and sophisticated atmosphere of princely court as now in south France. Struggle for political dominancy finally lost papacy, but at the level of culture and courtly dignity didn´t want to abandon so easily. Even in 13.century determinated carier promotion only clerk´own aptitude, but now gained ground foremost blue blood and property restraint. Church became promptly source of assurance for thousands of aristocratic clerks, who didn´t want to abandon any of their privileges. Many of reformers pursued to highlight trivial life of clericals and their scandalously secular life. Clerks acquired entirely secular life including fashion knightclothing in bright colors, sewn from luxury material. They used jewels and weapons and indulge oneself in excellent form of hair and beard. Czech countries, thanks to impress of French culture in manor-house of emperor Charles IV., weren´t not even in this case an exception.
in: Communio. Mezinárodní katolická revue XIX, (sv. 76), 3/2015 (Kenoze: Moc bezmoci), s. 82 - 96
Kenosis of Ceremoniousness. Conciliar Papal Crosier – Ferula and the Second Vatican Council
In th... more Kenosis of Ceremoniousness. Conciliar Papal Crosier – Ferula and the Second Vatican Council In the concluding session of the Second Vatican Council on 8th of December 1965, Pope Paul VI. attracted attention by his entry in a simplified style of papal ceremony. He came mainly as a Roman bishop; he wore modern vestments, simple mitre and papal crosier (so called ferula) similar to the crosier of bishops. In this way, he wanted to indicate his collegiality with other bishops and his openness to modern art. e critics noticed that the ferula was made by Lello Scorzelli, and that he was inspired by the work of a Belgian expressionist Albert Servaes, whose way of portraying Christ was banned by the Holy See in 1921. However, expressionism reacting on the suffering of Christ showed a new way to modern religious art and the necessity of perpetual quest for truth, which is typical of both art and theology.
in: Salve. Revue pro duchovní život 4/2013, s. 85 - 102.
Above the Princes and the Kings? Changes of Visual Image of the Papacy after Vatican II
Both Pope... more Above the Princes and the Kings? Changes of Visual Image of the Papacy after Vatican II Both Popes John XXIII and his successor Paul VI sent the world clear and understandable signals of change in spiritual climate within the Church, when gradually abandoned some traditional, yet monarchical, aspects of Papal ceremony (e. g. kissing shoes, use of sedan chairs, coronation with tiara, etc.). 3 e Conciliar Popes and all their successors began consciously to emphasise the pastoral dimension of the papal service and collegiality with other bishops. 3 e study focuses on the visual changes in the symbolism of papal ceremonies, and on the changes of its perception from the pontificate of Pius XII to the Pope Francis.
in: A. Nachtmannová - O. Klapetková (edd.), Oděv v Čechách ve středověku a raném novověku, Praha 2015, s. 98-110. ISBN – 978-80-86516-83-7 , 2015
Reform of clothes and reform of morals. On the edge of discipline of catholic clergy in post-Trid... more Reform of clothes and reform of morals. On the edge of discipline of catholic clergy in post-Tridential era
Trident´s council (1545-1563) aspired in many sences to react to criticism of Church by German reformers. Special courtesy therefore focused on sacrament of priesthood and person of priest, because the most secular and scandalous life of superior and inferior clergy at the turn of 15. and 16.century was eligible mark of critique outside and inside of Church. According of reformative regulations was a priest going to be in society a visible mark, hence had to wear different clothes and cutaway hair (tonsure). In Czech countries alluded implementing of priesthood´s reform to many problems.
in: Hrubý, Vladimír – Němeček, Jiří (edd.), Chrám sv. Ducha v životě města a v proměnách času. Katedrála a její sousedé, Hradec Králové 2008, s. 142–151. ISBN - 978-80-86472-38-6, 2008
in: Petr Polehla (ed.), 350 let královéhradecké diecéze. Červený Kostelec: Pavel Mervart, 2015, s. 107-130., 2015
Portrait gallery of clerics as a historical and iconographic source for understanding priestly di... more Portrait gallery of clerics as a historical and iconographic source for understanding priestly discipline after the Council of Trent. Notes on priest portraits from diocesan collections
in: Jakubec, Ondřej – Elbel, Martin (edd.), Olomoucké baroko. Výtvarná kultura let 1620 – 1780, sv. 2, Olomouc 2010, s. 484–488. ISBN – 978-80-87149-38-6, 2010
in: Textil v muzeu / Dětský textil a textilní hračka. Sborník Technického muzea v Brně, Brno 2012, s. 17–22. , 2012
Nedílnou součástí života dětí byl i náboženský život a účast na bohoslužbách. Silný emocionální z... more Nedílnou součástí života dětí byl i náboženský život a účast na bohoslužbách. Silný emocionální zážitek z církevní praxe si řada z nich zapojila i do svého dětského světa. Zvláštní situace se odehrála ve Francii. Zde byla církev v době Francouzské revoluce zcela zakázána, později byla sice znovu povolena, ale postavena pod silný státní dohled. Postupně se začala uzavírat do sebe, zvláště pak po tzv. Pařížské komuně v roce 1871, ve stejné době začala být církev znovu omezována i v Německu v rámci tzv. Kulturkampfu. Církev, vytěsněná z politického života, se sice poněkud uzavřela do sebe, zaměřila se však na postupné zvyšování sebeuvědomnění svých členů a výchovu k liturgické kultuře. Spontánní dětská hra inspirovaná napodobováním autorit, našla i v bohoslužebném konání své místo. Velkou skupinu hraček pak přirozeně tvořily i hračky s náboženskými motivy, respektive zmenšené repliky reálných bohoslužebných předmětů zhotovovaných profesionálními firmami (precioza, tj. kovové předměty a paramenta, tj. bohoslužebné oděvy). Náboženský rozměr hry dokonce reflektovaly i renomovaní teologové (H. Rahner, R. Guardini). Zvyšující se liturgické uvědomění dětí později vyústilo v papežské dovolení snížit věk dětí k jejich plnému zapojení do života církve.
Široce koncipovaná metodika reflektuje přesné vymezení sledované problematiky a přehled dosavadní... more Široce koncipovaná metodika reflektuje přesné vymezení sledované problematiky a přehled dosavadního bádání s důrazem na středoevropské prostředí. Představuje možnou druhovou skladbu dochovaných souborů, uvedení do problematiky základního znalectví textilních technik a materiálů včetně těch tkalcovských a vyšívacích. Dále uvádí umělecko-řemeslný přehled a souvislosti, přehled degradativních vlivů a způsoby jejich prevence, evidenci a způsob vedení dokumentačního popisu. Důraz je kladen na praktičnost a přehlednost textu s přihlédnutím k využití metodologických postupů v přímé terénní praxi (církevní a památkové objekty, církevní praxe a výstavní/prezentační expozice aj.).
The publication presents the development of the cathedral and especially the preserved parameters... more The publication presents the development of the cathedral and especially the preserved parameters in the historical context. The catalog presents the development of liturgical parameters of the largest Moravian collection of liturgical vestments from the 17th century. to the first half of the 20th century, aspects of cultural exchange between the Czech lands and the Central and Western European region are also included (paraments were also ordered, for example, from Rome)
Monografie k projektu Transkulturní komunikace, Katedra kulturních a náboženských studií PdF UHK, Ostrava 2014. ISBN – 978-80-87853-09-2, 2014
V každé kultuře se v postavení garantů společenského řádu objevují zcela specifické dílčí skupiny... more V každé kultuře se v postavení garantů společenského řádu objevují zcela specifické dílčí skupiny obyvatel, jejichž úkol je v mnohém odlišný od většinové společnosti. To se nutně musí projevit v odlišném oděvu, který je nositelem snadno rozlišitelných vnějších symbolů odkazujících ke stupni hierarchické podřízenosti. Jen tak je možné dosáhnout skutečné životaschopnosti velkých organizovaných celků. Pro dnešního člověka je asi nejpochopitelnějším příkladem hodnostní systém zavedený v ozbrojených složkách, reprezentující výkonný rozměr státní autority. A nemůžeme vynechat různá církevní společenství. Během staletí se na půdě křesťanského světa v rámci nábožensko-rituálního prožívání života vyvinul zcela specifický systém a řád barev s morálními a symbolickými konotacemi, které člověk dnešní doby používá podvědomě. Ke správnému „čtení“ tohoto typu neverbální komunikace je nutné znát kulturně-antropologické pozadí židovsko-křesťanské tradice, jež měla zcela zásadní vliv na utváření euro-amerického moderního civilizačního modelu. Jednotlivé kapitoly se na pozadí historických souvislostí věnují příslušným barvám, jejich symbolice a rozdílnému užití v profánním světě a v bohoslužbě.
In each culture, there occur very specific subgroups of citizens in the position of guarantors of social order whose task is in many ways different from the majority society. Such a role is necessarily expressed also by different garments that primarily display easily distinguishable external symbols referring to the degree of hierarchical subordination. Only in such a way it is possible to achieve real viability of large organized communities. The ranking system established in armed forces, which represent an executive dimension of state authority, is probably the most understandable example to modern man. Various religious communities cannot be omitted here. Over the centuries, an entirely new system and order of colours with a variety of moral and symbolic connotations, which people today already use quite ubconsciously, has developed, in fact, on the ground of Christian world within the religious--ritual experience of life. Correct „reading“ this type of nonverbal communication necessarily requires knowledge of the cultural-anthropological background of the Judaeo-Christian tradition, which had a crucial influence on the formation of Euro-American modern civilization model. Individual chapters are devoted to the relevant colours, their symbolism and differences in the use in profane world and in worship on the background of historical context.
Gallery of the Curates of Holice. A Story of three Portraits from the Parish Collection.
Three po... more Gallery of the Curates of Holice. A Story of three Portraits from the Parish Collection. Three portraits of priests have been preserved in the collection of the parish authority in the town of Holice. They were originally part of a much larger series. Two of them date to the 18th century, while the third was made not long before the middle of the 19th century. Thanks to the restoration interventions in 2017 and 2018, it was possible to identify the priests. The spiritual and cultural aspect of places such as Holice was culturally very much shaped by local priests even though they kept – unlike aristocrats or patrons – a rather low profile. Galleries of eminent personalities of the church started to appear approximately at the beginning of the 17th century in the socially most significant institutions, i.e. large monasteries, chapters and deaneries of the biggest royal towns, and of course, in Prague and Olomouc where bishops resided. From the end of the 17th century, they could be found in smaller towns and villages too. This unknown “phenomenon” is still on the periphery of academic attention, even though it can lead to very interesting findings. In Holice, a small town in the Pardubice region, only a torso of the original gallery has been preserved – three portraits altogether. The oldest painting depicts Father Václav František Tichý (1686–1753) who was active in Holice as a priest for 37 years (1716–1753). Under him, a new parish church and parish house designed by K. I. Dientzenhofer were built. The priest promoted the cult of John of Nepomuk in the region. He was 36 when the portrait was painted. Its size was reduced in the middle of the 19th century but the recent renovation has restored its appearance and original dimension. In the second picture, we can probably see Tichý’s successor in the office, Father Daniel Johann Alexius de Lowczicz (1706–1794), priest in Holice between 1753 and 1793. With the population becoming ever more numerous, priests were mainly engaged in pastoral work, catechesis and sacraments, and it must be said that the times were far from idyllic. Holice and its surroundings were not spared the consequences of wars, such as that of the Austrian Succession (1740–1741) and especially of the so called Seven Years’ War (1756–1763). Prussian forces stayed in Holice and that proved rather expensive. In 1758, the town was even partially burnt down by the Prussians returning from Olomouc. The priest is depicted wearing home clothes and a small cap (called mitrella). He is holding a newspaper with clearly visible “Prager Post-Zeitung” written on it. It is undoubtedly quite a unique portrayal of one of the first periodically published newspapers which points out the important social status of the reader and also his personal ambitions to be a well-informed spiritus agens of the local life. The third and also smallest painting captures Father Karel Štěpánek (1781–1850) who was active in Holice in the years 1833–1850. He even greeted Emperor Ferdinand on his way to the coronation in Prague in 1836. He is depicted in the way Czech reformers and patriots from among the clergy had their portraits made – wearing an embroidered collar. He is holding A Magazine for National Schools, first educational (pedagogical) magazine in the Czech lands. A really curious thing was discovered during the restoration works in 2017 – the painter had written a critical message in very small letters onto the priest’s forehead and right arm. It starts with: “Behold, you greedy one who has tormented the artist…” and ends: “The greedy ones shall not enter the kingdom of God”. The priest had undoubtedly wanted to save money when commissioning his own portrait. Portraits of priests are only rarely of high artistic value, but they are always important documents of regional histories. In the second half of the 20th century they suffered much damage as many were destroyed or stolen and neglected by national heritage authorities.
in: e-Monumentica, VIII, 2020/1-2, s. 25-36 , 2020
In 1663, a book called Prodromus Moravographiae was published in the town of Litomyšl. It was wri... more In 1663, a book called Prodromus Moravographiae was published in the town of Litomyšl. It was written by dean Tomáš Pešina (1629–1980, he held the position in Litomyšl between 1657 and 1666) who later became a famous writer of historical texts and also a canon at the St. Vitus cathedral in Prague. His emphasis on patriotism influenced many churchmen of that period. That is undoubtedly the reason why his portrait became the “cornerstone” of the deanery’s gallery of Litomyšl. It was based on his portrait from another book written by him, Mars Moravicus. A simple collar points to strict Jesuit formation. A cross on his neck marks his high position in church. In the graphic piece, the cross hangs from a ribbon, while in the portrait from a chain. Pešina had been granted the title of the bishop of Samandria (today Smeredevo near Belgrade in Serbia). The position was vacant because the territory was under Turkish rule. The so called Hungarian bishops are a kind of historical curiosity as they were appointed by the emperor and only rarely confirmed by the pope. We do not know whether Pešina was eventually ordained a bishop by the church. The probably oldest preserved portrait of a priest in eastern Bohemia is from 1666 and depicts Jan Václav Rak († 1691), dean in the town of Vysoké Mýto. He is wearing clothes which look more like clothes of an aristocrat than a churchman: a fashionable coat, silk shirt, and hair and beard styled in the “army manner” (which was in contrast to the church standards of the time). The portrait of Bartoloměj Bulovský (1617?–1679), the parish priest in the town of Ústí nad Orlicí, dated 1675, is also very interesting from the point of view of iconography. Bulovský was originally a Jesuit, but later left the order and worked as a parish priest in eastern Bohemia. His attire suppresses typical Jesuit elements (collar), although he is wearing a small Virgin Mary medallion from Svatá Hora, a pilgrimage place administered by the Jesuit order. His “oriental cap for home use” (pileus sarmaticus) is quite interesting. This Bulovský is probably identical with a Jesuit composer of the same name. Two portraits of priests dating to the 17th century have been preserved in the royal town of Kutná Hora. The first in the set of portraits of the local archdeaconry is that of Jakub Ferdinand Lanškrounský († 1679). His hair and beard are also styled in the “army manner”. Senior clerics of the period did wear black clothes but they were made of luxury materials (velvet, damask). A spectacular, and again very interesting in terms of iconography, portrait then depicts Zachariáš Augustin Klecar of Růžokvět (1646–1693), Tomáš Pešina’s nephew. He is captured in a similar way as dean Rak of Vysoké Mýto. He is holding an interesting little picture in his hands – the archdean was a devotee of John of Nepomuk who did not become a saint until 1729. The portraits of priests do not excel in quality, but they capture people who significantly shaped the Czech milieu. They are also a surprisingly interesting testimony of the fashion of the period and point to the spiritual formation of the portrayed person (Jesuit mode versus that favoured by archbishoprics).
in: Zprávy památkové péče, LXXVIII, 2018/4, s. 307-316 (In Czech with English abstract, see p. 317-318)., 2016
The chapel was an integral part of each noble residence; it was designed for private prayer as we... more The chapel was an integral part of each noble residence; it was designed for private prayer as well as celebrating various church ceremonies or events of importance to members of the aristocratic family. It is not only their artistic decoration that merits research, however, but also the chapels themselves from a liturgical point of view and their ecclesiasticlegal status which significantly influenced the liturgical function and therefore their furnishings. Liturgical life in the chapels of noble residences in the Czech lands definitively fell quiet in 1950; this was a time equally unfavorable
in: A. Nachtmannová - O. Klapetková (edd.), Móda a oděv doby renesance, Praha 2018, s. 103-115. ISBN 978-80-86516-93-6, 2018
Between reform and reformism. Clothing of papal manor-house in time of crisis
After return of po... more Between reform and reformism. Clothing of papal manor-house in time of crisis
After return of popes from Avignon back to Rome and after overcomming conciliar crisis at council of Konstanz (1414-1418) and Basilej (1431-1449) had to renaissace popes reestablish their authority. It assisted them surprisingly visual power of ceremonies, which let easily know, which would otherwise theologists explain for a long time in words. It confirmed importance of papal symposiarch (magister caeremoniarum apostolicarum), who in terms of noble scenography and particular clothing „properties“ focused attention on person of pope. Ponderous medieval form of representative clothing of pope also cardinals started to abbreviate. Pope set up to use new headgear called camauro and reduced hood called mozetta and since 16.century also special train called falda. It all ought emphasize exceptionality of pope in Church, apparent maiestas papalis. Even purple wardrobe admited of transfromation – old type of purple cape decreased, cardinalate started to wear purple biretta and mantelletta (1464).
in: A. Nachtmannová - O. Klapetková (edd.), Společenská role módy po vzniku Československé republiky, Praha 2019, s. 77–94. ISBN – 978-80-7480-131-0 , 2019
Between the Old and the New. The Catholic Clergy Vestments and Discipline in Confrontation with t... more Between the Old and the New. The Catholic Clergy Vestments and Discipline in Confrontation with the Modern World Visual symbols hold a treasure trove of valuable information from every time period and cannot be underestimated. In the course of the tragic 20th century, many totalitarian regimes realised this fact, also because the impact of symbols is often clearer and more urgent than that of their bearers. For the same reason, the perception of the general sense of ceremoniousness that is characteristic of each human changed. The scope of the public presentation of the Nazis as well as communists was analogous to religious festivities albeit in their case mobilisation of directed power and seeming unity, i.e. creating a false picture to the remaining world was the point. Thus, the church nowadays had to renounce their opulent liturgical ceremonies in the style of the ‘victorious church’ in favour of a much more moderate ‘shepherd style’ in response to the reforms of the Second Vatican Council (1963–1965). As it is typical of our church, the ‘media’ career of the clerical collar and cassock was, for example, strongly blotted by the suspended father Josef Plojhar (†1981), a convinced communist and unscrupulous man, as well as the longest‑serving totalitarian minister and government member. His visible collar should have evoked the impression of a democratic country that acknowledged religious freedom. Nonetheless, there were many priests and faithful Christians who suffered for their moral principles in communist prisons. Clerical symbols have been recently discredited by various films that described priests schematically as caricatures and the priesthood as a value that has no place in modern society. Despite this fact, such symbols do not lose their information value even nowadays and are very well understood by society, though not in the fullness they refer to. It is important to remind all priests, both young and old, of the time‑tested rule: External appearance often reveals what is inside. Only by this could the priesthood and its external signs be better accepted by society.
in: A. Nachtmannová – O. Klapetková (edd.), Oděv a textil v životě člověka doby lucemburské, Praha 2017, s. 91–107. ISBN 978-80-86516-88-2
Between asceticism and displeasure. Clothing of lower preiesthood in peak Middle Ages (1250-1415)... more Between asceticism and displeasure. Clothing of lower preiesthood in peak Middle Ages (1250-1415)
With transfer of papal seat from Rome to Avignon in 1309 started new chapter of not only in term of political history, but also culture in itself. Papacy has neber been before in such close contact with advanced and sophisticated atmosphere of princely court as now in south France. Struggle for political dominancy finally lost papacy, but at the level of culture and courtly dignity didn´t want to abandon so easily. Even in 13.century determinated carier promotion only clerk´own aptitude, but now gained ground foremost blue blood and property restraint. Church became promptly source of assurance for thousands of aristocratic clerks, who didn´t want to abandon any of their privileges. Many of reformers pursued to highlight trivial life of clericals and their scandalously secular life. Clerks acquired entirely secular life including fashion knightclothing in bright colors, sewn from luxury material. They used jewels and weapons and indulge oneself in excellent form of hair and beard. Czech countries, thanks to impress of French culture in manor-house of emperor Charles IV., weren´t not even in this case an exception.
in: Communio. Mezinárodní katolická revue XIX, (sv. 76), 3/2015 (Kenoze: Moc bezmoci), s. 82 - 96
Kenosis of Ceremoniousness. Conciliar Papal Crosier – Ferula and the Second Vatican Council
In th... more Kenosis of Ceremoniousness. Conciliar Papal Crosier – Ferula and the Second Vatican Council In the concluding session of the Second Vatican Council on 8th of December 1965, Pope Paul VI. attracted attention by his entry in a simplified style of papal ceremony. He came mainly as a Roman bishop; he wore modern vestments, simple mitre and papal crosier (so called ferula) similar to the crosier of bishops. In this way, he wanted to indicate his collegiality with other bishops and his openness to modern art. e critics noticed that the ferula was made by Lello Scorzelli, and that he was inspired by the work of a Belgian expressionist Albert Servaes, whose way of portraying Christ was banned by the Holy See in 1921. However, expressionism reacting on the suffering of Christ showed a new way to modern religious art and the necessity of perpetual quest for truth, which is typical of both art and theology.
in: Salve. Revue pro duchovní život 4/2013, s. 85 - 102.
Above the Princes and the Kings? Changes of Visual Image of the Papacy after Vatican II
Both Pope... more Above the Princes and the Kings? Changes of Visual Image of the Papacy after Vatican II Both Popes John XXIII and his successor Paul VI sent the world clear and understandable signals of change in spiritual climate within the Church, when gradually abandoned some traditional, yet monarchical, aspects of Papal ceremony (e. g. kissing shoes, use of sedan chairs, coronation with tiara, etc.). 3 e Conciliar Popes and all their successors began consciously to emphasise the pastoral dimension of the papal service and collegiality with other bishops. 3 e study focuses on the visual changes in the symbolism of papal ceremonies, and on the changes of its perception from the pontificate of Pius XII to the Pope Francis.
in: A. Nachtmannová - O. Klapetková (edd.), Oděv v Čechách ve středověku a raném novověku, Praha 2015, s. 98-110. ISBN – 978-80-86516-83-7 , 2015
Reform of clothes and reform of morals. On the edge of discipline of catholic clergy in post-Trid... more Reform of clothes and reform of morals. On the edge of discipline of catholic clergy in post-Tridential era
Trident´s council (1545-1563) aspired in many sences to react to criticism of Church by German reformers. Special courtesy therefore focused on sacrament of priesthood and person of priest, because the most secular and scandalous life of superior and inferior clergy at the turn of 15. and 16.century was eligible mark of critique outside and inside of Church. According of reformative regulations was a priest going to be in society a visible mark, hence had to wear different clothes and cutaway hair (tonsure). In Czech countries alluded implementing of priesthood´s reform to many problems.
in: Hrubý, Vladimír – Němeček, Jiří (edd.), Chrám sv. Ducha v životě města a v proměnách času. Katedrála a její sousedé, Hradec Králové 2008, s. 142–151. ISBN - 978-80-86472-38-6, 2008
in: Petr Polehla (ed.), 350 let královéhradecké diecéze. Červený Kostelec: Pavel Mervart, 2015, s. 107-130., 2015
Portrait gallery of clerics as a historical and iconographic source for understanding priestly di... more Portrait gallery of clerics as a historical and iconographic source for understanding priestly discipline after the Council of Trent. Notes on priest portraits from diocesan collections
in: Jakubec, Ondřej – Elbel, Martin (edd.), Olomoucké baroko. Výtvarná kultura let 1620 – 1780, sv. 2, Olomouc 2010, s. 484–488. ISBN – 978-80-87149-38-6, 2010
in: Textil v muzeu / Dětský textil a textilní hračka. Sborník Technického muzea v Brně, Brno 2012, s. 17–22. , 2012
Nedílnou součástí života dětí byl i náboženský život a účast na bohoslužbách. Silný emocionální z... more Nedílnou součástí života dětí byl i náboženský život a účast na bohoslužbách. Silný emocionální zážitek z církevní praxe si řada z nich zapojila i do svého dětského světa. Zvláštní situace se odehrála ve Francii. Zde byla církev v době Francouzské revoluce zcela zakázána, později byla sice znovu povolena, ale postavena pod silný státní dohled. Postupně se začala uzavírat do sebe, zvláště pak po tzv. Pařížské komuně v roce 1871, ve stejné době začala být církev znovu omezována i v Německu v rámci tzv. Kulturkampfu. Církev, vytěsněná z politického života, se sice poněkud uzavřela do sebe, zaměřila se však na postupné zvyšování sebeuvědomnění svých členů a výchovu k liturgické kultuře. Spontánní dětská hra inspirovaná napodobováním autorit, našla i v bohoslužebném konání své místo. Velkou skupinu hraček pak přirozeně tvořily i hračky s náboženskými motivy, respektive zmenšené repliky reálných bohoslužebných předmětů zhotovovaných profesionálními firmami (precioza, tj. kovové předměty a paramenta, tj. bohoslužebné oděvy). Náboženský rozměr hry dokonce reflektovaly i renomovaní teologové (H. Rahner, R. Guardini). Zvyšující se liturgické uvědomění dětí později vyústilo v papežské dovolení snížit věk dětí k jejich plnému zapojení do života církve.
in: Dáňová, Helena – Mezihoráková, Klára – Prix, Dalibor (edd.), Artem ad vitam. Kniha k poctě Ivo Hlobila, Praha 2012, s. 553–561., 2012
Pro společnost a církev je 16.století dobou velkých změn. Reformní snahy duchovenstva znovu ukáza... more Pro společnost a církev je 16.století dobou velkých změn. Reformní snahy duchovenstva znovu ukázaly na Písmo svaté a podrobily kritice soudobé obřadnictví. Reformační teologové odmítli nakonec i většinu svátostí a s nimi i smyslové prožívání bohoslužeb. Tím pro ně ztratilo umění v kostelech své místo. Koncil svolaný do Tridentu (1545) proto musel nejprve znovu definovat učení o eucharistii, které popírali Zwingli i Kalvín. Koncil byl přerušen a znovu svolán až v roce 1562 zásluhou mladičkého kardinála Karla Boromejského (1538-1584), který zde ovlivnil podobu důležitého koncilního dekretu O oběti mše svaté a dalších dokumentů o úctě ke světcům, jejich relikviíím a o úloze posvátných obrazů v bohoslužbě. Po ukončení se Karel Boromejský vrátil do své diecéze v Miláně, kterou zreformoval podle zásad Tridentského koncilu. Svolával shromáždění duchovních (synody a provinciální koncily), které vytvářely normy nejen pro život duchovních, ale i pro důstojné slavení bohoslužeb, což později převzaly i ostatní diecéze a země. Z hlediska památkové péče je významná Instrukce pro vizitátory (1565), díky které získal dokonalý přehled nejen o diecézi, ale také o stavu kostelů a jejich vybavení. Na podkladě výsledků vizitací vznikaly na sněmech další předpisy. Především Instrukce o uměleckém zařízení a vybavení kostela (1577), která zásadně ovlivnila podobu potridentských kostelů, jejich půdorysů a rozvržení zcela podřízených nově sjednocené liturgii. Pozornost věnovala všemu, co jakkoliv souviselo se slavením bohoslužby, tedy oltáři, posvátným nádobám a rouchům a jejich důstojnému uložení. Praktickým doplňkem bylo vydání Pravidel a předpisů o čistotě a úpravnosti kostelů, oltářů, posvátných míst a chrámového vybavení (1579) o udržování čistoty v kostelech a o způsobu čištění posvátných předmětů. Tyto předpisy se pak staly součástí většiny vydávaných bohoslužebných knih.
Charles Borromeo and the idea of a "Great Clean-Up" in the Temple. A Contribution to the beginning of Monument Care in the Catholic Church. For the church and society the 16th century represented a period of great change. Attempts were made to reform the clergy with arguments from the Holy Bible and contemporary ceremonialism was criticized. Pro-reformist theologians ultimately rejected most of the sacraments and with them the sensory experience of worship. As a result art in the churches lost its function. That is why the council convened in Trent (1545) had to first of all redefine the doctrine of the Eucharist, denied by Zwingli as well as Calvin. The council was interrupted and reconvened in 1562 thanks to the young cardinal Charles Borromeo (1538–1584) who influenced the content of an important conciliar decree On the Holy Mass and other documents on devotion to saints, their relics and the role of sacred images in worship. After that Charles Borromeo returned to his diocese of Milan and reformed it in accordance with Tridentine principles. He organized gatherings of clerics (synods and provincial councils) creating standards not only for the spiritual life, but also for the dignified celebration of worship. This was gradually accepted in other dioceses and countries. From the point of view of monument care, Instruction for visitors (1565) was a very relevant publication from which Borromeo acquired a perfect knowledge not only of the diocese but also of the condition of ecclesiastical buildings and their quipment. Furthermore, his visits served as a basis for further instructions agreed on the synods. It was Instructiones Fabricae et Supellectilis Ecclesiasticae (1577) that significantly influenced the design of post-Tridentine churches, their ground plans and layouts which were completely subordinated to the newly unified liturgy. Attention was given to anything that was in any way connected with the celebration ofMass, thus to the altar, to the sacred vessels and vestments and their dignified preservation was emphasized. A practical supplement to the Instructiones was a work called Regulations and rules on cleanliness and design of ecclesiastical buildings, altars, places of veneration and temple equipment (1579) on the preservation of cleanliness in churches and onmethods of cleaning of sacred objects. These instructions then became part of the most published books of worship.
in: Textil v muzeu. Brno: Technické muzeum v Brně, 2015, s. 42-48., 2015
Mezi bohoslužebnými rouchy uchovávanými v olomoucké katedrále sv. Václava jsou uloženy více než t... more Mezi bohoslužebnými rouchy uchovávanými v olomoucké katedrále sv. Václava jsou uloženy více než tři desítky úplných mešních souprav, které můžeme spojit s osobou kapitulního děkana Jiřího Jindřicha z Mayerswaldu († 1747), nejštědřejšího příznivce dómu v 18. století. Jsou zdobeny různými technikami, především bohatou výšivkou zlatými dracouny, nejvíce jich je však z brokátových tkanin lyonského nebo italského původu s navzájem si blízkých tkanin s bohatými naturalistickými vzory zcela mimořádné kvality, unikátních i v evropském kontextu.
Jiří Jindřich of Mayerswald († 1747). An Olomouc canon and his foundation of liturgical vestments of the Olomouc cathedral. Notes on the origins of the research into the Central Europe´s largest collection of vestments
More than 30 complete sets of liturgical sets are stored among the liturgical vestments held in the Cathedral of St. Vaclav in Olomouc. These can be connected with the capitulary dean Jiří Jindřich of Mayerswald († 1747), the most generous supporter of the cathedral in the 18th century. They are decorated with various techniques, particularly rich embroidery with gold tinsel but most of them are from brocade fabrics of Lyon or Italian origin with mutually close fabrics with rich naturalistic patterns of extraordinary quality, unique even in the European context.
in: Textil v muzeu. Oděvy a textilní doplňky pro liturgii a obřady, Brno: Technické muzeum v Brně, 2015, s. 14-26., 2015
Příspěvek je zaměřen na obnovu mešního kněžského roucha ve smyslu jeho původní " gotické " podoby... more Příspěvek je zaměřen na obnovu mešního kněžského roucha ve smyslu jeho původní " gotické " podoby, jejíž počátky jsou kladeny do Velké Británii na konci první třetiny 19. století, v souvislosti s úsilím katolických a anglikánských intelektuálů o reformu liturgie. Popisuje problematiku stanovení kanonicity svrchního oděvu kněze po tridentském koncilu a následnou kritiku reformistů 19. století, mířící na deformaci rouch v průběhu doby barokní. Obsahuje také exkurz do názorů na území Čech, kde kritika současné úrovně kasulí byla nejzřetelněji vyjádřena na pražské diecézní synodě svolané roku 1860. Opětovné zákazy římské kongregace nezpůsobily stáhnutí pomalu se rozšiřujících " gotických " rouch z pultů, nýbrž vyvolávaly nové vlny bádání liturgistů a historiků umění. Studie umožní základní vhled do vývoje svrchního bohoslužebného oděvu kněze od tridenského koncilu až do obnovy liturgie na druhém vatikánském koncilu v šedesátých letech 20. století. The paper focuses on the renewal of the sacramental priestly vestments in the sense of its original "Gothic" form whose beginnings are assigned to the UK of the end of the first third of the 19th century in connection with the efforts of the Catholic and Anglican intellectuals of the liturgy reform. It describes the issue of determining the canonicity of the outer priest garment after the Council of Trent and subsequent criticism from the reformists of the 19th century pointing to the deformation of the vestments during the Baroque period. It also contains an excursion into the opinions in Bohemia where criticism of the current level of chasubles was most clearly expressed in the Prague diocesan synod convened in 1860. Repeated bans from the Roman Congregations did not cause a withdrawal of the slowly expanding "Gothic" vestments of the counters, but provoked new waves of research from liturgists and art historians. The study will allow a basic insight into the development of the priest top layer liturgical vestment from the Council of Trent until the renewal of the liturgy at the Second Vatican Council in the sixties of the 20th century.
Their artistic processing, rich decoration and a number of rare materials do not match paintings ... more Their artistic processing, rich decoration and a number of rare materials do not match paintings or sculptures, yet in the past they were not given more systematic research or exhibition attention. We are talking about paraments, ie special ceremonial textiles, which were used to increase the ceremonial character of worship services. These "hidden treasures" of church inventories are still preserved in the Olomouc Cathedral of St. Wenceslas. The selection of the most valuable and also the most interesting will be presented by the upcoming exhibition Ornamenta episcopi.
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dnešního člověka je asi nejpochopitelnějším příkladem hodnostní systém zavedený v ozbrojených složkách, reprezentující výkonný rozměr státní autority. A nemůžeme vynechat různá církevní společenství. Během staletí se na půdě křesťanského světa
v rámci nábožensko-rituálního prožívání života vyvinul zcela specifický systém a řád barev s morálními a symbolickými konotacemi, které člověk dnešní doby používá podvědomě. Ke správnému „čtení“ tohoto typu neverbální komunikace je nutné znát kulturně-antropologické pozadí židovsko-křesťanské tradice, jež měla zcela zásadní vliv na utváření euro-amerického moderního civilizačního modelu. Jednotlivé
kapitoly se na pozadí historických souvislostí věnují příslušným barvám, jejich symbolice a rozdílnému užití v profánním světě a v bohoslužbě.
In each culture, there occur very specific subgroups of citizens in the position of guarantors of social order whose task is in many ways different from the majority society. Such a role is necessarily expressed also by different garments that primarily display easily distinguishable external symbols referring to the degree of hierarchical subordination. Only in such a way it is possible to achieve real viability of large organized communities. The ranking system established in armed forces, which represent an executive dimension of state authority, is probably the most understandable example to modern man. Various religious communities cannot be omitted here. Over the centuries, an entirely new system and order of colours with a variety of moral and symbolic connotations, which people today already use quite ubconsciously, has developed, in fact, on the ground of Christian world within the religious--ritual experience of life. Correct „reading“ this type of nonverbal communication necessarily requires knowledge of the cultural-anthropological background of the Judaeo-Christian tradition, which had a crucial influence on the formation of Euro-American modern civilization model. Individual chapters are devoted to the relevant colours, their symbolism and differences in the use in profane world and in worship on the background of historical context.
Three portraits of priests have been preserved in the collection of the parish authority in the town of Holice. They were originally part of a much larger series. Two of them date to the 18th century, while the third was made not long before the middle of the 19th century. Thanks to the restoration interventions in 2017 and 2018, it was possible to identify the priests. The spiritual and cultural aspect of places such as Holice was culturally very much shaped by local priests even though they kept –
unlike aristocrats or patrons – a rather low profile. Galleries of eminent personalities of the church started to appear approximately at the beginning of the 17th century in the socially most significant institutions, i.e. large monasteries, chapters and deaneries of the biggest royal towns, and of course, in Prague and Olomouc where bishops resided. From the end of the 17th century, they could be found in smaller towns and villages too. This unknown “phenomenon” is still on the periphery of academic attention, even though it can lead to very interesting findings. In Holice, a small town in the Pardubice region, only a torso of the original gallery has been preserved – three portraits altogether. The oldest painting depicts Father Václav František Tichý (1686–1753) who was active in Holice as a priest for 37 years (1716–1753). Under him, a new parish church and parish house designed by K. I. Dientzenhofer were built. The priest
promoted the cult of John of Nepomuk in the region. He was 36 when the portrait was painted. Its size was reduced in the middle of the 19th century but the recent renovation has restored its appearance and original dimension. In the second picture, we can probably see Tichý’s successor in the office, Father Daniel Johann Alexius de Lowczicz (1706–1794), priest in Holice between 1753 and 1793. With the population becoming ever more numerous, priests were mainly engaged in pastoral work, catechesis and sacraments, and it must be said that the times were far from idyllic. Holice and its surroundings were not spared the consequences of wars, such as that of the Austrian Succession (1740–1741) and especially
of the so called Seven Years’ War (1756–1763). Prussian forces stayed in Holice and that proved rather expensive. In 1758, the town was even partially burnt down by the Prussians returning from Olomouc. The priest is depicted wearing home clothes and a small cap (called mitrella). He is holding a newspaper with clearly visible “Prager Post-Zeitung” written on it. It is undoubtedly quite a unique portrayal of one of the first periodically published newspapers which points out the important social status of the reader and also his personal ambitions to be a well-informed spiritus agens of the local life. The third and also smallest painting captures Father Karel Štěpánek (1781–1850) who was active in Holice in the years
1833–1850. He even greeted Emperor Ferdinand on his way to the coronation in Prague in 1836. He is depicted in the way Czech reformers and patriots from among the clergy had their portraits made – wearing an embroidered collar. He is holding A Magazine for National Schools, first educational (pedagogical) magazine in the Czech lands. A really curious thing was discovered during the restoration works in 2017 – the painter had written a critical message in very small letters onto the priest’s
forehead and right arm. It starts with: “Behold, you greedy one who has tormented the artist…” and ends: “The greedy ones shall not enter the kingdom of God”. The priest had undoubtedly wanted to save money when commissioning his own portrait. Portraits of priests are only rarely of high artistic value, but they are always important documents of regional histories. In the second half of the 20th century they suffered much damage as many were destroyed or stolen and neglected by national
heritage authorities.
The probably oldest preserved portrait of a priest in eastern Bohemia is from 1666 and depicts Jan Václav Rak († 1691), dean in the town of Vysoké Mýto. He is wearing clothes which look more like clothes of an aristocrat than a churchman: a fashionable coat, silk shirt, and hair and beard styled in the “army manner” (which was in contrast to the church standards of the time). The portrait of Bartoloměj Bulovský (1617?–1679), the parish priest in the town of Ústí nad Orlicí, dated 1675, is also very
interesting from the point of view of iconography. Bulovský was originally a Jesuit, but later left the order and worked as a parish priest in eastern Bohemia. His attire suppresses typical Jesuit elements (collar), although he is wearing a small Virgin Mary medallion from Svatá Hora, a pilgrimage place administered by the Jesuit order. His “oriental cap for home use” (pileus sarmaticus) is quite interesting. This Bulovský is probably identical with a Jesuit composer of the same name. Two portraits of priests dating to the 17th century have been preserved in the royal town of Kutná Hora. The first in the set of portraits of the local archdeaconry is that of Jakub Ferdinand Lanškrounský († 1679). His hair and beard are also styled in the
“army manner”. Senior clerics of the period did wear black clothes but they were made of luxury materials (velvet, damask). A spectacular, and again very interesting in terms of iconography, portrait then depicts Zachariáš Augustin Klecar of Růžokvět (1646–1693), Tomáš Pešina’s nephew. He is captured in a similar way as dean Rak of Vysoké Mýto. He is holding an interesting little picture in his hands – the archdean was a devotee of John of Nepomuk who did not become a saint until 1729. The portraits of priests do not excel in quality, but they capture people who significantly shaped the Czech milieu. They are also a surprisingly interesting testimony of the fashion of the period and point to the spiritual formation of the portrayed person (Jesuit mode versus that favoured by archbishoprics).
After return of popes from Avignon back to Rome and after overcomming conciliar crisis at council of Konstanz (1414-1418) and Basilej (1431-1449) had to renaissace popes reestablish their authority. It assisted them surprisingly visual power of ceremonies, which let easily know, which would otherwise theologists explain for a long time in words. It confirmed importance of papal symposiarch (magister caeremoniarum apostolicarum), who in terms of noble scenography and particular clothing „properties“ focused attention on person of pope. Ponderous medieval form of representative clothing of pope also cardinals started to abbreviate. Pope set up to use new headgear called camauro and reduced hood called mozetta and since 16.century also special train called falda. It all ought emphasize exceptionality of pope in Church, apparent maiestas papalis. Even purple wardrobe admited of transfromation – old type of purple cape decreased, cardinalate started to wear purple biretta and mantelletta (1464).
Visual symbols hold a treasure trove of valuable information from every time period and cannot be underestimated. In the course of the tragic 20th century, many totalitarian regimes realised this fact, also because the impact of symbols is often clearer and more urgent than that of their bearers. For the same reason, the perception of the general sense of ceremoniousness that is characteristic of each human changed. The scope of the public presentation of the Nazis as well as communists was analogous to religious festivities albeit in their case mobilisation of directed power and seeming unity, i.e. creating a false picture to the remaining world was the point. Thus, the church nowadays had to renounce their opulent liturgical ceremonies in the style of the ‘victorious church’ in favour of a much more moderate ‘shepherd style’ in response to the reforms of the Second Vatican Council (1963–1965). As it is typical of our church, the ‘media’ career of the clerical collar and cassock was, for example, strongly blotted by the suspended father Josef Plojhar (†1981), a convinced communist and unscrupulous man, as well as the longest‑serving totalitarian minister and government member. His visible collar should have evoked the impression of a democratic country that acknowledged religious freedom. Nonetheless, there were many priests and faithful Christians who suffered for their moral principles in communist prisons. Clerical symbols have been recently discredited by various films that described priests schematically as caricatures and the priesthood as a value that has no place in modern society. Despite this fact, such symbols do not lose their information value even nowadays and are very well understood by society, though not in the fullness they refer to. It is important to remind all priests, both young and old, of the time‑tested rule: External appearance often reveals what is inside. Only by this could the priesthood and its external signs be better accepted by society.
With transfer of papal seat from Rome to Avignon in 1309 started new chapter of not only in term of political history, but also culture in itself. Papacy has neber been before in such close contact with advanced and sophisticated atmosphere of princely court as now in south France. Struggle for political dominancy finally lost papacy, but at the level of culture and courtly dignity didn´t want to abandon so easily. Even in 13.century determinated carier promotion only clerk´own aptitude, but now gained ground foremost blue blood and property restraint. Church became promptly source of assurance for thousands of aristocratic clerks, who didn´t want to abandon any of their privileges. Many of reformers pursued to highlight trivial life of clericals and their scandalously secular life. Clerks acquired entirely secular life including fashion knightclothing in bright colors, sewn from luxury material. They used jewels and weapons and indulge oneself in excellent form of hair and beard. Czech countries, thanks to impress of French culture in manor-house of emperor Charles IV., weren´t not even in this case an exception.
In the concluding session of the Second Vatican Council on 8th of December 1965, Pope Paul VI. attracted attention by his entry in a simplified style of papal ceremony. He came mainly as a Roman bishop; he wore modern vestments, simple mitre and papal crosier (so called ferula) similar to the crosier of bishops. In this way, he wanted to indicate his collegiality with other bishops and his openness to modern art. e critics noticed that the ferula was made by Lello Scorzelli, and that he was inspired by the work of a Belgian expressionist Albert Servaes, whose way of portraying Christ was banned by the Holy See in 1921. However, expressionism reacting on the suffering of Christ showed a new way to modern religious art and the necessity of perpetual quest for
truth, which is typical of both art and theology.
Both Popes John XXIII and his successor Paul VI sent the world clear and understandable signals of change in spiritual climate within the Church, when gradually abandoned some traditional, yet
monarchical, aspects of Papal ceremony (e. g. kissing shoes, use of sedan chairs, coronation with tiara, etc.). 3 e Conciliar Popes and all their successors began consciously to emphasise the pastoral
dimension of the papal service and collegiality with other bishops. 3 e study focuses on the visual changes in the symbolism of papal ceremonies, and on the changes of its perception from the pontificate of Pius XII to the Pope Francis.
Trident´s council (1545-1563) aspired in many sences to react to criticism of Church by German reformers. Special courtesy therefore focused on sacrament of priesthood and person of priest, because the most secular and scandalous life of superior and inferior clergy at the turn of 15. and 16.century was eligible mark of critique outside and inside of Church. According of reformative regulations was a priest going to be in society a visible mark, hence had to wear different clothes and cutaway hair (tonsure). In Czech countries alluded implementing of priesthood´s reform to many problems.
dnešního člověka je asi nejpochopitelnějším příkladem hodnostní systém zavedený v ozbrojených složkách, reprezentující výkonný rozměr státní autority. A nemůžeme vynechat různá církevní společenství. Během staletí se na půdě křesťanského světa
v rámci nábožensko-rituálního prožívání života vyvinul zcela specifický systém a řád barev s morálními a symbolickými konotacemi, které člověk dnešní doby používá podvědomě. Ke správnému „čtení“ tohoto typu neverbální komunikace je nutné znát kulturně-antropologické pozadí židovsko-křesťanské tradice, jež měla zcela zásadní vliv na utváření euro-amerického moderního civilizačního modelu. Jednotlivé
kapitoly se na pozadí historických souvislostí věnují příslušným barvám, jejich symbolice a rozdílnému užití v profánním světě a v bohoslužbě.
In each culture, there occur very specific subgroups of citizens in the position of guarantors of social order whose task is in many ways different from the majority society. Such a role is necessarily expressed also by different garments that primarily display easily distinguishable external symbols referring to the degree of hierarchical subordination. Only in such a way it is possible to achieve real viability of large organized communities. The ranking system established in armed forces, which represent an executive dimension of state authority, is probably the most understandable example to modern man. Various religious communities cannot be omitted here. Over the centuries, an entirely new system and order of colours with a variety of moral and symbolic connotations, which people today already use quite ubconsciously, has developed, in fact, on the ground of Christian world within the religious--ritual experience of life. Correct „reading“ this type of nonverbal communication necessarily requires knowledge of the cultural-anthropological background of the Judaeo-Christian tradition, which had a crucial influence on the formation of Euro-American modern civilization model. Individual chapters are devoted to the relevant colours, their symbolism and differences in the use in profane world and in worship on the background of historical context.
Three portraits of priests have been preserved in the collection of the parish authority in the town of Holice. They were originally part of a much larger series. Two of them date to the 18th century, while the third was made not long before the middle of the 19th century. Thanks to the restoration interventions in 2017 and 2018, it was possible to identify the priests. The spiritual and cultural aspect of places such as Holice was culturally very much shaped by local priests even though they kept –
unlike aristocrats or patrons – a rather low profile. Galleries of eminent personalities of the church started to appear approximately at the beginning of the 17th century in the socially most significant institutions, i.e. large monasteries, chapters and deaneries of the biggest royal towns, and of course, in Prague and Olomouc where bishops resided. From the end of the 17th century, they could be found in smaller towns and villages too. This unknown “phenomenon” is still on the periphery of academic attention, even though it can lead to very interesting findings. In Holice, a small town in the Pardubice region, only a torso of the original gallery has been preserved – three portraits altogether. The oldest painting depicts Father Václav František Tichý (1686–1753) who was active in Holice as a priest for 37 years (1716–1753). Under him, a new parish church and parish house designed by K. I. Dientzenhofer were built. The priest
promoted the cult of John of Nepomuk in the region. He was 36 when the portrait was painted. Its size was reduced in the middle of the 19th century but the recent renovation has restored its appearance and original dimension. In the second picture, we can probably see Tichý’s successor in the office, Father Daniel Johann Alexius de Lowczicz (1706–1794), priest in Holice between 1753 and 1793. With the population becoming ever more numerous, priests were mainly engaged in pastoral work, catechesis and sacraments, and it must be said that the times were far from idyllic. Holice and its surroundings were not spared the consequences of wars, such as that of the Austrian Succession (1740–1741) and especially
of the so called Seven Years’ War (1756–1763). Prussian forces stayed in Holice and that proved rather expensive. In 1758, the town was even partially burnt down by the Prussians returning from Olomouc. The priest is depicted wearing home clothes and a small cap (called mitrella). He is holding a newspaper with clearly visible “Prager Post-Zeitung” written on it. It is undoubtedly quite a unique portrayal of one of the first periodically published newspapers which points out the important social status of the reader and also his personal ambitions to be a well-informed spiritus agens of the local life. The third and also smallest painting captures Father Karel Štěpánek (1781–1850) who was active in Holice in the years
1833–1850. He even greeted Emperor Ferdinand on his way to the coronation in Prague in 1836. He is depicted in the way Czech reformers and patriots from among the clergy had their portraits made – wearing an embroidered collar. He is holding A Magazine for National Schools, first educational (pedagogical) magazine in the Czech lands. A really curious thing was discovered during the restoration works in 2017 – the painter had written a critical message in very small letters onto the priest’s
forehead and right arm. It starts with: “Behold, you greedy one who has tormented the artist…” and ends: “The greedy ones shall not enter the kingdom of God”. The priest had undoubtedly wanted to save money when commissioning his own portrait. Portraits of priests are only rarely of high artistic value, but they are always important documents of regional histories. In the second half of the 20th century they suffered much damage as many were destroyed or stolen and neglected by national
heritage authorities.
The probably oldest preserved portrait of a priest in eastern Bohemia is from 1666 and depicts Jan Václav Rak († 1691), dean in the town of Vysoké Mýto. He is wearing clothes which look more like clothes of an aristocrat than a churchman: a fashionable coat, silk shirt, and hair and beard styled in the “army manner” (which was in contrast to the church standards of the time). The portrait of Bartoloměj Bulovský (1617?–1679), the parish priest in the town of Ústí nad Orlicí, dated 1675, is also very
interesting from the point of view of iconography. Bulovský was originally a Jesuit, but later left the order and worked as a parish priest in eastern Bohemia. His attire suppresses typical Jesuit elements (collar), although he is wearing a small Virgin Mary medallion from Svatá Hora, a pilgrimage place administered by the Jesuit order. His “oriental cap for home use” (pileus sarmaticus) is quite interesting. This Bulovský is probably identical with a Jesuit composer of the same name. Two portraits of priests dating to the 17th century have been preserved in the royal town of Kutná Hora. The first in the set of portraits of the local archdeaconry is that of Jakub Ferdinand Lanškrounský († 1679). His hair and beard are also styled in the
“army manner”. Senior clerics of the period did wear black clothes but they were made of luxury materials (velvet, damask). A spectacular, and again very interesting in terms of iconography, portrait then depicts Zachariáš Augustin Klecar of Růžokvět (1646–1693), Tomáš Pešina’s nephew. He is captured in a similar way as dean Rak of Vysoké Mýto. He is holding an interesting little picture in his hands – the archdean was a devotee of John of Nepomuk who did not become a saint until 1729. The portraits of priests do not excel in quality, but they capture people who significantly shaped the Czech milieu. They are also a surprisingly interesting testimony of the fashion of the period and point to the spiritual formation of the portrayed person (Jesuit mode versus that favoured by archbishoprics).
After return of popes from Avignon back to Rome and after overcomming conciliar crisis at council of Konstanz (1414-1418) and Basilej (1431-1449) had to renaissace popes reestablish their authority. It assisted them surprisingly visual power of ceremonies, which let easily know, which would otherwise theologists explain for a long time in words. It confirmed importance of papal symposiarch (magister caeremoniarum apostolicarum), who in terms of noble scenography and particular clothing „properties“ focused attention on person of pope. Ponderous medieval form of representative clothing of pope also cardinals started to abbreviate. Pope set up to use new headgear called camauro and reduced hood called mozetta and since 16.century also special train called falda. It all ought emphasize exceptionality of pope in Church, apparent maiestas papalis. Even purple wardrobe admited of transfromation – old type of purple cape decreased, cardinalate started to wear purple biretta and mantelletta (1464).
Visual symbols hold a treasure trove of valuable information from every time period and cannot be underestimated. In the course of the tragic 20th century, many totalitarian regimes realised this fact, also because the impact of symbols is often clearer and more urgent than that of their bearers. For the same reason, the perception of the general sense of ceremoniousness that is characteristic of each human changed. The scope of the public presentation of the Nazis as well as communists was analogous to religious festivities albeit in their case mobilisation of directed power and seeming unity, i.e. creating a false picture to the remaining world was the point. Thus, the church nowadays had to renounce their opulent liturgical ceremonies in the style of the ‘victorious church’ in favour of a much more moderate ‘shepherd style’ in response to the reforms of the Second Vatican Council (1963–1965). As it is typical of our church, the ‘media’ career of the clerical collar and cassock was, for example, strongly blotted by the suspended father Josef Plojhar (†1981), a convinced communist and unscrupulous man, as well as the longest‑serving totalitarian minister and government member. His visible collar should have evoked the impression of a democratic country that acknowledged religious freedom. Nonetheless, there were many priests and faithful Christians who suffered for their moral principles in communist prisons. Clerical symbols have been recently discredited by various films that described priests schematically as caricatures and the priesthood as a value that has no place in modern society. Despite this fact, such symbols do not lose their information value even nowadays and are very well understood by society, though not in the fullness they refer to. It is important to remind all priests, both young and old, of the time‑tested rule: External appearance often reveals what is inside. Only by this could the priesthood and its external signs be better accepted by society.
With transfer of papal seat from Rome to Avignon in 1309 started new chapter of not only in term of political history, but also culture in itself. Papacy has neber been before in such close contact with advanced and sophisticated atmosphere of princely court as now in south France. Struggle for political dominancy finally lost papacy, but at the level of culture and courtly dignity didn´t want to abandon so easily. Even in 13.century determinated carier promotion only clerk´own aptitude, but now gained ground foremost blue blood and property restraint. Church became promptly source of assurance for thousands of aristocratic clerks, who didn´t want to abandon any of their privileges. Many of reformers pursued to highlight trivial life of clericals and their scandalously secular life. Clerks acquired entirely secular life including fashion knightclothing in bright colors, sewn from luxury material. They used jewels and weapons and indulge oneself in excellent form of hair and beard. Czech countries, thanks to impress of French culture in manor-house of emperor Charles IV., weren´t not even in this case an exception.
In the concluding session of the Second Vatican Council on 8th of December 1965, Pope Paul VI. attracted attention by his entry in a simplified style of papal ceremony. He came mainly as a Roman bishop; he wore modern vestments, simple mitre and papal crosier (so called ferula) similar to the crosier of bishops. In this way, he wanted to indicate his collegiality with other bishops and his openness to modern art. e critics noticed that the ferula was made by Lello Scorzelli, and that he was inspired by the work of a Belgian expressionist Albert Servaes, whose way of portraying Christ was banned by the Holy See in 1921. However, expressionism reacting on the suffering of Christ showed a new way to modern religious art and the necessity of perpetual quest for
truth, which is typical of both art and theology.
Both Popes John XXIII and his successor Paul VI sent the world clear and understandable signals of change in spiritual climate within the Church, when gradually abandoned some traditional, yet
monarchical, aspects of Papal ceremony (e. g. kissing shoes, use of sedan chairs, coronation with tiara, etc.). 3 e Conciliar Popes and all their successors began consciously to emphasise the pastoral
dimension of the papal service and collegiality with other bishops. 3 e study focuses on the visual changes in the symbolism of papal ceremonies, and on the changes of its perception from the pontificate of Pius XII to the Pope Francis.
Trident´s council (1545-1563) aspired in many sences to react to criticism of Church by German reformers. Special courtesy therefore focused on sacrament of priesthood and person of priest, because the most secular and scandalous life of superior and inferior clergy at the turn of 15. and 16.century was eligible mark of critique outside and inside of Church. According of reformative regulations was a priest going to be in society a visible mark, hence had to wear different clothes and cutaway hair (tonsure). In Czech countries alluded implementing of priesthood´s reform to many problems.
Charles Borromeo and the idea of a "Great Clean-Up" in the Temple. A Contribution to the beginning of Monument Care in the Catholic Church.
For the church and society the 16th century represented a period of great change. Attempts were made to reform the clergy with arguments from the Holy Bible and contemporary ceremonialism was criticized. Pro-reformist theologians ultimately rejected most of the sacraments and with them the sensory experience of worship. As a result art in the churches lost its function. That is why the council convened in Trent (1545) had to first of all redefine the doctrine of the Eucharist, denied by Zwingli as well as Calvin. The council was interrupted and reconvened
in 1562 thanks to the young cardinal Charles Borromeo (1538–1584) who influenced the content of an important conciliar decree On the Holy Mass and other documents on devotion to saints, their relics and the role of sacred images in worship. After that Charles Borromeo returned to his diocese of Milan and reformed it in accordance with Tridentine principles. He organized gatherings of clerics (synods and provincial councils) creating standards not only for the spiritual life, but also for the dignified celebration of worship. This was gradually accepted in other dioceses and countries. From the point of view of monument care, Instruction for visitors (1565) was a very relevant publication from which Borromeo acquired a perfect knowledge not only of the diocese but also of the condition of ecclesiastical buildings and their quipment. Furthermore, his visits served as a basis for further instructions agreed on the synods. It was Instructiones Fabricae et Supellectilis Ecclesiasticae (1577) that significantly influenced the design of post-Tridentine churches, their ground plans and layouts which were completely subordinated to the newly unified liturgy. Attention was given to anything that was in any way connected with the celebration ofMass, thus to the altar, to the sacred vessels and vestments and their dignified preservation was emphasized. A practical supplement to the Instructiones was a work called Regulations and rules on cleanliness and design of ecclesiastical buildings, altars, places of veneration and temple equipment (1579) on the preservation of cleanliness in churches and onmethods of cleaning of sacred objects. These instructions then became part of the most published books of worship.
Jiří Jindřich of Mayerswald († 1747). An Olomouc canon and his foundation of liturgical vestments of the Olomouc cathedral. Notes on the origins of the research into the Central Europe´s largest collection of vestments
More than 30 complete sets of liturgical sets are stored among the liturgical vestments held in the Cathedral of St. Vaclav in Olomouc. These can be connected with the capitulary dean Jiří Jindřich of Mayerswald († 1747), the most generous supporter of the cathedral in the 18th century. They are decorated with various techniques, particularly rich embroidery with gold tinsel but most of them are from brocade fabrics of Lyon or Italian origin with mutually close fabrics with rich naturalistic patterns of extraordinary quality, unique even in the European context.
The paper focuses on the renewal of the sacramental priestly vestments in the sense of its original "Gothic" form whose beginnings are assigned to the UK of the end of the first third of the 19th century in connection with the efforts of the Catholic and Anglican intellectuals of the liturgy reform. It describes the issue of determining the canonicity of the outer priest garment after the Council of Trent and subsequent criticism from the reformists of the 19th century pointing to the deformation of the vestments during the Baroque period. It also contains an excursion into the opinions in Bohemia where criticism of the current level of chasubles was most clearly expressed in the Prague diocesan synod convened in 1860. Repeated bans from the Roman Congregations did not cause a withdrawal of the slowly expanding "Gothic" vestments of the counters, but provoked new waves of research from liturgists and art historians. The study will allow a basic insight into the development of the priest top layer liturgical vestment from the Council of Trent until the renewal of the liturgy at the Second Vatican Council in the sixties of the 20th century.