Papers by Ryszard Knapiński
Studia Nauk Teologicznych PAN
DOAJ (DOAJ: Directory of Open Access Journals), Jun 1, 2020
Anuario de Historia de la Iglesia
Bajo el arzobispo Wichmann, la Fabrica ecclesiae de Magdeburgo comprendía un importante taller de... more Bajo el arzobispo Wichmann, la Fabrica ecclesiae de Magdeburgo comprendía un importante taller de fundición. El obispo Alejandro de Płock († 1156) encargo allí una puerta de bronce para su catedral. Ambos obispos, así como el maestro fundidor Riquin y su ayudante Wismuth, están representados en dicha puerta. Ya en el siglo xiii la puerta, empezó a ser botín de guerra en manos de diversos contendientes y recorrió distintos lugares hasta ser colocada, en el siglo xv, en la catedral de Santa Sofía de Novgorod-Veliki, por el maestro Abraham, cuya imagen se incluyo en la puerta. El transporte y la nueva colocación fueron posibles, gracias a que constaba de 46 placas de bronce sobre soportes de madera. El traslado se comprueba mediante inscripciones grabadas en ruso (s. xv), junto a otras, fundidas, en latín (s. xii). La articulación en piezas hizo posible el desmonte, el traslado y recolocación, con el inconveniente de poder cambiar el orden primitivo de las piezas y de producir desperfe...
Archiwa, Biblioteki i Muzea Kościelne
Archiwa, Biblioteki i Muzea Kościelne, 1987
Archiwa, Biblioteki i Muzea Kościelne, 1988
Петербургский исторический журнал, 2015
The Romanesque Door of Płock. State of research1 The Romanesque Door cast in bronze in the years ... more The Romanesque Door of Płock. State of research1 The Romanesque Door cast in bronze in the years 1152–1154 in Magdeburg and intended for the Płock Cathedral2 that are presently on the western façade of the Orthodox Church of The Wisdom of God in Velikij Novgorod (USSR) were the fi rst monument of art of this type in Poland. Together with the Door of Gniezno they belong to the best works of the European bellfounders of the 12th centur
When speaking of the sacred art we mean such works that were created owing to the Church's in... more When speaking of the sacred art we mean such works that were created owing to the Church's inspiration or patronage, that were designated to furnish church interiors, or - in a broader context - which were created for the use of the Catholic Church. Hence the origin, purpose and function of a work are its proper modus definiens that allows an object to be classified as a monument of sacred art. A peculiarly understood theophany through art has been going on for over twenty centuries. For a researcher monuments of sacred art are not inanimate objects but they speak about a religious dialogue going on between the artist-man and God. The artist's work is a testimony to that conversation. This entire heritage is the subject of studies of the Chair of History of the Sacred Art at the CUL. Its origin is connected with the beginnings of the Catholic University of Lublin that was established in 1918. in the post-war period the history of the Chair is connected with the development of the History of Art Department. The Council of the Humanities Department in its resolution of 12 April 1957 called the Chair of Sacred Art into being (in 1965 its name was changed to the Chair of History of Sacred Art). The subject matter of the lectures and publications by its successive directors and lecturers was directed to making a synthesis of studies on the Polish sacred art from their beginnings to the 20 th century. At present the initiative has been taken to digitalise the slides collection and other illustrative materials in order to facilitate the researchers' access to them.
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Papers by Ryszard Knapiński