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Rysunek Franciszka Smuglewicza "Meczet Tatarów i ich nabożeństwo": Historia pierwszego ikonograficznego przedstawienia meczetu i Tatarów polsko-litewskich

100%

Drozd A.

Przegląd Orientalistyczny

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2022

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vol. 1-4 (281-284)

21-34

EN

At the end of the 18th century, the first depiction of a mosque and of the Polish-Lithuanian Tatars was created – a drawing by the popular artist of historical and religious painting of the King Stanisław August Poniatowski’s era and the founder of the Vilnius painting school, Franciszek Smuglewicz, “The Mosque of the Tatars and their service”. Made with ink, despite its small size, it shows with great precision the interior of the mosque in Łukiszki near Vilnius and the praying Tatars there. For a long time, it was dated to 1781, but in light of the current findings on the life of Franciszek Smuglewicz, the date of the drawing needs to be moved to 1785 or 1786. It is an excellent iconographic document containing many reliable details, such as the Tatar clothes, the imam’s outfit, their prayer gestures and items used during prayer, the minbar with forms borrowed from rococo church furniture, spatial arrangement of the prayer room, longitudinal division of the interior of the mosque into a male and female hall separated by a wall with a sight gap covered with a curtain, stripes stretched on the floor cloths used instead of prayer rugs, candlelight, prayer benches for the disabled. For the first time (and the only time, until the photographic documentation from the 20th century), publics who had no direct contact with the Tatars could come into contact with their religious practices and the temple’s interioring was not widespread for a long time. Along with twenty other similar views of Vilnius, it was included in an album that belonged until the 19th century to the Jaszczołd family from the Kingdom of Poland. In 1843, the Russian army’s lieutenant of the corps of engineers, Jan Jaszczołd (d. 1858), made it available to prof. M. Homolicki in Vilnius, described the contents of the album (but without discussing the depiction of service in the mosque). Jan Jaszczołd was a son of Wojciech Jaszczołd (d. 1821), a Polish painter and decorator who had been trained by Smuglewicz – this can explain why the album with views Vilni s was eventually found in Jaszczołd family. Later, the Jaszczołd album found its way to the collection of Emeryk Hutten-Czapski at the National Museum in Krakow. Only then (in 1912) the drawing could reach a wider audience, as it was published in black and white photographic reproduction. It is worth adding that the entire album, including the discussed view of the service in Łukiszki, was commissioned by Prince Adam Kazimierz Czartoryski.

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Światło Rzymu

84%

Nitka M.

Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

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2007

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issue 1(3)

46-69

3

Franciszek Smuglewicz, Jan Chrystian Kamsetzer i pamięć synów o Józefie Prozorze

84%

Michalczyk Z.

Biuletyn Historii Sztuki

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2014

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vol. 76

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issue 2

197-217

EN

The name of the Witebsk Voivode Józef Prozor and his relatives has been permeated in history of culture and Polish art of Neo-Classicism by Franciszek Smuglewicz, author of the portrait of the Prozor family, a work that despite formal flaws, ranks among the canon of Polish painting from the late 18 th century. The work features family members grouped around a medallion with the portrait of the late Józef Prozor. Source materials shed some new light on the circumstances how the portrait was created. Commissioned by Karol, the eldest son of Witebsk Voivode, the effigy of Józef Prozor was modeled on his death mask. Moreover, Karol Prozor commissioned from the royal architect Jan Chrystian Kamsetzer a monumental tomb forming an obelisk, intentioned to be placed in Siehniewicze, possibly somewhere in the vicinity of the Parish Church. It was executed at the stonemason’s workshop in Dębnik near Kraków, while the figure of the genius of death (gilded bronze) was commissioned in London (most likely through Franciszek Bukaty). In April 1792, preparations were carried out to dispatch the work to Siehniewicze and assemble it on site, yet most likely the political developments of the subsequent months, related to the Targowica Confederation, the 1792 Polish-Russian War, and Karol Prozor’s emigration prevented the transportation of the monument to Polesie.

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1 Biuletyn Historii Sztuki

1 Przegląd Orientalistyczny

1 Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego

1 Drozd A.

1 Michalczyk Z.

1 Nitka M.

1 2022

1 2014

1 2007

Rysunek Franciszka Smuglewicza "Meczet Tatarów i ich nabożeństwo": Historia pierwszego ikonograficznego przedstawienia meczetu i Tatarów polsko-litewskich

Światło Rzymu

Franciszek Smuglewicz, Jan Chrystian Kamsetzer i pamięć synów o Józefie Prozorze