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1

Idea Sancta Sanctorum i Arki przymierza towarzysząca przechowywaniu Eucharystii we wczesnośredniowiecznych świątyniach

100%

Nowiński J.

Seminare. Poszukiwania naukowe

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2000

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vol. 16

537-548

2

Dzwon w tradycji i kulturze Europy

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

1995

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vol. 11

197-203

3

Crux in medio ecclesiae – najstarsze monumentalne krucyfiksy z cysterskich kościołów w Loccum, Pforta i Sorø

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

2016

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vol. 37

|

issue 3

171-180

EN

Next to the high altar, which formed the centre of the sanctuarium of the Cistercian convent church, and faced by the monks’ choir, the Altar of the Holy Cross (altare crucis), located before the rood screen, constituted the second essential element in the church furnishing and the centre of liturgical space of the Cistercian church. The altar, located in medio ecclesiae and facing the conversi’s choir, liturgically and artistically constituted the most important place in the western part of the convent church. Apart from providing space for liturgical ceremonies, the altar was used to display relics. From the very beginning, its composition entailed a monumental crucifix crowning the screen separating the monks’ choir from that of the conversi. Its presence together with the wooden matter and painted effigy of Crucified Christ were found in the instructions of the oldest provisions of the General Chapter of 1134. The oldest crucifixes of the type come from the Cistercian Abbeys in Loccum, Pforta, and Sorø. The three oldest ones, crowning the rood screed and Altars of the Holy Cross in medio ecclesiae, typically combine the crux gemmata and lignum vitae iconographies, which, in effect, composes into a triumphal image of the cross: crux triumphalis. Monumental crucifixes shown as a glorious tree of life implement the ideal of a Cistercian church as the paradise with the tree of life in its centre: ecclesia est paradisus et lignum vitae est in medio paradisi. The subsistence of this ideological concept would be still confirmed in the mid-14th century, best testified by the monumental lignum vitae crucifix above the rood screen and the Altar of the Holy Cross in the Doberan Abbey Church.

4

Ołtarz „Męczenników II wojny światowej” w Lądzie i utwór „Domius regit me. Psalm 23” skomponowany przez Pawła Łukaszewskiego na uroczystość poświęcenia ołtarza

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

2017

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vol. 38

|

issue 3

157-167

PL

W 2010 r. jeden z XVIII-wiecznych bocznych ołtarzy kościoła w Lądzie, postanowiono poświęcić męczennikom II wojny światowej: więzionym w Lądzie kapłanom i „Poznańskiej Piątce”. W latach 2011-2013, według koncepcji ks. Janusza Nowińskiego SDB, malarz i rzeźbiarz Janusz Szpyt wykonał nowy wystrój ołtarza: dwa nowe obrazy oraz antepedium. Na tę okazję ks. Janusz Nowiński zamówił u kompozytora Pawła Łukaszewskiego utwór Dominus regit me. Psalm 23 skomponowany na baryton i zespół instrumentalny, którego prawykonanie miało miejsce w Lądzie 28 października 2013 r. W 2014 r. Paweł Łukaszewski włączył utwór Dominus regit me. Psalm 23 do partytury Requiem, które skomponował dla Presteigne Festival w Walii (Wielka Brytania). Requiem Pawła Łukaszewskiego zostało wykonane po raz pierwszy na festiwalu w Presteigne 20 sierpnia 2014 r. Partyturę Requiem wydało drukiem Polskie Wydawnictwo Muzyczne w 2014 r.

EN

In 2010, a decision was made to dedicate one of the side altars in the Ląd church (Fig. 1) to the Martyrs of World War II: the priests imprisoned in Ląd and the “Poznan Five”. Between 2011 and 2013, following the concept of Father Janusz Nowiński SDB, a painter and sculptor Janusz Szpyt made new elements of the altar: two new paintings and an antependium (Figs. 2-4). Father Janusz Nowiński commissioned a composer Paweł Łukaszewski to write a musical piece Dominus Regit Me. Psalm 23, whose first performance took place in Ląd on 28 October 2013 (Figs. 5-6). It was composed for baritone and musical ensemble. In 2014, Paweł Łukaszewski incorporated Psalm 23 into the score of the Requiem he was composing for the Welsh Presteigne Festival (Great Britain). Paweł Łukaszewski’s Requiem had its first performance at the Presteigne Festival on 20 August 2014. The score of the Requiem was published in 2014 by the Polskie Wydawnictwo Muzyczne.

5

Obraz Matki Boskiej Częstochowskiej w Umieniu – nieznane dzieło z kręgu Franciszka Śmiadeckiego

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

2015

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vol. 36

|

issue 4

199-208

EN

The Parish Church of St Michael the Archangel in Umień (formerly Umienie, Koło district) possesses one of the early copies of the image of Our Lady of Częstochowa (Figs 1,8). The oil painting on canvas features the Blessed Virgin Mary and Jesus in gem-embossed gowns, the Virgin is wearing a jewelled crown. The iconography as well as the work’s stylistic features allow to associate it with a set of numerous copies of the painting of Our Lady of Częstochowa created in the workshop of a Cracow painter, Franciszek Śmiadecki (Figs. 2,3), active in 1596-1615. The first parish church in Umień was built in the 14th c. The current, wooden structure was raised in the 1st half of the 17th c. (Figs 6,7,8) by the contemporary heir of Umień, Wacław Kiełczewski, a courtier of King Sigismund III Vasa. Kiełczewski was also the founder of the Mannerist altar and the painting of Our Lady of Częstochowa in the side chapel of the church. After the 1755 fire, the surviving painting was placed in the new high altar, where it remains to this day (Fig.8).

6

Restauratio et aedificatio. Zabytkowy zespół klasztorny w Lądzie pod opieką salezjanów

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

1997

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vol. 13

281-290

7

Ara Crucis - krucyfiks i ołtarz św. Krzyża we wnętrzu średniowiecznych świątyń

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

2019

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vol. 40

|

issue 2

157-173

EN

The altar dedicated to the Holy Cross (altare sanctae crucis) appeared in church interiors in the early Middle Ages: the oldest testimonies to such altars date back to the 6th century. The altar was always accompanied by an impressive crucifix placed centrally in the church (crux in medio ecclesiae), and it was precisely this element that the location, dedication, and symbolic interpretation of the altare sanctae crucis in a church interior stemmed from. The combination of an altar with a cross monument centrally placed in the church contributed to the altar’s importance, making it dominate over other ones. Centrally located in a mediaeval church, the cross mimicked the cross monument placed on Golgotha, regarded together with Jerusalem as the centre of the world and of the history of Salvation.

PL

Ołtarz dedykowany Krzyżowi Świętemu (altare sanctae crucis) pojawił się we wnętrzu świątyń we wczesnym średniowieczu – najstarsze świadectwa o istnieniu takich ołtarzy pochodzą z VI w. Ołtarzowi temu zawsze towarzyszył okazały krucyfiks ustawiony w centrum kościoła (crux in medio ecclesiae), i to on dał początek usytuowaniu, dedykacji oraz interpretacji symbolicznej altare sanctae crucis we wnętrzu świątyni. Połączenie ołtarza z monumentem krzyża stojącym w centrum kościoła powodowało, że nabierał on szczególnej rangi, dominując wśród pozostałych ołtarzy. Krzyż w centrum średniowiecznych świątyń naśladował pomnik krzyża ustawiony na Golgocie, postrzeganej wraz z Jerozolimą jako centrum świata i historii Zbawienia.

8

Turris eburnea. Tabernaculum aureum. Templum dei. Arca foederis. Średniowieczne figury maryjne przechowujące Eucharystię

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

1996

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vol. 12

283-290

9

„Tabula memorialis z Lądu”- oryginalny przykład pamięci o zmarłych i dokumentacji historii w cysterskim opactwie w 1. połowie XVIII w

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

2014

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vol. 35

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issue 3

205-218

EN

In the post-Cistercian Abbey in Ląd-on-Warta a unique monument testifying to the com-memoration of the deceased brothers and, at the same time, illustrating the historical tradition of Cistercian Abbeys in the Polish-Lithuanian Commonwealth, namely Tabula Memorialis, has been preserved till our times. and feature the abbreviations: RR. PP. VV. Fr. (Reverendi Patres Venerendi Fra-tres) accompanied by the Latin name of a respective Cistercian Abbey. The Abbeys come in the fol-lowing order: 1. Ląd, 2. Jędrzejów, 3. Wągrowiec, 4. Oliwa, 5. Sulejów, 6. Wąchock, 7. Koprzywnica, 8. Mogiła, 9. Obra, 10. Paradyż, 11. Szczyrzyc, 12. Koronowo, 13. Bledzew, 14. Pelplin. The squares in each row are covered with a wooden lid that can be pulled out showing a pair of vanitative em-blems painted against a cinnabar background. Each representation is accompanied by a banderole with a commentary. Tabula Memorialis was made in ca. 1745 to celebrate the 600th anniversary of the Ląd Abbey foundation. Its composition presents two content layers: a didactic one dedicated to the reflection on death (meditatio mortis, ars moriendi), and the historical one: presenting the foundation of 14 Cistercian Abbeys in the Polish Cistercian Province and promoting Ląd as the oldest one among them in Poland. Tabula Memorialis served for the ceremony of absolution of the dead during their collective recollection conducted in the chapter house.

10

Ks. Eugeniusz Cesarz SDB (1925-1988) – in memoriam w 30. rocznicę śmierciKs. Eugeniusz Cesarz SDB (1925-1988) – in memoriam w 30. rocznicę śmierci

100%

Nowiński J.

Seminare. Poszukiwania naukowe

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2018

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vol. 39

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issue 1

11-17

11

Unikalne znaczenie wody chrzcielnej i jej wykradanie do praktyk magicznych przyczyną ewolucji formy chrzcielnicy i jej zabezpieczenia

100%

Nowiński J.

Seminare. Poszukiwania naukowe

|

2014

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vol. 35

|

issue 2

175-191

EN

The growing importance of baptismal water since the 3rd c., emphasized in the ceremony of its blessing with holy oils (benedictio fontis) which occurred in the Early Middle Ages and Carolingian ceremonies, developed the perception of baptismal water as a res sacra, a holy item category, turning it into unique matter. Its presence in the baptismal font influenced the development of the shape and decoration of the baptismal vessel, primarily by compositionally exposing the basin which clearly dominated the pedestal. The holiness and the sanctifying power of the Sacrament matter were illustrated in the font basin decoration. In the Middle Ages, the sacramental matter of baptismal water was used in sorcery practices related to the so-called effigy magic (invultuatio). In order to enhance the magic power and identification with sorcery addressees, wax figurines that represented them underwent a rite of sorcery Baptism being given the name of an individual a magic ritual was targeted at. As a result, baptismal water together with the consecrated oil of Chrism and oil of the Catechumens were stolen from churches. Those sacrilege practices made the Church issue an order to keep baptismal fonts locked (sub clave), the latter resulting in various forms of preventing access to the baptismal font: from simple lids strengthened with metal ferrules, up to impressive conic ones, with time becoming more and more artistically elaborate. The problem of securing fonts remained open also in the post-Tridentine period. Rituale Romanum issued in 1614 instructed to lock the fonts and fence them off with a closing balustrade.

12

Zabytki Ziemi Konińskiej wartością kształtującą tożsamość i rozwój kulturowy regionu konińskiego

100%

Nowiński J.

Seminare. Poszukiwania naukowe

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2015

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vol. 36

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issue 3

179-185

EN

The dynamic development of industry in Konin and its vicinity launched in the 1950s and the issuing inflow of population from different regions have altered the character and perception of Konin and the Konin District. In view of all these new phenomena, it is of major importance to culturally define the latter. It is monuments that constitute one of the essential values consolidating historical awareness and cultural identity of a nation and, within it, of small communities (Heimats). Monuments create priceless legacy passed on from generation to generation, while building the prestige of, not only, the place where they are located, but also, of the whole region. Today’s territory of the Konin District differs from its historical boundaries, altered and trimmed after Poland’s partitions in the late 18th c. The cultural identity of the region was for many centuries shaped by an impressive set of monuments present within the pre-partition Konin District. Also today, the rich legacy of monuments should contribute to the cultural identity and development strategy of the region. The high quality of the historic substance and the Konin Region’s attractive leisure offer promise a strong tourist branding of the ‘Konin District’ whose promotional motto could read: ‘The Konin District - rich in nature and culture’.

13

TRYPTYK Z LĄDU – NIEZNANE DZIEŁO PÓŹNOGOTYCKIEJ SNYCERKI

100%

Nowiński J.

Ochrona Zabytków

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2008

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issue 2

39-50

EN

The former Cistercian monastery in Lad on the Warta, today: the seat of the seminary of the Salesian Society, features a Late Gothic carved triptych with the figures of the Virgin Mary and Child and the following saints: Barbara, Catherine, Nicholas and Stanislaw. It has been established that in 1969 the triptych was transferred to Lad from an unidentified locality in the land of Lubusz. The monument was in a highly unsatisfactory condition, with the side wings detached from the main chest, and a missing fragment in the wing with St. Nicholas, while the figures showed traces of mechanical damage and repainting; in addition, they were assembled in an altered order. In 1979 it was decided to subject the monument to conservation, carried out by the Lodz-based conservator Jan Potz; the work lasted from May 1979 to October 1981. The conservation programme was subjected to the sacral purpose of the triptych and its functions. Apart from normal conservation, consultation with conservators and an art historian led to a decision to reconstruct the gilding, the silver plating, the missing wood, etc. The reconstruction of the polychrome was conducted with spots and dots in attempt to render them invisible from a greater distance. All the reconstruction and pointing are reversible. The Triptych from Lad is an altar with a main chest 97 x 94 x 16 cm large, a right wing 98 x 47,5 x 16 cm large, and a left wing 97,5 x 47 x 15,5 cm large. The formal features, especially the cut of the costume worn by St. Barbara, make it possible to place the origin in the first quarter of the sixteenth century.

14

„Anioł Opatrzności” w powojennym Skrzatuszu: Helena Sadowska (1910–1995) – in memoriam

100%

Nowiński J.

Rocznik Skrzatuski

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2018

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vol. 6

59-64

15

Historia budynku katechetycznego przy kościele pw. Najświętszego Serca Pana Jezusa w Witankowie, w dawnej parafii Skrzatusz

100%

Nowiński J.

Rocznik Skrzatuski

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2018

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vol. 6

77-83

16

Ołtarz Świętego Anioła Stróża w kościele pielgrzymkowym w Skrzatuszu z fundacji Jana Wiganda de Osten-Sacken

100%

Nowiński J.

Rocznik Skrzatuski

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2020

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vol. 8

147-159

PL

W kościele pielgrzymkowym w Skrzatuszu zachował się ołtarz boczny dedykowany Aniołowi Stróżowi i św. Aniołom. Fundatorem ołtarza w 1715 r., altarii z nim związanej i Bractwa Świętych Aniołów Stróżów był Jan Wigand de Osten-Sacken, protoplasta polskiej gałęzi tego rodu. Zachował się dokument fundacyjny ołtarza, w którym m.in. są podane finansowe warunki funkcjonowania fundacji oraz zobowiązania duchowe na rzecz fundatora ołtarza.

EN

In the pilgrimage church of Skrzatusz there is a side altar dedicated to Guardian Angel and Saint Angels. Jan Wigand de Osten-Sacken, the progenitor of the Polish branch of this family, was the founder of the altar in 1715, the altaria associated with it and the Brotherhood of Saint Guardian Angels. The foundation document of the altar has survived. financial conditions of the foundation’s operation and spiritual obligations for the founder of the altar are given there.

DE

Guardian Angel altar, altar in Skrzatusz, Jan Wigand de Osten-Sacken, Synagogue in Pila (Piła), Skrzatusz

17

Cystersi propagatorami kultu relikwii św. Urszuli i jej Towarzyszek (Undecim Milium Virginum) – Wybrane przykłady

100%

Nowiński J.

Saeculum Christianum. Pismo Historyczne

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2014

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vol. 21

61-72

EN

In 1182 and subsequent years, the Cistercian Abbey of Altenberg near Cologne would receive numerous relics of the Undecim Milium Virginumacquired from the so-called ager Ursulanus,the cemetery dating from late Antiquity discovered in 1106 by Cologne city walls and considered to be the burial place of St Ursula and her Companions. In the Middle Ages, the Altenberg Abbey possessed one of the largest set of relics of the Undecim Milium Virginumand sent out its pieces to other Cistercian abbeys throughout Europe, e.g., to Cîteaux, Morimond, and the Cistercian abbeys in Greater Poland: Łekno, Ląd, and Obra, thus promoting their cult within the whole order. The relics sent from Altenberg were in various forms: as a corpus,namely an entire skeleton; pars de corpora, being single bone fragments; and a caput, i.e., head relics, most highly prized in the cult of relics. Collections of heads of the Martyrs of Cologne can be found in large sets in numerous Cistercian abbeys and churches throughout Europe, e.g., 55 head relics (capita) in Ląd; 24 capitain Pelplin; 24 capita in Marienfeld; 56 capita in Roermond. A valuable record of the translation of the Undecim Milium Virginum relics from Cistercian abbeys can be found in two chronicless:Morimond Abbey Chronicledescribing the translatioand adventus reliquiarumfrom Altenberg to Morimond in 1234, as well as the Bydgoszcz Bernardine Chroniclerecording the transfer of the relics of the Cologne Martyrs from the Ląd Abbey to the Bernardine Church in Bydgoszcz in 1614.

18

Rekonstrukcja fresków Andrzeja Radwańskiegoo na polach sklepień południowej nawy bocznej kościoła Najświętszej Maryi Panny i św. Wojciecha w Jędrzejowie

100%

Nowiński J.

Saeculum Christianum. Pismo Historyczne

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2013

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vol. 20

121-130

EN

In 1734-39, Andrzej Radwański executed a polychrome fresco on the walls and vaults of the Cistercian Abbey in Jędrzejów. It was the first of the numerous monumental polychromes by the painter. Following the fire of the church during WWI, Radwański’s frescoes were damaged. The only small fragments to have survived were on the three panels marked as 2,3, and 4 (figs. 1-3,6) on the plan. The major content motifs in the frescoes that survived are as follows: the beginnings and development of the Cistercian Order; the Cistercians in Our Lady’s care; great saints and scholars of the Cistercian Order; the cult of Blessed Wincenty Kadłubek. In 2013, during the conservation of the paintings in the Jędrzejów church, the decision was made to reconstruct the paintings on the vault in the southern aisle. The reconstruction programme was devised by the author of the present article. The inscription preserved on Vault 3 reading: [Hic] Pascor a Vulnere, Hic Lac[tor ab Ubere] (fig. 3) served as the departure point for the programme of identification of the reconstructed paintings. The quoted words were associated with St Bernard of Clairvaux and his mystic visions of Amplexus and Lactatio(fig.4). The remaining frescoes on the vaults were also dedicated to St Bernard, with the following scenes featured: St Bernard as a preacher, Doctor Mellifluus, on Vault 2 (fig.8); and St Bernard’s writing inspired by Our Lady, Doctrina,on Vault 4 (fig.6). Vault 1 shows the scene of St Bernard and his companions entering the Citeaux Monastery (fig. 10). In the elaboration of the iconography, scenes were to be reconstructed using the hagiographic series of St Bernard preserved in other Cistercian churches. So also were graphic presentations (figs. 7, 9), as well as a drawing by Andrzej Radwański (fig. 5).

19

O najstarszym przedstawieniu cudownego obrazu Matki Bożej Czerwińskiej na rycinie z 1672 roku

100%

Nowiński J.

Biuletyn Historii Sztuki

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2013

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vol. 75

|

issue 1

89-99

EN

A 1672 copperplate engraving of the miraculous effigy of Our Lady of Czerwińsk (1612, Łukasz of Łowicz) is discussed. The print, kept in the sanctuary in Czerwińsk on the Vistula, shows the effigy of the Madonna surrounded by numerous votive offerings featuring inscriptions and cartouches illustrating the miraculous events which have taken place thanks to her intervention.

20

Malowidła Łukasze Raedtke, freskanta 1. połowy XVIII wieku w pocysterskim kościele w Lądzie nad Wartą

100%

Nowiński J.

|

2010

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vol. 72

|

issue 1-2

149-171

EN

Łukasz Raedtke, a convert from the Cistercian abbey at Przemęt would have been one of the first painters to work on commission for the abbey pa-tron, Mikołaj Antoni Łukomski, to decorate the abbey church dedicated to the Virgin Mary at Ląd. Born in or around 1685, he would have entered the Cistercian monastery in 1703 or 1704, while his death is recorded as being 4th March, 1722. Two known self-portraits of Raedtke, preserved in his own frescos at Ląd and Przemęt, depict the painter’s appearance at about 10 and 20 years of age Up until this point, the artist has remained completely absent from Polish art history, while his name has been associated exclusively with the mural paintings at Ląd. It is clear that he was author of the monumental decorative painting carried out around 1720 for the church of St. John the Baptist at Przemęt, in which his frescos decorate the presbytery walls, transept vaulting and canopies of the illusory cupolas. As a result of meagre archival information, Raedtke remains an artist whose biography is hidden beneath the surfaces of his executed works.

Refine search results

Idea Sancta Sanctorum i Arki przymierza towarzysząca przechowywaniu Eucharystii we wczesnośredniowiecznych świątyniach

Dzwon w tradycji i kulturze Europy

Crux in medio ecclesiae – najstarsze monumentalne krucyfiksy z cysterskich kościołów w Loccum, Pforta i Sorø

Ołtarz „Męczenników II wojny światowej” w Lądzie i utwór „Domius regit me. Psalm 23” skomponowany przez Pawła Łukaszewskiego na uroczystość poświęcenia ołtarza

Obraz Matki Boskiej Częstochowskiej w Umieniu – nieznane dzieło z kręgu Franciszka Śmiadeckiego

Restauratio et aedificatio. Zabytkowy zespół klasztorny w Lądzie pod opieką salezjanów

Ara Crucis - krucyfiks i ołtarz św. Krzyża we wnętrzu średniowiecznych świątyń

Turris eburnea. Tabernaculum aureum. Templum dei. Arca foederis. Średniowieczne figury maryjne przechowujące Eucharystię

„Tabula memorialis z Lądu”- oryginalny przykład pamięci o zmarłych i dokumentacji historii w cysterskim opactwie w 1. połowie XVIII w

Ks. Eugeniusz Cesarz SDB (1925-1988) – in memoriam w 30. rocznicę śmierciKs. Eugeniusz Cesarz SDB (1925-1988) – in memoriam w 30. rocznicę śmierci

Unikalne znaczenie wody chrzcielnej i jej wykradanie do praktyk magicznych przyczyną ewolucji formy chrzcielnicy i jej zabezpieczenia

Zabytki Ziemi Konińskiej wartością kształtującą tożsamość i rozwój kulturowy regionu konińskiego

TRYPTYK Z LĄDU – NIEZNANE DZIEŁO PÓŹNOGOTYCKIEJ SNYCERKI

„Anioł Opatrzności” w powojennym Skrzatuszu: Helena Sadowska (1910–1995) – in memoriam

Historia budynku katechetycznego przy kościele pw. Najświętszego Serca Pana Jezusa w Witankowie, w dawnej parafii Skrzatusz

Ołtarz Świętego Anioła Stróża w kościele pielgrzymkowym w Skrzatuszu z fundacji Jana Wiganda de Osten-Sacken

Cystersi propagatorami kultu relikwii św. Urszuli i jej Towarzyszek (Undecim Milium Virginum) – Wybrane przykłady

Rekonstrukcja fresków Andrzeja Radwańskiegoo na polach sklepień południowej nawy bocznej kościoła Najświętszej Maryi Panny i św. Wojciecha w Jędrzejowie

O najstarszym przedstawieniu cudownego obrazu Matki Bożej Czerwińskiej na rycinie z 1672 roku

Malowidła Łukasze Raedtke, freskanta 1. połowy XVIII wieku w pocysterskim kościele w Lądzie nad Wartą