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2. Autoři krojových vyobrazení v topografických pracích Balthasara Hacqueta a jejich následovníci
- Creator:
- Křížová, Alena
- Format:
- bez média and svazek
- Type:
- model:article and TEXT
- Subject:
- folk dress, Balthasar Hacquet, iconography, Central, Southern and South-Eastern Europe, and topographic works
- Language:
- Czech
- Description:
- Balthasar Hacquet de la Motte was a French natural scientist and physician who spent many years of his life in Slovenia, then in Lvov, Krakow, and Vienna. From his original interests relating to natural science, he moved his attention to specific features of folk culture in the countries of Central, Southern and South-Eastern Europe, and especially to folk dress. He probably painted some illustrations in his publications by himself and these served as a model for other authors (Andreas Johann Herrlein), at some other time he used the service of a professional painter (Georg Vogel). As resulting from the comparison of his topographic works, he also made depictions from his older works available (Jacob Adam, Franz Seraph Christoph Reider), namely as a sketch for new aquarelles (Christian Gottfried Heinrich Geißler) that could later serve as a model for other authors (Vincenz Georg Kininger, Jean-Pierre Norblin). This is demonstrated by noticeable identical details on dress and its accessories. The sketched connections confirm the well-established way of taking-over and exploring older works as models, which survived as late as until the 19th century.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
3. Frontispisy a ryté titulní listy vojenských příruček první poloviny 17. století ve fondu Knihovny Vojenského historického ústavu v Praze
- Creator:
- Andresová, Klára
- Format:
- print, bez média, and svazek
- Type:
- article, články, journal articles, model:article, and TEXT
- Subject:
- Historická věda. Pomocné vědy historické. Archivnictví, Vojenský historický ústav., Knihovna, 17. století, titulní stránka, vojenské dějiny, ikonografie, title pages, military history, iconography, frontispieces, military handbooks, 17th century, Library of the Military History Institute Prague, 8, and 930
- Language:
- Czech
- Description:
- This article focuses on military handbooks from the first half of the 17th century placed in the collections of the Military History Institute Prague. In the introduction, it summarises the history and structure of the collection of early printed books in the library under study. After that, it characterises the set of the handbooks i.a. in terms of their topic, the language and the publisher’s provenance, as well as format. Its main aim is to analyse the frontispieces and engraved title pages of these publications with regard to the iconographic motifs that are usually depicted on them. The final part of the work outlines the possibilities of using the frontispieces and engraved title pages of the studied publications as iconographic sources in historiography and it places the title illustrations of the military handbooks in a wider context., Klára Andresová., Obsahuje anglický abstrakt a shrnutí., and Obsahuje bibliografii
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
4. Frontispisy a ryté titulní listy vojenských příruček první poloviny 17. století ve fondu Knihovny Vojenského historického ústavu v Praze
- Creator:
- Andresová, Klára
- Type:
- article, model:article, and TEXT
- Subject:
- frontispieces, title pages, military handbooks, military history, iconography, 17th century, and Library of the Military History Institute Prague
- Language:
- Czech
- Description:
- This article focuses on military handbooks from the first half of the 17th century placed in the collections of the Military History Institute Prague. In the introduction, it summarises the history and structure of the collection of early printed books in the library under study. After that, it characterises the set of the handbooks i.a. in terms of their topic, the language and the publisher’s provenance, as well as format. Its main aim is to analyse the frontispieces and engraved title pages of these publications with regard to the iconographic motifs that are usually depicted on them. The final part of the work outlines the possibilities of using the frontispieces and engraved title pages of the studied publications as iconographic sources in historiography and it places the title illustrations of the military handbooks in a wider context.
- Rights:
- http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public
5. Ivan Gerát, Obrazové legendy sv. Alžběty. Téma, médium a kontext
- Creator:
- Milena Bartlová
- Format:
- Type:
- model:article and TEXT
- Subject:
- svatá, Alžběta Durynská, 1207-1231, 13.-15. století, křesťanské světice, křesťanské legendy, evropské výtvarné umění, ikonografie, Christian women saints, Christian legends, European art, iconography, 5, and 27
- Language:
- Czech
- Description:
- [autor recenze] Milena Bartlová.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
6. Kutnohorská iluminace dobývání a zpracování stříbra: Reportáž z těžby, skupinový portrét či teologická metafora?
- Creator:
- Milada Studničková and Ivo Purš
- Type:
- article, články, model:article, and TEXT
- Subject:
- Výtvarné umění, dějiny umění, ikonografie, iluminace rukopisů, history of art, iconography, illumination of manuscripts, Kutná Hora (Česko), Kutná Hora (Czechia), 21, and 72/76
- Language:
- Czech
- Description:
- Milada Studničková, Ivo Purš.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
7. Marginálie k cyrilometodějské tradici v lidovém prostředí
- Creator:
- Válka, Miroslav
- Format:
- bez média and svazek
- Type:
- model:article and TEXT
- Subject:
- small devotional graphic art, iconography, Moravia (Velehrad), St . Constantine and Methodius, and 19th century
- Language:
- Czech
- Description:
- The 1150th anniversary of arrival of Constantine and Methodius, brothers of Thessaloniki, to Great Moravia (in 863) was an opportunity to reassess the historic role of their mission both from the religious and ecclesiastical and from the political, cultural and historic points of view. The cult of Constantine and Methodius was obviously reflected not only in the high art but also in folk culture. Velehrad, which has become one of the leading Moravian sites of pilgrimage, was connected with production of objects of devotion, which the pilgrims brought back to their homes to use in their prayers or as souvenirs of the place. The earliest group of these objects of devotion is represented by documents of folk art and works with features of folk art but the most popular objects include pieces of devotional graphic art, “holy” pictures commercially produced and sold at pilgrimage destinations since the latter half of the the 19th century. For the purpose of the contribution a couple of interesting artefacts (prints) of 19th century related to the Constantine and Methodius tradition were acquired. The different approaches to the composition of the scenes from the life of the two saints and different attributes of their appearance shown in the pictures demonstrate transformations of their cult, which was mainly developed in the Moravian environment, but also as regional patron saints in the Czech lands and as Slavonic faith promoters in other European nations.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
8. Michaela Ottová, Pod ochranou Krista Spasitele a svaté Barbory. Sochařská výzdoba kostela svaté Barbory v Kutné Hoře (1483-1499)
- Creator:
- Ivan Gerát
- Format:
- Type:
- model:article and TEXT
- Subject:
- Katedrála sv. Barbory (Kutná Hora, Česko), 15. století, katedrály, gotické umění, ikonografie, náboženské a kulturní poměry, cathedrals, gothic art, iconography, religious and cultural conditions, Kutná Hora (Česko), Kutná Hora (Czechia), 21, and 73
- Language:
- Czech
- Description:
- [autor recenze] Ivan Gerát.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/ and policy:public
9. Od krásné dívky až k hadům a drakům. Proměny víly Meluzíny a jejich odraz v ikonografii středověkých pramenů
- Creator:
- Nejedlý, Martin
- Type:
- article and TEXT
- Subject:
- Meluzína, drak, had, Lucemburkové, erb, klenot, ikonografie, Melusina, dragon, serpent, Luxembourg, arms, crest, and iconography
- Language:
- Czech
- Description:
- Článek je analýzou základních středověkých textů o víle Meluzíně a jejich vlivu na ikonografický materiál. Jako klíčové se jeví francouzské genealogické skladby Jana z Arrasu (1392–1393) a básníka Coudretta (1401), zběžněji je pojednáno také o německé adaptaci Thüringa von Ringoltingen (1456). Všechny pojednávají o tragickém osudu víly Meluzíny, která se stávala každou sobotu od pasu dolů hadem. Po porušení manželova slibu se proměnila v hada. Iluminátoři nejstarších rukopisů z 15. století a do jisté míry i ilustrátoři prvotisků zobrazovali Meluzínu v zásadě v souladu s popisem textů: jako krásnou dívku, hybridní bytost s hadím ocasem i jako letícího hada, resp. okřídleného draka. Z 15. století jsou zachovány i další popisy bytosti nazývané Meluzína, často v důležitém, mnohdy s Lucemburky spojeném politickém kontextu. Směšování meluzín se sirénami a vodními pannami je tedy z hlediska středověkých pramenů anachronické. Adekvátnější se naopak jeví hledat vztah mezi klenotem s drakem a pověstí o víle Meluzíně, jež má i důležité genealogické, heraldické a politické aspekty. and An analysis of fundamental medieval texts dealing with the nymph Melusina, and their influence on iconographic material. The French genealogical compositions by Jean d’Arras (1392–1393) and the poet Coudrette (1401) are key, while the German adaptation by Thüring von Ringoltingen (1456) is also considered. All concern the tragic fate of the nymph Melusina, who every Saturday became a snake from the waist down. When her husband broke his vow, she was transformed into a serpent. The illuminators of the earliest 15th century manuscripts, and to a certain extent the illustrators of the first printed works, generally depicted Melusina in accordance with the text: as a beautiful maiden, a hybrid beast with a snake’s tail, or as a flying serpent or winged dragon. Further 15th century descriptions survive of other beasts called Melusinas, often in important political contexts. The association of Melusina with sirens and mermaids is thus from the point of view of medieval sources anachronistic. It is more appropriate to seek a relationship between the Luxembourg dragon crest and the myth of Melusina, this having important genealogical, heraldic and political aspects.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/
10. Renesanční portrétní kachle z hrnčířské dílny Adama Špačka v Truhlářské ulici v Praze
- Creator:
- Žegklitz, Jaromír
- Type:
- article and TEXT
- Subject:
- renesance, kachle, medailérství, Jáchymov, ikonografie, technologie výroby, Renaissance, stove tiles, medal making, iconography, and manufacturing technology
- Language:
- Czech and English
- Description:
- Text hodnotí soubor renesančních portrétních kachlů, nalezených při archeologickém výzkumu v areálu bývalých kasáren na náměstí Republiky v Praze. Celkem 6 nalezených typů se od sebe liší portrétovanými osobami ve středovém medailonu, z nichž lze identifikovat Jana Husa, Erasma Rotterdamského a vévodu Jiřího Saského. Celý soubor doplňuje identicky ztvárněný kachel z hradu Křivoklátu, nesoucí portrét zakladatele jáchymovské mincovny Štěpána Šlika. S do detailu shodnými portréty těchto osobností se setkáváme na dobových medailích z produkce jáchymovské mincovny, což dovoluje vyslovit hypotézu, že tvůrcem modelů pro výrobu kachlových forem byl některý z krušnohorských medailérů, nejspíše Hieronymus Dietrich. Vročení příslušných medailí v kombinaci se zhodnocením nálezového kontextu a doprovodných archeologických nálezů umožňuje datovat vznik celého souboru do konce 30. či průběhu 40. let 16. století a jeho výrobu přiřknout hrnčíři Adamu Špačkovi, pracujícímu na příslušné parcele v letech 1531–1572. Charakter kachlových zlomků (neglazované polotovary) poskytuje zároveň příležitost ke sledování technologie jejich výroby. Některé detaily dosvědčují, že kachle byly vyráběny otiskem ze dvou do sebe vkládaných forem, přičemž vnější forma s okrajovou výzdobou byla všem typům společná. Zhodnocení souboru z hlediska ikonografického a ikonologického v kombinaci s porovnáním s nálezy některých typů kachlů z jiných lokalit dovoluje vyslovit hypotézu, že původní kachlové formy, resp. pozitivní modely pro jejich výrobu vznikaly patrně jednotlivě v jáchymovském prostředí. Reliéfy již hotových kachlů pak byly přetiskovány a vznikaly tak formy druhotné, z nichž byly vyráběny i kachle ve Špačkově dílně, kde se také všechny typy spojily v jeden celek určený ke stavbě jednoho kamnového tělesa. and The text contains an evaluation of a collection of Renaissance portrait stove tiles found during excavations in the area of the former barracks on náměstí [Square] Republiky in Prague. The 6 various types differ from one another in the figures portrayed in their central medallions, among whom it is possible to identify Jan Hus, Erasmus of Rotterdam and Duke George of Saxony. The entire collection is complemented by identically made tile from Křivoklát Castle, bearing a portrait of the founder of the Jáchymov mint, Štěpán Šlik. Portraits comparable even in the details of these personalities are known from period medals made by the Jáchymov mint, allowing the hypothesis that the models for making the tile moulds were created by one of the Krušné Hory medal-makers, most likely Hieronymus Dietrich. The dating of the relevant medals, in combination with an assessment of stove-tiles‘ finds contexts and accompanying archaeological finds, makes it possible to date the creation of the collection fairly precisely to the end of 1530s or 1540s, and to ascribe its manufacture to the potter Adam Špaček, who worked on the same plot in the years 1531–1572. The nature of the tile fragments (unglazed, semi-finished products) at the same time offers a unique opportunity to study the technology of their manufacture. Several details indicate that the tiles were made by imprint from two moulds set into each other, the outer – bearing the peripheral decoration – remaining the same for each type. An evaluation of the collection from the iconographic and iconological perspectives, in combination with a comparison with finds of several types of stove tile from other sites, allows the hypothesis that the original moulds, or the positive models for the production of same, originated separately in the Jáchymov milieu. The reliefs on already made tiles were then overprinted, giving rise to secondary forms, from which the tiles from Špaček’s workshop in Prague were also made, and where all of the types were joined into a single whole to create individual stove body.
- Rights:
- http://creativecommons.org/publicdomain/mark/1.0/