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Kunst verbindet Menschen: Antwerpen und Ukraine
{"id":24,"form_id":2,"category":"category-1","name":"3.webp","path":"images\/bridges\/3.webp","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/3.webp","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/3.webp","title":"Kunst verbindet Menschen: Antwerpen und Ukraine","short":"","alt":"","description":"<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\"><b>Kunst verbindet Menschen: Antwerpen und Ukraine<\/b><\/span><\/span><\/span><\/p>\n\n<hr \/>\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Der Titel unserer Ausstellung, <i>Art Connecting People<\/i>, ist eine spielerische Anspielung auf den berühmten Werbeslogan von Nokia. Doch im Unterschied zu Handys schafft Kunst Verbindungen, die emotional, spirituell und von bleibender Dauer sind. Im 17. und 18. Jahrhundert wurde religiöse Kunst zu einer Art visuellem Esperanto – einer universellen (Bild-)Sprache, die über Kontinente hinweg verstanden wurde. Im Mittelpunkt standen dabei Druckgrafiken, die sich durch ihre Vervielfältigbarkeit, Transportfähigkeit und visuelle Kraft auszeichneten. Diese Ausstellung erkundet, wie in Antwerpen gedruckte Bilder ihren Weg in die Ukraine, nach China und Lateinamerika fanden – und wie sie in jenen fernen Ländern interpretiert, kopiert und verändert wurden.<\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Das ist keine Geschichte europäischer Dominanz. Es ist eine Geschichte des kreativen Dialogs, der Neuinterpretation und des Synkretismus. Künstler aus weit auseinanderliegenden Orten wie <a name=\"_Hlk209169011\">Kyjiw <\/a>und Cusco haben diese Bilder durch die Brille ihrer eigenen Traditionen und Glaubenswelten neu interpretiert: Was in Antwerpen noch einen Propheten darstellte, wurde in der Ukraine zu einem Apostel. Auch die stark von byzantinischen Traditionen geprägte Darstellung der Jungfrau Maria, der Schutzpatronin des römischen Volkes, nahm mit der Zeit dezidiert chinesische Gestaltungselemente auf. Dieselben Linien, unterschiedliche Bedeutungen.<\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Diese Anpassungen zeigen nicht nur die jeweiligen Einflüsse, sondern sind zugleich Ausdruck von Kreativität. Das ist Kunst als Übersetzungsleistung – vom Original inspiriert, aber niemals mit diesem identisch.<\/span><\/span><\/span><\/p>\n\n<p style=\"margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<p style=\"margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<h2><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Karte Europas aus dem frühen 17. Jahrhundert.<\/span><\/span><\/span><\/h2>\n\n<p><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Quelle: Wikimedia Commons<\/span><\/span><\/span><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"3","target":"blank","lightboxUrl":"early-17th-century-map-of-europe-2","watermark_name":"3.jpg","hideInAll":0,"suffix":"round "}
Die Entstehung einer globalen Bildkultur
{"id":23,"form_id":2,"category":"category-1","name":"4.jpg","path":"images\/bridges\/4.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/4.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/4.jpg","title":"Die Entstehung einer globalen Bildkultur","short":"","alt":"","description":"<h1><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\"><b>Die Entstehung einer globalen Bildkultur<\/b><\/span><\/span><\/span><\/h1>\n\n<hr \/>\n<p><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\"><\/span><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Kinder in Kyjiw, Antwerpen, Frankfurt und Rio kennen heute alle dieselben Heldinnen und Helden der Popkultur – Superman, Pokémon, Wonder Woman und so weiter. Diese Bilder und Ikonen sind Teil einer globalen Bildsprache geworden.<\/span><\/span><\/span><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\"><\/span><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<p style=\"margin-bottom: 11px;\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Die Mission nach Indien <i>(De Seyndinghe nae Indien)<\/i><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Cornelis Galle der Ältere<\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Kupferstich, 1640<\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">23 × 18,7 cm<\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:116%\"><span style=\"font-family:Aptos,sans-serif\">Antwerpen – The Glen McLaughlin Map Collection of California as an Island, Stanford University Libraries<\/span><\/span><\/span><\/p>\n\n<p style=\"margin-bottom: 11px;\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<p style=\"margin-bottom: 11px;\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<p style=\"margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"2","target":"blank","lightboxUrl":"antwerp-a-creative-hub-that-reached-the-world-2","watermark_name":"6.jpg","hideInAll":0,"suffix":"round "}
Back to History
{"id":25,"form_id":2,"category":"category-1","name":"5.jpg","path":"images\/bridges\/5.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/5.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/5.jpg","title":"Back to History","short":"","alt":"","description":"<h1>Back to History<\/h1>\n\n<hr \/>\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">But long before Marvel or Nintendo, there was a different kind of visual hero: <i>the saint<\/i>. Figures like Saint Onuphrius—clothed only in leaves and living in the desert—fascinated believers across the continents. Just as comic books travel today, religious prints spread spiritual narratives across Early Modern Europe, Asia, Africa, and the Americas.<\/span><\/span><\/span><\/span><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\"><\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Books and prints were the media of their time. And Antwerp, one of Europe’s wealthiest port cities, was their Silicon Valley.<\/span><\/span><\/span><\/span><\/p>\n\n<h2> <\/h2>\n\n<h2>1. <span lang=\"EN-US\" style=\"font-size:12.0pt\"><span style=\"line-height:115%\"><span style=\"font-family:"Aptos",sans-serif\">Saint Onuphrius<\/span><\/span><\/span><\/h2>\n\n<p>Jan Sadeler, Raphael Sadeler the Elder, after Maerten de Vos<\/p>\n\n<p>Engraving, 1600<\/p>\n\n<p>17.8 × 21.5 cm <\/p>\n\n<p>Antwerp — Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Saint Onuphrius<\/h2>\n\n<p>Unknown artist<br \/>\nIcon, tempera on wood, mid-18th century<br \/>\n107 × 74 cm<br \/>\nWestern Ukraine — City Museum "Spiritual Treasures of Ukraine", Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"4","target":"blank","lightboxUrl":"onofrius-engraving-1585-86-saint-onuphrius-icon-tempera-on-wood-mid-18th-century","watermark_name":"5.jpg","hideInAll":0,"suffix":"round "}
Antwerp: A Creative Hub that Reached the World
{"id":26,"form_id":2,"category":"category-1","name":"6.jpg","path":"images\/bridges\/6.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/6.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/6.jpg","title":"Antwerp: A Creative Hub that Reached the World ","short":"","alt":"","description":"<h1>Antwerp: A Creative Hub that Reached the World<\/h1>\n\n<hr \/>\n<p>During the sixteenth and early seventeenth centuries, Antwerp was one of Europe’s busiest and richest port cities. <span lang=\"EN-US\" style=\"font-size:12.0pt\"><span style=\"line-height:115%\"><span style=\"font-family:"Cambria",serif\">It became a buzzing center for artists and printers who produced religious books and images—especially those working with the Jesuits. <\/span><\/span><\/span>. These prints didn’t stay in Antwerp for long: they traveled across oceans, reaching places like Latin America, China, Africa… and Ukraine.<\/p>\n\n<p> <\/p>\n\n<h2>View of Antwerp<\/h2>\n\n<p>Caspar Merian<\/p>\n\n<p>Etching, 1651<\/p>\n\n<p>15.5 × 27.0 cm<\/p>\n\n<p>Frankfurt am Main — Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"5","target":"blank","lightboxUrl":"view-of-antwerp","watermark_name":"490490503-6.jpg","hideInAll":0,"suffix":"round "}
How Antwerp’s Prints Reached Ukraine—and the World
{"id":27,"form_id":2,"category":"category-1","name":"7.jpg","path":"images\/bridges\/7.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/7.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/7.jpg","title":"How Antwerp\u2019s Prints Reached Ukraine\u2014and the World","short":"","alt":"","description":"<h1>How Antwerp’s Prints Reached Ukraine—and the World<\/h1>\n\n<hr \/>\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">In 1593, the Jesuit priest Jerónimo Nadal (1507-1580) published <i>Evangelicae Historiae Imagines<\/i>—a visual gospel designed for missionary work. It became a <b>visual bestseller<\/b>, and was adapted for Chinese woodblock printing in the 1630s, painted onto Latin American canvases, and transformed by Ukrainian artists such as Ivan Rutkovych (circa 1650 – early eighteenth century).<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">These images weren’t merely copied, they were reimagined. In Ukraine, an icon painter might draw upon these images to create icons for an iconostasis—a feature unique to the Eastern Christian tradition and which were absent from Catholic churches. In China, nude figures were replaced with those with modest robes, and Latin inscriptions became Chinese calligraphy.<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Through these adaptations, the images took root in different spiritual soils.<\/span><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<h2>1. Healing the Paralytic at Bethesda<\/h2>\n\n<p data-end=\"147\" data-start=\"96\">Antonie Wierix<\/p>\n\n<p data-end=\"171\" data-start=\"149\">Engraving, 1572–1624<\/p>\n\n<p data-end=\"202\" data-start=\"173\">23.0 × 14.5 cm <\/p>\n\n<p data-end=\"447\" data-start=\"204\">Antwerp — Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Healing the Paralytic at Bethesda<\/h2>\n\n<p>Unidentified Chinese artist<br \/>\nWoodcut from Tianzhu Jiangsheng Chuxiang Jingjie (Illustrated Explanations of the Lord of Heaven’s Incarnation), 1637<br \/>\nJinjiang, Quanzhou — Wikimedia Commons<\/p>\n\n<h2> <\/h2>\n\n<h2>3. Healing the Paralytic at Bethesda<\/h2>\n\n<p>Ivan Rutkovych<br \/>\nIcon, tempera on wood with gilding, late 17th century<br \/>\nKrekhiv, Western Ukraine<br \/>\nFrom the iconostasis of the Church of St. Paraskeva<br \/>\n(Source: icon.org.ua)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"6","target":"blank","lightboxUrl":"healing-the-paralytic-at-bethesda","watermark_name":"7.jpg","hideInAll":0,"suffix":"round "}
One Image, Many Stories
{"id":28,"form_id":2,"category":"category-1","name":"8.jpg","path":"images\/bridges\/8.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/8.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/8.jpg","title":"One Image, Many Stories","short":"","alt":"","description":"<h1>One Image, Many Stories<\/h1>\n\n<hr \/>\n<p>This eye-catching title page was created in Antwerp by Cornelis Galle the Elder (1576-1650) and shows 12 prophets with messages about the coming of Jesus. But the story doesn’t end there! Artists from across the world gave it new life. In Kyiv, Averkiy Kozachkovskyi (active ca. 1721–1740s) turned the prophets into apostles by swapping their messages for lines from the Credo prayer. Meanwhile, an unknown artist in Latin America added bold colors, moved the image to canvas, and placed the Virgin Mary at the center—shifting the focus from Jesus to his Mother. One image, many stories.<\/p>\n\n<p> <\/p>\n\n<h2>1. Title Page of <em>Commentaria in duodecim prophetas minores<\/em><\/h2>\n\n<p>Cornelis Galle the Elder, after a design by Peter Paul Rubens (possibly)<br \/>\nEngraving, 1625<br \/>\n32.5 × 19.6 cm<br \/>\nAntwerp — Rijksmuseum, Amsterdam<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Title Page of <em>Apostle<\/em> (Acts of the Apostles)<\/h2>\n\n<p>Averkiy Kozachkovskyi<paverkiy kozachkovskyi=\"\"> <\/paverkiy><\/p>\n\n<p><paverkiy kozachkovskyi=\"\">Engraving, 1722<br \/>\n27.5 × 16.5 cm<br \/>\nKyiv — City Museum “Spiritual Treasures of Ukraine”, Kyiv<\/paverkiy><\/p>\n<paverkiy kozachkovskyi=\"\">\n<p> <\/p>\n\n<h2> <\/h2>\n\n<h2>3. The Twelve Minor Prophets Glorify the Trinity<\/h2>\n\n<p>Unidentified Andean artist<br \/>\nOil on canvas, 18th century<br \/>\nSucre, Chuquisaca — Museo Colonial Charcas<br \/>\n(Source: colonialart.org)<\/p>\n<\/paverkiy>","link":"","video":"","settings":null,"likes":0,"imageId":"7","target":"blank","lightboxUrl":"one-image-many-stories","watermark_name":"8.jpg","hideInAll":0,"suffix":"round "}
From Byzantium to Kyiv: A Shifting Visual Tradition
{"id":29,"form_id":2,"category":"category-1","name":"9.jpg","path":"images\/bridges\/9.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/9.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/9.jpg","title":"From Byzantium to Kyiv: A Shifting Visual Tradition","short":"","alt":"","description":"<h1>From Byzantium to Kyiv: A Shifting Visual Tradition<\/h1>\n\n<hr \/>\n<p>Ukraine’s Christian roots are traced back to <strong>Byzantium<\/strong>, not Rome. The Eastern Orthodox tradition long shaped Ukrainian religious art, favoring <strong>flat, frontal, symbolic<\/strong> images. One can still see this heritage in the mosaics of Kyiv’s eleventh-century St. Sophia Cathedral.<\/p>\n\n<p> <\/p>\n\n<h2>The Annunciation<\/h2>\n\n<p>Unknown artist<\/p>\n\n<p>Mosaic, 11th century<\/p>\n\n<p>Virgin Mary (height: 2.23 m) and Archangel Gabriel (height: 2.23 m)<\/p>\n\n<p>North-eastern and south-eastern piers beneath the dome,<\/p>\n\n<p>Saint Sophia Cathedral, Kyiv<\/p>\n\n<p>(Source: Wikimedia Commons)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"8","target":"blank","lightboxUrl":"from-byzantium-to-kyiv-a-shifting-visual-tradition","watermark_name":"9.jpg","hideInAll":0,"suffix":"round "}
The Annunciation
{"id":30,"form_id":2,"category":"category-1","name":"10.jpg","path":"images\/bridges\/10.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/10.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/10.jpg","title":"The Annunciation","short":"","alt":"","description":"<h1>The Annunciation<\/h1>\n\n<hr \/>\n<p><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Beginning in the sixteenth century, powerful Western influences, which had previously been marginal, entered the cultural landscape, most notably through Flemish and German engravings—these left a lasting mark on local artistic traditions. By the late seventeenth century, many Ukrainian icons had shifted from the stillness of the Byzantine image to the <b>dynamic movement, depth, and emotion<\/b> found in Western art.<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">A Ukrainian icon of the Annunciation might now show Gabriel bowing in courtly reverence, a lily in hand<\/span> <span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">motif—lifted straight from a print by Antwerp engraver Schelte Bolswert (ca. 1586–1659).<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Still, Ukrainian artists didn’t merely imitate. They kept essential elements of their own tradition, such as the Virgin’s characteristic robes—preserving identity within change.<\/span><\/span><\/span><\/span><\/p>\n\n<p>.<\/p>\n\n<p> <\/p>\n\n<h2>1. The Annunciation<\/h2>\n\n<p>Schelte Adamsz. Bolswert, after Gerard Seghers<br data-end=\"120\" data-start=\"117\" \/>\nEngraving, early 17th century<br data-end=\"152\" data-start=\"149\" \/>\n38.5 × 27.1 cm<\/p>\n\n<p>Flemish school — Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2>2. The Annunciation<\/h2>\n\n<p>Unknown artist<br \/>\nIcon, tempera on wood, late 17th – early 18th century<br \/>\n121.3 × 86.5 cm<br \/>\nWestern Ukraine — City Museum "Spiritual Treasures of Ukraine", Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"9","target":"blank","lightboxUrl":"the-annunciation","watermark_name":"10.jpg","hideInAll":0,"suffix":"round "}
Eastern influences from the West
{"id":31,"form_id":2,"category":"category-1","name":"11.jpg","path":"images\/bridges\/11.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/11.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/11.jpg","title":"Eastern influences from the West","short":"","alt":"","description":"<h1>Eastern Influences from the West<\/h1>\n\n<hr \/>\n<p><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Ukrainian artists were inspired not only by Western art but also by Eastern images that came through Western prints. One famous example is the icon of the Virgin Mary known as <i>Salus Populi Romani<\/i>, a beloved Roman image with Byzantine roots. The Jesuits had it engraved by the Flemish artist Hieronymus Wierix (1553-1619) in 1569, and it quickly spread far and wide—from Lithuania all the way to China. Ukrainian artists, whether Orthodox or Greek Catholic, embraced this image too. As you can see in the slide, artists of both Ukraine and China gave Mary a local look, adding their own cultural touch to her face.<\/span><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<h2>1. Mary with the Christ Child (Salus Populi Romani)<\/h2>\n\n<p data-end=\"216\" data-start=\"100\">Hieronymus Wierix<\/p>\n\n<p data-end=\"247\" data-start=\"218\">Engraving, 1563–before 1600<\/p>\n\n<p data-end=\"264\" data-start=\"249\">13.8 × 8.8 cm<\/p>\n\n<p data-end=\"368\" data-start=\"266\">Antwerp — Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Christian Madonna and Child<\/h2>\n\n<p>Unknown artist<br \/>\nColoured ink on silk scroll, Ming dynasty, <br \/>\n120 × 55 cm<br \/>\nChina — Field Museum of Natural History, Chicago<\/p>\n\n<h2> <\/h2>\n\n<h2>3. Mary with the Christ Child<\/h2>\n\n<p>Unknown artist<br \/>\nIcon, tempera on wood, 18th century<\/p>\n\n<p>111.2 × 61.4 cm<br \/>\nWestern Ukraine — City Museum "Spiritual Treasures of Ukraine", Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"10","target":"blank","lightboxUrl":"eastern-influences-from-the-west","watermark_name":"11.jpg","hideInAll":0,"suffix":"round "}
Crossing Confessional Borders
{"id":32,"form_id":2,"category":"category-1","name":"12.jpg","path":"images\/bridges\/12.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/12.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/12.jpg","title":"Crossing Confessional Borders","short":"","alt":"","description":"<h1>Crossing Confessional Borders<\/h1>\n\n<hr \/>\n<p><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Remarkably, Catholic imagery found a new home in Orthodox iconography. Jesuit prints made in Antwerp that were meant for Catholic audiences were reinterpreted by Ukrainian Orthodox artists.<\/span><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<h2>1. Luke the Evangelist<\/h2>\n\n<p>Adriaen Collaert<br \/>\nEngraving, 1570–1618<br \/>\n23.7 × 19.3 cm<br \/>\nAntwerp — Rijksmuseum, Amsterdam<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Luke the Evangelist<\/h2>\n\n<p>Averkiy Kozachkovskyi<br \/>\nEngraving, in Gospel, 1733<br \/>\n25.7 × 17 cm<br \/>\nKyiv — City Museum "Spiritual Treasures of Ukraine", Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"11","target":"blank","lightboxUrl":"crossing-confessional-borders","watermark_name":"12.jpg","hideInAll":0,"suffix":"round "}
Saint Barbara
{"id":33,"form_id":2,"category":"category-1","name":"14.jpg","path":"images\/bridges\/14.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/14.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/14.jpg","title":"Saint Barbara","short":"","alt":"","description":"<h1>Saint Barbara<\/h1>\n\n<hr \/>\n<p><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Even saints like Barbara and Catherine were remade in "Eastern Christian art language" and given halos—symbols of Orthodox sanctity layered atop Western forms.<\/span><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<h2>1. Saint Barbara<\/h2>\n\n<p>Adriaen Collaert<br \/>\nEngraving, ca. 1590–1610<br \/>\n19.6 × 15 cm<br \/>\nAntwerp — Rijksmuseum, Amsterdam<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Saint Barbara<\/h2>\n\n<p>Sophronius<br \/>\nEngraving, in <em>Akathists of St. Barbara<\/em>, 1757<br \/>\nKyiv — Vernadsky National Library of Ukraine, Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"12","target":"blank","lightboxUrl":"saint-barbara","watermark_name":"14.jpg","hideInAll":0,"suffix":"round "}
Saint Catherine
{"id":34,"form_id":2,"category":"category-1","name":"15.jpg","path":"images\/bridges\/15.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/15.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/15.jpg","title":"Saint Catherine","short":"","alt":"","description":"<h2>1. Saint Catherine<\/h2>\n\n<p><br \/>\nSchelte Adamsz Bolswert, after Peter Paul Rubens<br \/>\nEngraving, 1596–1659<br \/>\n38.7 × 25.2 cm<br \/>\nAntwerp — Rijksmuseum, Amsterdam<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Saint Catherine<\/h2>\n\n<p>Unknown artist<br \/>\nIcon, oil on canvas, mid-18th century<br \/>\n124.5 × 78 cm<br \/>\nChurch of the Exaltation of the Holy Cross, Kyiv — National Art Museum of Ukraine, Kyiv<\/p>\n\n<p>(Source: Wikimedia Commons)<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"13","target":"blank","lightboxUrl":"saint-catherine","watermark_name":"15.jpg","hideInAll":0,"suffix":"round "}
Saints, Stories, and Ukrainian Identity
{"id":35,"form_id":2,"category":"category-1","name":"16.jpg","path":"images\/bridges\/16.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/16.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/16.jpg","title":"Saints, Stories, and Ukrainian Identity","short":"","alt":"","description":"<h1>Saints, Stories, and Ukrainian Identity<\/h1>\n\n<hr \/>\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Art helped Ukraine visualize its own past. In the seventeenth century, Ukrainians looked to the glories of medieval Kyivan Rus’ as a source of national identity. For most of the saints who lived in the Middle Ages, no images existed at all; in search of their “faces,” artists often turned to Western European prints, adapting the figures’ poses and gestures. For example, Saint Andrew—the legendary founder of Kyiv’s spiritual heritage—was portrayed in poses borrowed from Hendrick Goltzius’s (1558-1617) famous engraving from Antwerp.<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Throughout the seventeenth and eighteenth centuries, there existed a medieval legend that was widely known throughout Ukrainian lands about Apostle Andrew’s visit to Kyiv and his prophecy foretelling the rise of a future city filled with holiness and divine grace.<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<h2>1. The Martyrdom of St. Andreas<\/h2>\n\n<p data-end=\"193\" data-start=\"95\">Hendrick Goltzius, after Maerten de Vos<\/p>\n\n<p data-end=\"217\" data-start=\"195\">Engraving, 1577–1600<\/p>\n\n<p data-end=\"248\" data-start=\"219\">21.0 × 28.3 cm <\/p>\n\n<p data-end=\"434\" data-start=\"250\">Antwerp — Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2> <\/h2>\n\n<h2>2. Apostle Andrew<\/h2>\n\n<p>Unknown engraver<br \/>\nWoodcut, in Anfologion, 1638<br \/>\nLviv — City Museum "Spiritual Treasures of Ukraine, Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"14","target":"blank","lightboxUrl":"saints-stories-and-ukrainian-identity","watermark_name":"16.jpg","hideInAll":0,"suffix":"round "}
Macarius of Egypt
{"id":36,"form_id":2,"category":"category-1","name":"17.jpg","path":"images\/bridges\/17.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/17.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/17.jpg","title":"Macarius of Egypt","short":"","alt":"","description":"<h1>Saint Macarius of Egypt<\/h1>\n\n<hr \/>\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">Ukrainian engravers turned to Antwerp’s graphics. Leontius Tarasevych (ca. 1650–ca. 1710) created an image of the Kyivan Venerable Athanasius, Hermit of the Kyiv Caves (d. ca 1176) by adapting a print by Macarius of Egypt (ca 300–391). <\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">These borrowed forms helped Ukrainians give <b>visual substance to memory<\/b>, affirming their place in the great chain of Christian civilization.<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<h2>1. Saint Macarius of Egypt as Hermit<\/h2>\n\n<p>Boëtius Adamsz. Bolswert, after Abraham Bloemaert,<\/p>\n\n<p>Engraving, 1612–1619<\/p>\n\n<p>14.6 × 9.4 cm<\/p>\n\n<p> Antwerp — Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2> <\/h2>\n\n<h2>2. The Venerable Athanasius, the Solitary<\/h2>\n\n<p>Leontius Tarasevych<br \/>\nEngraving, in Patericon of the Kyiv Monastery of the Caves, 1702<br \/>\nKyiv — Vernadsky National Library of Ukraine, Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"15","target":"blank","lightboxUrl":"macarius-of-egypt","watermark_name":"17.jpg","hideInAll":0,"suffix":"round "}
Monastic Genealogies and Sacred Trees
{"id":37,"form_id":2,"category":"category-1","name":"18.jpg","path":"images\/bridges\/18.jpg","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/18.jpg","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/18.jpg","title":"Monastic Genealogies and Sacred Trees","short":"","alt":"","description":"<h1>Monastic Genealogies and Sacred Trees <\/h1>\n\n<hr \/>\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">As with other European traditions, Ukraine embraced genealogical trees—both secular and sacred. At Kyiv’s famed Caves Monastery, artists like Elijah (Ilia in Church Slavonic) created tree-like compositions of saints, rooted in founders such as Anthony and Theodosius.<\/span><\/span><\/span><\/span><\/p>\n\n<p style=\"text-align:justify; margin-bottom:11px\"><span style=\"font-size:12pt\"><span style=\"line-height:115%\"><span style=\"font-family:Aptos,sans-serif\"><span lang=\"EN-US\" style=\"font-family:"Cambria",serif\">And their model? A Jesuit print by Theodoor Galle (1571-1633) from Antwerp. The iconography, style, and structure reveal how even the most “Ukrainian” of artworks is also part of the <b>transcultural family tree<\/b>.<\/span><\/span><\/span><\/span><\/p>\n\n<p> <\/p>\n\n<h2>1. Title Page for <em>Miracula et Beneficia SS. Rosario<\/em><\/h2>\n\n<p>Boëtius Adamsz Bolswert, after Abraham Bloemaert<br \/>\nEngraving, ca. 1610<br \/>\n22.7 × 18.1 cm<br \/>\nAntwerp — Rijksmuseum, Amsterdam<\/p>\n\n<h2> <\/h2>\n\n<h2>2. The Tree of Kyiv-Pechersk Holiness<\/h2>\n\n<p>Monk Elijah<\/p>\n\n<p>Woodcut, from the title page of <em>Akathists<\/em>, 1674<br \/>\n17.3 × 13.1 cm<br \/>\nKyiv — Vernadsky National Library of Ukraine, Kyiv<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"16","target":"blank","lightboxUrl":"monastic-genealogies-and-sacred-trees","watermark_name":"18.jpg","hideInAll":0,"suffix":"round "}
Final Thoughts
{"id":38,"form_id":2,"category":"category-1","name":"19.webp","path":"images\/bridges\/19.webp","url":"https:\/\/bridges.polyuni-frankfurt.de\/images\/bridges\/19.webp","thumbnail_url":"\/images\/bagallery\/gallery-2\/thumbnail\/category-1\/19.webp","title":"Final Thoughts","short":"","alt":"","description":"","link":"","video":"","settings":null,"likes":0,"imageId":"17","target":"blank","lightboxUrl":"final-thoughts","watermark_name":"19a.jpg","hideInAll":0,"suffix":"round "}