- Russian Icon painitng, Old Rus', Byzantium, Old Church Slavonic, Iconoclasm, Medieval Bulgaria, and 32 moreRussian and Slavonic Studies, Iconoclastic Controversy and Iconophilia, Old Russian Art, Religious Studies, Iconography, Byzantine Studies, Medieval Art, Christian Iconography, Byzantine Iconography, Iconology, Medieval Iconography, Christianity and Rome, Relics (Religion), Russian Art, Art History, Medieval History, Byzantine art, Jewish Art History, Late Antiquity, Old ukrainian icons, Miraculous Images, Virgin Mary, Icons, Montenegro, iconostasis, Balkan, Jewish Art, Post-byzantine art history, Byzantine and Post Byzantine Art, History of the Polish-Lithuanian Commonwealth, Byzantine and post-byzantine icons and frescoes, Iconostasis, Russian icons, and Borderlands Studiesedit
- Art historian, passionate about the history of culture in Podlasie.edit
For centuries, multinational and multicultural states were considered strong countries. Such a state was also the Poland until 1795.The author of the article was inspired by several texts, the authors of which seem not so much to seek... more
For centuries, multinational and multicultural states were considered strong countries. Such a state was also the Poland until 1795.The author of the article was inspired by several texts, the authors of which seem not so much to seek the truth as to prove preconceived theses. The considerations concern the culture of multicultural Podlasie. Many authors believe that the choice of architectural forms and furnishings of a temple depends on the religion for which it was intended, rather than on the tastes and preferences of the founder and the culture of his surroundings. From the theses presented, it could be concluded that the stylistic forms of temples, sculpture, painting were mainly determined by politics. To study this problem, the author attempted to present it in a broader historical and cultural context.
Research Interests:
Research Interests: Art History, Jewish Studies, Art, Creativity, Painting, and 5 moreBiography, Exhibition, Bialystok, nothing, and Residence
The article presents a poorly recognized thread in the history of the German occupation of Bialystok. In September 1939, a wave of refugees from other parts of Poland flowed into the city and region. Among them were a significant number... more
The article presents a poorly recognized thread in the history of the German
occupation of Bialystok. In September 1939, a wave of refugees from other
parts of Poland flowed into the city and region. Among them were a significant number of artists, mainly – though not exclusively – of Jewish origin. Under Soviet occupation, they were absorbed into the propaganda machine, painting portraits of officials and decorations for state holidays. Their fate changed after the outbreak of the German-Soviet war, when the Jews were confined to a ghetto. There, a Wehrmacht officer set up a workshop for artistic copies or, rather, forged paintings, employing some 20 painters. Few witnesses claimed that the production of paintings was very large and was sent to art dealers in the Third Reich, France, the Netherlands and other occupied countries. The further fate of the paintings painted in the ghetto remains unknown.
occupation of Bialystok. In September 1939, a wave of refugees from other
parts of Poland flowed into the city and region. Among them were a significant number of artists, mainly – though not exclusively – of Jewish origin. Under Soviet occupation, they were absorbed into the propaganda machine, painting portraits of officials and decorations for state holidays. Their fate changed after the outbreak of the German-Soviet war, when the Jews were confined to a ghetto. There, a Wehrmacht officer set up a workshop for artistic copies or, rather, forged paintings, employing some 20 painters. Few witnesses claimed that the production of paintings was very large and was sent to art dealers in the Third Reich, France, the Netherlands and other occupied countries. The further fate of the paintings painted in the ghetto remains unknown.
Research Interests:
Currently, the Podlasie Orthodox churches are filled with mainly late, 19th-century, Russian icons, with no connections with local culture. The archival sources confirm that their prevailing part were brought from various centres in... more
Currently, the Podlasie Orthodox churches are filled with mainly late,
19th-century, Russian icons, with no connections with local culture. The archival sources confirm that their prevailing part were brought from various centres in Russia. They were placed in the Podlasie Orthodox churches in the 19th century during their rebyzantinization, which considerably changed the image of Podlasie culture. Analogous processes occurred in Belarusian lands: thanks to many years of research work, Belarusian scholars unequivocally demonstrated that specifically Moscow and Russian themes, such as the icons of Mother of God of Kazan, of Tykhvin, of Fiodorov and Vlodymir, appeared in Belorusian lands in the 19th century, although the icon of Hedegetria of Tykhvin only at the end of the century. Earlier in these territories the representations of Hodegetria of Częstochowa dominated. Their numer fell at the beginning of the 19th century, yet regain popularity in the middle of the century. The lack of similar studies does not allow us to explain the origins of icon painting in Podlasie. Is it possible, that in this region typical Russian themes appeared earlier than in Belorusian lands? Did the culture of the Duchy of Moscow shaped the culture of Podlasie through Helena, Ivan III’s daughter and King Alexander Jagiellon’s wife, the niece of the last Byzantine emperor and the donor of the Moscow icon of Mother of God of Vlodymir for the church in Supraśl? Since we do not know the statistics of the icon themes in Podlasie, we do not have evidence to confirm the thesis. Such evidence could be, for example, icons of particular themes and style features. The article is an attempt to solve the problem of the provenance of Podlasie icons on the basis of the preserved cultural traces in, for example, icon painting, Orthodox church music and literature. The author tries to explain if Orthodox centres in the East, later connected with the Duchy of Moscow and Russia, affected the culture of Polish Orthodoxy, or else, if models from other directions, e.g. South and West of Europe reached Podlasie. One of the fundamental problems is the question what centers had the strongest influence on the shape of the culture of Podlasie.
19th-century, Russian icons, with no connections with local culture. The archival sources confirm that their prevailing part were brought from various centres in Russia. They were placed in the Podlasie Orthodox churches in the 19th century during their rebyzantinization, which considerably changed the image of Podlasie culture. Analogous processes occurred in Belarusian lands: thanks to many years of research work, Belarusian scholars unequivocally demonstrated that specifically Moscow and Russian themes, such as the icons of Mother of God of Kazan, of Tykhvin, of Fiodorov and Vlodymir, appeared in Belorusian lands in the 19th century, although the icon of Hedegetria of Tykhvin only at the end of the century. Earlier in these territories the representations of Hodegetria of Częstochowa dominated. Their numer fell at the beginning of the 19th century, yet regain popularity in the middle of the century. The lack of similar studies does not allow us to explain the origins of icon painting in Podlasie. Is it possible, that in this region typical Russian themes appeared earlier than in Belorusian lands? Did the culture of the Duchy of Moscow shaped the culture of Podlasie through Helena, Ivan III’s daughter and King Alexander Jagiellon’s wife, the niece of the last Byzantine emperor and the donor of the Moscow icon of Mother of God of Vlodymir for the church in Supraśl? Since we do not know the statistics of the icon themes in Podlasie, we do not have evidence to confirm the thesis. Such evidence could be, for example, icons of particular themes and style features. The article is an attempt to solve the problem of the provenance of Podlasie icons on the basis of the preserved cultural traces in, for example, icon painting, Orthodox church music and literature. The author tries to explain if Orthodox centres in the East, later connected with the Duchy of Moscow and Russia, affected the culture of Polish Orthodoxy, or else, if models from other directions, e.g. South and West of Europe reached Podlasie. One of the fundamental problems is the question what centers had the strongest influence on the shape of the culture of Podlasie.
Research Interests:
Baroque Icons in Podlasie. A Reconnaissance Icons in the Podlasie region are among the most interesting cultural phenomena there, but their history has not been researched to this day. This conclusion applies to the icons of the... more
Baroque Icons in Podlasie. A Reconnaissance
Icons in the Podlasie region are among the most interesting cultural phenomena there, but their history has not been researched to this day. This conclusion applies to the icons of the baroque period. Most of them are probably icons intended for Uniate Churches. The author discusses several of such icons
Icons in the Podlasie region are among the most interesting cultural phenomena there, but their history has not been researched to this day. This conclusion applies to the icons of the baroque period. Most of them are probably icons intended for Uniate Churches. The author discusses several of such icons
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Collections in Podlasie. An attempt at diagnosis. The history of Podlasie and cultural losses of the region is an issue I have raised many times. It is not only a question of material losses, but also, or perhaps even primarily, of their... more
Collections in Podlasie. An attempt at diagnosis. The history of Podlasie and cultural losses of the region is an issue I have raised many times. It is not only a question of material losses, but also, or perhaps even primarily, of their impact on the cultural face of the borderland. If we have lost a great number of monuments, including works of architecture (e.g. castles in Mielnik, Kodno, and Tykocin, palaces in Białystok and Dobrzynów, the Orthodox church in Supraśl, temples of various denominations, and an unknown number of manors with their furnishings), as well as works of art collected in the destroyed monuments, the assessment of the cultural achievements of the region cannot be complete. These losses, limiting the preserved monuments of material culture almost exclusively to folk art, completely change the cultural landscape of the region.
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The first mention of Jews living in Białystok dates back to 1658. In later decades their number increased. In this article we will present a group of paintings created by artists of Jewish origin who found themselves in Białystok at... more
The first mention of Jews living in Białystok dates back to 1658. In later decades their number increased. In this article we will present a group of paintings created by artists of Jewish origin who found themselves in Białystok at different times.
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The content of the article are reflections on Polish noble residences in Podlasie. The author looks for answers to the questions of whether manors in Podlasie and other regions of the country were characterized by similar solutions,... more
The content of the article are reflections on Polish noble residences in Podlasie. The author looks for answers to the questions of whether manors in Podlasie and other regions of the country were characterized by similar solutions, whether the plans of these seats changed over the centuries, and what kind of life did their inhabitants live, cultivating the traditional model of idyllic life. around the country, he documented the appearance of Polish monuments.
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Our life consists of activities performed every day or on holidays. It would seem that everyday life requires no explanation, everyone knows it from their own experience, so no definition is needed. Do we really know what "everyday life"... more
Our life consists of activities performed every day or on holidays. It would seem that everyday life requires no explanation, everyone knows it from their own experience, so no definition is needed. Do we really know what "everyday life" is? What is the function of art in it? Is it, as many people involved in the daily routine think, an activity for beauties who do not have to worry about daily bread, or is it our daily bread, but we are not aware of it? In short considerations, we will try to look at the functions of art in a broader historical and cultural context, and we will serve as an example from several masterpieces of different epochs.
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In Polish and world painting, portraits of women have been one of the most common themes since the earliest times. They were also heroines of genre, symbolic and historical scenes. The signature of the woman as the author appeared much... more
In Polish and world painting, portraits of women have been one of the most common themes since the earliest times. They were also heroines of genre, symbolic and historical scenes. The signature of the woman as the author appeared much less frequently in the painting. It is not known who the first painter was in history, but many names have survived in legendary accounts and in the history of art. Perhaps the oldest signature-impression of a hand on the rocks of Altamira is indeed the work of a woman, as evidenced by the small size of the fixed hand? Research on the subject of women's artistic activity remains in the initial stage, but the difference between Polish and Western European cultures is clear. Maria Bogucka notices that in Polish painting only a few women have reached for a brush, which is primarily the result of the poor development of art in our country. In the West, in countries such as Italy or the Netherlands, where the art of painting flourished in the modern era, many women were engaged in this occupation as early as the 16th and 17th centuries. In the nineteenth and twentieth centuries, women more often chose art as a way of life, perhaps seeking independence or self-realization, although it was not always the straightforward path. One of the most interesting women artists was Anna Bilińska-Bohdanowiczowa, whose paintings are also stored in the Podlaskie Museum in Bialystok.
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The monks of the order of St. Basil came to Suprasl brought by Alexander Chodkiewicz, the Voivode of Novogrudok and the Marshal of the Grand Duchy of Lithuania. A cross flowing along the Supraśl River marked the spot where the new house... more
The monks of the order of St. Basil came to Suprasl brought by Alexander Chodkiewicz, the Voivode of Novogrudok and the Marshal of the Grand Duchy of Lithuania. A cross flowing along the Supraśl River marked the spot where the new house was to be erected. The cross stopped in the wilderness called Suchy Hrud. It was here that the monks built a temple, and it was here that the brick Church of the Annunciation of the Blessed Virgin Mary was erected. The temple was destroyed in 1944. Today one of the wings of the archimandrite's palace houses a permanent exhibition of the Icon Museum, the youngest branch of the Podlaskie Museum. The exhibition is intended not so much as a history of iconic art in this part of Poland, but rather as a presentation of the icon in its multifaceted dimension: history, symbolism, liturgical functions, typology and artistic values.
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Lost Heritage. Miraculous Marian Icons in Podlasie Podlasie is a border region, which in the past centuries was repeatedly exposed to the military interest of enemies. This is probably why supernaturally revealed images and icons were... more
Lost Heritage. Miraculous Marian Icons in Podlasie
Podlasie is a border region, which in the past centuries was repeatedly exposed to the military interest of enemies. This is probably why supernaturally revealed images and icons were extremely important cultural phenomena. The faithful made supplication or thanksgiving offerings to them, books of miracles were written, and sometimes the properties of the images were recorded in visitation books, and commissions appointed by the hierarchy investigated the authenticity of the events. These were works of supra-confessional significance, and the faithful made pilgrimages to them regardless of their religion, even after the changes in the cultural model, following the abolition of the Union of Brest in 1839. The devotion of the faithful also manifested itself after the outbreak of World War I and the forced evacuation of Orthodox civilians. Then many icons were irretrievably taken to Russia. The content of the article is an attempt to remind the objects of worship, which belonged to
the most important cultural phenomena in Podlasie.
Podlasie is a border region, which in the past centuries was repeatedly exposed to the military interest of enemies. This is probably why supernaturally revealed images and icons were extremely important cultural phenomena. The faithful made supplication or thanksgiving offerings to them, books of miracles were written, and sometimes the properties of the images were recorded in visitation books, and commissions appointed by the hierarchy investigated the authenticity of the events. These were works of supra-confessional significance, and the faithful made pilgrimages to them regardless of their religion, even after the changes in the cultural model, following the abolition of the Union of Brest in 1839. The devotion of the faithful also manifested itself after the outbreak of World War I and the forced evacuation of Orthodox civilians. Then many icons were irretrievably taken to Russia. The content of the article is an attempt to remind the objects of worship, which belonged to
the most important cultural phenomena in Podlasie.
Research Interests:
It is a common opinion that Podlasie has been a culturally backward, peripheral region without any great works and outstanding figures. The review of different Polish regions’ saturation with monuments (castles, manor houses and palaces)... more
It is a common opinion that Podlasie has been a culturally backward, peripheral region without any great works and outstanding figures. The review of different Polish regions’ saturation with monuments (castles, manor houses and palaces) per 1,000 square km shows that the leaders are Dolnośląskie and Wielkopolskie voivodeships. There are more monuments in the western part of Poland than in the eastern one. The highest numbers are in Wielkopolska (695 objects) and Dolny Śląsk (660), while Podlaskie Voivodeship has ten times fewer monuments (64). Castles, palaces and mansions are a significant part of the cultural heritage in material and symbolic spheres. The character of the preserved monuments (the sparce magnates’ estates such as the most famous “Versailles of Podlasie”and the small wooden manors) reflects the social structure characteristic of the historical Podlasie and the division into a few extremely rich magnate’s estates and many poor manors of the petty nobility. Nowadays, the most well-known magnates and art patrons related to Podlasie are Jan Klemens Branicki and his wife, at whose request a great many works of art were created. Due to history turbulences, the collections have been dispersed or lost, just like the castles and palaces in Choroszcz, Kodeń, Mielnik, Orla, Siemiatycze and Tykocin, to mention just a few out of the long list of non-existing monuments. Branicki is the most famous patron, but not the only one. Earlier, excellent collections had been gathered in Tykocin by Sigismund Augustus, later by Bogusław Radziwiłł, and some of them were surely used in the gallery of paintings in Nesvizh. With the current state of research we do not know how many such collections were created in Podlasie, although we can be sure that all of them were lost just like the furnishings from the Bialystok palace. The Knyszyn starost Tomasz Czapski, the owner of a magnate fortune and a great gallery, a bibliophile and a cruel troublemaker at the same time, had disputes with the Grand Hetman of the Crown Jan Klemens Branicki for many years. Around 1519, Mikołaj Radziwiłł, the owner of the Goniądz and Rajgród estates, established the first estate in Dobrzyniewo as part of settling in the royal primeval forests illegally occupied when building a road from Vilnius to Podlasie and farther to Krakow. After 1530, Dobrzyniewo became a part of the three estates of the very rich Knyszyn starosty owned by the king, and until the mid-19th century, it had belonged to or been leased by outstanding historical figures, such as: Queen Bona, king Sigismund Augustus, Aleksander Chodkiewicz, Piotr Chwalczewski, Jan and Tomasz Zamoyski, Mikołaj Ossoliński, Franciszek, Wilhelm and Mikołaj Orsetti, Stanisław Nałęcz-Małachowski, Maria Radziwiłł-Krasińska, Wincenty Krasiński and Zygmunt Krasiński.
The article is an attempt to present on the basis of the inventory from
1749 the non-existent palace in Dobrzyniewo with its rich furnishings and a huge collection of works of art whose history has not yet been studied.
The article is an attempt to present on the basis of the inventory from
1749 the non-existent palace in Dobrzyniewo with its rich furnishings and a huge collection of works of art whose history has not yet been studied.
Research Interests:
My Icon Museum – Project of a Scenario for the Icon Museum in Supraśl Icons are among the most interesting and least known objects of sacral art. Discovered rather late by researchers and collectors alike, they comprise the object of... more
My Icon Museum – Project of a Scenario for the Icon Museum in Supraśl
Icons are among the most interesting and least known
objects of sacral art. Discovered rather late by researchers and
collectors alike, they comprise the object of quests conducted
by collectors and museum staff. The oldest Polish icon collections
date back to the second half of the nineteenth century, and
were created in Warsaw and Cracow. Today, icons are gathered
and stored in numerous Polish museums, i. a. in Łańcut, Biała
Podlaska, Szamotuły, Olsztyn and Białystok. The article discusses
a scenario for a museum of icons which are the property of
the Podlasie Museum in Białystok. The author proposes adapting
one of the wings of the former Abbots’ Palace in Supraśl
for an exposition which would feature basic questions associated
with the art of the icon. The exhibition should begin with
a virtual display of Early Christian art conceived as an introduction
to knowledge about the icon. The next interior recreates
the studio of the isographer – a painter specialising in icons
– full of prepared and primed boards as well as a whole arsenal
of painter’s tools. The following showroom is conceived by its
designer as a presentation of fundamental questions relating to
the theology and symbolic of the icon as well as an explanation
of the concept of reversed perspective. The successive part of
the museum is planned as a display of frescoes from Supraśl,
one of the most interesting historical complexes of monuments
in this part of Poland. The project foresees a diorama – a stage designed presentation of the miraculously preserved sixteenthcentury
frescoes and a virtual tour of a church. The following
showroom will be devoted to iconography – the theme of the
icon and associated messages and stories explaining particular
themes. The visitor will then see the most interesting paintings
and icons from Podlasie known as the miracle working likenesses
of the Madonna and Child. Here the author planned
an exposition of such objects as Our Lady of Supraśl, Kodeń,
Leśna, Różanystok, Hodysz and others. The exposition will be
accompanied by accounts linked with the miracles ascribed to
the paintings as well as graphic emulations and prayers connected
with the depictions. The temporary exhibition showroom
should be used for demonstrating assorted problems linked
with icons, such as the history of various Christian creeds in
Podlasie; it should also attempt bringing the public closer to the
history of Old Rite and Uniate icons as well as characterise the
icons of Podlasie.
The selection of icons for the purpose of a museum presentation
must be particularly meticulous in order to emphasis their
merits. The objects should be supplemented with commentaries
and explanations assisted with modern media – computers,
special programmes and multi-media transmissions.
Icons are among the most interesting and least known
objects of sacral art. Discovered rather late by researchers and
collectors alike, they comprise the object of quests conducted
by collectors and museum staff. The oldest Polish icon collections
date back to the second half of the nineteenth century, and
were created in Warsaw and Cracow. Today, icons are gathered
and stored in numerous Polish museums, i. a. in Łańcut, Biała
Podlaska, Szamotuły, Olsztyn and Białystok. The article discusses
a scenario for a museum of icons which are the property of
the Podlasie Museum in Białystok. The author proposes adapting
one of the wings of the former Abbots’ Palace in Supraśl
for an exposition which would feature basic questions associated
with the art of the icon. The exhibition should begin with
a virtual display of Early Christian art conceived as an introduction
to knowledge about the icon. The next interior recreates
the studio of the isographer – a painter specialising in icons
– full of prepared and primed boards as well as a whole arsenal
of painter’s tools. The following showroom is conceived by its
designer as a presentation of fundamental questions relating to
the theology and symbolic of the icon as well as an explanation
of the concept of reversed perspective. The successive part of
the museum is planned as a display of frescoes from Supraśl,
one of the most interesting historical complexes of monuments
in this part of Poland. The project foresees a diorama – a stage designed presentation of the miraculously preserved sixteenthcentury
frescoes and a virtual tour of a church. The following
showroom will be devoted to iconography – the theme of the
icon and associated messages and stories explaining particular
themes. The visitor will then see the most interesting paintings
and icons from Podlasie known as the miracle working likenesses
of the Madonna and Child. Here the author planned
an exposition of such objects as Our Lady of Supraśl, Kodeń,
Leśna, Różanystok, Hodysz and others. The exposition will be
accompanied by accounts linked with the miracles ascribed to
the paintings as well as graphic emulations and prayers connected
with the depictions. The temporary exhibition showroom
should be used for demonstrating assorted problems linked
with icons, such as the history of various Christian creeds in
Podlasie; it should also attempt bringing the public closer to the
history of Old Rite and Uniate icons as well as characterise the
icons of Podlasie.
The selection of icons for the purpose of a museum presentation
must be particularly meticulous in order to emphasis their
merits. The objects should be supplemented with commentaries
and explanations assisted with modern media – computers,
special programmes and multi-media transmissions.
Research Interests:
Podlasie as a historical region is an area of many revelations of images that have become objects of worship. They were mainly Marian images. The author presents the most important Marian shrines from the 17th to the end of the 18th... more
Podlasie as a historical region is an area of many revelations of images that have become objects of worship. They were mainly Marian images. The author presents the most important Marian shrines from the 17th to the end of the 18th century in the Podlasie region. Many of them are Uniate icons, venerated by followers of various Christian rites.
Research Interests:
Research Interests:
Icon Painting Workshop in Lipsk on the Biebrza in the 17th Century One of the few icons that can be said to have been created in the cultural region of Podlasie was the picture famous for its miracles in the Church of St. Prophet Elijah... more
Icon Painting Workshop in Lipsk on the Biebrza in the 17th Century
One of the few icons that can be said to have been created in the cultural region of Podlasie was the picture famous for its miracles in the Church of St. Prophet Elijah in Jaczno. An Orthodox church and the only monument which confirms the existence of an icon painting workshop in Lipsk on the Biebrza, suffered in a great fire in 1985. A few years ago, a Marian icon related to the same workshop was found, stored in the Tretyakov Gallery in Moscow. The content of the article is an attempt to place the l 7th century workshop in the art of the Podlasie region and to find iconographic patterns of the icons painted here. They included two icons from Jaczno and Moscow, confirmed by inscriptions, and probably also a representation of Our Lady "of Saint Basi!" in the Church of Our Lady of the Angels in Lipsk and St. Barbara's Church in Milejczyce. The
confirmation of the assumption that the icons were based on the iconographic model of Our Lady of the Snows, which in the l 7'th and 18th centuries belonged to the most popular Marian images in the territory of the First Polish-Lithuanian Commonwealth, requires in-depth research.
One of the few icons that can be said to have been created in the cultural region of Podlasie was the picture famous for its miracles in the Church of St. Prophet Elijah in Jaczno. An Orthodox church and the only monument which confirms the existence of an icon painting workshop in Lipsk on the Biebrza, suffered in a great fire in 1985. A few years ago, a Marian icon related to the same workshop was found, stored in the Tretyakov Gallery in Moscow. The content of the article is an attempt to place the l 7th century workshop in the art of the Podlasie region and to find iconographic patterns of the icons painted here. They included two icons from Jaczno and Moscow, confirmed by inscriptions, and probably also a representation of Our Lady "of Saint Basi!" in the Church of Our Lady of the Angels in Lipsk and St. Barbara's Church in Milejczyce. The
confirmation of the assumption that the icons were based on the iconographic model of Our Lady of the Snows, which in the l 7'th and 18th centuries belonged to the most popular Marian images in the territory of the First Polish-Lithuanian Commonwealth, requires in-depth research.
The content of the article is the analysis of works of art left by outstanding artists in small towns of historic Podlasie.
Research Interests:
Today it is useless to seek traces of such multiculturality in many museums. In museums which collect paintings related to the Eastern Orthodox Church, places of monuments connected with Polish culture are frequently occupied by late... more
Today it is useless to seek traces of such multiculturality in many museums. In museums which collect paintings related to the Eastern Orthodox Church, places of monuments connected with Polish culture are frequently occupied by late icons of mediocre artistic value smuggled from Russia. The article attempts to explain this phenomenon in the context of the transformation of modern museology. W dzisiejszym czasach coraz łatwiej dotrzeć w najodleglejsze zakątki świata, za to coraz trudniej poznać lokalną kulturę owych zakątków. Tymczasem to właśnie lokalność i kultu-rowa odrębność identyfikuje różne społeczności i odróżnia je od innych. Kultura jest fenomenem łączącym przeszłość i teraźniejszość, definiuje wartości szczególnie cenne dla mieszkańców określonego regionu, potrzeby estetyczne i ar-tystyczne realizacje, które ilustrują z jednej strony poziom rozwoju, z drugiej zaś fascynacje. Poznawanie kultury jakiegoś zakątka można roz-począć albo pogłębiać w muzeum, tyle że dziś wizyta w niegdysiejszej " siedzibie muz " nie musi prowadzić do po-znania dzieł najwybitniejszych czy najbardziej utalentowa-nych synów regionu lub kraju. W wielu muzeach w Polsce łatwiej znaleźć późne rosyjskie ikony, niż dzieła powstałe po-dług nieba i zwyczaju polskiego albo miejscowego. Trudno orzec, dlaczego tak się dzieje, dlaczego miejsce dzieł, które niejako z urzędu należą się zabytkom miejscowym, zajmują takie, które znaleźć można w dziesiątkach innych zbiorów. Skąd fascynacja zabytkami, które w bardzo wielu przypad-kach nie reprezentują ani szczególnie wysokiego poziomu artystycznego, ani jakichkolwiek związków z naszym krajem?
Research Interests:
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Wonder-grace famous images of the Virgin mary in Podlasie. A Problem of the iconography of Sacredness Among the most important phenomena of the christian religion there are images to which the faith ascribes supernatural properties,... more
Wonder-grace famous images of the Virgin mary in Podlasie. A Problem of the iconography of Sacredness Among the most important phenomena of the christian religion there are images to which the faith ascribes supernatural properties, primarily the possibility of healing and defense against danger. in the area of the historic Podlasie such images often manifested themselves particularly frequently in the seventeenth century, when Podlasie was the theater of war, of devastating marches of troops, and of plagues and famine. unusual pictures (images and icons) manifested themselves on trees (leśna Podlaska, Puchły, krypno), mystically prevented themselves from catching fire (Stary kornin), or after a few years of functioning in a temple (juchnowiec, Strabla) or in a manor house (różanystok) manifested their supernatural power. it is a phenomenon of religious culture of Podlasie to adopt the iconographic patterns of iconic catholic images by the uniate church, and after its abolition — by the orthodox church (Puchły, Kożany), as well as veneration of icons in catholic churches (Juchnowiec, Strabla). Streszczenie zauważalny kryzys sztuki kościelnej to między innymi wszechobecność kiczu, definiowanego jako konsekwencja kultury masowej, stosującego wysoki styl do wyrażenia idei estetycznie niższej. kicz, wyrastając z gloryfikacji banału, nie zaspo-kaja potrzeby piękna, jest bowiem dziełem o niewielkiej wartości artystycznej, niepogłębionym tworem, kierowanym do przeciętnych gustów, utrwalającym stereotypowe poglądy. do najważniejszych fenomenów sztuki należą kultowe wizerunki. kult obrazów był znany w cesarstwie bizantyjskim, gdzie powstało wiele pierwowzorów, między innymi ikona Hodegetrii – Matki Bożej Przewodniczki, ukazanej z Dzieciątkiem, które wskazuje tzw. gestem Hodegetrii. Do szczególnej sławy przedstawień maryjnych przyczyniła się legenda o pierwszym portreciście, którym miał być św. łukasz ewangelista. obrazy obdarzone szczególną mocą charakteryzują się pewnymi cechami: zostały znalezione w niespodziewanych miej-scach (np. w lesie, przy studni lub źródełku, na przydrożnym drzewie), były źródłem niezwykłego blasku, " pociły się " , " płakały " lub krwawiły, przeniesione do kaplicy, dworu lub chaty, wracały na miejsce znalezienia, gdzie objawiały niezwykłą moc. objawione na Podlasiu ikony maryjne odzwierciedlały cechy lokalnej kultury, podatnej na wpływy z różnych kierunków. Stopniowa latynizacja sztuki cerkiewnej, szczególnie na obszarach kulturowego pogranicza, nie powinna być postrzegana w kategoriach polityczno-konfesyjnych. Takie procesy są przejawem naturalnej osmozy kulturowej i indywidualnych aspi-racji zleceniodawców, pragnących podnieść swój prestiż fundacjami wzorowanymi na najlepszych (według ówczesnych kryteriów) artystycznych wzorach. Tworzone w tym kręgu dzieła charakteryzował koloryt lokalny i stylowo-ikonograficzny, który nie może być oceniany dziewiętnastowiecznymi kryteriami estetycznymi, ani też koncepcjami " czystości stylowej " , lecz postrzegany w szerszym kontekście przemian kulturowych.
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Only very few icons from Podlasie have survived to our times. One of those rare 16th century relics is the right wing of the royal door of the iconostasis that miraculously survived the Orthodox church's fire in Cżyże.
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SIMON SEGAL: A CONTRIBUTION TO THE ARTIST’S BIOGRAPHY Even though Simon Segal is one of the most interesting artists of the École de Paris circle, his biography remains insufficiently researched. Nothing is known about the ups and downs... more
SIMON SEGAL: A CONTRIBUTION TO THE ARTIST’S BIOGRAPHY
Even though Simon Segal is one of the most interesting artists of the École de Paris circle, his
biography remains insufficiently researched. Nothing is known about the ups and downs of the
artist’s life in Berlin, the time when he first got interested in painting, the period of his residence
in Vienna nor his first individual exhibition he supposedly organized there. Also the reasons for
change of his artistic interests remain unknown. Towards the end of his life, the painter wrote
down his autobiography containing most of his biographical data. This article is an attempt to
reconstruct key events in the life of Simon Segal as well as transformations in his artistic
creativity.
Keywords: Białystok, emigration, École de Paris, Jewish art.
Even though Simon Segal is one of the most interesting artists of the École de Paris circle, his
biography remains insufficiently researched. Nothing is known about the ups and downs of the
artist’s life in Berlin, the time when he first got interested in painting, the period of his residence
in Vienna nor his first individual exhibition he supposedly organized there. Also the reasons for
change of his artistic interests remain unknown. Towards the end of his life, the painter wrote
down his autobiography containing most of his biographical data. This article is an attempt to
reconstruct key events in the life of Simon Segal as well as transformations in his artistic
creativity.
Keywords: Białystok, emigration, École de Paris, Jewish art.
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Treścią artykułu jest przypomnienie artystek działających w Białymstoku: Estery Amalii Bernzweig, Hanny Rozenmann, Stanisławy Centnerszwerowej, Fani Helman, Natalii Landau, Giny Frydman i Geni Grosman.
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Mimo że słynący cudami obraz Hodegetrii z klasztoru w Supraślu miał należeć do najsłynniejszych w tej części I Rzeczypospolitej, jego dzieje, ikonografia i autorstwo pozostają niewyjaśnione. Artykuł jest próbą nowego spojrzenia na... more
Mimo że słynący cudami obraz Hodegetrii z klasztoru w Supraślu miał należeć do najsłynniejszych w tej części I Rzeczypospolitej, jego dzieje, ikonografia i autorstwo pozostają niewyjaśnione. Artykuł jest próbą nowego spojrzenia na zaginioną ikonę.
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The Hypatian Codex contains the oldest information about the icons in the Podlasie region. At the end of 1260, it was realized that the prince Daniel's brother, Vasilko, prayed to God in front of the icon of the Holy Mother of God of the... more
The Hypatian Codex contains the oldest information about the icons in the Podlasie region. At the end of 1260, it was realized that the prince Daniel's brother, Vasilko, prayed to God in front of the icon of the Holy Mother of God of the Orthodox Church in Mielnik. Is it not known what was depicted on the icon. There are no evidences of existing Jesus Christ's icon, so Vasilko probably prayed to the Saviour through the famous icon known for its miracles in the Orthodox Church in Mielnik. Two Russian authors of the 19th century, Fiodor Pokrowski and bishop Josif, mentioned an icon that was placed in the altar of the Orthodox Church in Mielnik. However, it is extremly doubtful whether the medieval icon was preserved in the provincial Orthodox Church and there is no information about the icon in the 19th century, when the Orthodox Church was inspected. The article is an attempt to explain doubtful interpretations of the non-existent icons.
MAX WEBER, EMIGRATION AND THE ARTIST’S IDENTITY Many artists who emigrated came from the Eastern regions of Poland. Max Weber is one of the most famous among them. He was a world famous artist, considered the creator of modern American... more
MAX WEBER, EMIGRATION AND THE ARTIST’S IDENTITY
Many artists who emigrated came from the Eastern regions of Poland. Max Weber is one of the
most famous among them. He was a world famous artist, considered the creator of modern
American art. He was born in a factory town in a family of a Jewish tailor Krywiatycki. When he
was 10 he left his home town and moved to New York. He was interested in art from a very early
age and he subjugated his entire life to plans linked with it. Weber’s creative activity took on
several major turns, after his parents death the artist returned to traditional Jewish culture. The
content of this article is an attempt to find an answer to the question about the role of the place of
the artist’s origin on the development of his creative interests.
Many artists who emigrated came from the Eastern regions of Poland. Max Weber is one of the
most famous among them. He was a world famous artist, considered the creator of modern
American art. He was born in a factory town in a family of a Jewish tailor Krywiatycki. When he
was 10 he left his home town and moved to New York. He was interested in art from a very early
age and he subjugated his entire life to plans linked with it. Weber’s creative activity took on
several major turns, after his parents death the artist returned to traditional Jewish culture. The
content of this article is an attempt to find an answer to the question about the role of the place of
the artist’s origin on the development of his creative interests.
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Research Interests: Icons and Byzantine art
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Wybór najciekawszych ikon z Podlasia od XVI do początku XIX wieku.