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Reformacja i tolerancja. Jedność w różnorodności? Współistnienie różnych wyznań na ziemi wschowskiej i pograniczu wielkopolsko-śląskim (Jerzy Domasłowski)

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Domasłowski J.
Gdański Rocznik Ewangelicki
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2016
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vol. 10
225-228
PL
Recenzja książki pt. "Reformacja i tolerancja. Jedność w różnorodności? Współistnienie różnych wyznań na ziemi wschowskiej i pograniczu wielkopolsko-śląskim", red. Marta Małkus i Kamila Szymańska, wyd. Stowarzyszenie Czas A.R.T.; Muzeum Okręgowe w Lesznie, Wschowa-Leszno 2015, 406 s.
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Dzieje Polskiej Parafii Ewangelicko-Augsburskiej w Gdyni (1931-1939) Część III

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Domasłowski J.
Gdański Rocznik Ewangelicki
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2014
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vol. 8
150-177
EN
Architect Tadeusz Jędrzejewski developed new plans for the monumental church. On 11 April 1939 the construction of the parish house was started. Services were also celebrated in Tczew, Starogard and the Free City of Danzig. Unfortunately, the outbreak of World War II in September 1939 destroyed the Polish Parish completely. Rev. Jerzy Kahané was imprisoned and murdered by the Nazis in 1941, a few parishioners also died as a result of persecution, many were expelled from the city. After the war, since 1945 the seat of the parish has been the city of Sopot. The Polish services in Gdynia were celebrated in the Swedish Seaman’s House until about 1970. In 2006 the Gdynia SKUT branch was also liquidated.
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POLSKA PÓŁNOCNO-ZACHODNIA (POMORZE ZACHODNIE I ZIEMIA LUBUSKA)

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Domasłowski J.
Ochrona Zabytków
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1980
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issue 2
125-130
EN
Art monuments in Western Pomerania and in the Lubuska Land (voivodships of Gorzów, Koszalin, Słupsk and Szczecin) sustained great losses as a result of war operations in 1945 (Kołobrzeg, Sławno, Bytów, Długołęka, Sulęcin, Szczecin-Klęskowo, Zielin and other towns). Some paintings got destroyed or plastered in the first years öfter the war (just to mention Chwaszczany, Czarnówko, Starków). On the other hand, a number of other decorations were uncovered and preserved a t that period, just to mention the church of St John the Baptist in Szczecin, churches at Wełtyń, Mętno Małe, Sławsko, Grzędzice, Kołobrzeg. The oldest example of wall-painting in that region is a Romanesque decoration of the vaulting in the sacristy of the cathedral at Kamień Pomorski (13th century). There, there are also the oldest examples of paintings: the Romanesque-Gothic Crucifixion (after 1308) and Christ-the Judge (after 1330), the first example of a Gothic linear style. The scenes from Jesus’ life painted in the so-called treasury were painted after 1350; the author must have come from Western Europe. In the first half of the 14th century the paintings a t Czachów were created (including several figures of devils). In ca 1350 the Crucifixion at Marwice was painted. These paintings belong to a provincial, flat and linear artistic trend met in nearly entire Northern Europe till the end of the 15th century. Wall painting in Western Pomerania reached its culmination in the years of 1400—1450. In ca 1400, apart from figures of saints at Chwaszczany and paintings at Czarnówko, the collegiate in Kołobrzeg was decorated. A typological cycle was painted on the vaulting of the aisle ; figures of Wise and Foolish Virgins, of saints and prophets were painted in naves. A figurative decoration was also out on one of the pillars. Passion scenes on the vaulting of the chapel under the tower must have been placed at a somewhat later date. The Crucifixion of Jesus by Virtues at Chojno and paintings at Mętno Małe were executed in the subsequent years. Figurative and ornamental decorations were put on the vaulting of the church at Sławno, while exclusively ornamental one was done at Sławsko. It was also at that time that paintings at Moryń (scene with devils), in St. John’s Church in Szczecin (Mystical Wedding of St Catherine) and in the sacrysty of St Mary’s Church at Stargard Szczeciński were executed. In 1450 a series of paintings at Grzędzice (Passion scenes and saints) was created, while in the second half of the 15th century paintings at Maszewo, Szczecin, Trzebiatów (prophets), Chojno and at Stargard were done. In the first half of the 16th century a big number of christological scenes and the ones based on the Old Testament were painted, in which both late-Gothic and Renaissance elements could be found. Almost entirely contemporary are paintings from Starków, now transferred to the Academy of Fine Arts in Cracow.
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POLSKA PÓŁNOCNO-WSCHODNIA (POMORZE WSCHODNIE)

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Domasłowski J.
Ochrona Zabytków
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1980
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issue 2
132-141
EN
In Eastern Pomerania, i.e. on the site of present Elbląg, Gdańsk, Olsztyn, Toruń and partially Bydgoszcz and Ciechanów voivodships, military operations of the Second World War brought about a destruction of old wall-paintings at Boręty, Elbląg, partially in St Mary’s Church in Gdańsk and in the castle’s church at Malbork. Some other, usually not so well preserved objects were plastered in the later years (e.g. at Tujka). At the same time there took place new discoveries which enriched the information on Pomerania paintings, namely in Gdańsk, Morąg, Starogard Gdański, Sępopol. A particularly big number of discoveries was made in the Chełmińska Land: at Chełmno, Brodnica, Golub, Kowalewo Pomorskie, Nowe Miasto Lubawskie, Okonin and Toruń, where paintings were found not only in churches but in secular buildings as well. Many art monuments, both newly uncovered and those well-known already before the war were subjected to preservation works carried out mainly by monuments conservation work-shops in Toruń and in Gdańsk. ' Archival studies performed made it possible to establish a degree of authenticity of some decorations repainted in the 19th century. The iconography of paintings in the cathedra at Kwidzyń is original only partially. Studies carried out by Marian Arszyński made it possible to state that paintings on the vaulting of the cathedral at Chełmża were a conscious forgery, a work of Konrad Steinbrecht. To a large extent he is also the author of paintings at the castle’s church at Malbork. The oldest example of wall-painting in Eastern Pomerania is a decoration of walls in the church of St John in Toruń (il. 1). The first examples of figurative painting were created in ca 1340—1350 and belonged to the so-called linear style (unpreserved paintings a t Königsberg), Świecie and perhaps the original decoration of the castle’s church at Malbork. The mid-14th century was the time of the creation of paintings at Chełmno (St John’s Church and a parish church). Paintings in Toruń (St Jacob’s Church, St John’s Church, il. 2, a tenement house at 17/19, Żeglarska Street, il. 3) were executed in ca 1350—1360, those in Arnau in Samland — in ca 1350—1370. About 1360 there came into being a few art monuments in which the importance of colour got increased, namely at Nowe Miasto Lubawskie, St Catherine’s Church in Gdańsk, a presbytery in St John’s Church in Toruń. The years of 1380—1420 were the period of the flourishment of wall-painting in Pomerania. The Coronation of Mary a t Lidzbark Warmiński, the work of a painter who had arrived from Czech, as well as the legend of St Mary Magdalene in St Jacob’s Church at Toruń were created in ca 1380 ; one can see in them a deepening of space and a further growth of the significance of coloured layer. The paintings in the southern nave of St Mary’s Church in Toruń that linked attainments of Czech and Italian painting were made in 1380—1390. A member of that school worked also at Okonin and Nowe Miasto (il. 4). A composition in St John’s Church in Toruń was painted at a somewhat later date ; it represented the Crucifixion and the Last Judgment, where the realism of figures is still bigger. A continuation of realistic tendencies can be found in the paintings in the former houses of merchants’ guild at Toruń, Grudziądz and Chełmno (a parish church). Paintings at Orneta (il. 5) constitute a direct reference to the works of the circle of Master Theodoric. About 1400 there came into life paintings in the post-Dominican church at Chełmno (the Crucifixion) and in the Lidzbark castle (a gallery), attracting the attention with its cold scumbling colouring. The last link of that group was the unpreserved Lamentation at Elbląg. At the same time there appeared paintings made in a less realistic and more linear way — Samland group : Königsberg, Juditten and Lochstedt, in the organ-loft of St Jacob’s Church, in a tenement house at 15, Szczytna Street at Toruń, in the chapel of great masters and finally in their bedroom in Malbork, and finally in the church at Germau. A continuation of the so-called soft style could be seen in an unpreserved simultaneous Passion composition in St Mary’s Church ni Gdańsk (about 1425). In a smilar composition in St Nicolaus Church (about 1430—1440) the element of graphicality of line grows in strength. In the two examples the authors based most probably on patterns from Netherlands and Burgundy. In the second quarter of the 15th century there came into existence a votive scene in St Mary’s Church in Toruń (il. 6), apostles in Marianka, allegories of virtues and sins in Gdańsk’s Market Hall, representations of bishops at Lidzbark Warmiński. The form of paintings at Zieleń (ca 1420) shows at its links with graphic arts. The Last Judgment in St Anne’s Church at Frombork (ca 1433) and a painting at Dzietrzychów are the examples of a drawing style. The Crucifixion at Krzyżanów (ca 1450, il. 9) is an attempt to combine a drawing tendency with setting the figure in a vast space. Paintings from the third quarter of the 15th century show a relatively big dependence on graphic arts (Morąg, Nowe, Orneta, St Catherine’s Church in Gdańsk — il. 10), A certain lowering of the level of artistic creation in that period was associated with a destructive course of the thirteen-year-long war in the years of 1454—1466. At the end of that century both graphic arts (Golub—il. 11, Lidzbark Warmiński— Watzenrod’s oratory) and table painting (St George legend in St Mary’s Church in Gdańsk, Łabędnik — il. 12) were used as the examples to follow. In the first quarter of the 16th century late- Gothic elements co-existed with Renaissance features, e.g. in St Jacob’s Church in Toruń. On the whole, Pomeranian paintings display didactic and moralizing themes. The most frequently found theme was the figures of apostles and of other saints, expressing eclesiological contents. In some secular interiors the scene of the Coronation of Mary, having an eclosiological character acquired a political aspect as well. Moreover, one can see illustrations of theological treatises: Speculum Humanae Salvationis (Königsberg, Arnau), a commentary to the Song of Songs (St John’s Church at Chełmno), St Bonaventura’s treatise on the Tree of Life (Toruń, St John’s Church). Quite popular was also the eschatological theme (the Last Judgment, Deesis, Wise and Foolish Virgins). A number of paintings had passion and eucharistie themes as their subject-matter. Worshiped effigies of Jesus (the Crucifixion from Volto Santo) and of Mary (Temple’s Servant) as well as Veraicon were also often shown. Apart from apostles and four Holy Virgins, the most popular amongst the paintings with hagiographie content were St Christopher, St George, and St Mary Magdalene. There could also be seen frequent secular, allegoric and moralizing representations, occasionally based on literary sources. The paintings were subordinated to architecture. The most popular decorative system were framings composed of human figures; cycles of paintings in quarters were also often met. Quite often, mainly in the castles, the paintings decorated face walls, while in tenement houses they were put on wall niches. Paintings imitated tympanum, table pictures and altar retable. Next to the patronage of the Teutonic Knights, the centre of which was Malbork, an important role, mainly in Warmia and in Samland, was played by the patronage of higher clergymen, bishops and chapters. Of great significance was also the patronage of the townspeople. However, it is not always possible to separate the scope of influence of individual social groups. Except for a painter called Peter of Malbork, it is also impossible to associate preserved objects with their authors known from the historic relays only.
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Dzieje Polskiej Parafii Ewangelicko-Augsburskiej w Gdyni (1931-1939). Część II

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Domasłowski J.
Gdański Rocznik Ewangelicki
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2013
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vol. 7
160-177
EN
After the cancellation of the previous minister as a result of disagreements with parishioners (see Part 1), in February 1937 Gdynia got the next pastor, Rev. Jerzy Kahané. Polish protestants established close contacts with the Swedish Lutheran community, and soon moved from the classroom to the chapel in the Swedish Sailors' Home (the Svenska Sjömenskyrkan of the SKUT – The Church of Sweden Abroad), where the chaplain was Rev. Daniel Cederberg. Parish life revived, and were founded the Ladies Circle and a youth association. Celebrations were held on the occasion of state ceremonies, attended by representatives of the local authorities. In November 1938, were approved plans to build a church. At the same time, the Society of Polish Evangelicals in the Free City of Danzig was founded, for which in the English Church pastor Kahané celebrated the first service.
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Profesor Alicja Karłowska-Kamzowa

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Domasłowski J.
Historia Slavorum Occidentis
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2012
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issue 2(3)
11-23
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Cymelia grudziądzkiej fotografii ze zbiorów Muzeum w Grudziądzu i Zbigniewa Zawadzkiego = Zimelien der Graudenzer Fotografie aus Sammlungen des Museums in Grudziądz und Zbigniew Zawadzki, oprac. / Bearb. Dawid Schoenwald, Grudziądz 2018, ss. 416

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Domasłowski J.
Rocznik Grudziądzki
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2020
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vol. 28
309-314
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Polscy ewangelicy w Grudziądzu w okresie międzywojennym

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Domasłowski J.
Rocznik Grudziądzki
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2019
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vol. 27
141-163
EN
The Lutheran parish in Grudziądz was founded in 1563 after several years of preparations. Apart from the German- -speaking majority of city residents, it also included Poles, for whom a special clergyman was appointed in 1568. Polish services were celebrated even some time after the city was annexed by Prussia in 1772. Under the Prussian rule, the parish developed impressively, gaining the great church and parish house, several charitable institutions and religious associations; there was also a military pastoral ministry with a separate church. After Grudziądz and the whole region were regained by the reborn Polish state in 1920, as a result of the changes associated with this process, the number of parishioners of the United Church (Unierte Evangelische Kirche) decreased. The Church retained its German character. Along with the Polish population coming from other territories, there came also Polish Protestants, including Lutherans, who were the members of the Evangelical Church of the Augsburg Confession. The first service was celebrated for the army by chaplain Józef Mamica from Poznań. The service was celebrated in the United Church’s building in 1923. Unfortunately, the presence of the Polish civilians meant that subsequent services could only take place in the barracks and were often not accessible to outsiders. It was only in 1931 that the Evangelical Augsburg parish was founded. It gathered several dozen people of Polish nationality, and from that time it was allowed to use the United Church’s building. Rev. Jerz Kahané from Bydgoszcz was its administrator. In the years 1933–1935, the local pastor was Rev. Ryszard Danielczyk, who also celebrated services in Tczew, Starogard and Wąbrzeźno. In 1934, the first issue of the magazine “Przegląd Ewangelicki” was published. One year later, the editorial office was moved to Bydgoszcz. At the same time, there was a separate military congregation, cared for by chaplains of Evangelical Reformed Church from Toruń. The parish didn’t survived Hitler’s attack on Poland in September 1939, when all activities of Polish organizations were banned. The history of the German Protestant parish ended after Grudziądz returned to Poland in 1945. The Polish parish has existed ever since it was re-established in the destroyed city in 1946.
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Dawid Schoenwald, Dawne tramwaje Grudziądza. Źródła z lat 1896–1946 z okazji 125-lecia istnienia komunikacji tramwajowej, Grudziądz 2021, ss. 207

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Domasłowski J.
Rocznik Grudziądzki
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2022
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vol. 30
351-357
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