Gallery

Art Connecting People: Antwerp and Ukraine

{"id":7,"form_id":1,"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-1\/thumbnail\/category-1\/3.webp","title":"Art Connecting People: Antwerp and Ukraine","short":"","alt":"","description":"<h1>Art Connecting People: Antwerp and Ukraine<\/h1>\n\n<hr \/>\nOur exhibition&rsquo;s title, Art Connecting People, is a playfully nod to Nokia&rsquo;s famous slogan. But unlike a phone signal, art connects people in ways that are emotional, spiritual, and enduring.<\/span><\/span><\/span><\/span><\/p>\n\nDuring the seventeenth and eighteenth centuries, religious art became a kind of visual Esperanto&mdash;a shared language that was understood across continents. At its heart were the prints&mdash;reproducible, portable, and visually powerful. This exhibition explores how images printed in Antwerp traveled to Ukraine, China, and Latin America, and how they were interpreted, copied, and transformed in those distant lands.<\/span><\/span><\/span><\/span><\/p>\n\nThis is not a tale of cultural domination. It is a tale of creative dialogue, of reinterpretation and remixing. Artists from places as distant from each other as Kyiv and Cusco reimagined these images through the lenses of their own traditions and faiths. A prophet in Antwerp became an apostle in Ukraine. The iconography of the Virgin Mary, Protectress of the Roman People&mdash;venerated in Rome and shaped by Byzantine tradition&mdash;also came to incorporate distinctly Chinese artistic elements. The same lines, different meanings.<\/span><\/span><\/span><\/span><\/p>\n\nThese adaptations show not just influence, but imagination. This is art as translation<\/b>&mdash;faithfully inspired, but never identical.<\/span><\/span><\/span><\/span><\/p>\n\n<\/span><\/span><\/span><\/p>\n\n<\/span><\/span><\/span><\/p>\n\n&nbsp;<\/p>\n\n<h2>Early 17th-century map of Europe.<\/h2>\n\nSource: Wikimedia Commons<\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"3","target":"blank","lightboxUrl":"early-17th-century-map-of-europe","watermark_name":"3.jpg","hideInAll":0,"suffix":"round "}

The Birth of Global Visual Culture

{"id":2,"form_id":1,"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-1\/thumbnail\/category-1\/4.jpg","title":"The Birth of Global Visual Culture","short":"","alt":"","description":"<h1>The Birth of Global Visual Culture<\/h1>\n\n<hr \/>\nToday&rsquo;s children in Kyiv, Antwerp, Frankfurt, and Rio, all recognize the same pop culture heroes&mdash;Superman, Pok&eacute;mon, Wonder Woman,<\/span> and so on. These prints and icons have become part of a global visual language<\/b>.<\/span><\/span><\/span><\/span><\/p>\n\n&nbsp;<\/p>\n\nThe Mission to India (De Seyndinghe nae Indien<\/i>)<\/b> \nCornelis Galle the Elder \nEngraving, 1640 \n23 &times; 18.7 cm \nAntwerp &ndash; The Glen McLaughlin Map Collection of California as an Island, Stanford University Libraries<\/span><\/span><\/span><\/p>\n\n<\/span><\/span><\/span><\/p>\n\n<\/span><\/span><\/span><\/p>\n","link":"","video":"","settings":null,"likes":0,"imageId":"2","target":"blank","lightboxUrl":"antwerp-a-creative-hub-that-reached-the-world","watermark_name":"6.jpg","hideInAll":0,"suffix":"round "}

Back to History

{"id":8,"form_id":1,"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-1\/thumbnail\/category-1\/5.jpg","title":"Back to History","short":"","alt":"","description":"<h1>Back to History<\/h1>\n\n<hr \/>\nBut long before Marvel or Nintendo, there was a different kind of visual hero: the saint<\/i>. Figures like Saint Onuphrius&mdash;clothed only in leaves and living in the desert&mdash;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><\/span><\/span><\/span><\/p>\n\nBooks and prints were the media of their time. And Antwerp, one of Europe&rsquo;s wealthiest port cities, was their Silicon Valley.<\/span><\/span><\/span><\/span><\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>1. Saint Onuphrius<\/span><\/span><\/span><\/h2>\n\nJan Sadeler, Raphael Sadeler the Elder, after Maerten de Vos<\/p>\n\nEngraving, 1600<\/p>\n\n17.8 &times; 21.5 cm&nbsp;<\/p>\n\nAntwerp &mdash; Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. Saint Onuphrius<\/h2>\n\nUnknown artist \nIcon, tempera on wood, mid-18th century \n107 &times; 74 cm \nWestern Ukraine &mdash; City Museum &quot;Spiritual Treasures of Ukraine&quot;, 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":9,"form_id":1,"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-1\/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 \/>\nDuring the sixteenth and early seventeenth centuries, Antwerp was one of Europe&rsquo;s busiest and richest port cities. It became a buzzing center for artists and printers who produced religious books and images&mdash;especially those working with the Jesuits. <\/span><\/span><\/span>. These prints didn&rsquo;t stay in Antwerp for long: they traveled across oceans, reaching places like Latin America, China, Africa&hellip; and Ukraine.<\/p>\n\n&nbsp;<\/p>\n\n<h2>View of Antwerp<\/h2>\n\nCaspar Merian<\/p>\n\nEtching, 1651<\/p>\n\n15.5 &times; 27.0 cm<\/p>\n\nFrankfurt am Main &mdash; 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":10,"form_id":1,"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-1\/thumbnail\/category-1\/7.jpg","title":"How Antwerp\u2019s Prints Reached Ukraine\u2014and the World","short":"","alt":"","description":"<h1>How Antwerp&rsquo;s Prints Reached Ukraine&mdash;and the World<\/h1>\n\n<hr \/>\nIn 1593, the Jesuit priest Jer&oacute;nimo Nadal (1507-1580) published Evangelicae Historiae Imagines<\/i>&mdash;a visual gospel designed for missionary work. It became a 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 &ndash; early eighteenth century).<\/span><\/span><\/span><\/span><\/p>\n\nThese images weren&rsquo;t merely copied, they were reimagined. In Ukraine, an icon painter might draw upon these images to create icons for an iconostasis&mdash;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\nThrough these adaptations, the images took root in different spiritual soils.<\/span><\/span><\/span><\/span><\/p>\n\n&nbsp;<\/p>\n\n<h2>1. Healing the Paralytic at Bethesda<\/h2>\n\nAntonie Wierix<\/p>\n\nEngraving, 1572&ndash;1624<\/p>\n\n23.0 &times; 14.5 cm&nbsp;<\/p>\n\nAntwerp &mdash; Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. Healing the Paralytic at Bethesda<\/h2>\n\nUnidentified Chinese artist \nWoodcut from Tianzhu Jiangsheng Chuxiang Jingjie (Illustrated Explanations of the Lord of Heaven&rsquo;s Incarnation), 1637 \nJinjiang, Quanzhou &mdash; Wikimedia Commons<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>3. Healing the Paralytic at Bethesda<\/h2>\n\nIvan Rutkovych \nIcon, tempera on wood with gilding, late 17th century \nKrekhiv, Western Ukraine \nFrom the iconostasis of the Church of St. Paraskeva \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":11,"form_id":1,"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-1\/thumbnail\/category-1\/8.jpg","title":"One Image, Many Stories","short":"","alt":"","description":"<h1>One Image, Many Stories<\/h1>\n\n<hr \/>\nThis eye-catching title page was created in Antwerp by Cornelis Galle the Elder&nbsp;(1576-1650) &nbsp;and shows 12 prophets with messages about the coming of Jesus. But the story doesn&rsquo;t end there! Artists from across the world gave it new life. In Kyiv, Averkiy Kozachkovskyi&nbsp;(active ca. 1721&ndash;1740s) turned the prophets into apostles by swapping their messages for lines from the Credo&nbsp;prayer. Meanwhile, an unknown artist in Latin America added bold colors, moved the image to canvas, and placed the Virgin Mary at the center&mdash;shifting the focus from Jesus to his Mother. One image, many stories.<\/p>\n\n&nbsp;<\/p>\n\n<h2>1. Title Page of Commentaria in duodecim prophetas minores<\/em><\/h2>\n\nCornelis Galle the Elder, after a design by Peter Paul Rubens (possibly) \nEngraving, 1625 \n32.5 &times; 19.6 cm \nAntwerp &mdash; Rijksmuseum, Amsterdam<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. Title Page of Apostle<\/em> (Acts of the Apostles)<\/h2>\n\nAverkiy Kozachkovskyi<paverkiy kozachkovskyi=\"\"> <\/paverkiy><\/p>\n\n<paverkiy kozachkovskyi=\"\">Engraving, 1722 \n27.5 &times; 16.5 cm \nKyiv &mdash; City Museum &ldquo;Spiritual Treasures of Ukraine&rdquo;, Kyiv<\/paverkiy><\/p>\n<paverkiy kozachkovskyi=\"\">\n&nbsp;<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>3. The Twelve Minor Prophets Glorify the Trinity<\/h2>\n\nUnidentified Andean artist \nOil on canvas, 18th century \nSucre, Chuquisaca &mdash; Museo Colonial Charcas \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":12,"form_id":1,"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-1\/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 \/>\nUkraine&rsquo;s Christian roots are traced back to Byzantium<\/strong>, not Rome. The Eastern Orthodox tradition long shaped Ukrainian religious art, favoring flat, frontal, symbolic<\/strong> images. One can still see this heritage in the mosaics of Kyiv&rsquo;s eleventh-century St. Sophia Cathedral.<\/p>\n\n&nbsp;<\/p>\n\n<h2>The Annunciation<\/h2>\n\nUnknown artist<\/p>\n\nMosaic, 11th century<\/p>\n\nVirgin Mary (height: 2.23 m)&nbsp;and Archangel Gabriel (height: 2.23 m)<\/p>\n\nNorth-eastern and south-eastern piers beneath the dome,<\/p>\n\nSaint Sophia Cathedral, Kyiv<\/p>\n\n(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":13,"form_id":1,"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-1\/thumbnail\/category-1\/10.jpg","title":"The Annunciation","short":"","alt":"","description":"<h1>The Annunciation<\/h1>\n\n<hr \/>\nBeginning in the sixteenth century, powerful Western influences, which had previously been marginal, entered the cultural landscape, most notably through Flemish and German engravings&mdash;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 dynamic movement, depth, and emotion<\/b> found in Western art.<\/span><\/span><\/span><\/span><\/p>\n\nA Ukrainian icon of the Annunciation might now show Gabriel bowing in courtly reverence, a lily in hand<\/span> motif&mdash;lifted straight from a print by Antwerp engraver Schelte Bolswert (ca. 1586&ndash;1659).<\/span><\/span><\/span><\/span><\/p>\n\nStill, Ukrainian artists didn&rsquo;t merely imitate. They kept essential elements of their own tradition, such as the Virgin&rsquo;s characteristic robes&mdash;preserving identity within change.<\/span><\/span><\/span><\/span><\/p>\n\n.<\/p>\n\n&nbsp;<\/p>\n\n<h2>1. The Annunciation<\/h2>\n\nSchelte Adamsz.&nbsp;Bolswert, after Gerard Seghers \nEngraving, early 17th century \n38.5 &times; 27.1 cm<\/p>\n\nFlemish school &mdash; Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2>2. The Annunciation<\/h2>\n\nUnknown artist \nIcon, tempera on wood, late 17th &ndash; early 18th century \n121.3 &times; 86.5 cm \nWestern Ukraine &mdash; City Museum &quot;Spiritual Treasures of Ukraine&quot;, 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":14,"form_id":1,"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-1\/thumbnail\/category-1\/11.jpg","title":"Eastern influences from the West","short":"","alt":"","description":"<h1>Eastern Influences from the West<\/h1>\n\n<hr \/>\nUkrainian 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 Salus Populi Romani<\/i>, a beloved Roman image with Byzantine roots. The Jesuits had it engraved by the Flemish artist Hieronymus Wierix&nbsp;(1553-1619)&nbsp;in 1569, and it quickly spread far and wide&mdash;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&nbsp;<\/p>\n\n<h2>1. Mary with the Christ Child (Salus Populi Romani)<\/h2>\n\nHieronymus Wierix<\/p>\n\nEngraving, 1563&ndash;before 1600<\/p>\n\n13.8 &times; 8.8 cm<\/p>\n\nAntwerp &mdash; Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. Christian Madonna and Child<\/h2>\n\nUnknown artist \nColoured ink on silk scroll, Ming dynasty,&nbsp; \n120 &times; 55 cm \nChina &mdash; Field Museum of Natural History, Chicago<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>3. Mary with the Christ Child<\/h2>\n\nUnknown artist \nIcon, tempera on wood, 18th century<\/p>\n\n111.2 &times; 61.4 cm \nWestern Ukraine &mdash; City Museum &quot;Spiritual Treasures of Ukraine&quot;, 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":15,"form_id":1,"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-1\/thumbnail\/category-1\/12.jpg","title":"Crossing Confessional Borders","short":"","alt":"","description":"<h1>Crossing Confessional Borders<\/h1>\n\n<hr \/>\nRemarkably, 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&nbsp;<\/p>\n\n<h2>1. Luke the Evangelist<\/h2>\n\nAdriaen Collaert \nEngraving, 1570&ndash;1618 \n23.7 &times; 19.3 cm \nAntwerp &mdash; Rijksmuseum, Amsterdam<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. Luke the Evangelist<\/h2>\n\nAverkiy&nbsp;Kozachkovskyi \nEngraving, in Gospel, 1733 \n25.7 &times; 17 cm \nKyiv &mdash; City Museum &quot;Spiritual Treasures of Ukraine&quot;, 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":16,"form_id":1,"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-1\/thumbnail\/category-1\/14.jpg","title":"Saint Barbara","short":"","alt":"","description":"<h1>Saint Barbara<\/h1>\n\n<hr \/>\nEven saints like Barbara and Catherine were remade in &quot;Eastern Christian art language&quot; and given halos&mdash;symbols of Orthodox sanctity layered atop Western forms.<\/span><\/span><\/span><\/span><\/p>\n\n&nbsp;<\/p>\n\n<h2>1. Saint Barbara<\/h2>\n\nAdriaen Collaert \nEngraving, ca. 1590&ndash;1610 \n19.6 &times; 15 cm \nAntwerp &mdash; Rijksmuseum, Amsterdam<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. Saint Barbara<\/h2>\n\nSophronius \nEngraving, in Akathists of St. Barbara<\/em>, 1757 \nKyiv &mdash; 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

Saints, Stories, and Ukrainian Identity

{"id":18,"form_id":1,"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-1\/thumbnail\/category-1\/16.jpg","title":"Saints, Stories, and Ukrainian Identity","short":"","alt":"","description":"<h1>Saints, Stories, and Ukrainian Identity<\/h1>\n\n<hr \/>\nArt helped Ukraine visualize its own past. In the seventeenth century, Ukrainians looked to the glories of medieval Kyivan Rus&rsquo; 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 &ldquo;faces,&rdquo; artists often turned to Western European prints, adapting the figures&rsquo; poses and gestures. For example, Saint Andrew&mdash;the legendary founder of Kyiv&rsquo;s spiritual heritage&mdash;was portrayed in poses borrowed from Hendrick Goltzius&rsquo;s&nbsp;(1558-1617)&nbsp;famous engraving from Antwerp.<\/span><\/span><\/span><\/span><\/p>\n\nThroughout the seventeenth and eighteenth centuries, there existed a medieval legend that was widely known throughout Ukrainian lands about Apostle Andrew&rsquo;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<\/span><\/span><\/span><\/p>\n\n<\/span><\/span><\/span><\/p>\n\n<h2>1. The Martyrdom of St. Andreas<\/h2>\n\nHendrick Goltzius, after Maerten de Vos<\/p>\n\nEngraving, 1577&ndash;1600<\/p>\n\n21.0 &times; 28.3 cm&nbsp;<\/p>\n\nAntwerp &mdash; Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. Apostle Andrew<\/h2>\n\nUnknown engraver \nWoodcut, in Anfologion, 1638 \nLviv &mdash; City Museum &quot;Spiritual Treasures of Ukraine,&nbsp;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":19,"form_id":1,"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-1\/thumbnail\/category-1\/17.jpg","title":"Macarius of Egypt","short":"","alt":"","description":"<h1>Saint Macarius of Egypt<\/h1>\n\n<hr \/>\nUkrainian engravers turned to Antwerp&rsquo;s graphics. Leontius Tarasevych&nbsp;(ca. 1650&ndash;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&ndash;391). <\/span><\/span><\/span><\/span><\/p>\n\nThese borrowed forms helped Ukrainians give visual substance to memory<\/b>, affirming their place in the great chain of Christian civilization.<\/span><\/span><\/span><\/span><\/p>\n\n<\/span><\/span><\/span><\/p>\n\n&nbsp;<\/p>\n\n<h2>1. Saint Macarius of Egypt as Hermit<\/h2>\n\nBo&euml;tius Adamsz. Bolswert, after Abraham Bloemaert,<\/p>\n\nEngraving, 1612&ndash;1619<\/p>\n\n14.6 &times; 9.4 cm<\/p>\n\n&nbsp;Antwerp &mdash; Museum Plantin-Moretus (Printroom collection), UNESCO World Heritage, Antwerp<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. The Venerable Athanasius, the Solitary<\/h2>\n\nLeontius Tarasevych \nEngraving, in Patericon of the Kyiv Monastery of the Caves, 1702 \nKyiv &mdash; 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":20,"form_id":1,"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-1\/thumbnail\/category-1\/18.jpg","title":"Monastic Genealogies and Sacred Trees","short":"","alt":"","description":"<h1>Monastic Genealogies and Sacred Trees&nbsp;<\/h1>\n\n<hr \/>\nAs with other European traditions, Ukraine embraced genealogical trees&mdash;both secular and sacred. At Kyiv&rsquo;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\nAnd their model? A Jesuit print by&nbsp;Theodoor Galle&nbsp;(1571-1633) from Antwerp. The iconography, style, and&nbsp; structure reveal how even the most &ldquo;Ukrainian&rdquo; of artworks is also part of the transcultural family tree<\/b>.<\/span><\/span><\/span><\/span><\/p>\n\n&nbsp;<\/p>\n\n<h2>1. Title Page for Miracula et Beneficia SS. Rosario<\/em><\/h2>\n\nBo&euml;tius Adamsz Bolswert, after Abraham Bloemaert \nEngraving, ca. 1610 \n22.7 &times; 18.1 cm \nAntwerp &mdash; Rijksmuseum, Amsterdam<\/p>\n\n<h2>&nbsp;<\/h2>\n\n<h2>2. The Tree of Kyiv-Pechersk Holiness<\/h2>\n\nMonk Elijah<\/p>\n\nWoodcut, from the title page of Akathists<\/em>, 1674 \n17.3 &times; 13.1 cm \nKyiv &mdash; 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 "}