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The cosmological conception of the Old Testament and its representation in the Anglo-Saxon art
Panušková, Lenka ; Konečný, Lubomír (advisor) ; Hlaváčková, Jana Hana (referee) ; Studničková, Milada (referee)
The rendering thesis analyses the topic of the Creator of the world with compasses in his hands generally known in the art historian literature. The common known example of this iconography is presented in the frontispice of older of two bible moralisées in Vienna, on which the Logos-Creator is shaping the four elements within the earthcircle by the compasses. The illustration is to be interpreted according to the old French inscription in the top strip of the square frame of the scene: ICI CRIE DEX CIEL ET TERRE SOLEIL ET LVNE ET TOZ ELEMENZ. In line with this scene all the illuminations presenting God with a pair of compasses are commonly held for a depiction of Creator mundi as Architectus or deus geometra. That is why the aim of this work is to show the incorrectness of such identification above all in case of the Anglo-Saxon manuscripts. In these the analysed motif is simultaneously performed in both its meanings - the protological one as Creator mundi and also the eschatological one as the fair Judge. On the grounds by this bipolarity it is necessary to emphasize need of the distinction of the first group of authentic Anglo-Saxon view of the motif and its later appearance on the continent reduced by the essential weakening of the eschatological aspect in the favour of the protological one. The...
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Art in an unsettled time. Bohemian book illumination before Gutenberg (c. 1375-1450)
Studničková, Milada ; Theisen, M.
Thirteen studies in English and German bring new insights into a number of masterpieces of Bohemian book painting, which have been examined so far mainly from a stylistic point of view. The book also acquaints the readers with unknown or little-known manuscripts. The publication illustrates how the turbulent end of the 14th century and the socio-political changes of the Hussite period influenced the form of manuscript production. The researches, inter alia, focus on the relationship between text and image, the function of the depiction, the mass productin of manuscripts, and the question of what Hussite iconography is.
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Illuminated Manuscripts from the Monastery of Augustinian Canons in Roudnice nad Labem from the Second Third of the 14th Century
Gaudek, Tomáš ; Royt, Jan (advisor) ; Hlaváčková, Jana Hana (referee) ; Studničková, Milada (referee)
The house of canons regular in Roudnice nad Labem was founded 1333 by John IV of Dražice after his return from Avignon. It was a very important and richly supported monastery, which is demonstrated besides other things by the younger fragment of necrologium, dated 1458-1464 (State Regional Archive in Třeboň, fond Velkostatek Třeboň, registratura IA 3K β 28e). The thesis deals with the Bohemian illuminated manuscripts from the 2nd third of the 14th century from the library from Roudnice, which is quite unique between all the Bohemian houses of regular canons for the high percentage of illuminated manuscripts. The Missale of John of Dražice ( KNM XIII B 9) is an excellent example of some high quality manuscript in the time around 1340 in Bohemia. The ornamental initials show parallels to the recent Western European style. One of them, VD initial on the folio 57r, is filled by the coat-of-arms of the Dražice family, gold wine sprig with three leafs in the red field. But the most interesting is the canon leaf (65r), a classical representative of Central European linear style. The leaf was glued to its place. The same praxis we see in the slightly younger Missale of Chotěšov Monastery (NK XIV C 3). The canon leaf from Chotěšov (185v) is more delicate in its colors and forms, distinctly knowledgeable of...
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The cosmological conception of the Old Testament and its representation in the Anglo-Saxon art
Panušková, Lenka ; Konečný, Lubomír (advisor) ; Hlaváčková, Jana Hana (referee) ; Studničková, Milada (referee)
The rendering thesis analyses the topic of the Creator of the world with compasses in his hands generally known in the art historian literature. The common known example of this iconography is presented in the frontispice of older of two bible moralisées in Vienna, on which the Logos-Creator is shaping the four elements within the earthcircle by the compasses. The illustration is to be interpreted according to the old French inscription in the top strip of the square frame of the scene: ICI CRIE DEX CIEL ET TERRE SOLEIL ET LVNE ET TOZ ELEMENZ. In line with this scene all the illuminations presenting God with a pair of compasses are commonly held for a depiction of Creator mundi as Architectus or deus geometra. That is why the aim of this work is to show the incorrectness of such identification above all in case of the Anglo-Saxon manuscripts. In these the analysed motif is simultaneously performed in both its meanings - the protological one as Creator mundi and also the eschatological one as the fair Judge. On the grounds by this bipolarity it is necessary to emphasize need of the distinction of the first group of authentic Anglo-Saxon view of the motif and its later appearance on the continent reduced by the essential weakening of the eschatological aspect in the favour of the protological one. The...
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The depiction of purgatory in the Smíškov gradual
Studničková, Milada
The study newly identifies the iconography of a painting at the beginning of the opening canto of the Mass for the Dead on fol. 335v in the utraquist Gradual of Smíškov (Wien, ÖNB, Musiksammlungen, Suppl. mus. 15.492) as the Rescue of Souls from Purgatory, and records potential sources of the composition. The illumination proves that moderate utraquism in the issue of Purgatory did not differ from the Catholic stance much at the end of the 15th century.
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