Sculptural Viae Crucis and Calvaries in the Czech Lands in the Early Modern Era. Typology, Iconography and Interpretation.
Provider: Grantová agentura ČR
Programme: Standardní projekty (řešení od 1.1.2011)
Implementation period: 01.01.11 - 31.12.13
Workplace:
Fakulta filozofická - Ústav historických věd
Investigator: Panoch Pavel
Description:
The main aim of the proposed research is to bring a new art-historical interpretation of the sculptural groups of the Early Modern Calvaries in the Czech Lands. The project is focused on the analysis of a style, typology and iconography of important cycles of Viae Crucis executed in stone and wood. Its aim is to increase the present knowledge of social and historical context of its origin and of its role in the Early Modern culture of the Central Europe in comparison to the surrounding regions of Poland, Austria and Slovakia. The project will confront the own up to date research in terrain with the conclusions formulated by the present inquiry while paying an equal attention to the sculptural groups often mentioned by the literature as well as to those mostly neglected. The special attention will be paid to the identification of the concrete graphic models of the groups of figures used by the artists. The interpretation will deal with the motivations of the donators of these specifically religious art works mostly situated to the exterior of the Bohemian baroque landscape.
The main aim of the proposed research is to bring a new art-historical interpretation of the sculptural groups of the Early Modern Calvaries in the Czech Lands. The project is focused on the analysis of a style, typology and iconography of important cycles of Viae Crucis executed in stone and wood. Its aim is to increase the present knowledge of social and historical context of its origin and of its role in the Early Modern culture of the Central Europe in comparison to the surrounding regions of Poland, Austria and Slovakia. The project will confront the own up to date research in terrain with the conclusions formulated by the present inquiry while paying an equal attention to the sculptural groups often mentioned by the literature as well as to those mostly neglected. The special attention will be paid to the identification of the concrete graphic models of the groups of figures used by the artists. The interpretation will deal with the motivations of the donators of these specifically religious art works mostly situated to the exterior of the Bohemian baroque landscape.
