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Après avoir distingué le statut et l’usage de l’image (religieuse) dans les chrétientés d’Orient et d’Occident, Anca Manolescu étude deux cas de vierge miraculeuse en Transylvanie (au monastères de Moisei et de Nicula), qui lui permettent de proposer une interprétation de l’économie complexe des icônes, liée non seulement à la fidélité à l’archétype, mais aussi aux pratiques anciennes et actuelles auxquelles l’archétype a donné lieu.

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Abstract  

Given the close iconographic association between the sea and fortune, it is perhaps not surprising that The Merchant of Venice offers a series of intriguing interplays on this theme. These relate to the casket episodes, Antonio's sea-borne argosies, and the repayment of Shylock's loan. Through a consideration of the representation of ortuna, principally in sixteenth century emblem books, the paper suggests that although fortune is presented as a fickle force of destruction, its/her consequent may be effected in several ways: through avoidance, through prudence, through learning, or through sheer good luck. It is argued that Shakepeare's text explores all of these possibilities, drawing vigorously on the ideas that underpin the iconic topoi of his own and previous ages.

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A győri “Istenszülő az Életadó forrás”-ikon: egy magyarországi posztbizánci emlék ikonográfiájához

Győr Icon of the Mother of God “The Life-Giving Spring”. To the iconography of a post-Byzantine relic in Hungary

Művészettörténeti Értesítő
Author:
Xénia Golub

Abstract

The paper looks – mainly from the point of view of iconography – at the intricate composition of the icon of The Mother of God “The Life-giving Fountain” made around 1700 and once used in the former Serbian orthodox church of Győr. Despite the Greek title of the icon calling the Mother of God the Life-giving Fountain, it only partly fits into the tradition of this Byzantine icon type that evolved in the Palaeologan age. The relic is astonishingly innovative not only in the Hungarian stock of icons but also in the whole of post-Byzantine icon painting first of all on account of its secondary motifs. The analysis of analogies and pictorial sources of the individual compositional elements – various plant motifs, the fountain, the coronation of the Virgin, motifs alluding to the celestial sphere – has revealed that the Győr icon is an elaborate complex of western influences arriving into post-Byzantine art along diverse routes. The inscriptions also tie the icon to the Byzantine Akathist hymn to the Blessed Virgin which includes the same symbols of Mary rooted in the Bible as were widespread in the West as well in the early baroque cult of the Virgin. The Győr icon has connections with post-Byzantine iconographic types displaying the influence of western art, such as the tree of Jesse, the Unfading rose, which together with the Life-giving Fountain icon were popular in the 16–17th century icon painting in the territory between Venice, Crete and Athos. The special art historical place of the studied icon is, however, defined by its closest iconographic analogy, the Sammelikone surviving in the imperial court of Vienna, in which the central image of the Life-giving Fountain is added the votive portraits of Emperor Leopold I and his wife. The Győr icon of the Life-giving Fountain is most probably related to some orthodox ethnic group (Serbs, Greeks, Macedonians) who fled the Ottomans to the area of the Habsburg Empire.

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The veneration of icons in the Orthodox church is an integral part of the Russian liturgical tradition. It is possible to study icons only as a sacred work of art intended for prayer. Therefore this article's goal is to show the forms of veneration of icons in the temple as its major environment. In the tradition of Russian Orthodox piety icon worship is expressed in various forms. The major form of veneration of icons is expressed in believers standing in front of them in prayer. In the services of the Russian Orthodox Church it is customary to worship icons with prayer and Akathist services. One of the Holy Fathers said: “Do, do the external, for the external belongs to us, and the internal to God. And for the external the Lord shall give us also the internal” (Pestov 2000: 542). Such external forms of the veneration of icons are expressed in bowing before them, kissing, censing, lighting candles and decorating holy images. All these signs of veneration precede the prayer and create a special mood.

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Abstract  

The purpose of this work was to analyze lead white pigment from icons of 15 th–18 th centuries, collected at the Orthodox Art Department at the Castle Museum in Łańcut, using instrumental neutron activation analysis. The results allowed to identify the concentration of trace elements in 37 samples collected. 40 elements were identified and determined. The cluster analysis using STATISTICA (StatSoft) programme was carried out to identify the similarity degree of the analyzed objects. The aforementioned comparisons indicated that the lead white used in the analyzed icon paintings, constituted a unified, very typical group that had underwent changes with time, came from sources different than lead white used in Małopolska and Silesian Polish school panel paintings.

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Orvosi Hetilap
Authors:
Dávid Zakariás
,
Gábor Marics
,
Kata Kovács
,
Ágnes Jermendy
,
Barbara Vatai
,
György Schuster
,
Péter Tóth-Heyn
,
Attila Szabó J.
, and
Csaba Lódi

Absztrakt:

A kritikus állapotú betegek kezelésében elengedhetetlen fontosságú a hemodinamikai monitorozás. Az utóbbi években az intenzív osztályos ellátás a technika fejlődésének köszönhetően ezen a területen is egyre inkább a nem invazív irányt követi. A néhány évtizeddel ezelőtt rutinszerűen bevezetett invazív hemodinamikai monitorozás használata a gyermek intenzív, valamint egyre több helyen a felnőtt intenzív ellátásban is csökkenő tendenciát mutat. A nem invazív monitorozás elterjedésének oka a biztonságossága, szövődménymentessége mellett a költséghatékonysága is. Összefoglalónk témája az elektromos kardiometrián (electric cardiometry) alapuló ICON® betegmonitor ismertetése, amely egy újonnan kifejlesztett nem invazív, hemodinamikai paramétereket mérő és regisztráló eszköz. Klinikai alkalmazhatósága kiterjed a csecsemő-, gyermek- és felnőttosztályos gyakorlatra is. Az ICON® elektromos kardiometriai monitor működési elve egyszerű: az aortában a vér vezetőképessége az idő függvényében változást mutat, az aortabillentyű nyitása előtt a vörösvérsejtek random elhelyezkedést mutatnak, míg kamrai kontrakció hatására párhuzamos irányultságot vesznek fel. Négy elektróda felhelyezését követően az eszköz a két állapot közti vezetőképesség-változást rögzíti, majd a kapott értékekből a perctérfogatot és a verőtérfogatot méri, valamint más cardiovascularis paramétereket (például szisztémás vascularis rezisztencia) számol a mellkasi elektromos bioimpedancia szívciklushoz kapcsolódó változásainak követésével. Az ICON® legfontosabb előnyei az azonnali és folyamatos mérési lehetőség, illetve a nem invazivitásból fakadó alacsony szövődményráta. Az ICON® új, ígéretes hemodinamikai eszköz az intenzív terápia területén. A nem invazív, valós idejű mérési módszerrel szinte azonnal felmérhető a betegek hemodinamikai statusa, így az optimális terápia indítása késlekedés nélkül elkezdhető. A pontosabb klinikai indikációk meghatározásához további kutatások folyamatban vannak. Orv Hetil. 2018; 159(44): 1775–1781.

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János Pilinsky admirait Dostoïevski pour la sincérité de son rapport avec la vérité, sans style. Cette vérité qui sans doute se trouve à l’arrière-garde de l’avant-garde, toujours en décalage. L’icône, oeuvre religieuse enracinée dans un environnement culturel, fut une inspiration majeure de l’art du XXe siècle, non seulement pictural, mais aussi littéraire, en ce qu’elle invite à mettre en évidence le fond des choses ainsi que le cheminement de l’homme vers l’accomplissement. Un cheminement à travers un labyrinthe, disait Simone Weil.

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Summary

In the 15thcentury, an Orthodox diocese came into being in the north-eastern corner of the Hungarian Kingdom. The centre of the diocese was the town of Munkács. As Munkács is located in the crossroads of cultures and nations, the artifacts produced in the diocese all reflect a vivid connection between northern and southern, eastern and western civilizations. The Mandylion, more typical as a mural in Byzantine art, is one of the most important subjects of icon paintings produced in the 15th–16thcenturies. In this icon the portrait of Jesus on the shawl is complemented with erect figures of archangels. In the Deisis version the angels follow the shawl with awe and worship. The notion of showing up the relic appears in several versions. The angels are either in the background, raising the holy shawl, or show it up with a ceremonial gesture. The versions show the influence of the northern Russian iconography on the one hand, and the effects of late Gothic style on the other. These influences show the changing attitudes of the artists. The Mandylion of Lukov, surviving in the Diocese of Munkács (Mucatchevo) is preserved today in the Slovakian National Gallery in Bratislava. It is one of the rare examples where the central picture is complete with side scenes, depicting an oriental version of the Acheiropoeitos-legend. There are two similar surviving icons, which appear to follow the traditions of icon painting in Moldova. The Mandylion appears as a part of the visual system of the iconostasion of the Carpathians, in the central axis of the Celebration, or as a supraport of the Royal Gate. The ancient Apotropeion-type picture, surrounded with scenes depicting the sacrifice of the Apostles, receives an Eucharistic meaning. In this way it is close to the meaning and function of the western depictions of Veronica's shawl.

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Binder János Fülöp metszetei a máriaradnai kegyképről a budai Landerer-nyomda kiadványaiban (1762–1771)

Illustrations by János Fülöp binder connected to Máriaradna in the miracle-books issued by the Landerer-press in Buda

Művészettörténeti Értesítő
Author:
Szilvia Bánfi

. tétel; Szilárdfy–Tüskés–Knapp (3. jegyzetben) i. m. 190. tétel. 22 Tüskés Anna: Pilgrimage Art in Eighteenth Century Transylvania.Icons, Woodcuts and Engravings.In: Economy and Society in Central and

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