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Typologia konwersji świątyń łemkowskich po akcji „Wisła”

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Uścinowicz J.
Latopisy Akademii Supraskiej
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2017
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vol. Cerkiew a asymilacja- swój i obcy
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issue 8
159-178
EN
This paper presents typology and selected examples of interconfessional conversions of lemko temples, after “Vistula Operation” 1947 in Poland. It also shows the process of transformation of spatial and functional structures as well as iconography of the temples and their iconostases, implemented throughout adaptation for the Roman Catholic churches. It covers problems in architectural conservation as well as essential ideological aspects of symbolical and liturgical nature.
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Św. Męczennicy Marii – wieczny spoczynek, pamięć i modlitwa

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Uścinowicz J.
Latopisy Akademii Supraskiej
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2020
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vol. Dzieci w kulturze duchowej Prawosławia
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issue 11
301-319
EN
In 2018, members of the social community „Our memory” and the Belarusian Historical Society in Białystok, after many years of searching, found in the village cemetery of the Orthodox parish of St. St. Peter and Paul in Malesze, the remains of the destroyed and forgotten grave of Maria Pietruczuk. In 2020, the Holy Synod of Bishops of the Polish Autocephalous Orthodox Church included her among the Martyred Saints of Chełm and Podlasie. She is the Saint of the Orthodox Church. The article presents the ideological, theological, architectural and iconographic premises and conditionings for creating the design of a new monument to St. Martyrs of Mary. The aim is to provide a worthy form of Her eternal rest, memory and prayer of the faithful. The idea of building the monument and its design were blessed by His Eminence Sawa, the Orthodox Metropolitan of Warsaw and the whole of Poland. The form of the monument refers to the temple open to the heavens. It is a system of 4 symbolic forms: a cross, an altar apse, a sarcophagus and a ambona-analogion, symbolically representing: Golgotha, the Tomb of Resurrection of the Jesus Christ and the Mary Mother of God (hierathejon), a reliquary and the stone moved away from the Tomb and Cenacle. The sequential juxtaposition of these forms and their theological and cosmological meaning tries to strengthen the spirit of this place. It builds a synthetic symbolic image of the cemetery temple in search of its path of the faithful’s eternal pilgrimage to salvation.
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Architektura i ikona – układ scalony od nowa

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Uścinowicz J.
Latopisy Akademii Supraskiej
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2021
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vol. Obraz - Słowo - Litera
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issue 12
79-100
EN
Over the last hundred years, the icon has traveled a lot around the world. Such journey of the icon in so many directions would not be possible without its rediscovery in the East. Signs of its return as a cult object and art phenomenon can be seen as early on the brink of the 19th and 20th centuries, when an icon ceased to be – as it was in the past named – a “black board”. It could be seen now, owing to the work of conservators, freed from the layers covering it throughout the years. There was no “curtain” covering it any more. There was no black. We could yet again “contemplate it in colors”. Because of the “rediscovery” of the icon and its consecutive journey through its native Eastern Orthodox world, both the Christian East and West became artistically prepared to receive it. Theological preparations were in motion as well, mainly due to – written mostly in Western Europe – fundamental philosophical and theological treaties and pioneering realizations of sacred art, icons and architecture. They unveiled the “secret life” of the icon, not only as a unique and sublime art form, element of culture and the history of Church, but also a phenomenal philosophical and theological beacon. The icon has proven its “ability to speak”. Just as text in its semiotic transmitting principle, so did the icon, through real symbols of the supernatural reality of the world of God, hand us a testament of this world and the struggle for Salvation anew. This testament has proven itself to be predominant over the many other ways of expressing spiritual aspirations of man. Soon everyone found it out. It was not only through the newly discovered colors, although they might have been responsible for this unveiling. Inverted pers pective, geometric abstraction, symbolic message, sign character, multitude of layers and space-time perception – these are just some of its unique ways of articulating the message. Today, from a certain historical distance, it can be unequivocally stated that the life of the then underground icon and the treatises written about it should be clearly associated with France, and especially with Paris and its Orthodox Theological Institute of St. Sergius of Radonezh. Just as discoveries made by conservators allowed us to see the icon free from layers and repaintings covering the Archetype, so did the rediscovery of the icon, not only for the orthodox world, but also the Christian and the whole oikumene, begin on polish grounds by Jerzy Nowosielski. Nowosielski has finished his icons. He does not write them anymore. He left hundreds or maybe even thousands of them. He left behind his artwork, ingenious in their iconographical-theological and architectural value, in Orthodox churches as well as in Roman Catholic and Uniate churches. He left behind also hundreds of sketches and designs as well as unfinished sacred projects. With their great potential, they are the live tradition of polish sacral art. This tradition and the heritage of the precursors of the contemporary iconography is in some manner continued by the orthodox school of icon writing – Iconographical Study at Archangel Michael’s parish in Bielsk Podlaski and its teachers and student-graduates. The icon through ages of its history on earth has journeyed a long way, both through time and through space. It still does. At present, it can be observed not only in Christian West, where it is welcomed “anew” as a form of sacral communication and partly as a cult symbol and theological phenomenon. It can be observed also, though in a slightly different form, in the Christian East, where the icon experienced and still experiences certain issues. For not more than a hundred years ago, the idea of the icon was faint at most. A true dispute over the icon lasts up to this day within the Orthodox Church, between the supporters of its classical and pseudo realistic form, the true icon and its centenarian naturalistic, occidental image. A dispute so important, for the icon is one of the visible signs of the Orthodox Church’s existence. It is an object of cult. It is a testimony of Incarnation and the mystery play of presence. It does not contain. It “guides” us on the path to the heavenly Archetype. It is the path to deification and salvation.
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Struktura symboliczna architektury światyni: Wprowadzenie do teologii wyrazu sztuki sakralnej

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Uścinowicz J.
ELPIS
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2011
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vol. 13
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issue 23-24
139-180
EN
Symbol has always been an intrinsic part of a person. The human being - homo religiosus - is by nature also a homo symbolicus, who thinks and feels symbolically, who lives symbolically. In the domain of sacrum, in the temple, life is realized through holy symbols. In the past, this was directly reflected in the architecture and in the art of all religions. They have their special compensation in the temple and vice versa; the temple is a concrete manifestation of the function of a symbol. Thanks to them, art could manifest itself, could naturally pass from the level of aesthetics to the level of religion. Nowadays we face a kind of crisis of symbol in the sphere of art, certain reluctance towards symbols. The language of symbols seems to be dying out. Two - thousandth years of history of Christianity proved that a main criterion of a value of church architecture was not based on architectural precursors. This architecture was sacred because it was a carrier of a 'truth of God' and - like a liturgical mysterion and iconography art - it was a theological comment. It was a codified language of the transposes of religions essences and orders, into the form of architectural expression. This was in a East Christianity and this happens there up to this day. One of the proofs to confirmate this thesis is an example of dome. It has been in existance since the beginning of forming the traditional architecture structure of the orthodox temple; it manifested symbolical and archetype essence - as an interior space and as an exterior form. In the history of architecture as well as the history of religion it had precisely defined symbolic meanings. They designated its significance in the temple, they gave rise to its long duration in the history, and eventually they gave it a status of an essential element, an everlasting witness of Divine mystery'. Presentation of this essence and orders constructs indispensable context to a value of the contemporary copulas solutions, in the range of preservation the traditional status of copula in the orthodox temple. In short draft, across calling of form of dome and her hermeneutical partition was tried to appear rule of working of symbolism of sacred arts and her possibilities as special kind of theology of artistic word in architecture. A person's life is marked with symbols. There is no lay art and all crises of art are not so much of aesthetic nature as of religious character. They are caused by disappearing symbolism, and, consequently, by debasement of the sense of mystic sacrum. We need tradition and the canons, we need to be reminded of holy symbols. If the sacral art is to provide an authentic description of teophanic reality and, at the same time, if it is to be a source of all human metaphysical experience and not only intellectual speculation or a mere naturalistic representation of things, we have to find a way of regaining harmony with former symbols. 'Beauty shall redeem the world' - as Fiodor Dostoyevsky rightly said. In art, redemption is realized by holy symbols. Thanks to them 'Mute art is able speak' (St. Gregory of Nyssa).
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Gotyk prawosławia – fenomen idei architektury pogranicza Wschodu i Zachodu

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Uścinowicz J.
Latopisy Akademii Supraskiej
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2024
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vol. Dążenia do samodzielności Cerkwi w Polsce – dla uczczenia stulecia autokefalii PAKP
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issue 15
69-83
EN
This work analyzes selected, representative examples of the occurrence of the Orthodox Gothic architecture of the 15th–16th century Polish-Ruthenian borderland of Poland and the Grand Duchy of Lithuania. It analyzes them in the aspect of the ideological goal and sense of sacred art – in its transition from aesthetic values to religious values, through the theology of expression. Using the language of sacred archetypes and symbols, this theology tries to reveal the true meaning and purpose of the fulfillment of gothic in orthodox sacred architecture and art, not as a style or form of artistic expression, but as a genetic method of ideological tension and potential, inherent in man from the moment of his creation, in his constant search for the true values of life – truth, goodness and beauty.
PL
W pracy przeprowadzona została analiza wybranych, reprezentatywnych przykładów występowania gotyku w prawosławnej architekturze cerkiewnej XV–XVI w. polsko-ruskiego pogranicza Polski i Wielkiego Księstwa Litewskiego. Zbadano je pod kątem ideowego celu i sensu sztuki sakralnej – w jej przechodzeniu od wartości estetycznych do wartości religijnych poprzez teologię wyrazu. Posługując się językiem sakralnych archetypów i symboli, starano się ujawnić prawdziwy sens i cel gotyku w architekturze i sztuce sakralnej prawosławia, nie jako stylu czy formy artystycznego wyrazu, ale jako metody ideowego napięcia i potencjalności, w jego ciągłym poszukiwaniu prawdziwych wartości życia – prawdy, dobra i piękna.
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Architektura świątyni prawosławnej i jej teologia

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Uścinowicz J.
Latopisy Akademii Supraskiej
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2023
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vol. Formy Pamięci: Miejsca, Budowle, Znaki
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issue 14
279-303
EN
The work is a synthetic presentation of the status, purpose and meaning of the category of Tradition in the Eastern Orthodox Church, in confrontation with the state of consciousness and spiritual condition of modern civilization. By means of a theological exposition of the truths of faith, at the level of communication of the language of architecture, it exhibits the hermeneutics of this Tradition and its methodology of action, encoded in the archetypal-symbolic structures of the church. It reveals both the process of transposing its basic values in categories proper to the art of shaping this architecture, and in terms of understanding and concreting its theological sense and the purpose it is intended to serve. This is crucial to the process of creating a contemporary vision of the liturgical space of the Orthodox church and its soteriological significance. At present this process is constantly subjected to pressure from the pluralism of modern civilization. Fidelity to Tradition invests this with unequivocal resistance and deliverance. It ensures both freedom of creation and protection of its fundamental values – truth, goodness and beauty. The Orthodox idea of the church understood as an image of the transfigured cosmos, which is a “reflection of the glory of God”, is in fact based on these foundations.
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Profesorowi Nowosielskiemu – wieczna pamięć

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Paprocki H., Uścinowicz J.
Latopisy Akademii Supraskiej
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2023
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vol. Formy Pamięci: Miejsca, Budowle, Znaki
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issue 14
13-25
EN
The year 2023 marks 100 years since the birth of Professor Jerzy Nowosielski. This year is His year in Poland. The sketch presents the ideological assumptions and architectural design of a modest memorial at the site of his burial in the Rakowicki Cemetery in Kraków. It reflects on its theological message as a symbol of a sign and icon that make present the reality of Golgotha and the Grotto of Christ’s Resurrection. It reflects on its theological message as a symbol of a sign and an icon that make present the reality of Golgotha and the Tomb of Christ’s Resurrection.
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