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Rocznik Historii Sztuki

Rocznik Historii Sztuki

Opis
"Rocznik Historii Sztuki", rocznik, czasopismo poświęcone dziejom sztuki i architektury, historii teorii sztuki, problemom estetyki. Czasopismo ukazuje się nieprzerwanie od roku 1956. "Rocznik Historii Sztuki" należy do najważniejszych czasopism naukowych, poświęconych dziejom sztuki, ukazujących się w Polsce. "Rocznik Historii Sztuki" publikuje także obszerne teksty, których objętość przekracza 2 arkusze wydawnicze. W "Roczniku Historii Sztuki" ukazują się artykuły uznanych badaczy, jak i młodych historyków sztuki, którzy dopiero rozpoczynają swoją działalność naukową.
ISSN
ISSN 0080-3472
Wydawcy
Komitet Nauk o Sztuce PAN

Redaktor naczelny:

prof. Ryszard Kasperowicz

Redakcja:

dr Mateusz Salwa

prof. Joanna Sosnowska

prof. Paweł Migasiewicz

Komitet Redakcyjny:

prof. Wojciech Bałus

Joanna Inglot (USA)

Harry Mount (Wielka Brytania)

Paul Taylor (Wielka. Brytania)

Wolf Tegethoff (Niemcy)

Kontakt:

prof. Ryszard Kasperowicz r.kasperowicz@uw.edu.pl 

Adres redakcji:

Komitet Nauk o Sztuce PAN

ul. Długa 26/28

00-950 Warszawa



Kontakt:

prof. Ryszard Kasperowicz r.kasperowicz@uw.edu.pl 

Rocznik Historii Sztuki jest czasopismem w modelu otwartego dostępu, wszystkie artykuły udostępniane są nieodpłatnie w pełnej wersji tekstowej.
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Zawartość

Rocznik Historii Sztuki | 2020 | No XLV

1 Spis treści / Contents
Rocznik Historii Sztuki | 2020 | No XLV
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2 Shaftesbury v. Richardson: a Counterfactual Exercise. = Shaftesbury versus Richardson: ćwiczenie kontrfaktyczne
Harry Mount
Rocznik Historii Sztuki | 2020 | No XLV | 5-17 | DOI: 10.24425/rhs.2020.136889
Słowa kluczowe: art theory social history of art aesthetic theory 18th Century British aesthetics taste beginnings of art history neoclassicism
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Abstrakt

This article considers what might have happened had the 3rd Earl of Shaftesbury lived long enough to see his planned book of art theory, Second Characters, into publication. It suggests that Second Characters would have challenged, and perhaps supplanted, Jonathan Richardson the Elder’s Theory of Painting (1715) as the first substantial and original British contribution to the theory of art. Much of the article consists of a comparison between Richardson’s Theory of Painting and the ‘Plasticks’ section of Second Characters, for which Shaftsbury’s notes survive. This comparison suggests that the theory of painting which Shaftesbury would have offered to his compatriots would have differed from that offered by Richardson in certain important respects. Primarily addressing his text to his fellow aristocratic patrons rather than to painters, Shaftesbury’s vision for the future of British art was both more high-minded and more narrow than that offered by Richardson. For Shaftesbury the moral subject matter of painting was all-important, and the artistic traits he most admired, including historical subjects, grandeur of scale and austerity of style, were those he saw as best placed to transmit that moral subject matter. Richardson, by contrast, was for more tolerant of the extant British taste for portraits and more sensual styles and offered a theory of art which was in part formalist. The article also stresses the importance of the equation Shaftesbury made between the social and political health of a society and the quality of its art, and suggests that had Second Characters been published at the time when it was written we might now consider Shaftesbury, rather than Winckelmann, as the father of the social history of art. The article ends by considering two possible outcomes had Second Characters been published in the early eighteenth century, in one of which it had a profound impact on British art and British attitudes to art, and in the other of which Shaftesbury’s refusal to compromise with current British tastes condemned his text to no more than a marginal status.
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Autorzy i Afiliacje

Harry Mount
1
  1. Oxford Brookes University
3 Shaftesbury’s Dictionary of Terms of Art. = „Dictionary of Terms of Art” – Słownik pojęć teoretycznych-artystycznych Shaftesbury’ego
Ulrike Kern
Rocznik Historii Sztuki | 2020 | No XLV | 19-30 | DOI: 10.24425/rhs.2020.136890
Słowa kluczowe: art theory aesthetic theory literary theory 18th Century British aesthetics vocabulary of art theory and art history terms aesthetic experience
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Abstrakt

This article discusses Shaftesbury’s fragmentary ‘Dictionary of art terms’, an appendix to the unfinished Plastics, and its relevance in establishing an aesthetic and moral art theory in Britain. The article argues that, although the ‘Dictionary’ is rudimentary, it already reveals enough information to assess it as an important document of English art philosophy. Given that Shaftesbury’s dictionary project was the first English attempt to produce a theoretical art dictionary, it is discussed in the light of traditions of the art dictionary in this country. The study clarifies notions of the dictionary’s art terms through comparative analyses with the use of the words in the aesthetic discourses in the Plastics. It looks at Shaftesbury’s creation of novel words based on classical literature and his use of contemporary literary sources which was partly ambivalent, for fear that only words were transferred from their original context but no ideologies that the author disapproved of. With the help of exemplary discussions of Shaftesbury’s art vocabulary, the study illustrates the shaping of an aesthetic vocabulary in England.
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Autorzy i Afiliacje

Ulrike Kern
1
  1. Goethe-Universität Frankfurt am Main
4 “The Judgment of Hercules”. Shaftesbury at the Crossroads of Art Theory. = „Sąd Herkulesa”. Shaftesbury na rozstajnych drogach historii sztuki
Jacek Jaźwierski
Rocznik Historii Sztuki | 2020 | No XLV | 31-40
Słowa kluczowe: art theory aesthetic theory literary theory 18th Century British aesthetics 18th Century French Art Theory 18th Century moral philosophy neoclassicism aesthetic experience
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Abstrakt

In the early 18th century, British art theory was an almost virgin field, open to inevitable influences from the continent. Anthony Ashley Cooper, the Third Lord of Shaftesbury, who devoted the last years of his life to various problems of art, made an attempt to create the first serious theory of art in England. In this article, I try to show that Shaftesbury was faced with the need to choose between two competing approaches to art widespread in France at the turn of the century: the traditional approach, based on the poetic understanding of painting, the essence of which was history and its moral meaning, and the new one, proposed by Roger de Piles, based on the action of color and light and shade, which create a comprehensive visual effect independent of the story presented in the picture. Shaftesbury took a traditional approach, driven by moral fears and rather reluctant to make sensual pleasure the goal of art. At the same time, he appropriated the key concepts of Roger de Piles: the pictorial unity and the whole picture, ignoring the ideas associated with them. This should be understood as a half-measure that allowed him to modernize the language of art without the danger of compromising the moral importance of painting.
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Autorzy i Afiliacje

Jacek Jaźwierski
1
  1. Jan Kochanowski University
5 Twórczość Feliksa Stanisława Jasińskiego (1862–1901) i problemy graficznych odwzorowań dzieł sztuki
Katarzyna Ubysz-Piasecka
Rocznik Historii Sztuki | 2020 | No XLV | 41-58 | DOI: 10.24425/rhs.2020.136892
Słowa kluczowe: 19th Century Polish graphic arts reproductive prints reproductive graphics 19th Century artistic culture 19th century artistic taste Renaissance art art reproductions art history as a discipline
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Abstrakt

The article discusses the complex issues related to 19th-century reproductive prints. Its starting point is the oeuvre of Feliks Stanisław Jasiński, a Polish engraver who was mainly active in France. He specialized in reproductive prints of works of art, and is a relatively well- -known and researched figure in the history of Polish graphic arts. Outlining the context for his activities also becomes a contribution to reflections on the place of reproductive prints in 19th century artistic culture, as well as an attempt to define a framework for considering this type of graphic production. In citing various examples of modern reproductive graphics, its diversity is proven. Theses on the primacy of the criterion of “fidelity” and technological determination in the history of reproduction are rejected. Instead, the complex links between this field and various aspects of artistic culture are pointed out. Particular emphasis is placed on the links between the functions, form and production methods of such prints. Chief consideration is given to the type of reproductive graphics made by using traditional metal techniques, which apart from their informative functions, also performed important artistic functions, as evidenced by the described phenomena occurring within this field in the second half of the 19th century, and the accompanying written tradition, formed since the 18th century.
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Autorzy i Afiliacje

Katarzyna Ubysz-Piasecka
1
  1. Uniwersytet Warszawski
6 Oprawa artystyczna świąt i uroczystości Arcybractwa Różańcowego w kościele Dominikanów w Krakowie
Krzysztof J. Czyżewski , Marek Walczak
Rocznik Historii Sztuki | 2020 | No XLV | 59-84 | DOI: 10.24425/rhs.2020.136893
Słowa kluczowe: Early Modern religious confraternities Early Modern iconography Dominican Order in Poland The Holy Rosary iconography Early Modern religious celebrations Early Modern Polish culture
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Abstrakt

In the early modern period, there were around 40 religious confraternities in the agglomeration of Cracow, one of the oldest and most important being the Confraternity of the Holy Rosary at the Dominican Church of the Holy Trinity. It is not known when it was founded, but it was probably already operating in the late Middle Ages. In 1600, this confraternity, existing “ab immemorabilis tempore”, was reformed by Fr. Abraham Bzowski, who on this occasion prepared and published an extensive dissertation, having the character of its “statutes”. From 4 February 1601 the seat of the renewed confraternity was in the Chapel of the Three Kings, at the far end of the northern nave of the church. It contained the Brotherhood’s altar which was transferred, probably after 1688, to the church of St. Giles and placed on the altar’s stone in the apse of the presbytery. The altar contained the holy picture of the Virgin Mary of the Salus Populi Romani type, connected by tradition established in the first half of the 17th century with Pope Clement VIII, who was to grant it indulgences. Bernard Maciejowski, then Bishop of Łuck, later Bishop of Cracow and finally Primate, is considered as the donor of the painting. Every first Sunday in October, the Cracow copy of the Roman image was carried out by the brothers out of the chapel and in a solemn procession around the Main Square. This custom was linked to the victory of the Christian fleet over the Turkish one near Lepanto in 1571, after which Pope Pius V established its liturgical memory (7 October). In Poland, this tradition gained a new dimension after to the successful defence of the Chocim fortress against the Turks in 1621. The devotion to the Rosary was cultivated not only in the Brotherhood’s chapel, but also in the Conventual Church, where the altar of the Holy Rosary stood to the left of the choir entrance. Symmetrically to it, on the right side of the rainbow arcade stood the altar of the Confraternity of the Holy Name of Jesus, founded in 1585 by Fr. Bartłomiej of Przemyśl. Its aim was to eradicate the sinful custom of swearing oaths, and because of the connections with the Confraternity of the Holy Rosary it was called the Archconfraternity of the Rosary of the Most Holy Name of Jesus. The spreading of the rosary prayer by the Order went beyond the Conventual Church. A special role in this work was played by the Gothic Church of St. Giles, which the Dominicans took under their protection in 1588. An important caesura in the history of the Archconfraternity of the Holy Rosary was the move to a new spacious oratory, which was erected on the site of the medieval Chapel of the Annunciation of the Blessed Virgin Mary, at the far end of the southern nave of the church. One of the reasons for undertaking this new work is considered to be the desire to commemorate the victory of John III Sobieski over the Turks at Vienna on 12 September 1683. The opulent decor and interesting ideological programme have only partially survived, but they can be reconstructed on the basis of preserved written sources, as can be the character of the Brotherhood’s celebrations. Particularly interesting monuments include those connected with the so-called Century of the Rosary, established with the consent of Pope Innocent XII (1694). It was a congregation of 100 brothers and 100 sisters, whose task was to pray continuously for the souls suffering in Purgatory. Among other things, a book of this association has been preserved, which contains illuminations showing the salutary effects of the prayer of the Rosary.
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Autorzy i Afiliacje

Krzysztof J. Czyżewski
1
Marek Walczak
2
  1. Zamek Królewski na Wawelu
  2. Uniwersytet Jagielloński
7 Walory moralne a obrona i legitymizacja katolickiej Europy. Oprawa uroczystości beatyfikacyjnych i kanonizacyjnych Stanisława Kostki w Rzeczypospolitej Obojga Narodów
Janina Dzik
Rocznik Historii Sztuki | 2020 | No XLV | 85-90 | DOI: 10.24425/rhs.2020.136894
Słowa kluczowe: Beatification ceremonies canonization ceremonies Early Modern religious celebrations The Society of Jesus Jesuits Jesuit Order in Poland Early Modern occasional decorations Early Modern Polish culture
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Abstrakt

The putting on of spectacular ceremonies finalizing the acts of beatification and canonization of Stanisław Kostka, taking place in the principal Jesuit centers of the Polish-Lithuanian Commonwealth, was an important artistic activity of modern times. The content programs of the decorations which accompanied the celebrations between 1606 and 1726, known to us from written sources, reflect the propaganda of the Kostka ceremonies. The oldest occasional decorations and outdoor shows taking place in the city of Jarosław had been organized on the initiative of his relative Anna née Kostka Ostrogska. They were organized in connection with the proclamation of Stanisław Kostka as Blessed by Pope Paul V in 1606. The theme of the decorations accentuated the importance of the moral values of this ascetic follower of the Counter-Reformation Church, while the widely used language of allegory defined his individual spiritual values and illustrated scenes from his life and miracles.
However, Stanisław Kostka soon became seen as an advocate of the Polish Lithuanian-Commonwealth in its military struggles in the East, especially in the conflict with the Ottoman Porte. After the victory of Chocim (Khotyn) in 1621 he was revered as the patron saint of the Polish knighthood, and after the victory at the Battle of Chocim in 1673 he was rapidly proclaimed (in 1674) one of the main patrons of the Kingdom of Poland and the Grand Duchy of Lithuania. It was this aspect of Kostka’s promotion that was used in the decorative themes of his thanksgiving ceremonies after the closing of the beatification process and the decree of canonization by Pope Clement XI in 1714. The decorations of the Jesuit Church in Lublin, described in detail in the records of the Society of Jesus (1715), explained and glorified the new role of the young saint. His role as a guarantor of peace and stability of the Commonwealth, revealed in God’s eternal plans, was presented through astral configurations and complicated semantic systems. Kostka’s canonization, which had raised the importance of the Polish-Lithuanian Commonwealth, as being linked to the papacy and the Catholic faith, was seen as the culmination of a great historical message and the revelation of the secret given to Poland, also recognizable through astral configuration.
The military and diplomatic triumph over the Ottoman Porte was considered a breakthrough moment, opening a period of happiness achieved thanks to Kostka’s intervention and the support of Heaven. The result of a united front in the battle with a common enemy was to achieve a state of happiness that strengthened the ecclesiastical and monarchical order, an idea taken up by the decorations seen in Jarosław and Vilnius, amongst others. The ad hoc political content was moved to the sphere of the monastic political philosophy and historical theology.
An allusion to the happy future that mathematicians had supposedly predicted was also included in the decorations. After the partition of Poland and the dissolution of the Jesuit order, the revival of the fading cult of Stanislaw Kostka took place in the Second Polish Republic, particularly during the jubilee celebrations of the 200th anniversary of his canonization in 1927. This was seen in the ceremony of bringing his relics from Rome to the new church in Rostków, which was attended by the President of the Republic of Poland Ignacy Mościcki. However, there was a significant change in semantics as Stanisław Kostka was now described as the patron saint of children and youth, frequent Holy Communion and felicitous vocational choices.
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Autorzy i Afiliacje

Janina Dzik
1
  1. Kraków
8 Reformacka pompa funebris Benedykta Roszkowskiego
Piotr Ługowski
Rocznik Historii Sztuki | 2020 | No XLV | 91-108
Słowa kluczowe: Order of Reformed Friars Minor Franciscan Order in Poland 18th Century religious ceremonies funeral ceremonies 18th Century occasional decorations funeral iconography pompa funebris iconography 18th Century Polish culture
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Abstrakt

Benedykt Roszkowski, a reformed friar from the Order of Reformed Friars Minor (Reformati) in the Greater Poland province ( Wielkopolska), became famous as a religious preacher (sermoniser). He held this position for twenty-one years, in various centres of the province, and held the ministry of guardian a number of times. He was also a member of provincial government in the form of secretary and definitor (1779–1782) as well as fulfilling the role of custodian or provincial deputy (1785–1788). The friar also helped create settings for church ceremonies.
This article discusses Roszkowski’s hitherto unknown manuscript containing a description of the artistic settings of six funeral ceremonies that took place in the Reformati Churches during the years 1758–1762. The descriptions were illustrated with the friar’s own watercolours depicting the theatrum created during funeral ceremonies. The document, written in Latin, was made between 1762 and 1764 as Roszkowski’s gift to the Provincial Superior of Greater Poland, Father Dionizy Sydry. His descriptions include the funeral of the Crown Oboźnina (wife of the Crown Great Camp Leader) Teresa Teofila Lipska née Dąbska, and the funeral rites in memory of the Oboźny (Crown Great Camp Leader) Prokop Lipski in the Reformati Church in Poznań (1758); the funeral of the Master of the Hunt’s wife from Wschowa, Zofia Gorzyńska, in the Reformati Church in Miejska Górka (1761); the exequies of Zofia Puklatecka in the Reformati Church in Poznań (1762); the funeral of Brygida Czapska née Działyńska, the wife of the Malbork voivode, in the Reformed Church in Pakość, and the funeral rites in the parish church in Konarzewo (1762). For all these funerals, the friar designed both the interior of the church and the castrum doloris placed in the centre. The baldachin-type castrum doloris dominated: on a multi-step platform (sometimes taking the shape of a fortress with bastions) with a raised coffin were figures of Virtues or personifications, and on its sides were obelisks in the form of rocaille or decorative columns crowned with busts of Virtues. The whole structure was topped with a hanging fabric baldachin. In such artistic settings, the friar combined heraldic content with references to both the Bible and mythology. With the informal character of its descriptions, this manuscript differs from the occasional prints published by Roszkowski. Not only does the friar specify the material from which individual elements were made, but he also demonstrates the real context of their presentation. It is the first time we find in one document the descriptions of so many elements of the pompa funebris, along with their visual representations, made by a man who was artist, designer and preacher in one. These various aspects make Roszkowski’s work a special source for research on the funeral culture of the former Polish-Lithuanian Commonwealth, one which finds no equal.
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Autorzy i Afiliacje

Piotr Ługowski
1
  1. Narodowy Instytut Polskiego Dziedzictwa Kulturowego za Granicą POLONIKA
9 Osiemnastowieczne uroczystości z udziałem cudownych obrazów na terenie województwa bełskiego. Zarys problematyki
Agata Dworzak
Rocznik Historii Sztuki | 2020 | No XLV | 109-138
Słowa kluczowe: 18th Century religious ceremonies Marian iconography cult of the images cult image cult object 18th Century Polish culture
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Abstrakt

The subject area of the cult of images regarded as miraculous during the Old Polish period has long enjoyed the interest of scholars, who analysed it in historical, theological, religious, artistic or social terms. This applies to both single images (usually paintings) as well as to syntheses including selected groups of cult objects. The crowned pictures are of greatest interest, of course, but relatively little space has been devoted to local Marian centres. The aim of this article is to draw attention to eighteenth-century ceremonies involving miraculous paintings in the former Bełsk Province, especially in the local sanctuaries. Three ceremonies have been analysed: the coronation of the miraculous painting of Our Lady of Sokal, and ceremonies with the participation of the miraculous paintings of Our Lady of Łopatyn and Our Lady of Tartaków. The lack in the literature of a precise description of the course of the coronation of the miraculous Our Lady of Sokal picture has so far made general conclusions difficult.
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Autorzy i Afiliacje

Agata Dworzak
1
  1. Uniwersytet Jagielloński
10 O wizualizacji konfliktu politycznego z połowy XVIII wieku. Sprawa podziału ordynacji ostrogskiej w dekoracjach okazjonalnych
Krzysztof Gombin
Rocznik Historii Sztuki | 2020 | No XLV | 139-147 | DOI: 10.24425/rhs.2020.136897
Słowa kluczowe: 18th Century occasional decorations 18th Century political history state ceremony political iconography 18th Century Polish culture visual strategies
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Abstrakt

One of the most important functions of 18th-century occasional decorations was to communicate current political issues. The artistic setting of ceremonies related to political events can of course be analyzed as an independent entity but may also be studied as a fragment of a larger message that encompasses prints, literature and political ceremony.
The present article will adopt the latter approach, and analyze the political message of the 1750s on the subject of the division of the Entail of Ostrog, resulting from the so-called “Transaction of Kolbuszowa” in 1753. This event, which had a huge impact on political relations of the time, was also of key importance to the chief players of the period as well as their artistic initiatives (for example J. K. Branicki, who became the Great Crown Hetman after Józef Potocki’s death). The theme of the Entail of Ostrog can be seen in the artistic settings of ceremonies related to the activities of the Senatorial Commission, as well as in those related to two terms of the Crown Tribunal, which in 1754 and 1755 was overshadowed by the consequences of the Kolbuszowa transaction. The above-mentioned bodies acted on behalf of the entire Polish-Lithuanian Commonwealth; therefore, ideas of political unity and total consensus were emphasized in the decorations. In this way, specific decisions were legitimized. Occasional decorations made reference to the Gigantomachy, understood as an internal conflict, and stressed the importance of overcoming internal enemies for the sake of state unity. Banquets were also of great importance in conveying this message, not only because participation alone was seen as a manifestation of belonging to a certain community, but also because the ideological content of the table decorations presented the political values of the guests and served as a commentary on current political issues.
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Autorzy i Afiliacje

Krzysztof Gombin
1
  1. Lublin
11 Reddite, quae sunt Caesaris, Caesari. Dekoracje okolicznościowe w spiskich kościołach w listopadzie 1772 roku
Maria Kazimiera Staniszewska
Rocznik Historii Sztuki | 2020 | No XLV | 149-161 | DOI: 10.24425/rhs.2020.136898
Słowa kluczowe: 18th Century occasional decorations 18th Century religious ceremonies Spiš artistic culture political ceremony state ceremony political iconography
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Abstrakt

The county of Spiš, consisting of enclaves within the territory of the Kingdom of Hungary, ethnically and religiously diverse, frequently administered by eminent personalities and situated on an important trade route, has played an important political and economic role over the centuries. The pawned towns of Spiš, which were never bought back, were the subject of claims by the southern neighbours of the Polish-Lithuanian Commonwealth until they were cut off from it in 1769 by a sanitary cordon imposed by the Imperial army. The return of the thirteen Spiš towns and the dominion of the Lubelsko-Podolinieckie province to the Kingdom of Hungary is a well-known occurrence, but tracing the detailed course of this process requires further research, in particular archival research.
Bearing testament to this turbulent period are the documents preserved in Vienna’s Österreichisches Staatsarchiv related to żupan Jan Csáky de Keresztseg. The article discusses a letter from Jan Nepomucen Kirschner, parish priest in Żakowce, which describes the church decorations in major towns in the former starosty on the occasion of its incorporation into Hungary in November 1772. According to the brief account of Father Kirschner, the altars in the churches were adorned with Hungarian crowns and inscriptions citing biblical verses. Also mentioned is other archival material from the collection, which may enrich our knowledge of the course of these celebrations, such as the texts of the żupan’s speech and the townspeople’s oaths, as well as of those pieces composed in honour of Csáky, Maria Theresa and Joseph II.
The discussed documents are a rare example of Spiš archival material containing descriptions of the decorations for a state ceremony in this area. According to the narrative of the ceremonial programme, the moment of incorporation of the thirteen towns and Lubowelski dominion into the Hungarian county is a triumph of justice – the lost parts of Spiš return to their rightful rulers, whose good governance will ensure peace and stability for the inhabitants of the region. The form and ideological message of the various elements of the ceremonial setting (both visual and literary) was relatively simple, probably in order to adapt it to the needs of the mass audience taking the oath of allegiance to the new authorities.
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Autorzy i Afiliacje

Maria Kazimiera Staniszewska
1
  1. Uniwersytet Jagielloński
12 Koronacja obrazu Matki Boskiej Pocieszenia w kościele Jezuitów we Lwowie w 1905 roku
Andrzej Betlej
Rocznik Historii Sztuki | 2020 | No XLV | 163-170 | DOI: 10.24425/rhs.2020.136899
Słowa kluczowe: 20th Century religious ceremonies 20th Century occasional decorations Marian iconography cult of the images cult image 20th Century Polish culture
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Abstrakt

The article discusses the artistic setting of the largest religious ceremony of the beginning of the 20th century, the coronation of the icon of Our Lady of Consolation in the Church of St. Peter and Paul in Lviv. The painting itself was considered to be one of the palladiums of the city, as in 1656, during the Swedish Deluge, the papal nuncio Vidoni first uttered the call to the “Queen of the Polish Crown” in front of this Marian image, in the presence of King Jan Kazimierz and the court.
In 1904, on the occasion of the jubilee of the announcement of the Dogma of the Immaculate Conception of the Blessed Virgin Mary, the Marian Congress took place in Lviv, and in that same year the decision was made to create new crowns for the painting of the Mother of God and Baby Jesus. A committee, composed of representatives from the aristocracy and bourgeoisie of the city, was set up to raise the appropriate funds, and the then Archbishop of Lviv, Józef Bilczewski, was asked to perform the solemn coronation. An artistic and technical committee was also established, which included the architect Teodor Talowski (chairman), Antoni Popiel, Andrzej Romaszkan, Tadeusz Czapelski and Karol Richtmann, who made the decision to transform the altar where the painting was placed and to convert the area of the church bay into a distinct chapel. The works were led by Karol Richtmann, the altar was renovated by the painter Karol Domański, and the new bronze antependium was designed by Antoni Popiel. The bolt with the depiction of Our Lady of the Immaculate Conception was made by the sculptor Piotr Wójtowicz. The icon of the Virgin Mary itself was restored by Henryk Kühn. The chapel vault was decorated with paintings by Tadeusz Popiel, and its space was separated from the rest of the church by a grid made according to a project by Alfred Zachariewicz. Antoni Popiel designed golden crowns and a new dress for the figures of the Mother of God and Baby Jesus, made by the goldsmith and jeweller Jan Wojtych. The Committee also commissioned new stained glass windows for the chapel from the Kraków workshop of Stanisław Ekielski and Antoni Tuch. The main work was completed in July 1905.
On 12 February 1905, a coronation decree was issued in Rome, and Archbishop Bilczewski was appointed to perform the coronation act. On 28 April 1905, another decree was issued recognizing the antiquity and miraculousness of the painting, and the ceremony was scheduled for 28th May.
The church façade, side elevation and interior were decorated extensively, while the focal point was prepared for receiving the painting – “The Gothic golden throne with motifs from the tomb of Kazimierz the Great”. The decorations were designed by Stanisław Jasieński, a renowned painter and theatre decorator of the time. The streets and squares which the coronation procession went through were also adorned. The ceremony was very carefully planned and directed; it was attended by the clergy of the three Christian rites, local authorities and representatives of all social strata. When analyzing the coronation ceremonies, it is important to underline their considerable reliance on the schemes of coronations of Marian images which took place on Polish territory in the 18th century. The tradition of the last Marian coronation, of a painting from the Dominican Church in Lviv in 1751, was strongly referred to and accentuated in occasional prints that accompanied this solemn act. The reference to old Polish coronations can be seen in numerous occasional prints, in reporting on the course of the ceremony, as well as in the extensive descriptions and texts of sermons published. This ceremony had an exceptional social and national dimension, as it was the first such coronation in the former Polish lands since the loss of independence, and the most important ceremony before the outbreak of the First World War. Not without significance in this context was the underlined similarity of forms between the coronation throne and the canopy over the tombstone of Kazimierz the Great in the Kraków Cathedral, or the calling of one crown as Kazimierzowska and the other Jagiellońska. The new artistic remodeling of the Chapel of Our Lady in the Jesuit Church was a prelude to the renovation of the remaining altars in the church. The coronation ceremony and the restoration of the chapel gathered together the most important artists of the early 19th century working for the Church patronage in the capital of Galicia. The chapel designed by Teodor Talowski successfully combines an 18th-century retabulum with paintings by Tadeusz Popiel, being probably the last example of a true Baroque bel composto.
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Autorzy i Afiliacje

Andrzej Betlej
1
  1. Uniwersytet Jagielloński
13 Rok 1933. Oprawa obchodów 400. rocznicy urodzin Stefana Batorego i 250-lecia Odsieczy Wiedeńskiej na Kresach Wschodnich
Marcin Zgliński
Rocznik Historii Sztuki | 2020 | No XLV | 171-184
Słowa kluczowe: 20th Century religious ceremonies 20th Century occasional decorations state ceremony political iconography historical politics 20th Century Polish culture
Pobierz PDF Pobierz RIS Pobierz Bibtex

Abstrakt

The year 1933, which marked the 15th anniversary of Polish independence, also saw the celebrations of the 400th birthday of Stefan Batory and the 250th anniversary of the Relief of Vienna led by King Jan III Sobieski. Both events allowed for a wide campaign of propaganda for the Sanation movement’s updated political programme, clad in historical analogies, especially in the context of Eastern policy. For this reason, the ceremonies organized in the Borderlands, a particular lieux de mémoire associated with great kings, who were seen in official historical politics as natural harbingers of Józef Piłsudski, took on a special character. This provided an excellent opportunity for the propaganda of the Polish civilizing mission in the East and the promotion of the idea of Poland as a superpower. The main ceremonies commemorating Stefan Batory were organized in Grodno, where the monarch died in the historic castle in 1586. These celebrations, broadcast by radio and widely reported by the press, were attended by President Ignacy Mościcki and many national and local dignitaries, ministers, senators, deputies, voivodes, bishops, generals etc. Lavish occasional decorations, saturated with specific symbolism, were set up as modernized late 16th-century architectural stylizations. The activities of the Grodno Castle reconstruction committee were officially inaugurated on the 350th anniversary of Batory’s death. Even more magnificent were the two-day festivities commemorating the Victory at Vienna organized in Olesko, which overshadowed the central celebrations in Kraków. The programme of the ceremony proclaimed that “a deed of European importance – by King Jan III and the then-superpower Poland – must be reflected by a programme of celebrations of its 250-year anniversary on a superpower scale”. An extensive open-air spectacle was organized with the participation of thousands of extras, including soldiers in historical costumes, several hundred fire brigades, scouts and aviation squadrons. Particularly spectacular was the especially arranged musical performance combined with night illuminations. These celebrations were enhanced by other accompanying events such as the Star Automobile and Motorcycle Rally and the sightseeing rally On the Trail of Sobieski. In other Borderland towns such as Tarnopol the jubilee was celebrated on a smaller scale, where a number of outdoor events were organized under the umbrella name Harvest Festival of King Jan III and the Arrival of the Austrian Emperor’s Legation with a Request for the Relief of Vienna.
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Autorzy i Afiliacje

Marcin Zgliński
1
  1. Instytut Sztuki PAN
14 BOBOLANA 1938 – oprawa uroczystości związanych ze sprowadzeniem do Warszawy relikwii św. Andrzeja Boboli
Katarzyna Kolendo-Korczak
Rocznik Historii Sztuki | 2020 | No XLV | 185-196 | DOI: 10.24425/rhs.2020.136901
Słowa kluczowe: canonization ceremonies 20th Century religious ceremonies 20th Century occasional decorations state ceremony 20th Century Polish culture
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Abstrakt

Although he was only recognized as the patron saint of Poland by the Vatican in 2002, St. Andrzej Bobola was accorded a cult following much earlier than this, and venerated as the saint protector of the Polish-Lithuanian Commonwealth. He was seen as a special defender against the threat from first Tsarist Russia, then Orthodox Russia, then the Soviet Union – the Blessed’s intercession was associated with the victory of the Battle of Warsaw in 1920. For this reason, his beatification and canonization were part of political discourse.
Andrzej Bobola’s relics were originally stored in the Jesuit church in Pińsk, moved to Połock after its closure, and were taken to the Hygienic Exhibition in Moscow in 1922. Recovered thanks to the Pope’s intervention in 1924, they were taken to the Il Gesù Church in Rome. By the 1920s, Polish church authorities were already making efforts to canonize Andrzej Bobola and return his relics to Poland. Several Polish cities tried to obtain the saint’s remains, including Vilnius, Warsaw, Pińsk and even Janów Poleski.
The canonization, which took place on 17 April 1938, in particular the ceremonial return of the relics of St. Andrzej Bobola to Warsaw in June 1938, took the form of a great religious and patriotic demonstration. It was accompanied by numerous ceremonies in which the highest church and state authorities participated, with extensive paratheatrical scripts, as well as specially designed decorations and music composed for the occasion. The press reported these in great detail, constituting a fascinating case of an event of both great religious significance and broad political context.
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Autorzy i Afiliacje

Katarzyna Kolendo-Korczak
1
  1. Instytut Sztuki PAN

Instrukcja dla autorów

INSTRUKCJE DLA AUTORÓW

Redakcja oczekuje tekstów niepublikowanych w całości lub w większych partiach, jednak w uzasadnionych przypadkach dopuszcza znacznie rozszerzone i zmodyfikowane wersje prac już opublikowanych. Redakcja zastrzega sobie prawo do nałożenia trzyletniego embarga na teksty opublikowane w „Roczniku”, licząc od daty publikacji. Redakcja przypomina, że zgodnie z zasadą wprowadzoną przez Polska Akademia Nauk dla wszystkich jej czasopism od 2005 roku, publikacje w „Roczniku” nie są objęte opłatami.
Uzyskanie zgody na publikację ilustracji leży po stronie Autorów. „Rocznik Historii Sztuki”, podobnie jak inne czasopisma naukowe w Polsce, nie pokrywa roszczeń z tytułu praw autorskich i praw do reprodukcji ze względu na bardzo ograniczony budżet.

Prosimy o konsekwentne stosowanie poniższych zasad redakcyjnych. Redakcja zastrzega sobie prawo do wprowadzania zmian i/lub zwracania tekstów w przypadku nieprzestrzegania poniższych wytycznych.

I. Przygotowanie tekstu i ilustracji

Teksty należy dostarczyć w formie elektronicznej wyłącznie w formacie *.doc lub *.rtf. Dokumenty (manuskrypt, streszczenia, podpisy pod ilustracjami, bibliografia) powinny być zapisane w oddzielnych plikach nazwanych zgodnie z ich zawartością
Ilustracje w formacie *.tiff (rozdzielczość 300 dpi lub wyższa) należy zapisać w osobnym folderze, a nazwa każdego pliku powinna zawierać nazwisko autora tekstu oraz numer porządkowy ilustracji (numer musi odpowiadać numerowi w tekście i podpisie); prosimy nie wklejać ilustracji do tekstu, lecz wyraźnie zaznaczyć miejsce ich umieszczenia
Objętość streszczenia nie powinna przekraczać proporcji jednej strony tekstu znormalizowanego (1800 znaków) na jeden arkusz wydawniczy artykułu (40 000 znaków ze spacjami)
Ponieważ Redakcja zamieszcza informacje o zawartości każdego numeru „Rocznika” w bazach internetowych, należy podać pięć słów kluczowych (wraz ze streszczeniem), a także bibliografię wykorzystaną w artykule
Tekst należy przygotować w edytorze Microsoft Word lub Open Office: czcionka Times New Roman lub Arial, wielkość 12 pkt – tekst główny, 10 pkt – przypisy, interlinia 1,5, marginesy standardowe 2,5 cm. W dłuższych tekstach należy stosować śródtytuły


„Rocznik” przyjmuje wyłącznie przypisy dolne

II. Zapisy tytułów, nazw własnych, dat

Tytuły artykułów, książek i dzieł sztuki należy wyróżniać kursywą
Brak wskazania tłumacza oznacza, że przekład został wykonany przez autora tekstu
Nazwy instytucji, muzeów i kolekcji należy zapisywać w oryginalnym brzmieniu, np. Vienna, Kunsthistorisches Museum
Nazwiska i imiona obce należy zapisywać w oryginalnej formie. Nazwy budowli i obiektów należy zapisywać zgodnie z obowiązującymi zasadami ortografii
Daty należy zapisywać cyframi arabskimi; dopuszcza się zapisywanie miesięcy słownie w tekście
W przypadku odwołań do stron internetowych należy podać datę dostępu; zapis po adresie strony, cyframi arabskimi w nawiasie, np. [dostęp: 01.2017]

III. Przypisy i bibliografia
Przypisy należy rozpoczynać wielką literą i kończyć kropką

  1. Książki:
    autor (inicjał imienia, kropka, spacja, nazwisko; przy kilku inicjałach bez spacji między nimi; nazwisko autora zapisane rozstrzelonym drukiem przy użyciu odpowiedniej funkcji edytora),
    po przecinku tytuł książki kursywą, po kropce podtytuł (jeśli występuje),
    po przecinku tłumacz (jeśli dotyczy), redaktor, numer tomu
    (skróty: transl., ed.; vol.; w publikacjach obcojęzycznych stosować oryginalne skróty, np. Hrsg. = Herausgeber),
    po przecinku wydawca (jeśli wymagany), miejsce i rok wydania,
    jeśli książka ma wznowienie – numer wydania użytego w tekście przed nazwą wydawcy,
    po przecinku strony cytowane

Przykład:
Préaud, P. Casselle, M. Grivel, C. Le Bitouzé, Dictionnaire des éditeurs d’estampes à Paris sous l’Ancien Régime, Promodis – Editions du Cercle de la Librairie, ed. I, Paris 1987, s. 179–180, il. s. 301.
Jeśli cytowana jest seria wydawnicza, należy ją podać po tytule książki, bez cudzysłowu, wielkimi literami (z wyłączeniem spójników i przyimków), po przecinku numer tomu (jeśli dotyczy), miejsce i rok wydania

  1. Artykuły w pracach zbiorowych, księgach jubileuszowych, słownikach, encyklopediach i leksykonach:
    autor (jak wyżej),
    po przecinku tytuł kursywą,
    po przecinku: [w:],
    tytuł publikacji (jak wyżej),
    po przecinku redaktor, w przypadku przekładu tłumacz (w pracach zbiorowych tłumacz po tytule artykułu)

Przykład:
Tazbir, Polsko-niderlandzkie kontakty wyznaniowe w XVII w., [w:] Niderlandyzm w sztuce polskiej. Materiały Sesji Stowarzyszenia Historyków Sztuki, Toruń, grudzień 1992, PWN, Warszawa 1995, s. 37–49.

  1. Katalogi wystaw:
    autor lub autorzy (jak wyżej),
    przy wielu autorach rozpocząć od tytułu wystawy,
    po przecinku tytuł kursywą,
    po kropce: katalog wystawy,
    po przecinku miejsce i czas trwania wystawy (jeśli znane),
    po przecinku strony cytowane, numery katalogowe

Przykład:
Bevers, Meister E.S., ein oberrheinischer Kupferstecher der Spätgotik. Katalog wystawy, Staatliche Graphische Sammlung München, 10. Dezember 1986 – 15. Februar 1987, Kupferstichkabinett Berlin, Staatliche Museen Preussicher Kulturbesitz April – 14. Juni 1987, München 1986, nr 5, s. 17.

  1. Artykuły w katalogach i hasła katalogowe:
    Jak w publikacjach zbiorowych, z uwzględnieniem danych o wystawie
  2. Czasopisma:
    autor (jak wyżej),
    po przecinku tytuł kursywą,
    po przecinku tytuł czasopisma w cudzysłowie,
    po przecinku rok, numer tomu, numer zeszytu,
    oznaczenia tomów, zeszytów i części zgodnie z oryginalną notacją językową (np. Bd., vol., H.),
    po przecinku strony cytowane

Przykład:
Stijnman, Lucas van Leyden and Etching, „Print Quarterly”, 1988, vol. 4 (Winter), s. 256–257, il. 1, s. 256.

  1. Źródła archiwalne:
    miasto,
    po przecinku nazwa archiwum lub biblioteki,
    po przecinku sygnatura,
    po przecinku tytuł rękopisu, numer karty, ewentualnie recto (r.) i verso (v.)

Przykład:
Florencja, Archivio di Stato Firenze, Ms. 78. 39, Guardaroba Medicea, k. 72 r.
Przy wielokrotnym cytowaniu: w pierwszym przypisie pełna nazwa z objaśnieniem skrótu, np. Warszawa, Archiwum Główne Akt Dawnych [dalej: AGAD], następnie stosować skrót

  1. Skróty bibliograficzne:
    Przy ponownym cytowaniu artykułu: nazwisko autora (bez inicjału), przecinek, op. cit., przecinek, numer strony
    np. Kornwolf, op. cit., s. 79
    Przy cytowaniu tego samego tekstu co w poprzednim przypisie: Ibidem, 60
    Przy powtarzającym się autorze: idem (mężczyzna), eadem (kobieta)
    Przy różnych publikacjach tego samego autora: skrót tytułu do pierwszego rzeczownika, np. Chmielewski, Warszawskie książnice…, s. 15
    Przy artykułach z katalogiem obiektów można stosować skróty, jeśli dołączono pełny wykaz bibliograficzny
    Przy katalogach wystaw można stosować skróty miejsca i roku, np. Warszawa 1996
    Jeśli wpis bibliograficzny pojawia się jednorazowo – nie skracać
    Przy powtarzającym się dziele (np. katalog raisonné): pełny zapis z wprowadzeniem skrótu, np. H. Focillon, Giovanni Battista Piranesi, Paris 1918 [dalej: Focillon 1918]

IV. Hasła katalogowe:
autor,
poniżej tytuł dzieła; po kropce datowanie,
poniżej technika, wymiary (wysokość × szerokość z jednostkami),
poniżej miejsce przechowywania (bez kropki),
poniżej bibliografia oddzielona średnikami,
wykaz rozpoczyna skrót Bibl.:
bibliografia czcionką jak przypisy

Przykład:
Stefano della Bella
Deer Hunting. ok. 1656
Pióro, tusz, lawowanie, papier żeberkowy, 167 × 123 mm
Kraków, Muzeum Narodowe
Bibl.: Vesme, Massar 1971, 680; Ortolani 1997, 680, il. s. 59

V. Ilustracje
Podpisy pod ilustracjami:
autor,
po przecinku tytuł dzieła kursywą,
po przecinku datowanie,
po przecinku technika,
po przecinku wymiary (wysokość × szerokość z jednostką),
po przecinku właściciel,
po kropce fotograf (lub formuła „dzięki uprzejmości …” lub „źródło reprodukcji: …”),
na końcu podpisów nie stosuje się kropki

Przykład:
Paul Gauguin, Autoportret, 1889, olej, drewno, 79,2 × 51,3 cm, Washington, National Gallery of Art. Fot. J. Borkowski

Jeżeli ilustracja przedstawia detal dzieła, należy podać pełny opis jak wyżej oraz precyzyjnie opisać reprodukowany fragment (dotyczy to także fragmentów dzieł prezentowanych w całości w tekście)
W przypadku ilustracji przedstawiających budowle lub ich plany należy, o ile to możliwe, stosować powyższe zasady

 
 
 

Dodatkowe informacje

Polityka archiwizacji

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Artykuły mogą być również archiwizowane w repozytoriach instytucjonalnych oraz innych bazach naukowych, zgodnie z obowiązującą licencją.


Opłaty za publikację

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Publikacja w czasopiśmie jest całkowicie bezpłatna dla autorów.

Zasady etyki publikacyjnej

Redakcja Rocznika Historii Sztuki stosuje zasady etyki publikacyjnej zgodne z wytycznymi Committee on Publication Ethics.

Obowiązki redakcji

Redakcja podejmuje decyzje o publikacji wyłącznie na podstawie wartości naukowej tekstu, jego oryginalności oraz zgodności z profilem czasopisma. Redaktorzy zobowiązani są do zachowania poufności w odniesieniu do zgłoszonych tekstów, ich autorów oraz recenzentów.

 

Obowiązki autorów

Autorzy zobowiązani są do składania wyłącznie oryginalnych tekstów, które nie były wcześniej publikowane ani zgłoszone do innego czasopisma. Wszystkie wykorzystane źródła muszą być odpowiednio cytowane. Autorzy zobowiązani są do przestrzegania przepisów prawa autorskiego oraz uzyskania zgody na wykorzystanie materiałów objętych ochroną.

 

Obowiązki recenzentów

Recenzenci zobowiązani są do przygotowania rzetelnej, obiektywnej i terminowej oceny tekstu zgodnie ze swoją wiedzą i kompetencjami. Recenzenci zobowiązani są do zachowania poufności oraz niewykorzystywania informacji uzyskanych w trakcie procesu recenzji do celów osobistych.

 

Plagiat i rzetelność naukowa

Plagiat w jakiejkolwiek formie stanowi naruszenie zasad etyki publikacyjnej i jest niedopuszczalny. Zgłoszone teksty mogą podlegać weryfikacji pod kątem ich oryginalności.

 

Konflikt interesów

Autorzy, recenzenci oraz redaktorzy zobowiązani są do ujawnienia wszelkich konfliktów interesów, które mogłyby wpłynąć na przebieg procesu publikacyjnego.

Procedura recenzowania

Proces recenzji

Zgłoszone artykuły podlegają wstępnej ocenie redakcji pod względem zgodności z profilem czasopisma oraz wymogami formalnymi. Następnie artykuły kierowane są do recenzji w trybie double-blind peer review, co oznacza, że zarówno autorzy, jak i recenzenci pozostają anonimowi. Każdy artykuł oceniany jest przez co najmniej dwóch niezależnych recenzentów, niepowiązanych z instytucją autora. Recenzenci są zobowiązani do zachowania poufności oraz nieujawniania swojej tożsamości. Recenzenci powinni posiadać co najmniej stopień naukowy doktora oraz kompetencje merytoryczne odpowiadające tematyce ocenianego artykułu. Recenzje przygotowywane są na formularzu opracowanym przez redakcję i uwzględniają kryteria takie jak: oryginalność, wartość naukowa, poprawność metodologiczna oraz znaczenie dla dyscypliny.

 

Na podstawie otrzymanych recenzji redakcja podejmuje decyzję o:

- przyjęciu artykułu do publikacji,

- przyjęciu po poprawkach,

- ponownym skierowaniu do recenzji,

- odrzuceniu artykułu.

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