DOI issue:
Nr. 1
DOI article:Bałus, Wojciech: Jan Białostocki and George Kubler: in an attempt to catch up with the system
DOI Page / Citation link:https://doi.org/10.11588/diglit.31178#0131
A continuation of the above citation can be seen
in the scholar's opinion concerning the presence of
sequences in the méditations on iconography. Thus
whiie opting out for an interprétation of individual
art phenomena, the author at the same time did not
want to lose touch with the total historical process,
with the "life story" of art objects. He wanted to
combine a microscopie vision with the panoramic
view. Maybe just like Tischner's adversaries, he was
vexed by the bleak vision of the world devoid of a
rigid framework of the systém — of an incomplète
and fragmentary image. But the time of great syn-
thèses was dehnitely over. Jan Bialostocki was aware
that a A <%A A'r/cry A
BIALOSTOCKI, J.: [voice in the discussion]. In:
4y^řA ty/^A. F [The Interpretation of the Work
of Art. Studies and Discussions]. Warszawa - Poznan 1976,
p. 196.
He spoke about this during the discussion in Rogalin
on the 14 November 1973. Unfortunately, neither
then nor later in his life did he specify what this
closing consisted in, except for a single Statement
that A
yNw Aytwt/
That is why he continued to strive
to construct a comprehensive systém of theoreti-
cal foundations for the whole discipline, whereas a
symbol of his attempts to catch up with the receding
systém was the metaphor of the bündle — a complex
of methods that were bound exclusively by their
temporal proximity.
The original Polish text — "Jan Bialostocki a George Kubler.
W pogoni za systemem" — was published in BA/MtorA.
y hhswMHAw
BM/ortorCf — ^?fg4yy /woMyk". Ed. Mag-
dalena WRÓBLEWSKA. Warszawa 2009, pp. 77-85.
125
in the scholar's opinion concerning the presence of
sequences in the méditations on iconography. Thus
whiie opting out for an interprétation of individual
art phenomena, the author at the same time did not
want to lose touch with the total historical process,
with the "life story" of art objects. He wanted to
combine a microscopie vision with the panoramic
view. Maybe just like Tischner's adversaries, he was
vexed by the bleak vision of the world devoid of a
rigid framework of the systém — of an incomplète
and fragmentary image. But the time of great syn-
thèses was dehnitely over. Jan Bialostocki was aware
that a A <%A A'r/cry A
BIALOSTOCKI, J.: [voice in the discussion]. In:
4y^řA ty/^A. F [The Interpretation of the Work
of Art. Studies and Discussions]. Warszawa - Poznan 1976,
p. 196.
He spoke about this during the discussion in Rogalin
on the 14 November 1973. Unfortunately, neither
then nor later in his life did he specify what this
closing consisted in, except for a single Statement
that A
yNw Aytwt/
That is why he continued to strive
to construct a comprehensive systém of theoreti-
cal foundations for the whole discipline, whereas a
symbol of his attempts to catch up with the receding
systém was the metaphor of the bündle — a complex
of methods that were bound exclusively by their
temporal proximity.
The original Polish text — "Jan Bialostocki a George Kubler.
W pogoni za systemem" — was published in BA/MtorA.
y hhswMHAw
BM/ortorCf — ^?fg4yy /woMyk". Ed. Mag-
dalena WRÓBLEWSKA. Warszawa 2009, pp. 77-85.
125