Browsing by Author "Kwiatkowska-Frejlich, Lidia"

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    Rola przedstawień drzewa genealogicznego zakonu w środowisku premonstratensów
    (Wydawnictwo KUL, 2013) Kwiatkowska-Frejlich, Lidia
    Powszechnie znane przedstawienie Drzewa Jessego, zainspirowane słowami „I wyjdzie różdżka z korzenia Jessego i kwiat z korzenia jego wyrośnie” (Iz 11,1), informuje o ludzkich powiązaniach Jezusa, a poprzez wskazanie na Dawida – o Jego mesjańskości. Ale już od najdawniejszych czasów ten motyw wykorzystywany był w sztuce świeckiej, gdyż wyrastające z piersi rodziców rozgałęziające się konary z postaciami potomków, jednoznacznie obrazują zależności wynikające z następstwa pokoleń w rodzinie. Tego typu przedstawienia były popularne również w środowiskach zakonnych. Pozostawały one wówczas informacją o podstawach drogi duchowej, ale też zapewnieniem o jej skuteczności w dotarciu do Nieba. Omawiany w tej pracy obraz ze środowiska premonstratensów miał budzić przekonanie w zakonniku, że zachowując regułę zakonną oraz oddając cześć Eucharystii, może osiągnąć doskonałość, a święci zakonu, którzy już spełnili to zalecenie, są najlepszymi nauczycielami na drodze postępu duchowego. The commonly known representation of Tree of Jesse, as inspired by the words „And the wand will come out of the root of Jesse and a flower will grow out of from its root” (Isaiah 11:1), proves the interpersonal relationships with Jesus and His messianic prophecy - by indicating on David. But since the earliest times this theme has been explored in the secular art because branching limbs with characters of descendants, growing from the parents’ chest, clearly illustrate the relations resulting from successions of generations within the family framework. This kind of representations was also popular in orders. At that time they not only provided the information on the background of spiritual path but also the assurance of its effectiveness on the way to reach Heaven. The images of the Order of Canons Regular of Prémontré, also known as the Premonstratensians, elaborated upon in this paper, was to make canons regular believe that abiding by the rules and laws made by the Order and praising the Eucharist, canons regular may master themselves to perfection and the saints of the order, who had already successfully fulfilled this recommendation, were the best teachers on the path of spiritual progress.
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    Św. Brygida – cykl obrazów w kościele Wniebowzięcia NMP Zwycięskiej w Lublinie
    (Wydawnictwo KUL, 2015) Kwiatkowska-Frejlich, Lidia
    In the first half of the17th century, the stalls with the paintings in their backs showing episodes of the life of St. Bridget of Sweden were introduced into the chancel of the church of the Bridgettines in Lublin. The first series depicted seven paintings on the north wall and one on the east one at the high altar, the other series was made up of one picture on the east wall and six in southern wall. However, those who were present in the church watched only the fragment of the cycle, as they were allowed to be only in the area especially marked for them. A brief analysis of the iconographic representations shows that the scenes of the cycle, arranged in historical narrative, additionally provided the content that in the particular fragment was intended for specific groups. The nuns staying in the upper or lower choir saw the images around the high altar; the pictures both encouraged the Bridgettines to take the right path of spirituality and showed that the monastic rule was given to St. Bridget by Jesus in a supernatural way. Nuns’ fathers confessors – the Bernardines or Dominicans - benefited from the stalls in the chancel - they could watch the cycle as a whole and appreciate the effectiveness of Bridgittines’ path of spirituality. Novices had their place in the only chapel of the church. They looked at those fragments which depicted the hardships of religious life; the aim of the images was to discourage novices from joining the monastery, which was in accordance with the traditional attitude towards them in that religious order. The faithful who gathered in the only side aisle in that church could see the paintings which showed the life of the Bridgettines.