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Opat Lądu Konstanty Iłowiecki i jego pamiątkowe tablice

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Nowiński J.
Seminare. Poszukiwania naukowe
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2013
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vol. 34
295-309
EN
Constantine Iłowiecki, who derived from the Ostoja coat of arts, was born in Iłowiec (currently Iłówiec near Śrem) on 17 March 1709 and died on 20 February 1777 in Ląd. After studying at the Academy of Poznan, he entered the Cistercian Monastery in Ląd in 1727. He was ordained in 1732 and in 1733 Antoni Łukomski, the abbot of Ląd, appointed him as his successor and as the prior of the Ląd Monastery. Following Łukomski’s death on 8 May 1750, Constantine Iłowiecki became the abbot of the Ląd Monastery. In the church in Ląd, he issued a stucco tombstone for his predecessor and in the artwork, he posted his initials: ‘C I’ (fig. 1). In 1760, he began the construction of the parish church in Ląd, where his portrait is preserved (fig. 2). In 1752, he became commissioner and inspector general of the Cistercian monasteries of the Polish province, an office which he held for three terms. He authored textbooks on logics, metaphysics, and the philosophy of nature, which are preserved in the Abbey library in Mogiła. The Ląd Monastery features two plaques of cast iron with decoratively composed initials of Abbot Constantine Iłowiecki. These were created after 1752 (figs. 3, 5) and were funded in 1767 by Iłowiecki himself (figs. 4, 6). The plaques commemorate his election as General Commissar of the Cistercian Province and the anniversary of his ordination and entrance into the order.
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Relikwie Undecim milia virginum w pocysterskim kościele w Lądzie nad Wartą i dedykowany im ołtarz-relikwiarz św. Urszuli

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Nowiński J.
Seminare. Poszukiwania naukowe
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2010
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vol. 28
253-272
EN
In 1182, to the Cistercian abbey in Altenberg next to Cologne, many a Undecim Milia Virginum relic came from the so-called "ager Ursulanus" - the late ancient cemetery discovered in 1106 under the walls of the colony considered to be the burial place of St. Ursula, and the accompanying retinue. The abbey in Altenberg was sending Undecim Milia Virginum relicts to other Cistercian abbeys all over Europe propagating their cult amongst the convent. The cult of Undecim Milia Virginum in Ląd dates back to the very beginning of the abbey that is the 12th century. In the middle of the 13th century, Ląd got from Altenberg relicts of the virgin martyrs of Cologne which are still in the Ląd abbey. In 1721, Abbot Antoni Mikołaj Łukomski founded a monumental reliquienaltar dedicated to St. Ursula and her companions. The altar had been made in the workshop of Ernest Broger in Glogau. It is the largest of the altars dedicated to St. Ursula. The relics of skulls and bones placed at the altar are covered with embroidered fabrics dating back to the 19th century. At that time, the altar was undergoing a major renovation. The renovation of fabrics conducted in 1983 revealed that under the textiles from the 19th century the remains of Medieval and Baroque fabrics had been preserved.
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Agnusków zapoznana moc, sława i piękno – rzecz o papieskim agnus dei

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Nowiński J.
Seminare. Poszukiwania naukowe
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2011
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vol. 30
245-267
EN
An Agnus Dei is an oval or round wax medallion (between 2,5 and 25 cm). It features Paschal Lamb and the inscription reading: Ecce Agnus Dei qui tollit peccata mundi on the obverse, as well as representation of a saint on the reverse. It is signed with the name and in some cases the coat-of-arms of the pope who blessed the medallion. The history of the wax Agnus Dei stared together with the custom of handing pieces of the Paschal candle preserved form the year before to the participants of the Easter liturgy in Roman basilicas. With time, the wax was being formed into plates with the picture of lamb pressed in it. These were given to the pilgrims who came to Rome to celebrate Easter there. The custom is recorded by Amalarius of Metz (d. 850) and Ordo Romanus from the turn of the ninth century. Starting from the 12th century, the Agnus Dei medallions were handed by the pope himself on the Saturday following Easter. Pope Clement VI (1342-1352) initiated the routine of the popes editing Agnus Dei medallions every 7 years, beginning from their first year in office. From the 15th century onwards, the popes solemnly blessed the “Agnuses” by immersing them in holy water and saying special prayers. The rite was called “Christening of the Agnus Dei”. A wax medallion featuring the Paschal Lamb and blessed by the pope was considered a panacea for all ailments of the soul and body, as well as a protection against any powerful natural forces and evil spiritual powers. It was treated as a brandeum (substitute relics), since starting from the 16th century, the wax was mixed with ashes from the Roman catacombs. In order to avoid any abuse, especially selling of the Agnus Dei, Pope Clement VIII (1592-1605) commissioned the Roman Cistercians from Santa Croce Abbey to make the wax medallions. They were regarded as a special form of the papal gift and a sign of his blessing. Beginning from the 16th century, the pope, adhering to the rules defined in Caeremoniale Romanum, distributed the “Agnuses” every seven years on the Saturday preceding White Sunday (Dominica in Albis) during the Mass said at the Sistine Chapel by one of the cardinals. Agnus Dei medallions were displayed in reliquaries together with relics, in peace-reliquaries (pacificale, instrumentum pacis), or in the predella of the altar-piece; they were worn as pendants or, exquisitely framed, they were hanged on walls to protect houses; placed in special spheres at the top of spires, they were to protect against lightening striking. The almost entire millennium of the presence of the Agnus Dei medallions in the religious life of Europe began to come to a close with the reform of the Catholic Church initiated at the Vatican Council II. The last of them were blessed and distributed by Pope Paul VI in 1964 in the first year of his pontificate.
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Ołtarz Matki Bożej Częstochowskiej i powstańcza mogiła – dwie pamiątki patriotyczne w dawnym opactwie w Lądzie nad Wartą

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Nowiński J.
Seminare. Poszukiwania naukowe
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2009
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vol. 26
325-337
DE
In der alten Abtei in Ląd an Warta sind wertvolle, historische Beweise über die Unabhängigkeitskämpfer der Polen im Januaraufstand und über die patriotische Bewegung der polnischen Nation in der zweiten Hälfte des 19. Jahrhunderts erhalten. In der Unabhängigkeitskämpfer beteiligten sich auch die Kapuziner. Im Jahre 1850 übernahmen sie die Kirche und das Kloster in Ląd, die früher den Zisterziensern gehörten. Die Kapuziner legten den Kirchenpark an. Im Jahre 1859 werde dort die von Antoni Sleminski gestaltete Figur der Unbefleckten Muttergottes aufgestellt (Abb. 2). Bei der Renovierung der Kirche erneuerten die Kapuziner unter anderem den Marien Barockaltar (Abb. 1). In den Altar werde das Bild der Unbefleckten Maria von Jacenty Sachowicz eingebaut. Sie stifteten auch das neue Antependium mit den gestickten, religiös-patriotischen Symbolen (Abb. 8). Am 13. Juli 1863 fan in Ląd ein Kampf zwischen der Kavallerieabteilung unter dem Kommando des Generals Edmund Taczanowski und den Moskowitern statt. Die drei im Kampf gefallenen Aufständischen werden im Kirchenpark bei der Marienfigur begraben. Eine Inskription auf dem Laternensockel der Kirchenkuppel erinnert an dieses Ereignis (Abb. 9). Die Kapuziner aus Ląd wurden im Jahre 1864 durch die Russen nach Sibirien verschickt. Im Jahre 1890 wurde in der Kirche in Ląd eine Diozesegemeinde gebildet. Im Jahre 1900 ließ der Pfarrer Teodor Fibich den Marienaltar in der Kirche erneuern und eine Nachbildung der Madonna von Tschenstochau von Franciszek Jedrzejczyk einsetzen (Abb. 10). Das Bild der Madonna von Tschensochau in Ląd weist auf die große Bedeutung des Marienkultes als Königin der Krone Polens hin. Das polnische Volk betete zu der Madonna am Ende des 19. und am Anfang des 20. Jahrhunderts besonders für die Unabhängigkeit des Vaterlandes.
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Sakralna przestrzeń – charakterystyka oraz wybrane treści ideowe i symboliczne

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Nowiński J.
Seminare. Poszukiwania naukowe
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2011
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vol. 29
269-283
EN
The present characteristics of a sacred space, understood as a liturgical space, focus mainly on the ideas and symbols behind its development throughout the centuries. The dividing line for the present study is the liturgical reforms following Vatican Council II. The symbolic development of a liturgical space begins with the practice of first Christian communities whose members prayed facing the East and the rising sun, symbolizing the risen Christ – the True Light. The interior of east-oriented Christian basilicas was not homogenous. Instead, it was hierarchized and symbolic: the church building (ecclesia) was interpreted as the material image of the spiritual community of the faithful (Ecclesia); it was also understood as the representation of God’s heavenly temple – Domus Dei. The area around the altar (sanctuary) was enclosed by a balustrade (cancelli) and inaccessible to the laity. It was interpreted as the Sanctum Sanctorum, following the Biblical Holy of Holies and the Solomon’s Temple. The division of the church into the part of laypeople (nave and aisles) and the enclosed part of the sanctuary with the high altar, accessible only to the clergy, was continued by medieval churches. The sanctuary, interpreted as the Sanctum Sanctorum, was separated from the rest of the church by a rood screen. Such a division of a sacred space reflected the two ways of Christian life: vita active, represented by the clergy gathered within the sanctuary. After the Council of Trent, emphasis was put on the role of the high altar and the Eucharist present there which, tamquam cor in pectore et mens in animo, should constitute the center of the Church as a religious community and of the space of a church as a sacred building. As a result of these changes, the rood screen was removed from Catholic churches. The chancel and the choir, invariably perceived as a sanctuary inaccessible to the laity, retained their distance from the nave, enhanced by raised floor level and altar rails. The interior of Baroque churches where the theatrum sacrum of the liturgy was celebrated, became similar to the interior of a theater.
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400 lat obecności cudownego obrazu Matki Bożej Pocieszenia (Matki Bożej Czerwińskiej) na Jasnej Górze w Czerwińsku

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Nowiński J.
Seminare. Poszukiwania naukowe
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2013
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vol. 33
319-338
EN
The cult of Our Lady in the Czerwińsk church of the Canons Regular dates back to the church’s beginnings. It was dedicated to the Blessed Virgin Mary, which is confirmed in the bull of Pope Hadrian IV from 1155. The patroness of the church and the abbey has always been especially venerated there, as witnessed in the monastery’s liturgy and customs. In 1612, Łukasz of Łowicz was commissioned by the Czerwińsk Canons Regular to do a painting of Our Lady (figs.1, 2) modelled on Our Lady of the Snows (S. Maria Maior, Salus Populi Romani, fig. 1) from the Roman Basilica of Santa Maria Maggiore. Around 1630, the painting was placed on the new high altar. Venerated by the faithful, it came to be known as miraculous. Miracles had been testified to since 1647, and were officially recognized in 1648. The cult of the painting of Our Lady of Czerwińsk in Her sanctuary, called the Jasna Góra of Czerwińsk has continued uninterrupted to this day. On September 6, 1970, the painting was crowned with papal crowns by Cardinal Stefan Wyszyński, Primate of Poland. In the Czerwińsk sanctuary over 100 silver votive plates offered by pilgrims have been preserved (figs. 3 -10), the oldest of them dating from the 1640s
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Ogrody dawnego założenia cysterskiego w Lądzie nad Wartą – historia oraz współczesna koncepcja ich rewaloryzacji i rewitalizacji

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Nowiński J.
Seminare. Poszukiwania naukowe
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2009
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vol. 26
349-368
DE
Von der Abschaffung im Jahre 1819 besaß die Zisterzienserabtei in Ląd an Warta drei verschiedene Garten. Der Klostergarten lag an der Südseite des Klosters, an dem Warta-Kanal und auf der Insel zwischen dem Kanal und dem Flussberr (Abb. 2). Der Abteigarten wurde an dem Abteipalast in der zweiten Hälfte des 16. Jahrhunderts angelegt. Er lag auf dem Abhang an der Ostseite des Klosters und der Kirche (Abb. 4). Der Kunstgarten mit dem Brunnen befand sich in der Mitte des Klosters (Abb. 6). Nach der Abschaffung wurden alle Garten zerstört. Ein Teil vom Abteigarten wurde mit einem am Anfang des 19. Jahrhunderts entstandenen Vorwerk zusammengefugt. Im Jahre 1850 übernahmen die Kapuziner das Kloster und die Kirche und renovierten sie. Die Kapuziner erneuerten auch die Garten. Auf dem Platz vor der Kirche entstand damals ein Park. Auf dem Kirchen- und Klosterplan aus dem Jahre 1865 sieht man die Garten- und Parklage nach der Schließung des Kapuzinerklosters von der Zarregierung (Abb. 1). Um die Wende des 19. und 20. Jahrhunderts wurde der Abteipalast imd die anderen Wirtschaftsgebäuden des Klosters abgeschafft. Durch die Salesianer, die im Jahre 1921 nach Ląd ankamen, wurde die alte Funktion der ehemaligen Garten wieder hergestellt. Im Jahre 2008 entstand im Auftrag der Salesianerprovinz des heiligen Wojciech ein Projekt der Erneuerung und Bewirtschaftung des Parks und der Garten in der ehemaligen Zisterzienserabtei in Ląd an Warta. Die Gründer diese Projektes sind Aneta Jarosińska-Krokowska und Janusz Nowiński (Abb. 9). Neue Bewirtschaftung und Rekonstruierung der ehemaligen und jetzigen Garten des Klosters in Ląd mit neuer Erholungs-, Erziehungs-, und Wirtschaftsfunktion sind vorgesehen.
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„Metafizyczne piorunochrony” – depozyty złożone w kulach hełmów wież kościoła opactwa w Lądzie nad Wartą w 1720 roku

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Nowiński J.
Seminare. Poszukiwania naukowe
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2012
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vol. 31
259-278
EN
In July 1999, during the reconstruction of the Baroque cupolas of the church towers in the former Cistercians Abbey in Ląd nad Wartą, two copper gilded spheres were disassembled. The following items were found inside the spheres: files of documents written on handmade paper, relics of the bones of the Magi and St. Dionysius inserted in paper packets and a silk pouch, and fragments of the Agnus Dei of Pope Innocent XI. Since the deposits were very poorly preserved, they had to undergo conservation. Having been conserved and appropriately protected, both the documents and relics were deposited in the Archive of Higher Seminary of the Salesians of Don Bosco in Ląd nad Wartą. The documents found in the spheres contained an outline history of the abbey and the founding document of the copper cupolas planted on the towers on 13 June 1720, as well as a list of the Ląd Abbey monks and guests attending the event. The cupolas were founded by Abbot Mikołaj Antoni Łukomski. Both the holy relics and the Agnus Dei medallion fragment were placed in the tower cupolas to protect the church and the abbey from disasters, especially fire, lightening strikes, and floods.
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Opat Lądu Jan Zapolski, inicjator barokowej przebudowy, wystroju i wyposażenia kościoła Najświętszej Maryi Panny i św. Mikołaja w Lądzie, i jego portret

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Nowiński J.
Artifex Novus
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2020
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issue 4
68-85
EN
Jan Zapolski (1619–1689) of the Pobóg coat of arms in 1643 became the abbot of the Cistercian abbey in Ląd; previously he was a canon of the Krakow cathedral and secretary of King Władysław IV. In 1661 the Cistercian chapter of the province elected him vicar general and commissars of the Polish Cistercian Province, he held this office for 28 years – until his death. In January 1651 abbot Zapolski signed a contract with the architect Tomasso Poncino for the renovation and expansion of the Gothic monastery church in Ląd. The conflict with the unscrupulous architect and the lawsuit stopped this investment. In 1679 Zapolski decided to build a new church in Ląd according to the plans of the royal architect Giuseppe Simone Bellotti. Until 1687 the presbytery and the transept of the new church were built. The vaults were decorated with stuccoes made by Italian stucco makers according to the design of Bellotti (figs. 3–4); stalls were placed in the presbytery - the work of the workshop of brother Bartholomew Adrian (fig. 5). Probably in 1687 a portrait of Jan Zapolski was created (fig. 2), on which the abbot holds a card with a plan for a new church in Ląd. The author of the portrait is probably the Cistercian painter Łukasz Latkowski. This portrait became a model for other images: the coffin portrait of Zapolski (1689; fig. 8), his image in the Abbey Hall (Sala Opacka) of the monastery (1722; fig. 9); portrait of abbot Mikołaj A. Łukomski (1747; fig. 10).
PL
Jan Zapolski (1619–1689) herbu Pobóg w 1643 r. został opatem cysterskiego opactwa w Lądzie; wcześniej był kanonikiem katedry krakowskiej i sekretarzem króla Władysława IV. W 1661 r. kapituła cysterskiej prowincji wybrała go wikariuszem generalnym i komisarzem Polskiej Prowincji Cystersów, pełnił ten urząd przez 28 lat – do śmierci. W styczniu 1651 r. opat Zapolski podpisał z architektem Tomassem Poncinem kontrakt na remont i rozbudowę gotyckiego klasztornego kościoła w Lądzie. Konflikt z niesumiennym architektem i proces sądowy zatrzymały tę inwestycję. W 1679 r. Zapolski zdecydował się wznieść w Lądzie nowy kościół według planów królewskiego architekta Giuseppe Simone Bellottiego. Do 1687 r. zbudowano prezbiterium i transept nowego kościoła. Sklepienia udekorowały stiuki wykonane przez włoskich sztukatorów według projektu Bellotiego, w prezbiterium ustawiono stalle – dzieło warsztatu brata Bartłomieja Adriana. Prawdopodobnie w 1687 r. powstał portret Jana Zapolskiego, na którym opat trzyma plan nowego kościoła w Lądzie. Autorem portretu jest prawdopodobnie cysterski malarz Łukasz Latkowski. Portret ten stał się wzorem dla innych wizerunków: portretu trumiennego Zapolskiego (1689); jego wizerunku w Sali Opackiej klasztoru (1722); portretu opata Mikołaja A. Łukomskiego (1747).
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Cztery wczesne wizerunki Chrystusa Miłosiernego: rysunek S. Kreduszyńskiego, fresk Felicjana Szczęsnego Kowarskiego w Hołubli, obrazy Henryka Uziembły w Lądzie i Jana Wałacha w Czerwińsku

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Nowiński J.
Artifex Novus
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2017
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issue 1
62-79
EN
The effigy of Merciful Jesus, epitomizing Divine Mercy, is today known and promoted in two painterly versions. The first was that executed in Vilnius in 1934 by Eugeniusz Kazimirowski under the guidance of St Faustina Kowalska, who gave the painter detailed information on the appearance of the effigy while it was being created. The second, a more popular version, is the painting of Merciful Jesus by Adolf Hyła executed in 1944 for the chapel of the Congregation of the Sisters of Our Lady of Mercy at Cracow-Łagiewniki. The process of the formation of the cult of Divine Mercy, particularly at its early stage, during WW II and immediately afterwards, was accompanied by numerous effigies of Merciful Jesus, some of them often distanced from the model described by St Sister Faustina Kowalska and the work painted under her guidance by Kazimirowski. The study presents four early examples of the effigy of Merciful Jesus related to the emerging cult of Divine Mercy and documenting the process of the topic’s iconography formation. Kreduszyński’s drawing (Fig.1) and Maj’s water-colour (Fig. 2) are records of the cult of Divine Mercy during WW II, and particularly during the Warsaw Uprising. The popularity of the effigy of Merciful Jesus during the war is testified by Felicjan Szczęsny-Kowarski’s 1943 fresco in the Parish Church at Hołubla (Figs. 4,5). The 1942 work of the Cracow painter Henryk Uziembło, currently in the Ląd Parish Church (Fig. 6), is the first effigy of Merciful Jesus against landscape, clearly distant from the vision of Sister Faustina illustrated in Kazimirowski’s painting. It was Uziembło’s work that served as the model for Adolf Hyła who executed the effigy for the Cracow-Łagiewniki Sisters in 1944 (Fig. 7). Painting over the landscaped background, the artist corrected his work in 1952. In turn, Jan Wałach’s 1952 painting for the Salesian novitiate chapel in Czerwińsk shows Merciful Jesus rising above the world (Fig. 8). In this form, it echoes the vision St Sister Faustina had in 1935 during the Mass at the Vilnius Gate of Dawn when the effigy of Merciful Jesus was first presented to the public.
PL
Wizerunek Chrystusa Miłosiernego jest dzisiaj znany i propagowany w dwóch wersjach malarskich. Pierwsza, to obraz namalowany w Wilnie w 1934 przez Eugeniusza Kazimirowskiego pod kierunkiem św. Faustyny Kowalskiej, która udzielała malarzowi szczegółowych wskazówek odnośnie do wyglądu powstającego wizerunku Chrystusa. Druga, bardziej znana wersja, to obraz Jezusa Miłosiernego Adolfa Hyły, namalowany w 1944 r. do kaplicy Zgromadzenia Matki Bożej Miłosierdzia w Krakowie-Łagiewnikach.             Procesowi kształtowania się kultu Miłosierdzia Bożego, zwłaszcza w jego początkach podczas II wojny światowej i bezpośrednio po niej, towarzyszyło wiele przedstawień Chrystusa Miłosiernego. Przedstawienia te bardzo często odbiegały od wzorcowego wizerunku opisanego przez św. siostrę Faustynę Kowalską i obrazu namalowanego według jej wskazówek przez Kazimirowskiego. W tym opracowaniu zostały zaprezentowane cztery wczesne przykłady ilustracji wizerunku Chrystusa Miłosiernego, związane z rodzącym się kultem Miłosierdzia Bożego i dokumentujące proces kształtowania się ikonografii tematu.             Rysunek S. Kreduszyńskiego (il. 1) i akwarela Aleksandra Maja (il. 2) dokumentują kult wizerunku Jezusa Miłosiernego podczas II wojny światowej, a zwłaszcza w czasie Powstania Warszawskiego. Świadectwem popularności wizerunku Jezusa Miłosiernego w czasie wojny jest też fresk Felicjana Szczęsnego-Kowarskiego w kościele parafialnym w Hołubli z 1943 r. (il. 4, 5). Obraz krakowskiego malarza Henryka Uziembły z 1942 r., obecnie w kościele parafialnym w Lądzie (il. 6), jest pierwszym przedstawieniem Chrystusa Miłosiernego na tle pejzażu, wyraźnie odbiegającym od wizji siostry Faustyny zilustrowanej w obrazie Kazimirowskiego. Na obrazie Uziembły wzorował się Adolf Hyła malując w 1944 r. obraz dla sióstr w Krakowie-Łagiewnikach (il. 7). W 1952 r. malarz dokonał korekty obrazu, zamalowując pejzażowe tło. Obraz Jana Wałacha, namalowany w 1952 r. do kaplicy salezjańskiego nowicjatu w Czerwińsku, ukazuje Chrystusa Miłosiernego unoszącego się nad światem (il. 8). W takiej postaci obraz nawiązuje do wizji jaką św. siostra Faustyna otrzymała w 1935 r. podczas nabożeństwa przy Ostrej Bramie w Wilnie, gdy po raz pierwszy został publicznie ukazany obraz Chrystusa Miłosiernego.
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Policentryczny charakter wnętrza kościołów dwuchórowych w średniowieczu w kontekście funkcji liturgicznych – przykład katedry w Bambergu i kolegiaty w Tumie pod Łęczycą

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Nowiński J.
Saeculum Christianum. Pismo Historyczne
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2021
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vol. 28
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issue 2
66-78
EN
The interior of many cathedrals and collegiate churches in the Middle Ages was polycentric. The hierarchy of space, together with the rules concerning the celebration of a given feast day in it, was determined by liturgical regulations, especially the dispositions contained in the Liber Ordinarius. This paper aims at a functional interpretation of the interior of double-apsed churches in the Middle Ages on the example of Bamberg Cathedral and the Collegiate Church in Tum near Łęczyca, based a.o., on the results of research inthe Liber Ordinarius, an analysis of the architecture, the layout of altars, and the decoration and equipment.
PL
Wnętrza wielu kościołów katedralnych i kolegiackich w średniowieczu miały charakter policentryczny. Hierarchię przestrzeni, wraz z przepisami odnośnie do celebracji w niej danego święta, określały przepisy liturgiczne, a zwłaszcza dyspozycje zawarte w Liber Ordinarius. Prezentowany artykuł podejmuje próbę interpretacji funkcjonalnej wnętrza kościołów dwuchórowych w średniowieczu na przykładzie katedry w Bambergu i kolegiaty w Tumie pod Łęczycą, m.in. w oparciu o wyniki badań nad Liber Ordinarius, analizę architektury, układu ołtarzy oraz wystroju i wyposażenia.
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