DOI issue:
Nr. 2-3
DOI article:Ratkowska, Paulina: Trois chapiteaux romans au Musée National de Varsovie
DOI Page / Citation link: https://doi.org/10.11588/diglit.18820#0049
4. Chapiteau avec dragons, Varsovie, Muzeum Narodowe
sculpture languedocienne l'observation de Meyer Schapiro:10 „Apart from the elements of folklo-
re and popular belief in some of these fantastic types, they are a world of projected erno-
tions, psychologically significant images of force, play, agressiveness, anxiety, self-torment
and fear, embodied in the powerful forms of instinct-driven creatures, twisted, struggling,
entangled, confronted and superimposed."
Le sens symboliąue des representations ne peut etre defini que de manierę tres generale. Sur
ce type de representations, nous partageons 1'opinion de Carmen Gómez-Moreno:11 „if they were
meant to be symbolical the symbolism is very obscure in most of the cases... In earlier times
bestiaries like the Physiologus were quite widely used as references, and most of the animals and
mythological creatures are described in them; their symbolical implications, however, are sonie-
what lost in these lively but comparatively crude representations... The Romanesque style was
already so far from the original sources that the sculptors were probably following or imitating
other works they had seen somewhere else and using them only for dccorative purposes... The
artists that carved them... seemed to be much more concerned with the punishment of evil than
10. M. Schapiro, "On the Aesthctic Attitude in Romancsquc Art", Art and Thought, issued in honour of A. K. Comara-
swamy, London, 1947. p. 130 sq.
1. C. Gómez-Moreno, „The Apse from San Martin at Fnentiduena, History, Stylistie Analysis and Dismantling", Builetin of
the Metropolitan Museum of Art, Junc, 1961, pp. 268 sq., p. 274.
39
sculpture languedocienne l'observation de Meyer Schapiro:10 „Apart from the elements of folklo-
re and popular belief in some of these fantastic types, they are a world of projected erno-
tions, psychologically significant images of force, play, agressiveness, anxiety, self-torment
and fear, embodied in the powerful forms of instinct-driven creatures, twisted, struggling,
entangled, confronted and superimposed."
Le sens symboliąue des representations ne peut etre defini que de manierę tres generale. Sur
ce type de representations, nous partageons 1'opinion de Carmen Gómez-Moreno:11 „if they were
meant to be symbolical the symbolism is very obscure in most of the cases... In earlier times
bestiaries like the Physiologus were quite widely used as references, and most of the animals and
mythological creatures are described in them; their symbolical implications, however, are sonie-
what lost in these lively but comparatively crude representations... The Romanesque style was
already so far from the original sources that the sculptors were probably following or imitating
other works they had seen somewhere else and using them only for dccorative purposes... The
artists that carved them... seemed to be much more concerned with the punishment of evil than
10. M. Schapiro, "On the Aesthctic Attitude in Romancsquc Art", Art and Thought, issued in honour of A. K. Comara-
swamy, London, 1947. p. 130 sq.
1. C. Gómez-Moreno, „The Apse from San Martin at Fnentiduena, History, Stylistie Analysis and Dismantling", Builetin of
the Metropolitan Museum of Art, Junc, 1961, pp. 268 sq., p. 274.
39