Renesance

The article discusses the role of vermin in the vanitas discourse in the Polish poetry from the late 16th until the 18th centuries. The introduction, using the example of Żale nagrobne by Sebas-tian Fabian Klonowic, shows the change in the manner of discussing death, which came about soon after the death of Jan Kochanowski, making it possible to return to the medieval visions of decomposition , enriched by that poet by a broad range of hideous things, symbols of vanity. The second part of the paper discusses Baroque paintings of worms eating away the corpse based on selected works, and presents major poetic devices which are meant to convey the vanitas message. There are descriptions of metaphysical nature and ones showing the nothingness of existence in a purely earthly dimension. The paper closes with remarks on exhausting the vanitas discourse using the worms imagery, the example of which are poems using the coffin hideousness in an erotic context.

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

Ikonografia, jako zbiór przedstawień obrazowych rekonstruujących przeszłość, jak wiadomo, poszerza nasze wyobrażenie o wizerunku, życiu i działalności wybitnej osobistości. W Polsce badacze koncentrowali się jedynie na pewnych aspektach ikonografii Kopernika, Batorego, Kościuszki, Mickiewicza, Chopina, Paderewskiego. Do prac, które określają zagadnienie całościowo (na przestrzeni wieków), należy jedynie prekursorska ikonografia Piotra Skargi opublikowana przez Kazimierza Ożoga w 2012 roku. Dziś do powyższej listy dołącza kolejny polski bohater narodowy – Jan Zamoyski (1542-1605), kanclerz i hetman wielki koronny, humanista-mecenas, filolog i mówca, jeden z najpotężniejszych wówczas ludzi w kraju.

Bardzo obszerna praca mgr Olgi Kucharczyk (w sumie 1104 str.) podzielona została na dwie zasadnicze części narracyjne, dopełnione omówieniem typologii zgromadzonego materiału ikonograficznego, jego systematycznym zestawieniem i omówieniem w Katalogu, wykazem skrótów i bibliografią (na przeszło stu stronach: cz. III, s. 543-651), aneksami (tu publikacja wybranych przekazów źródłowych, analiza niektórych zabytków i obrazowo-statystyczne zestawienia na wykresach poszczególnych typów przedstawień), wreszcie albumem z ilustracjami (w sumie 386 ilustracji).

Научниот собир „Творечкиот лик на професор Георги Сталев Поповски“ се одржа на 19 и 20 мај 2011 година во Скопје во организација на Филолошкиот факултет „Блаже Конески“ од Скопје. Темата на секциското предавање (излагањето) на Ранко Младеноски на овој домашен научен собир носи наслов „Уделот на Георги Сталев во македонската книжевна историографија“. Во текот на излагањето на Младеноски нагласено беше значењето на двата тома на професорот Георги Сталев за македонската книжевна историја („Македонската литература во 19 век“ и „Првата половина на 20 век“), а беа презентирани и суштинските сегменти од тие два труда на професорот Георги Сталев Поповски.

У раду се приказује нова монографија Јелене Марићевић Балаћ Трагом бисерних минђуша српске књижевности (Ренесансност и барокност српске књижевности) која већ насловом отвара врло занимљива питања и покреће читаоца на размишљање о томе да ли ће се у књизи ова ауторка враћати ближе коренима српске модерне књижевности, односно књижевности ренесансе и барока, или ће се пратити њихови одјеци у каснијим и нешто савременијим периодима и епохама.

Tato bakalářská práce se zaměřuje na renesanční módu české šlechty. Ze zvolených českých šlechtických rodů jsem vybrala konkrétní portréty šlechticů a šlechtičen dle kterých budu zkoumat vývoj a ikonografii, případně politickou a náboženskou souvislost šlechtických šatů. Cílem této práce by mělo být zmapování vývoje české renesanční módy především druhé poloviny 16. století pomocí zkoumání portrétní malby. K této syntéze využiji srovnání se španělskými podobiznami, celkový význam portrétu, ikonografii, historii rodů a dostupné teorie vývoje renesanční módy. Klíčová slova Renesance, šlechta, móda, portréty, galerie, oděv, malba, HabsburkovéFashion of Czech renaissance nobility of the second half of the 16th century from the point of view of portrait painting. This bachelor thesis focuses on Renaissance fashion of the Czech nobility. Specific portraits of noblewomen and noblemen from preselected families were chosen and will serve as a basis for development and iconography - or potent...

Prispevek obravnava literarno ustvarjalnost poljskega renesančnega pesnika Jana Kochanowskega. Predstavi pesnikovo delo in njegov pomen za poljsko književnost – utemeljitev poljščine kot pesniškega jezika, razvoj silabičnega verzifikacijskega sistema, prve realizacije pesemskih oblik v poljskem jeziku (npr. prvi soneti) – in se nato osredotoči na pesniški cikel Žalostinke. V drugem delu predstavlja možnosti obravnave pesmi Kochanowskega pri pouku slovenščine v gimnaziji in želi spodbuditi učitelje, da dijakinje in dijake seznanijo z obstojem renesanse v slovanskih književnostih.

For 5 years I have been researching the iconography of Jan Zamoyski, the Chancellor and Grand Hetman of the Crown. This issue only on the surface seems to have genuinely Polish concern, restricted only to our country. Jan Zamoyski’s iconography may serve as a good example of how globalization mentioned in the title of this Forum influences scientific research.
At present, I am researching the enigmatic history of Zamoyski’s portrait from the Florentine Uffizi Art Gallery, which falls into humanistic fashion of creating European „degli uomini famosi” portrait galleries. Polish scientists tried to reveal the author of the portrait and uncover the history of its creation. It was suggested, that it was painted in vivo in 1600 by J. Szwankowski, or by K. Bystrzycki on the commission of the Archduke Ferdinand II of Tirol for his collection of portraits in the Ambras castle located near Innsbruck. None of the suggestions was duly documented. The Zamoyski’s portrait in the Florentine inventory catalogue published in 1979 was assigned to Cristofano dell’ Altissimo, Italian painter-copyist. It was classified in a set of images from the Gioviana gallery (a series of copies from the collection of Paolo Giovio from Como’s paintings). In Poland, this thesis was never thoroughly examined. In 1998, this painting underwent preservation work. When I was granted scholarship in Italy, I managed to get direct access to those preservation notes. What stemmed from the scans made on the spot was that under the original text at the upper title line in the portrait: “IOANNES ZAMOISKI.1600” new words were uncovered, namely: “GĪO • ZAMOISHI • GRAN.CANCELLE|RE DEL REGNIO DI POLONIA”, which made scientists question the date and circumstances of the piece of art’s creation. Two years ago I have restarted discussion on former theses.
However, in the Internet resources I have found a digital copy of the file comprising objects from Como dating back to 1596; it constitutes a piece of evidence that Zamoyski’s portrait, which Altissimo could use as an original for his copy, did not belong to this collection. In order to check the thesis that this portrait comes from the Ferdinand II of Tirol’s collection, I have come into electronic mail contact with the management of the Ambras castle. Further query resulted from this correspondence. To solve this case I contacted, also vie e-mail, the museum in Vienna where objects from the Ambras castle were to be found at certain time of history. Unfortunately, the scanned books sent by the museum providing description of the exhibits related to the Grand Hetman do not constitute any hard evidence for the fact that Zamoyski’s portrait had ever constituted part of the Ferdinand’s collection.
On the basis of the up-to-date research, the most probable thesis in my opinion is that Altissimo is the author of this painting (due to numerous similarities to other work of this author), the very original has Tirol’s origins (Zamoyski’s portrait from the J. Schrenck catalogue) and that the time of the painting’s creation is between 1581 and 1605. Although I have not provided answer for these intriguing questions, I managed to facilitate access to the source materials, which allow to present a spectrum of problems crucial for historical analysis of this piece of art. I hope that procuring unique materials via Internet auctions or by other electronic means from people working on such issues in Poland and abroad will contribute to comprehensive solution of this portrait mystery.