EN
The article presents an analysis of the mystical crucifix, exhibited at the Diocesan Museum in Pelplin, transferred to the museum collections from the Gothic parish church in Żmijewo in the Chełmno Land. The study presents the state of research and refers to divergent research positions regarding dating, artistic and typological descent, place of exposition and origin of the crucifix. This special, high-quality artistic work of art is placed in the context of stylistic, typological, aesthetic, ideological, spiritual and historical references. The work of art refers to the fourteenth-century mystical crucifixes preserved in Europe. Based on the analysis and analogies, a new date of its creation is proposed. Among mostly typological analogies, noteworthy is the inspiration coming from the fourteenth-century woodcarver, stylistically associated with Rhine and North-Italian mystical crucifixes. At the same time, the author of the text points out the features typical of a given group of sorrowful crucifixes and specific examples of such woodcarvings. The new methodological approach indicates that the artistic object in question took on the characteristics of various doloristic crucifixes. The object allows to observe the functioning of the contemporary forms used by sculptors and polychrome painters. Some archaization, a retrospective of stylistic motifs and many sources of the shape of this work of art were noticed. Artistic solutions also determined the unusual expression of the crucifix. A comparative reference is also made to written sources regarding mystical crucifixes, also with the use of theological and mystical literature of the period. The author discusses the possible circles of founders and first recipients, who must have been familiar with the aesthetic shape and expression of the Passion contained in the Żmijewo crucifix.