Wawelskie tapiserie z satyrami

Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Language:
Lenkų kalba / Polish
Title:
Wawelskie tapiserie z satyrami
Alternative Title:
Wawel’s tapestries with satyrs
In the Journal:
Barok. 2013, 20, nr. 1 (39), p. 99-119
Keywords:
LT
Abiejų Tautų Respublika (ATR; Rzeczpospolita Obojga Narodów; Žečpospolita; Sandrauga; Polish-Lithuanian Commonwealth); Gobelenai su satyrais; Heraldika; Ideologines reikšmės; Krokuva; Abiejų Tautų Respublika (ATR; Rzeczpospolita Obojga Narodów; Žečpospolita; Sandrauga; Polish-Lithuanian Commonwealth); Meno rinkiniai; Mitologija; Sienų kilimai; Simbolinės reikšmės; Vaizduojamojo meno istorija; Vavelio Karališkoji Pilis; Žygimantas Augustas, 1520-1572 (Žygimantas III Augustas; Zigmantas II Augùstas; Zygmunt II August; Sigismund August).
EN
Art collections; Cracow; Fine art history; Heraldic motives; Ideological meanings; Mythology; Polish and Lithuanian Commonwealth; Republic of Both Nations; Sigismund August; Symbolic meanings; Tapestries; Tapestries with satyrs; Wawel Royal Castle.
Summary / Abstract:

ENThe article is devoted to the analysis of ideological and symbolic meanings of the tapestries with satyrs at Wawel Royal Castle. The author explains that after the marriage to Catherina of Austria in 1553 King Sigismund August was seldom in Krakow, and in 1559 he left the castle for good. In his peregrinations the king was accompanied by his Flemish tapestries, called sometimes the “moving frescoes of the North”. They were used to produce an impression of royal majesty. It can be said, therefore, that the Flemish tapestries were an element of “spectacle of power” and as such they could be analysed with the methods used for the anthropology of spectacle. Such a function should be ascribed to the heraldic and monogram tapestries bought by Sigismund Augustus after 1559, after he entered a contract with a famous art merchant from Brussels, Roderyg Dermoyen. The monographic programme of the king’s twelve heraldic tapestries, depicting the cartouches of Poland and Lithuania with the White Eagle and Vytis, the White Knight, emphasised the idea of unity between the two countries, while the tapestries with the SA monogram glorified Sigismund Augustus himself for his glorious deeds as the ruler of the powerful state. Altogether, they were to call attention to the earthly life of the king who already in his lifetime achieved posthumous fame and grateful memory of posterity. [From the publication]

ISSN:
1232-3233
Permalink:
https://www.lituanistika.lt/content/67264
Updated:
2020-07-28 20:26:14
Metrics:
Views: 5
Export: