DOI Artikel:
Smorąg Różycka, Małgorzata: Lech Kalinowski a historia sztuki bizantyńskiej
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19071#0022
ascertain today. It is tnie that he employed such a scheme of composition only once,
producing the same effect in respect of meaning as had been achieved by Byzantine art-
ists: in the Florentine Trial by Fire the sułtan is merely a narrator, whereas St Francis,
though apparently standing aside, is the main figurę there. Professor Kalinowski, with his
characteristic sense of formal features, isolated this scenę from Giotto's oeuvre, recalling
once more that a work of art was the first and primary source of scholarly references and
comparisons, taking precedence in methodological procedurę over references to written
sources. However, the observation of the rhetorical naturę of such a pictorial source leads
to another conclusion: content does not '"exist" in a picture unconditionally or objec-
tively, but is revealed with the spectator's participation, as rhetoric is conditioned by an
interrelationship between the sender and the recipient of a message. In demonstrating the
devotional character of the Pieta and the seeming contradiction between its sources and
sense, Professor Kalinowski brought to light one more aspect of a work of art, its public
reception, thereby anticipating by decades the views held by the advocates of its socio-
logical and anthropological interpretation. Ali of his scholarly and didactic achievements
are marked by a desire to demonstrate in a work of art an inseparable connection between
ideas and artistic forms. In the research hierarchy of identifying individual elements of this
bond he gave priority to a work of art, which in its internal structure was autonomous and
only the interpretation of the ideological sense of this structure related it to the culture of
a particular epoch.
18
producing the same effect in respect of meaning as had been achieved by Byzantine art-
ists: in the Florentine Trial by Fire the sułtan is merely a narrator, whereas St Francis,
though apparently standing aside, is the main figurę there. Professor Kalinowski, with his
characteristic sense of formal features, isolated this scenę from Giotto's oeuvre, recalling
once more that a work of art was the first and primary source of scholarly references and
comparisons, taking precedence in methodological procedurę over references to written
sources. However, the observation of the rhetorical naturę of such a pictorial source leads
to another conclusion: content does not '"exist" in a picture unconditionally or objec-
tively, but is revealed with the spectator's participation, as rhetoric is conditioned by an
interrelationship between the sender and the recipient of a message. In demonstrating the
devotional character of the Pieta and the seeming contradiction between its sources and
sense, Professor Kalinowski brought to light one more aspect of a work of art, its public
reception, thereby anticipating by decades the views held by the advocates of its socio-
logical and anthropological interpretation. Ali of his scholarly and didactic achievements
are marked by a desire to demonstrate in a work of art an inseparable connection between
ideas and artistic forms. In the research hierarchy of identifying individual elements of this
bond he gave priority to a work of art, which in its internal structure was autonomous and
only the interpretation of the ideological sense of this structure related it to the culture of
a particular epoch.
18