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DOI Artikel:Kościółko, Iwona: Zwiastowanie z Mądrego jako przykład ikonografii Wcielenia: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.37084#0266
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IWONA KOŚCIÓŁKO
THE ANNUNCIATION FROM MĄDRE
AS AN EXAMPLE OF ICONOGRAPHY OF THE INCARNATION
S u m mary
The Annunciation from Mądre is an example of iconography of the Incarnation that ap-
peared as eartly as the beginnings of Christian art. and through the ages it was a compilation
of many various pictorial motifs. The painting of the Annunciation, kept in Kórnik, dated for
1529, was once the middle part of the altar in the parish church in Mądre. The figurę of the
founder, Łukasz Górka, shown at GabriePs feet, confirms the authority of the humanist who
ordered the work. The iconography of the painting connects the traditions of the medieval
imaging of the Annunciation to Renaissance elements. At the background of the main scene,
against the landscape, another event in Mary’s cycle takes place - the Visitation to St. Eliza-
beth. A. Labuda points to the importance of this picture in the development of proto-Renais-
sance painting in Wielkopolska (Great Poland), with the complex motif of the Incarnation that
introduces into the picture the Infant looking in the direetion of Mary. A. Labuda has pointed
to L. Górka’s foundation as the Church’s orthodox authority towards Lutheran ideas that had
a powerful influence in the Wielkopolska region.
The Annunciation is characterized by a elear and cogent iconographic program built around
the mystery of the Incarnation as the crucial moment of the Salvation. In the corner of the
painting God the Father, the Infant as the Son-Logos carrying the cross on his shouiders. and
the dove of the Holy Spirit have been shown. This moment of the Annunciation, joined to the
image of the Father, was shown in the icon of Nowogród painted in the 12lh century. God was
shown as the Everlasting, according to the description in the Book of Daniel 7, 9 from IsaialTs
prophecy 6, which also found its pictorial interpretations in Jacop Torriti’s mosaics from Santa
Maria Maggiore of 1247.
In the development of the presentations of Annunciation we are interested in. showing
Logos descending from heaven, the art developed in the area on the Rhine was significant,
sińce it was there that the trend of mysticism of the whole of the 15lh century emphasizing
di v i n i ty of Christ was Consolidated.
The influence of the Renaissance way of thinking can be seen in the painting owing to the
sibyls, already defined by Heraclitus, Euripides, Aristophanes, Plato and many other authors
whose writings were used as sources by Christian writers. Especially three sibyls were consi-
dered to be authoritative oracles: the Phrygian one from Delphi, the Eritrean one and the
Hellespont one. A special significance was attributed to the sibyls’ prophecies in Romę.
According to the legend related by Dionysius of Halicarnassus, Tarquinius the Proud bought
books with prophecies from a mysterious woman identified with Sibyl of Cumae, and from the
times of Augustus the books were kept in the Jove Tempie in the Capitol. Ancient prophecies
were joined to the texts of Jewish prophecies, forming in this way collections of sibyls'
prophecies contained in twelve books. Christian oracles speak about the coming of Messiah.
and sonie ąuotations were used by the Fathers of the Church. Clement of Alexandria in his
work Stromata mentions four sibyls, Phrygian, Eritrean, Egyptian and Italian, called Carmentis.
Initially in Christian art only one sibyl was shown, but in the late Middle Ages and in the
Renaissance period morę were introduced, together with the attributes that identified them. In
early Renaissance art sibyls were often shown in the context of Evangelical events, e.g. on the
stal Is of the Ulm Cathedra! whose author was Jorg Syrlin (1467-1474).
Translatecl by Tadeusz Karłowicz
Słowa kluczowe: Zwiastowanie Maryi, renesans w Polsce, SybiIle, Łukasz II Górka.
Key words: Annunciation to Mary, Renaissance in Poland, sibyls, Łukasz II Górka.
IWONA KOŚCIÓŁKO
THE ANNUNCIATION FROM MĄDRE
AS AN EXAMPLE OF ICONOGRAPHY OF THE INCARNATION
S u m mary
The Annunciation from Mądre is an example of iconography of the Incarnation that ap-
peared as eartly as the beginnings of Christian art. and through the ages it was a compilation
of many various pictorial motifs. The painting of the Annunciation, kept in Kórnik, dated for
1529, was once the middle part of the altar in the parish church in Mądre. The figurę of the
founder, Łukasz Górka, shown at GabriePs feet, confirms the authority of the humanist who
ordered the work. The iconography of the painting connects the traditions of the medieval
imaging of the Annunciation to Renaissance elements. At the background of the main scene,
against the landscape, another event in Mary’s cycle takes place - the Visitation to St. Eliza-
beth. A. Labuda points to the importance of this picture in the development of proto-Renais-
sance painting in Wielkopolska (Great Poland), with the complex motif of the Incarnation that
introduces into the picture the Infant looking in the direetion of Mary. A. Labuda has pointed
to L. Górka’s foundation as the Church’s orthodox authority towards Lutheran ideas that had
a powerful influence in the Wielkopolska region.
The Annunciation is characterized by a elear and cogent iconographic program built around
the mystery of the Incarnation as the crucial moment of the Salvation. In the corner of the
painting God the Father, the Infant as the Son-Logos carrying the cross on his shouiders. and
the dove of the Holy Spirit have been shown. This moment of the Annunciation, joined to the
image of the Father, was shown in the icon of Nowogród painted in the 12lh century. God was
shown as the Everlasting, according to the description in the Book of Daniel 7, 9 from IsaialTs
prophecy 6, which also found its pictorial interpretations in Jacop Torriti’s mosaics from Santa
Maria Maggiore of 1247.
In the development of the presentations of Annunciation we are interested in. showing
Logos descending from heaven, the art developed in the area on the Rhine was significant,
sińce it was there that the trend of mysticism of the whole of the 15lh century emphasizing
di v i n i ty of Christ was Consolidated.
The influence of the Renaissance way of thinking can be seen in the painting owing to the
sibyls, already defined by Heraclitus, Euripides, Aristophanes, Plato and many other authors
whose writings were used as sources by Christian writers. Especially three sibyls were consi-
dered to be authoritative oracles: the Phrygian one from Delphi, the Eritrean one and the
Hellespont one. A special significance was attributed to the sibyls’ prophecies in Romę.
According to the legend related by Dionysius of Halicarnassus, Tarquinius the Proud bought
books with prophecies from a mysterious woman identified with Sibyl of Cumae, and from the
times of Augustus the books were kept in the Jove Tempie in the Capitol. Ancient prophecies
were joined to the texts of Jewish prophecies, forming in this way collections of sibyls'
prophecies contained in twelve books. Christian oracles speak about the coming of Messiah.
and sonie ąuotations were used by the Fathers of the Church. Clement of Alexandria in his
work Stromata mentions four sibyls, Phrygian, Eritrean, Egyptian and Italian, called Carmentis.
Initially in Christian art only one sibyl was shown, but in the late Middle Ages and in the
Renaissance period morę were introduced, together with the attributes that identified them. In
early Renaissance art sibyls were often shown in the context of Evangelical events, e.g. on the
stal Is of the Ulm Cathedra! whose author was Jorg Syrlin (1467-1474).
Translatecl by Tadeusz Karłowicz
Słowa kluczowe: Zwiastowanie Maryi, renesans w Polsce, SybiIle, Łukasz II Górka.
Key words: Annunciation to Mary, Renaissance in Poland, sibyls, Łukasz II Górka.