Browsing by Author "Nawrocki, Rafał"
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- ItemArchitektura Kaplicy Firlejowskiej w Bejscach. Próba analizy programu ideowego(Werset, 2004) Nawrocki, Rafał
- ItemDrewniany kościół pw. św. Leonarda w Kleciach. Analizy, rekonstrukcje, hipotezy(Towarzystwo Miłośników Ziemi Brzosteckiej w Brzostku, 2014) Nawrocki, Rafał
- ItemEpitafium Pawła Trojanowskiego z dawnego kościoła św. Krzyża w Brzostku(Towarzystwo Miłośników Ziemi Brzosteckiej w Brzostku, 2014) Nawrocki, Rafał
- ItemKto był twórcą kaplicy Ligęzów w Bolesławiu?(Towarzystwo Naukowe KUL, 2006) Nawrocki, RafałThere is a tomb chapel from the beginning of the 17Ih century in Bolesław where Stanisław and Katarzyna of Broniewski Ligęza are buried. Its form refers to the earlier Branickis’ mausoleum in Niepołomice. The Ligęza’s tomb is placed opposite to the entrance of the chapel. It represents two figures kneeling and adoring the crucifix. On the basis of eryptogram placed in the northern chapel built later Tomasz of Raguza is claimed to be the founder of the chapel. The building contract found on 7lh August 1605 names Andrzej Jastrząbek and Benedykt Bonanome as its builders. Tomasz Natalis of Raguza was a Cracow canon and physician of Bishop Piotr Myszkowski. He was also the author of the text written of the foundation plaque, a Latin epitaph in hexameter that contained - aside to the eryptogram - some philosophical contents.
- ItemLament opatowski. Rozważania o genezie i treściach ideowych(Towarzystwo Naukowe KUL, Katolicki Uniwersytet Lubelski Jana Pawła II, 2012) Nawrocki, RafałIn the transept of the collegiate St Martin Church in Opatów there is a Renaissance wall tomb monument to Chancellor Krzysztof Szydłowiecki (died 1532). Into the tomb a relief commonly called The Opatów Lament is introduced. Among researchers the view is dominant that it shows people who belonged to the Chancellor’s circle, and who, having received the news about his death, manifest their sorrow and profound grief. However, such an interpretation is doubtful. Interpreting the iconographic program is difficult because of the lack of direct models or imitations, both in Polish and European sepulchral art, as well as of source documents concerning the tomb. Research into the formal origin of the tomb that has been conducted until now was to a large extent determined by the iconographic interpretation of the work. Identification of the subject as sorrow manifested by a crowd of people directed the researchers’ attention to the scenes of “laments” occurring commonly in ancient, medieval and Renaissance sepulchral art. But against this background the Opatów Lament is distinguished by its original conception, and the similarities are only superficial. The Opatów relief does not show - as it has been thought up till now - a crowd manifesting their grief caused by Chancellor Krzysztof Szydłowiecki’s death. Such objects as a desk, sheets of parchment, writing instruments that may be seen in the relief direct our attention towards the iconography of the Chancellor’s Office that started being formed at the beginning of the 16th century. We may assume that in all probability Szydłowiecki is presented here, surrounded by his loyal associates, which is indicated by the presence and the number of dogs lying down under the table. The subject of the relief is probably connected with some tragic political event, which is shown by the sadness prevailing in the group. This conjecture seems to be endorsed by a fragment of the work Genealogia atque familia ducum Radivilonum published in 1603 on the initiative of the Chancellor’s grandson Mikołaj Krzysztof Radziwiłł “Sierotka”. It contains a description of Krzysztof Szydłowiecki’s despair caused by the news that Muslim troops captured Rhodes. We may assume then that the Opatów relief shows the sorrow of the Chancellor, famous for his anti-Turkish views, and of his circle, at the news of a defeat of a Christian army.
- ItemNagrobek „trzech Janów” Tarnowskich oraz nagrobek Jana i Janusza Kościeleckich. Rozważania na temat renesansowych pomników rycerskich w Polsce(Towarzystwo Naukowe KUL, Katolicki Uniwersytet Lubelski Jana Pawła II, 2004) Nawrocki, Rafał
- ItemPóźnorenesansowy ołtarz św. Leonarda z Brzostku. Ze studiów nad wyposażeniem kościołów drewnianych w Małopolsce(Towarzystwo Miłośników Ziemi Brzosteckiej w Brzostku, 2012) Nawrocki, Rafał
- ItemRenesansowe fundacje Branickich: w kręgu działalności warsztatów pińczowskich(Towarzystwo Naukowe KUL, 2006) Nawrocki, RafałIn the second half of the sixteenth and the beginning of the seventeenth century the Branickis of the arms-bearing Gryfs belonged to the moderately rich nobility. The family social status gradually rose, as the family members held district and court offices. In this context a series of works of art were made, founded by the representatives of the family. Their main initiator was Jan Branicki, the Cracow master of the hunt and starost of Niepołomice. He employed artists from the quarry in Pińczów. About 1595 he employed the workshop of Santi Gucci to build a tomb chapel for his parents. The building erected in Niepołomice was regarded to be the most splendid foundation. The mausoleum in Niepołomice was not matched by a court in Branice reconstructed by Jan in the beginning of the seventeenth century. A richly decorated mantelpiece and portal from the court were made in the same artistic circle as the chapel. Now the tomb of Kasper Branicki in Tarnów (erected between 1606 and 1611) was founded by Jan and Stanislaw, brothers of the dead person. This work is poor and completed without care to details. Like all the above-mentioned works it bears the stylistic traits of the Pińczów milieu. The foundations in question are a good evidence that the family was ambitious and its position important. Jan Branicki imitated the building activity of great founders, translating it into a smaller size. The varied level of the works of art means that often the non-aesthetic factors were decisive in their shape.
- ItemRenesansowe nagrobki dziecięce w Polsce: między konwencją a inwencją(Towarzystwo Naukowe KUL, 2019) Nawrocki, RafałChildren’s tombstones of Polish Renaissance are characterised by repetitiveness of compositional patterns that was typical of 16th century tombstone sculpture. This proves that the conventions of representation were well-established. This trend was dominant, but it was not the only one. The need for individualisation often led to breaking with the established forms and to original projects. The forms of Renaissance tombstones for children founded in the former Polish lands were developed to a large extent independently of European centres and constitute a valuable part of Polish artistic heritage. The most frequently reproduced compositional patterns of Renaissance tombstones commemorating infants in Poland include the motif of a sleeping, naked putto lying on the side and supported on his elbow. The child could be accompanied by such attributes as: skull, shinbones, withered tree, laurel wreath or hourglass. This motif was taken from allegorical representations, disseminated through graphic designs and acquired a new meaning, becoming a representation with portrait-like features. This phenomenon was characteristic of Polish Renaissance art. By contrast, the image of an infant wrapped in swaddling bands (characteristic of the German-speaking area, for example) was almost non-existent in Poland. The tombstone of an unidentified young child from Zgłobień near Rzeszów took an extremely original form. The girl was depicted with great realism, in a dress with a lace ruff and a long coat lined with fur and a headband. This representation breaks the convention of Polish tombstones for infants. The tombstones of older children were modelled on the images of adults, usually retaining the attributes characteristic of childhood. The typical representations included the half-lying pose suggesting sleep, while the body placed on a bier was rarely depicted. Both these conventions were combined in the tombstone of an unknown boy from the Pieniążek family from the church in Krużlowa. An unusual solution was also adopted in a solid tombstone from the church in Trzciana, which depicts two kneeling figures - a knight and his juvenile son. The convention typical of knights’ tombstones was adopted to the image of Kacper Daniłowicz - the only two-year-old boy is shown on the tomb stone in full plate armour, which is only an attribute of knightly origin. The artists creating Polish Renaissance tombstones for children resorted to conventional representations used in visual arts. Dependent on the will of the founder or the character of the interior, they created works that often combined common motifs and compositional patterns in an unconventional way, and sometimes departed from a well-established repertoire of forms.
- ItemRycerski ceremoniał katolickich pogrzebów w Polsce XVI wieku a plastyka nagrobna(Towarzystwo Naukowe KUL, 2008) Nawrocki, RafałThe Catholic funeral rites of the Polish nobility in the sixteenth century had a form that was probably determined in the late Middle Ages. Our scarce sources from that period make it impossible to provide a complete picture of funeral rites in this social group. They most certainly imitated stately royal burials and those magnate ones that were more modest. The descriptions of Polish royal funeral rites are therefore of considerable value for us. They show the most important elements of knightly rites. The earliest text of this type is Jan of Czarnków’s Chronicle that reports on the funeral of Kazimierz Wielki of 1370. We find more details, however, in the sources concerning funeral rites of Zygmunt I Stary of 1548. Among other sources that have been preserved up to date we can mention Ordo Pompe funebris Serenissimi Sigismundi Regis Poloniae written by the Kraków Bishop Samuel Maciejowski, and written records. The funeral was very pompous. The funeral procession consisted, among other things, of a rider who symbolised the king in full arms with a sword pointed downwards. He was accompanied by a shield-bearer that carried a shield with the royal coat-of-arms and a lance. On the third day of the funeral there was a culminating moment. The helmet, sword, and shield covered with wax were left in front of the altar, whereas the lance was ritually broken. Then a heavily armed knight rode into the presbytery and fell to the floor. Hetman Jan Tarnowski’s funeral (d. 1561) looked similar. We owe its detailed description to Stanislaw Orzechowski. Other sources witness that similar rites were used at the nobility’s funerals, as we can read it in e.g. Stanislaw Morawicki of Szczodrkowic’s Catholic dialogues on church rites (A Conversation Between a Pilgrim and a Landlord... of 1549) and Wit Korczewski’s Polish Conversations... of 1553. The influence of funeral rites is apparent in the Renaissance tomb sculpture. The monuments represent knights in full arms, lying most often on their sides and podpierających their heads with an arm. Aside to figures there were also other attributes: the helmet, sword, and shield (in a stylised and heraldic convention), and also until the 1550s lances ornamented with a pennon.
- ItemSerpentes et dracones. Uwagi o motywach fantastycznych w dekoracji kaplicy Firlejów w Bejscach(Towarzystwo Naukowe KUL, 2004) Nawrocki, RafałThe Firlejs’ mausoleum in Bejsce occupies an important place among the monuments of the Polish Renaissance. It is thought to be an example of vernacular, provincial, or even naive art, mainly because of the lush and dynamic decoration of the interior. The chapel was founded by the Cracow voivode Mikołaj Firlej, who died in 1600. He was a well-educated man, rich, with a high rank in the state. Probably, he started the construction as early as 1593. The basic work was completed fairly soon, nevertheless the decoration of the interior would be supplemented in the first decade of the seventeenth century. Fantastic hybrids played an essential role in the decoration of the tomb: dragons, serpents growing out of sprouts. Similar motifs in the Renaissance tomb sculpture in Poland were used only occasionally up to then. In Bejsce we are struck by their accumulation and variety. An attempt to establish the genesis of this phenomenon leads us to Ulysses Aldrovandi, an Italian naturalist, polymath, physician, and philosopher. Firlej met him when young during his educational journeys. Owing to his contacts with the Italian, Firlej himself became an eager naturalist. There is some information about his discoveries of prehistoric animals in Kazimierz Dolny, the discoveries he had made together with doctor Marcin Fox, and his learned correspondence with Aldrovandi. We do not know too many details about Firlej’s scientific interests, we do know that Aldrovandi studied the issues related to dragons and serpents. On the basis of his notes his disciples had worked out an enormous encyclopaedic work, in which one book is entitled Serpentum et draconum historiae libri duo. The scholar as much as he could relied on the observation of nature. When he lacked immediate experience, he would draw on the legacy of the ancient naturalist Aristotle or Pliny. Aside to information on natural history, Aldrovandi collected also other things: allegoric and symbolical contents about animals, relying in this respect on early-Christian and medieval literature. Therefore the topic of his works extended beyond what we understand by the natural sciences today and touched upon religion and theology. Aldrovandi’s example makes us aware of the fact that at the turn of the sixteenth and seventeenth centuries the allegorical and symbolical interpretations of fantastic and real animals were still vivid. These contents on the Firlej’s tomb are very clear. The form of the tomb allows us to ascribe dragons and serpents to the symbols of Satan, sin, evil, and death. Such interpretation is also justified in other sources, e.g. literature about the images of the beyond. Dragons and serpents are specific incarnations of devils there. The question of hybrid creatures, such as dragons, were still a subject matter of academic studies at the turn of the sixteenth and seventeenth centuries. Therefore it is well justified that the decorations of the Firlejs’ chapel might have been a reflection of the then considerations on natural history or symbolism.
- ItemZabytki gminy Pilzno(Towarzystwo Przyjaciół Pilzna i Ziemi Pilzneńskiej, 2018) Nawrocki, Rafał
- ItemZabytki sakralne parafii Brzostek(Parafia Rzymsko-Katolicka pw. Podwyższenia Krzyża Świętego w Brzostku, 2019) Nawrocki, Rafał