{"id":628,"date":"2023-01-05T06:37:30","date_gmt":"2023-01-05T05:37:30","guid":{"rendered":"https:\/\/cszmb.cz\/?page_id=628"},"modified":"2023-01-05T07:44:43","modified_gmt":"2023-01-05T06:44:43","slug":"2021-02-03","status":"publish","type":"page","link":"https:\/\/cszmb.cz\/en\/2021-02-03\/","title":{"rendered":"2021-02-03"},"content":{"rendered":"

\u010cASOPIS SZM, s\u00e9rie B \u2013 V\u011aDY HISTORICK\u00c9 LXX \/ 2-3 \/ 2021<\/h1>\n\n\n\n

EDITORIAL<\/a><\/h2>\n\n\n\n

Pavel \u0160op\u00e1k<\/h4>\n\n\n\n

AKVAMANILE VE SB\u00cdRCE SLEZSK\u00c9HO ZEMSK\u00c9HO MUZEA<\/a><\/h2>\n\n\n\n

Aquamaniles in the Collections of the Silesian Museum<\/h3>\n\n\n\n

Denisa Hradilov\u00e1<\/h4>\n\n\n\n

The study deals with two pieces of aquamaniles, one in a form of a horse and the other in a form of a woman head, which came to the collection of the fine arts of the Silesian Museum in Opava as gifts from Johann II, Prince of Liechtenstein. The first aquamanile in the Gothic style was purchased by the Prince from the Charles Stein Collection in 1899. The second aquamanile in the Romanesque-style features, was purchased from A. Satori in Vienna by the Prince in 1909.<\/h5>\n\n\n\n

ARCHEOLOGICK\u00c9 N\u00c1LEZY Z ARE\u00c1LU OPAVSK\u00c9HO HRADU <\/a><\/h2>\n\n\n\n

Archaeological Findings from the Area of Opava Castle I.<\/h3>\n\n\n\n

So\u0148a Kr\u00e1lov\u00e1<\/h4>\n\n\n\n

Archaeological situations and a large number of movable archaeological finds dating from before the establishment of the institutional city to the present were discovered as part of rescue archaeological research during the reconstruction of the so-called M\u00fcller House in Opava in the period from 2015 to 2019. The presented contribution concerns probing in the exterior of the building, in the places of the recessed extension in the garden and around the house, which was part of the premises of the P\u0159emyslid Castle, later rebuilt into the Liechtenstein Ch\u00e2teau. The work presents a preliminary evaluation of the research, including the results of some relevant analyses, and responds to the initial assumptions formulated on the basis of written and iconographic sources. The largest share of artefacts is represented by medieval and modern ceramics, then zooarchaeological material, metal finds, paleobotanical specimens, etc. The paper reflects the socio-economic situation of the place within the background of the aristocratic residence, whose archaeological research, when reconstructing the former kitchen of the medieval castle, has been one of the largest and most important archaeological excavations in recent years in Opava.<\/h5>\n\n\n\n

GENEZE SAKR\u00c1LN\u00cdCH PAM\u00c1TEK V HORN\u00cdM \u00daDOL\u00cd<\/a><\/h2>\n\n\n\n

Genesis of Sacral Monuments in Horn\u00ed \u00dadol\u00ed<\/h3>\n\n\n\n

Pavel \u017durek<\/h4>\n\n\n\n

The settlement of Horn\u00ed \u00dadol\u00ed, today a part of Zlat\u00e9 Hory, is located in a place that has been the subject of mining activity since ancient times. The local gold deposits were influenced by the early relations between the Czech and Polish states and later by the position of the Duchy of Wroc\u0142aw, whose representative the Bishop of Wroc\u0142aw was. The aim of the work is to present the importance and influence of mining activities on the origin and development of sacral monuments in the village. Most attention is paid to the defunct and currently restored Chapel of St. Anna or the neo-Gothic church of St. John the Baptist. The research itself focused on the collection of archival sources, available literature and their critical evaluation and interpretation.<\/h5>\n\n\n\n

N\u00c1ST\u011aNN\u00c9 MALBY V KAPLI THURNOVSK\u00c9HO PAL\u00c1CE HRADU LIPNICE<\/a><\/h2>\n\n\n\n

Wall Paintings in the Chapel of the Thurn Palace of Lipnice Castle<\/h3>\n\n\n\n

Pavel Waisser<\/h4>\n\n\n\n

The study presents relatively recently discovered renaissance wall paintings (2011) and until now not presented on the Art history field of research in the so-called second chapel adjacent to the Gothic hall of the so-called Thurnovsk\u00fd Palace of Lipnice Castle. The related architectural context of this entire block of the north-western wing of Lipnice Castle and other clues allow perhaps to date the paintings to the 1520s-30s. The colouring and workmanner with space corresponds to the style of the so-called Danube School. The paintings form a coherent set in terms of meaning and represent an iconographically unique Christological-eschatological cycle from the Protestant milieu (the commissioner was either Burian II. Tr\u010dka of L\u00edpa or his son Jan st. Tr\u010dka of L\u00edpa). The Crucifixion\/Christ\u2018s sacrifice correlates with the threefold revelation of Christ in his divinity in different temporal planes: the Resurrection of Christ, the Transfiguration of the Lord, the Last Judgement. The Transfiguration on Mount Tabor in Lipnice is the oldest known example of this iconography in the medium of mural painting in the Czech lands. The commissioning possibilities of the rich Lipnice branch of the Tr\u010dka of L\u00edpa family are also proved by other monuments that are hypothetically or evidently related to the patronage of Burian II. Tr\u010dka of L\u00edpa (a supposed double portrait of Burian II. Tr\u010dka of L\u00edpa and Catherien of Lichtenburg \u2013 originally the state castle \u017dleby, around 1516; illumination of the N\u011bm\u011bck\u00fd Brod gradual (painter Pavel M\u011blnick\u00fd; probably 1516).<\/h5>\n\n\n\n

P\u0158\u00cdSP\u011aVEK K STAVEBN\u00cdM D\u011aJIN\u00c1M JABLUNKOVA OD KONCE 18. STOLET\u00cd DO PO\u010c\u00c1TKU 20. STOLET\u00cd<\/a><\/h2>\n\n\n\n

Contribution to Construction History of Jablunkov from the End of 18th Century to the Beginning of 20th Century<\/h3>\n\n\n\n

Eva Vojkovsk\u00e1<\/h4>\n\n\n\n

The study deals with construction events in Jablunkov from the end of the 18th century to the beginning of the 20th century, demonstrated on selected examples of buildings. It captures the urban development of the town and characterizes the layout of the houses. The study describes the original attic wooden houses of the Carpathian type and the brick buildings in the square. It then explains the work of builders and describes their buildings in the town. The architecture of Jablunkov created an interesting complex of wooden folk architecture as well as urban brick architecture.<\/h5>\n\n\n\n

KONTAKTY BRN\u011aNSK\u00c9HO ARCHITEKTA FRANTI\u0160KA KALIVODY S RAKOUSK\u00ddM V\u00ddTVARN\u00cdKEM RAOULEM HAUSMANNEM B\u011aHEM JEHO EXILOV\u00c9HO POBYTU V \u010cESKOSLOVENSKU V LETECH 1937\u20131938<\/a><\/h2>\n\n\n\n

Contacts of Brno Architect Franti\u0161ek Kalivoda with Austrian Artist Raoul Hausmann during his Exile in Czechoslovakia in the Period from 1937 to 1938<\/h3>\n\n\n\n

Mark\u00e9ta Svobodov\u00e1<\/h4>\n\n\n\n

In the legacy of the Brno architect Franti\u0161ek Kalivoda (1913\u20131971), which is stored in the Department of the History of Architecture of the Brno City Museum, there is his relatively extensive international correspondence including letters from the Austrian expressionist and \u201edadasophist\u201c Raoul Hausmann (1886, Vienna, Austria-Hungary, to 1971, Limoges, France). The correspondence relates to his years of exile (1937\u20131938), when, after the Nazis condemned his work at the Munich exhibition Entartete Kunst (1937) and after his longer stay in Spain, from which he had to flee for political reasons, he moved to Prague via Switzerland. He came to Franti\u0161ek Kalivoda and Brno through the architect\u2018s long-time friend L\u00e1szl\u00f3 Moholy-Nagy (1895\u20131946). After 1933, when streams of immigrants from all over Europe came to Czechoslovakia, Kalivoda tried to help these refugees, and archival documents show that he did not stop this activity even during the occupation.\nHausmann had Czechoslovak citizenship \u2013 he resided in the village of Stehel\u010deves near Kladno, so residence certificates related to his stay in the Czechoslovak Republic have been preserved. The first record is from February 2, 1937, residence in Prague\u2018s Vinohrady, Italsk\u00e1 Street 12. In the column of the profession he stated: a writer. However, he did not speak Czech, he felt European and was closely associated with German or German-Jewish culture. In the Czechoslovak Republic, he met both artists from these communities or fellow emigrants (Augustin Tchinkel, Andre Steiner, Hannes Beckmann, etc.) and the Czech avant-garde. However, in letters to his first wife, Elfriede Hausmann, he often complained about \u201esmall and limited\u201c circumstances in Czechoslovakia. Hausmann\u2018s letters to Kalivoda are very expressive, sometimes even effusive, reflecting the depressing hopeless situation in which refugees often found themselves. The letters show an effort to apply and enforce his previous experience and various projects, from which the frequent (sometimes paranoid) accusations of his colleagues and co-workers of stealing or plagiarizing his own ideas and thoughts stem. Hausmann left Czechoslovakia in June 1938 before the Munich Agreement (he belonged to anti-fascists and anti-Nazis, his second wife Hedvika was of Jewish origin). He first travelled back to Switzerland, and, after three days, he moved to Paris.<\/h5>\n\n\n\n

MATERI\u00c1LIE\/MATERIALS<\/a><\/h2>\n\n\n\n

Obraz svat\u00e9ho Josefa P\u011bstouna od Josefa Franti\u0161ka Pilze (Romana Balcarov\u00e1 \u2013 Pavel \u0160op\u00e1k)<\/em><\/h3>\n\n\n\n

Pal\u00e1c svobodn\u00fdch p\u00e1n\u016f z Bere\u010dka v Opav\u011b (Pavel \u0160op\u00e1k)<\/em><\/h3>\n\n\n\n

N\u011bkolik pozn\u00e1mek k u\u017eit\u00ed, limit\u016fm a mo\u017enostem n\u011bkter\u00fdch nedestruktivn\u00edch archeologick\u00fdch metod p\u0159i v\u00fdzkumu, studiu a pozn\u00e1n\u00ed zm\u011bn v krajin\u011b \u010cesk\u00e9ho Slezska (Ji\u0159\u00ed Juchelka)<\/em><\/h3>\n\n\n\n

JUBILEA\/ANNIVERSARY<\/a><\/h2>\n\n\n\n

V\u00fdznamn\u00e9 \u017eivotn\u00ed jubileum PhDr. Milo\u0161e Melzera, CSc. (Miroslava Such\u00e1nkov\u00e1)<\/em><\/h3>\n\n\n\n

Ode\u0161la PhDr. Zdena Vachov\u00e1 (22. 6. 1922 \u2013 25. 7. 2021) (Miroslava Such\u00e1nkov\u00e1)<\/em><\/h3>\n\n\n\n

K nedo\u017eit\u00fdm devades\u00e1tin\u00e1m Josefa Barto\u0161e (Ond\u0159ej Kol\u00e1\u0159)<\/em><\/h3>\n\n\n\n

RECENZE\/REVIEWS<\/a><\/h2>\n\n\n\n

Ego-dokument jako historick\u00e1, soci\u00e1ln\u00ed a estetick\u00e1 hodnota (Roman Pol\u00e1ch)<\/h3>\n\n\n\n

Ji\u0159\u00ed NEMIN\u00c1\u0158 (ed.) a kol., Hlu\u010d\u00ednsko na pohlednic\u00edch (Ond\u0159ej Hani\u010d\u00e1k)<\/em><\/h3>\n\n\n\n

Pavel \u0160OP\u00c1K, Z rodn\u00e9ho kraje (Nina Pavel\u010d\u00edkov\u00e1)<\/em><\/h3>\n\n\n\n

Radim JE\u017d \u2013 David PINDUR \u2013 Henryk WAWRECZKA a kol., \u010cesk\u00fd T\u011b\u0161\u00edn 1920\u20132020 (Ond\u0159ej Kol\u00e1\u0159)<\/em><\/h3>\n\n\n\n

Radim JE\u017d \u2013 Radek LIPOWSKI \u2013 David PINDUR a kol., T\u011b\u0161\u00ednsk\u00e9 Slezsko a jeho prom\u011bny v dob\u011b modernizace (Ivana Kol\u00e1\u0159ov\u00e1)<\/em><\/h3>\n\n\n\n

KRONIKA\/CHRONICLE<\/a><\/h2>\n\n\n\n

H\u0159bitovn\u00ed kaple sv. V\u00e1clava v Krnov\u011b (Vzpom\u00ednka na Ernsta K\u00f6nigera) (Pavel \u0160op\u00e1k)<\/em><\/h3>\n\n\n\n

K 115. v\u00fdro\u010d\u00ed narozen\u00ed sc\u00e9nografa a mal\u00ed\u0159e Jana Sl\u00e1dka (1906\u20131982) (Lenka Vale\u010dkov\u00e1)<\/em><\/h3>","protected":false},"excerpt":{"rendered":"

\u010cASOPIS SZM, s\u00e9rie B \u2013 V\u011aDY HISTORICK\u00c9 LXX \/ 2-3 \/ 2021 EDITORIAL Pavel \u0160op\u00e1k AKVAMANILE VE SB\u00cdRCE SLEZSK\u00c9HO ZEMSK\u00c9HO MUZEA Aquamaniles in the Collections of the Silesian Museum Denisa Hradilov\u00e1 The study deals with two pieces of aquamaniles, one in a form of a horse and the other in a form of a woman… Continue reading 2021-02-03<\/span><\/a><\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-628","page","type-page","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/pages\/628","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/comments?post=628"}],"version-history":[{"count":2,"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/pages\/628\/revisions"}],"predecessor-version":[{"id":650,"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/pages\/628\/revisions\/650"}],"wp:attachment":[{"href":"https:\/\/cszmb.cz\/en\/wp-json\/wp\/v2\/media?parent=628"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}