DOI Artikel:
Gronek, Agnieszka: W poszukiwaniu zaginionej ramki: epizod z dziejów drukarstwa na Rusi
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.40996#0015
title page of the first print of the Bibie in Old Church Slavonic (Ostróg 1581), it constitutes
a elear and representative symbol of modern Ruthenian culture until today. Fyodorov used it
in three books, after which it disappeared without tracę. However, its copies appeared again
in Vilnius prints, not only Orthodox but also Protestant and Catholic. The above-mentioned
fact attests to the universality of decorative elements which freely cross the borders of confes-
sion and culture. It also enables us to analyse contacts between printers of the largest cultural
centres in the Commonwealth and tracę the roots of the spread of patterns and inspirations.
Originally not containing any content, the discussed ornamental motif, owing to the famę
of Ivan Fyodorov and high value of his prints, became a symbol of Ruthenian culture, which
could be used by Vilnius printers for financial purposes, and perhaps ideological purposes
in interdenominational polemics. There is no doubt that in the 20th century it was a elear
carrier of national ideology, to which Ukrainian activists of culture and science referred.
Translated by Joanna Szczepańska-Włoch
W poszukiwaniu zaginionej ramki
13
a elear and representative symbol of modern Ruthenian culture until today. Fyodorov used it
in three books, after which it disappeared without tracę. However, its copies appeared again
in Vilnius prints, not only Orthodox but also Protestant and Catholic. The above-mentioned
fact attests to the universality of decorative elements which freely cross the borders of confes-
sion and culture. It also enables us to analyse contacts between printers of the largest cultural
centres in the Commonwealth and tracę the roots of the spread of patterns and inspirations.
Originally not containing any content, the discussed ornamental motif, owing to the famę
of Ivan Fyodorov and high value of his prints, became a symbol of Ruthenian culture, which
could be used by Vilnius printers for financial purposes, and perhaps ideological purposes
in interdenominational polemics. There is no doubt that in the 20th century it was a elear
carrier of national ideology, to which Ukrainian activists of culture and science referred.
Translated by Joanna Szczepańska-Włoch
W poszukiwaniu zaginionej ramki
13