- Tytuł:
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Czternastowieczny fresk z motywem Matki Bożej współdźwigającej krzyż w architektonicznej przestrzeni dwunawowej fary w Bolkowie
The Fourteenth-centure Mural with the Motif of Our Lady Jointly Carrying the Cross with Jesus in the Architectural Space of the Two-aisle Parish Church in Bolków - Autorzy:
- Jankowski, Aleksander
- Powiązania:
- https://bibliotekanauki.pl/articles/51532189.pdf
- Data publikacji:
- 2021
- Wydawca:
- Polska Akademia Nauk. Instytut Sztuki PAN
- Tematy:
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fara w Bolkowie
gotyckie malarstwo ścienne
Mater Compassionis
wieża mieszkalna w Siedlęcinie
kaplica św. Leonadra w Landschlacht
Gothic murals
residential tower in Siedlęcin
St Leonardís Chapel in Landschlacht
parish church in Bolków - Opis:
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Odkryte ostatnio w kościele pw. św. Jadwigi w Bolkowie gotyckie malowidła ścienne i średniowieczne detale architektoniczne ukazały w nowym świetle wczesne dzieje architektury świątyni. Dowiodły, że kościół przebudowano w 3. ćwierci XIV w. na dwunawową halę, a nie – jak zakładano – na założenie trójnawowe. Wśród reliktów gotyckich malowideł z kilku faz historycznych przetrwało wyobrażenie będące najstarszą w malarstwie polskim obrazową wykładnią idei compassio Mariae. Jest to wyjątkowo rzadki motyw Drogi na Golgotę z Matką Bożą współdźwigającą krzyż. Malowidło z ok. 1360 r. wykazuje warsztatowe i ikonograficzne związki ze sceną Droga na Golgotę cyklu pasyjnego z ok. 1350 r. w kaplicy św. Leonarda w Landschlacht (Altnau) nad Jeziorem Bodeńskim.
St Hedwig’s Church in Bolków is in literature presented as a historic unambiguously defined structure, quite precisely placed in the history of architecture of our territory. In the general opinion of the historians of architecture, the three-aisled three-span hall with a clearly delineated chancel and a square tower in the south-western corner of the main body acquired its architectural and spatial character in the Middle Ages as a result of the alteration of the genuine centralizing cross layout. In 2005 (in a chancel) and in 2007 (in a nave body) Gothic murals from a few historical phases as well as some details of the earlier-unknown architectural structure were uncovered. These discoveries significantly verify the mediaeval picture of the building and the chronology of its transformation. Raising of the genuine church on the cross layout was completed in ca 1300, however the finishing off works continued in the early 14th century. In the decade 1350-1360, on the decision of Bolko II the Small, the church on the cross layout was altered into an asymmetrical two-aisle hall. To the nave-body another was added from the north; this was spatially integrated (along the whole height and width) with the transept arm. The two-aisle hall survived until the 19th century, when it was given its current architectural and spatial form of a three-aisle hall. The transformation of the church into a two-aisle hall was finalized with a new painterly decoration from ca 1360, also founded by Bolko II. What survived from it, is the composition On the Way to Golgotha, (poorly) preserved on the northern wall of the eastern span of the northern aisle (originally the northern arm of the former transept). A particular role in this Passion scene is played by the Virgin. Exposed centrally, she is carrying the cross together with Her Son; snuggling Her cheek to the beam of the cross, she appears as Mater Compassionis. Such a manifestation of the idea of compassio Mariae was rare in the European painting of the time. Bolko II connects the murals On the Way to Golgotha with painterly decoration the second storey of the residential tower in Siedlęcin, from 1346 belonging to the prince. The Siedlęcin paintings dated from the second or the third quarter of the 14th century, were recently quite convincingly associated with the anonymous painter from the Swiss-Austrian borderland, so-called Master of Waltensburg. The painter was led to Siedlęcin by prince Bolko II. Also the representation On the Way to Golgotha in Bolków shows clear connections with the Swiss painting, because it displays nearby iconographic affiliation with the scene On the Way to Golgotha of the Passion cycle from ca 1350 in St Leonard’s Chapel in Landschlacht (Altnau) on Lake Constance. It is thus likely that paintings in Bolków and Siedlęcin were executed by the same artist. However it wasn’t Master of Waltensburg, who died in 1350, but the painter from his circle or his imitator, who knew murals in St Leonard’s Chapel in Landschlacht. In the Late Middle Ages the compassio Mariae idea became an almost obligatory motif in the pictorial teaching the history of Salvation. But representation of Our Lady Jointly Carrying the Cross with Jesus was abandoned in the mural painting. In 15th century this iconographical variant of compassio Mariae appeared seldom and only in miniatures, mainly Flemish and Netherlandish. - Źródło:
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Biuletyn Historii Sztuki; 2021, 83, 3; 455-473
0006-3967
2719-4612 - Pojawia się w:
- Biuletyn Historii Sztuki
- Dostawca treści:
- Biblioteka Nauki
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