Hereze a loajalita: Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Czech English |
| Veröffentlicht: |
Brno
Masarykova Univerzita
2014
|
| Ausgabe: | Vyd. 1. |
| Schriftenreihe: | Opera Universitatis Masarykianae Brunensis Facultas Philosophica
423 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Text engl. und tschech. |
| Beschreibung: | 252 S. Ill. |
| ISBN: | 9788021074132 |
Internformat
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| 245 | 1 | 0 | |a Hereze a loajalita |b Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan |c Zuzana Frantová |
| 246 | 1 | 1 | |a Heresy and loyalty |
| 250 | |a Vyd. 1. | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | ZUZANA FRANTOVA
HEIŒZE A
LOAJALITA
HERESY AND LOYALTY
Slonovinový
Diptych
z pěti částí z pokladu katedrály v Miláně
The Ivory
Diptych
of Five
Parts
from the Cathedral Treasury in Milan
MASARYKOVA UNIVERZITA
·
MASARYK
UNIVERSITY
BRNO 2014
ПК
h
иоѕзп
Předmluva (Ivan Foletti)
...........................................9
I. Úvod
.......................................................11
II.
Hledání místa objektu v dějinách umění
...........................13
Diptych z pěti částí v milánském dámském pokladu
.....................13
Přehled dosavadního bádání
.....................................13
III.
Doba, místo a styl
............................................21
Volbachovo výchozí stanovisko
....................................21
Místo:
Ravenna?
.............................................24
Doba: technika a styl
..........................................28
Místo: císařský dvůr a císař
Majorion
..............................35
IV.
Od hledání funkce ke stanovení umělecké úlohy
....................38
Počátky používání slonovinových diptychů a diptychy konzulární
...........39
Znovupoužiti konzulárních diptychů
...............................42
Křesťanské diptychy
............................................44
Evangeliáře
.................................................47
Diptych z
péti
částí
............................................48
Umělecká úloha: nositel teologického posehtví
.........................49
V. Diptych z pěti částí jako manifest
ortodoxie
.........................52
Atmosféra teobgických sporů o dvojí podstatu Krista
....................53
Tomus ad Flavianum a chalcedonské vyznání viry
.....................55
Lvova Ideologie křesťanské jednoty a primát římský
.....................57
Kánon
28 ..................................................58
Ravenna a
římský primát
.......................................59
Biskup Neon
................................................60
Interpretace ikonografie milánského Diptychu
.........................63
Milánský Diptych a Řím
........................................66
VI.
Závěr
.....................................................70
Doslov
(Herbert
L.
Kessler).......................................72
Katalog
narativních
scén
.........................................
Щ
1.
Narození/Adorace zvířat
......................................74
2.
Vraždení
neviňátek
..........................................75
3.
Adorace mágů
.............................................77
4.
Promènent
vody ve víno
......................................79
5.
Zvěstování
и
pramene
........................................80
6.
Tñ
mágové spatřili hvězdu
....................................81
7.
Křest Krista
...............................................82
8.
Vjezd Krista do
Jeruzalema
....................................84
9.
Dvanáctiletý Kristus v chrtímu
(?) ...............................85
10.
Zkouška hořkou vodou
(?)....................................86
//., 12.
Uzdravení
............................................87
13.
Vzkříšení Lazara
..........................................88
14.
Dar vdovy
...............................................89
15.
Poslední večeře
............................................90
16.
Kristus předává
(?)
koruny mučedníkům
..........................92
Contents
Preface
(Ivan Foletti) ............................................95
I.
Introduction.................................................
97
II. Seeking the place of the object in art history
......................100
Diptych of Five Parts in the Treasury of the Cathedral of Milan
............100
Overview of the research up to now
................................ 101
HI. Time, place and style
........................................108
Volbách
s
starting position
......................................108
Place:
Ravenna!
.............................................
Ill
Period: technique and style
.....................................115
Place: imperial court and Emperor Majorian
........................122
IV. From seeking a function to setting artistic role
.................... 125
The beginnings of the use of ivory diptychs and consular diptychs
.......... 126
The reuse of consular diptychs
................................... 130
Christian diptychs
............................................ 132
Evangeliaries
............................................... 134
The Five-Part Diptych
......................................... 136
Artistic role: bearer of a theological message
.......................... 137
V. The Five-Part Diptych as a manifestation of orthodoxy
...............140
Atmosphere of the theological dispute on the dual nature of Christ
..........141
Tomus ad Flavianum and the Chalcedonian Confession of Faith
..........143
Leo s Ideology of Christian Unity and the Primacy of Rome
..............145
Canon
28 .................................................146
Ravenna and Roman Primacy
..................................147
Bishop Neon
...............................................149
Interpretation of the iconography of the Milan Diptych
..................152
The Milan Diptych and Rome
...................................155
VI. Conclusion
................................................159
Afterword (Herbert L.
Kessler) ...................................161
Catalogue
of the narrative scenes
.................................163
1.
The Nativity/The Adoration of the AnimaL·
.......................163
2.
The Massacre of the Innocents
.................................164
3.
The Adoration of the Magi
...................................166
4.
The Changing of Water into Wine
..............................168
5.
The Annunciation at the Well
.................................169
6.
The Three Magi See the Star
..................................171
7.
The Baptism of Christ
.......................................172
8.
The Entry of Christ into Jerusalem
..............................174
9.
Twelve-Year-Old Christ in the Temple
(?)..........................175
10.
The Ordeal of the Bitter Water
(?) .............................176
11., 12.
Healing
.............................................177
13.
The Resurrection of Lazarus
.................................179
14.
The Gift of the Widow
......................................179
15.
The Last Supper
..........................................180
16.
Christ giving
(?)
crowns to martyrs
.............................182
Bibliografie/Bibliography
.......................................184
Seznam ilustrací...............................................
202
List of illustrations
.............................................207
Obrazová příloha/Illustrations ...................................
213
fi
|
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| author | Frantová, Zuzana 1981- |
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| bvnumber | BV042493138 |
| classification_rvk | LN 45409 LN 45411 LN 81230 |
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| discipline | Kunstgeschichte |
| edition | Vyd. 1. |
| format | Book |
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| indexdate | 2024-07-10T01:23:16Z |
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| isbn | 9788021074132 |
| language | Czech English |
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| series2 | Opera Universitatis Masarykianae Brunensis Facultas Philosophica |
| spelling | Frantová, Zuzana 1981- Verfasser (DE-588)1022089226 aut Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan Zuzana Frantová Heresy and loyalty Vyd. 1. Brno Masarykova Univerzita 2014 252 S. Ill. txt rdacontent n rdamedia nc rdacarrier Opera Universitatis Masarykianae Brunensis Facultas Philosophica 423 Text engl. und tschech. Diptychon (DE-588)4210817-2 gnd rswk-swf Spätantike (DE-588)4124227-0 gnd rswk-swf Elfenbeinschnitzerei (DE-588)4152009-9 gnd rswk-swf Domschatz (DE-588)4203531-4 gnd rswk-swf Dom Mailand Mailand (DE-588)4275418-5 gnd rswk-swf Elfenbeinschnitzerei (DE-588)4152009-9 s Diptychon (DE-588)4210817-2 s Spätantike (DE-588)4124227-0 s Dom Mailand Mailand (DE-588)4275418-5 g Domschatz (DE-588)4203531-4 s DE-604 Opera Universitatis Masarykianae Brunensis Facultas Philosophica 423 (DE-604)BV043206955 423 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027927900&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Frantová, Zuzana 1981- Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan Opera Universitatis Masarykianae Brunensis Facultas Philosophica Diptychon (DE-588)4210817-2 gnd Spätantike (DE-588)4124227-0 gnd Elfenbeinschnitzerei (DE-588)4152009-9 gnd Domschatz (DE-588)4203531-4 gnd |
| subject_GND | (DE-588)4210817-2 (DE-588)4124227-0 (DE-588)4152009-9 (DE-588)4203531-4 (DE-588)4275418-5 |
| title | Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan |
| title_alt | Heresy and loyalty |
| title_auth | Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan |
| title_exact_search | Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan |
| title_full | Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan Zuzana Frantová |
| title_fullStr | Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan Zuzana Frantová |
| title_full_unstemmed | Hereze a loajalita Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan Zuzana Frantová |
| title_short | Hereze a loajalita |
| title_sort | hereze a loajalita slonovinovy diptych z peti casti z pokladu katedraly v milane heresy and loyalty the ivory diptych of five parts from the cathedral treasury in milan |
| title_sub | Slonovinový Diptych z pěti částí z pokladu katedrály v Miláně = Heresy and loyalty : the ivory Diptych of Five Parts from the cathedral treasury in Milan |
| topic | Diptychon (DE-588)4210817-2 gnd Spätantike (DE-588)4124227-0 gnd Elfenbeinschnitzerei (DE-588)4152009-9 gnd Domschatz (DE-588)4203531-4 gnd |
| topic_facet | Diptychon Spätantike Elfenbeinschnitzerei Domschatz Dom Mailand Mailand |
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| volume_link | (DE-604)BV043206955 |
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