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Historyczne centrum Krakowa (1978)

100%

SIWEK A.

Ochrona Zabytków

2017

issue Dodatek Specjalny. Dziedzictwo w Polsce.

68-74

The historic centre of Kraków is one of the most outstanding examples of mediaeval town-planning in Europe. It consists of three urban units: the Wawel Hill complex (a symbol of royal authority and a necropolis that testifies to dynastic and political connections of mediaeval and modern Europe), the pre-chartered city of Kraków; and the town of Kazimierz, including the suburb of Stradom. This homogeneous urban complex is characterized by a harmonious development pattern and an accumulation of successive layers of elements representing all styles from the early Romanesque up to modern architecture, which can be traced in numerous temples and monasteries, monumental public buildings, relics of the mediaeval defensive walls, as well as palazzos and townhouses designed and erected by highly accomplished architects and craftsmen. Criterion: (iv) The Historic Centre of Kraków – between preservation and the challenges of today Kraków is unique. Historically, it is one of the capitals of Poland, the city of kings, bishops, scholars, and artists. It is also a lens focusing dynastic, political, economic, cultural, and artistic threads that are highly significant for the history of European civilization in a perspective reaching back beyond the time frame of the past millennium. It is a city whose development owes much to the contributions of numerous eminent strangers from different parts of the world, which resulted in the original character of the local art and a cultural specificity that combines universal values and local tradition; a city whose undeniable asset is its history, still visible in the form of successive layers in the urban fabric itself, as well as in the works of architecture and art. Kraków provides a representative example of the historic European city, which is, at the same time, a local centre whose distinct, regional character only serves to complement the universal values it represents. Its special standing among the cities of Europe is further confirmed by the fact that it was among the first twelve sites inscribed on the World Heritage List in 1978. As such, the city can serve as a perfect research field and illustration of various processes connected with its presence on the List. It should be noted here that it was the historic centre of the city that was inscribed on the List. This consists of three settlement units: Wawel Hill with its royal castle and Roman Catholic cathedral; the historic centre of Kraków with the preserved pre-incorporation urban layout as well as the one from the time of the ‘Grand Charter’ of 1257; and Kazimierz, Kraków’s mediaeval satellite town with a suburb and rich complex of monuments documenting the existence of the Jewish quarter in its historical town structure. The centre of Kraków is surrounded with a ring of districts formed in the period of the city’s expansion (from the 18th to the 20th century), sometimes as competitive centres of development such as the town of Podgórze towards the end of the 18th century or the district of Nowa Huta in the mid-20th century. Yet the oldest part, the city centre, has actually played the role of the main administrative and economic urban core until the present day, which has its own impact upon the character of its protection. The historic centre’s functions and character have been changing under the influence of political and economic transformations. This, in turn, results in continual pressure upon its historic tissue and requires special activity on the part of the services protecting the city’s monuments and constant updating of the protection policies. The inscription on the World Heritage List was on the one hand a powerful stimulus to strengthen the protection policy but on the other hand it continues to exert its influence upon some of the longterm changes and transformations that are currently taking place. When it was inscribed on the List in 1978, Kraków was undoubtedly the most valuable historic urban complex in Poland; but, at the same time, it was also a city on the verge of ecological disaster. The industrial development, resulting partly from the regional tradition and partly from the Cold War strategy of building up heavy industry, was generating emergency levels of air pollution. ‘Acid rain’ would devastate the city’s historic tissue. To become equal to the protection standards associated with being inscribed on the UNESCO World Heritage List, in 1978 the contemporary authorities established the Civic Committee for the Restoration of Kraków Heritage headed by the Chairman of the Council of State of the Polish People’s Republic. Thus in the conditions of the socialist state a collegial body was created whose task consisted in accumulating and distributing resources for the preservation of the endangered historic monuments. In 1985, the lower chamber of polish parliament, by way of legislation, created the National Fund for the Renovation of Kraków’s Monuments, a state fund that guaranteed annual allocations for the protection of monuments in the city. Following the political transformations after 1989, the management of the fund was passed into the civic hands and, from 1990 to the present, the fund has been guaranteed by the President of the Republic of Poland, while the distribution of its resources is supervised by the Civic Committee for Restoration of Kraków Heritage which consists of personages from the field of culture, experts on the protection of monuments, the clergy, and local representatives of the state administration and municipal or regional authorities. This solution, exceptional on a national scale, has proved correct both in the context of civic participation and from the perspective of the hundreds of renovated buildings and works of art housed in their interiors, and even in the context of the maintenance of the consistent implementation of a policy of monument protection which allows the continuity and periodicity of activities that guarantee the best results from the point of view of the monument protection services. Due to the political transformations and, first and foremost, to the fact that respect for private property rights was restored after 1989, the owners of historic properties have also become active and currently contribute sums equal to, or even higher than, the state allocations for the protection of Kraków’s monuments. This is also possible thanks to the opening of the national borders after Poland’s accession to the EU, which turned the historic centre of the city into a hub of the international tourism industry. The tourist traffic generates considerable income for the owners of the properties, but also poses a series of new challenges. The historic city centre has become depopulated. A distinct feature of Kraków – its specific community composed of academics, artists, and conservative burghers – has been dispersed, remaining partly in the 19th-century districts surrounding the city core, and partly moving away to satellite urban areas. Meanwhile, the historic centre has been dominated by tourist services, mainly hotels and catering businesses. A beneficial result of all the above changes is the fact that more and more of the historic interiors – such as mediaeval cellars or modern interiors with artistic decoration - are rendered accessible to the public. On the other hand, the interference with the spirit of the place, may be a downside effect. It should also be added here that Kraków has become the starting point for visiting other World Heritage sites nearby, such as the Wieliczka and Bochnia Royal Salt Mines, the Auschwitz Birkenau German Nazi Concentration and Extermination Camp (1940-1945), the Mannerist Architectural and Park Landscape Complex and Pilgrimage Park in Kalwaria Zebrzydowska, the Wooden Churches of Southern Małopolska, and Wooden Tserkvas of the Carpathian Region in Poland and Ukraine. New World Heritage routes are established, and a whole network is emerging whose focal point is still the city of Kraków. Thus, following a centuries-old tradition, Kraków and its historic centre play the part of a busy economic hub and regional metropolis. Awareness of the great value of its historic urban complex – and particularly of the area inscribed on the World Heritage List and of the need to protect it – still remains firm and universal. Yet the experiences of recent decades indicate that efficient protection of such values reaches far beyond the framework of the traditional activities of monument protection services. It requires an involvement of many different participants and calls for a protection-minded management. On a local scale, the whole monument protection system has been constantly evolving in Kraków. It seems that this evolution tends in the direction indicated by the theory and practice of world heritage, that is, towards management plans and active protection plans. Nevertheless, this process of change takes time and calls for the proper education of all the participants in the complex process of monument protection, which cannot ignore the tendencies prevailing in the development of the city. Thus the principle behind the way the monument protection system moves forward should be the statement that development is supposed to contribute to the preservation of the historic values which are, at the same time, the fundamental inspiration of the development.

Nauka czytania świata

63%

STOKOWSKI M.

Ochrona Zabytków

2017

issue Dodatek Specjalny. Dziedzictwo w Polsce.

165-168

We learn to read throughout our lives. Our learning how to put together letters written on paper when we are children is just the beginning of a process in which we keep refining our skill of reading various texts of nature and of culture. In Western culture, the most helpful tools for learning to read the world of nature and man are the instruments developed by our ancient forbears, namely universities, libraries, and museums. The meanings of their notions have been redefined over the centuries, but they still remain – in one form or another – the key tools of public education. In recent decades, we have acquired another instrument which can be used for in-depth reading of the world, namely the constellation of UNESCO World Heritage Sites. The World Heritage List has become a peculiar reading list for civilised man. By analogy to literary canons, which have been created for centuries, the international community has been highlighting the unique value of selected items of cultural and natural heritage for several decades now. Thus they have been creating a canon of ‘cultural and natural texts’ thanks to which we can explore the history and character of our planet, as well as the history of our own species – Homo sapiens. * Malbork Castle entered the ‘world canon of reading’ in 1997. The castle is one of the finest examples of Gothic brick architecture in Europe. It is also a testimony to pioneering restoration achievements at the turn of the 20th century, as well as to the huge effort and artistry of the Polish restorers who raised the “highest mountain of bricks north of the Alps” from ruins after World War II. Most importantly, however, it is a narrative about the dramatic history of Western Christianity. An attentive reader of its walls will be able to find here questions about the spiritual and material foundations of European civilisation, and thus, also questions about war and peace, savagery and culture, power and service, richness and poverty, body and soul. The secret text inscribed in the bricks is multilayered and difficult to read; therefore one of the most crucial missions for the host of this historic building is to help visitors to understand the language of the walls as thoroughly as possible. Since 1961, The Malbork Castle Museum has been the host. It communicates the key messages of the fortress on the Nogat River through exhibitions, the narration passed on by its guides, internet applications, and the information materials available on the institution’s website, as well as books and scientific conferences. These and the other educational activities delivered in the castle and in the media may be likened to ‘making the place more legible,’ bringing out its meanings. However, in addition to making the reading easier for visitors, there is also a need for educational work, such as to offer audiences help in refining their own ‘wall reading’ skills. The Malbork Castle Museum has been pursuing such programmes, especially for children and youth, for a long time. * As in most other European museums, the educational activities in the Malbork Castle are conducted by a specialised Education Department, whose personnel mainly work with children. The activities comprise thematic classes aimed at promoting intellectual and creative interest among the participants. This is delivered by using theatre and singing techniques, as well as historical clothing and props. Experience gained during work with smaller groups of school pupils led to the creation of the Route of the Castle Mysteries, which has been available to a very wide public since 2015, and is addressed to groups of school children, as well as kids accompanied by parents. Instead of the traditional visiting formula, the Castle Museum proposes a twohour historical game. Its participants form teams of knights. Under the care of a qualified guide addressed as the Route Master, each team travels a castle trail, solving a sequence of tasks. Many of them are practical in nature, and require the participants, for example, to discover hidden items, put together replicas of the capitals of columns, or make an architectural structure with their own bodies. Each task solved is rewarded with a letter. At the end of the game, the successive letters put together form a password by means of which children can open a treasure of mysteries. Naturally, young people who participate in the castle game acquire a great deal of information about the fortress on the Nogat, the Teutonic Order, the Kingdom of Poland, and the culture of the Middle Ages. What is equally important, however, is that during the adventure children come to realise the importance of a careful examination of reality, linking facts together, searching for solutions, and drawing their own conclusions. * The Malbork Castle Museum has another tool helpful in teaching young visitors to read the walls on their own, namely the Young Circle of Friends of the Castle. It has been active for more than three decades and works with secondary school students grouped by age. The training sessions, which are free of charge, are attended exclusively by individual volunteers and not school classes, with the weekly sessions of each group lasting approximately ninety minutes. The Museum treats the activity as a public service. During the first 6-month period, the classes focus on the history of the Teutonic Order, while in the second, those attending explore the entire complex of castle buildings. In the season which follows, they mainly deal with topics related to Malbork after 1466. Young people learn about the Polish garrison of the castle, as well as construction techniques, writing, religious life, hygiene, and medicine in the Middle Ages and the early modern period. The focus of the third season is on reading old and contemporary poetic texts, which is intended to be a bridge to the reading of the substance of the castle. During this exercise young people become aware that the fortress is, in fact, a grand, multi-layered book on Western civilisation. The Club’s classes are not based on the written word, image and exploration of the castle alone. They also involve historical games and workshops. Other activities include field trips around the Malbork area, which are helpful in understanding the geographical, natural and economic context of the castle. Some of these activities are organised in collaboration with educators and youth from other countries. * The members of the team of educators teach children and youth how to read the medieval walls not only to pass on knowledge about Malbork. They work in the hope that thanks to reading the medieval buildings, young people will find it easier to read many other ‘texts of culture and nature’ on their own, both in Poland and worldwide. This is done as an expression of the conviction that reading schoolbooks is not enough to become a responsible heiress to the heritage of our civilisation and a rational inhabitant of the Earth. Indeed, we need also read stones and bricks, musical instruments and vehicles, the lines of roads and channels, the layout of buildings, towns and gardens, human gestures, the colour of leaves, the silence of the forest, the power of canyons, the blessed presence of animals and oceans. Without this skill we are losing our chance of living a conscious life full of delight – after all this is the only life we have on this, the third planet from the Sun.

Jasina – cerkiew Strukowska z Listy UNESCO na tle innych świątyń huculskich

51%

Witkowski W.

Ochrona Zabytków

2015

issue 2

7-39

In 2013, the tserkva dedicated to the Ascension, and traditionally called the Strukivska tserkva, in Yasinia, in the district of Rakhiv, in the Transcarpathian area, in the Hutsul Lands, was inscribed on the UNESCO World Heritage List, together with fifteen other wooden tserkvas in Polish and Ukrainian Carpathian region. Due to his long-lasting supervision over inventory measurements of the Hutsul folk architecture and wooden sacred architecture in the Hutsul Lands and in the Pokuttya region, the author makes a detailed presentation of this temple, which is known in Poland mainly in tourist and sightseeing circles, and compares it with other Hutsul tserkvas with similar plan characteristics. The article contains presentation of the history of this tserkva, which was built in 1824. Its traditional name is supposed to originate from the surname of a Hutsul shepherd, Ivan Struk, who probably founded it as a votive offering for a miraculous rescue of a flock of sheep in winter, which is a theme of a legend that is popular in this part of the Hutsul Lands. On the basis of the field studies that – among others – resulted in making measurement documentation by architecture students from the Lodz University of Technology, under the supervision of the author, there are discussed characteristics of the log construction, with consideration given to the use of squared timber, corners with dovetail joints and cut endings of logs, which is common among others in wooden sacred architecture in the Transcarpathian area, but more seldom in the Galician Hutsul Lands. The temple has no choir gallery over the vestibule for women, which is atypical in Hutsul tserkvas, yet here it is a result of very small sizes of the object. In the tserkva there has been preserved a valuable baroque iconostasis, unfortunately with icons that have been painted on the former paintings recently. A high artistic value is represented by a few other elements of the decor: single icons, processional crosses and banners. Another interesting element is a severe decoration of wooden construction arches at the junction of nave square and side arms, with the characteristic wooden volutes, which is unique for the Hutsul Lands but known for example in the Podhale region. It is one of the two tserkvas of the Hutsul type situated on the South of the Carpathian arch. Other wooden tserkvas in this area belong to totally different types of spatial forms, which are not related to the Hutsul Lands. Due to its plan and shape the one-dome Strukivska tserkva may be classified to the group of a dozen or so recognised wooden temples mainly from the Galician Hutsul Lands and the Pokuttya region that are based on a spatial pattern of a central building on the Greek cross plan, which is composed of five squares, with the middle one being bigger than the remaining ones. This group may comprise both elder (the end of the 18th c. – the beginning of the 19th c.) traditional one-dome Hutsul tserkvas, such as: Deliatyn (1785, extended in 1894, 1902, 1911- -1912), Velyka Kam’yanka (1794), Zelena, the district of Nadvirna (1796, later extended), Zhabye Slupeyka (about 1800, extended in 1850, does not exist), Dora (1823, extended in 1844), Lojeva (1835), Bili Oslavy (called the lower one, 1835), and fivedome objects from the 2nd half of the 19th c.: Tlumachyk (1852, does not exist), Knyazhdvir (1864, does not exist), and Havrylivka (1862, not examined by the author yet), and also the threedome tserkva in Hvizdets (1855), in which the side arms are narrower (rectangular, not square). Whereas, three temples from the parish of Mykulychyn, designed by professionals: Mykulychyn (1868, designed by the architect J. Czajkowski), Tatariv (1912, designed by the architect Franciszek Mączyński from Cracow, polychromes made by the painter Karol Maszkowski, also from Cracow) and Polyanytsya Popovichivska (1912, does not exist), the so called new tserkva in Vorokhta (the 30s of the 20th c.), the tserkva in Zarichchya (1943, designed by the architect Lev Levyns’kyi), are creative interpretations of the original pattern. The two latter ones may be classified simultaneously to a large group of tserkvas in the national Ukrainian style. Similar characteristics are probably to be found in the tserkva in Tysmyenichany (1865), not examined by the author yet. A few tserkvas were extended from the classic three-part plan to the ‘cross’ plan with an enlarged nave square by means of adding side arms; for example: Krasne, the district of Rozhniativ, earlier the county of Kalush (about 1840, extended, 1899 rebuilt) and Chornyi Potik, (the 19th c?). The Strukivska tserkva is decidedly the smallest one in the discussed group (side of the nave log construction is about 5 metres long), which may be explained by the fact that it was a private, peasant foundation. Tserkvas that belong to the pattern described above are situated in a quite compact group in a relatively small geographical area, which may be basically associated mainly with the upper Pruth valley from Vorokhta to Zabolotiv. Some of them are located by roadsides that lead to major tracts or to the Pruth valley. The river and trade routes at its banks contributed to spreading of the pattern, yet it did not spread beyond these tracts. Maybe, in the course of some further studies in the areas of Pokuttya, at the North of the Pruth river, which have been less explored yet, it will happen to find some other examples of objects with the same original plan. The pattern of the tserkva at the Greek cross plan with enlarged nave square was present (though very rare) not only in other regions of former Galicia, but also in Northern, middle, and Eastern lands of Ukraine. However, tserkvas of this type did not exist in a compact group in such a small area as in the discussed region of the Hutsul Lands and Pokuttya. Due to its morphology the group described as the cruciform tserkvas with enlarged nave square presents a set that may be distinguished from the remaining types of wooden temples in the Hutsul Lands and Pokuttya, and may be referred to as Western or – to be more precise – North-Western type the Hutsul wooden tserkva with two variants and older and younger variations. It is not only the fact of identical scheme of groundfloor plan and similar sizes that is significant here, but also the time when the temples were built (the end of the 18th c. – the beginning of the 2nd half of the 19th c.). An additional fact that in this area there were built a few other tserkvas the forms of which present an interpretation of the original pattern indicates that the pattern was so marked in the described area that it was also observed by professionals, who as early as in the 2nd half of the 19th c. and the beginning of the 20th c. wanted to respect consciously the local building traditions, which presented an inspiration for them. The Strukivska tserkva in Yasinia constitutes a very important element in this interesting group of temples. It is an ‘import’ of the pattern of ‘cruciform’ tserkva from the Galician Hutsul Lands to the Transcarpathians. It was built at the same time when the model of ‘cruciform’ tserkvas with enlarged nave square was spreading to the North from the main Carpathian arch. It represents a high level of building technique, with some distinct features that were characteristic of the area. It has been preserved in a relatively pure form, not ‘spoiled’ (as some other Hutsul tserkvas) with extending, rebuilding, or changing materials for covering walls and roofs. At present, it does not demand any important conservatory works. The inscription of this tserkva on the UNESCO World Heritage List seems thoroughly justified. In the group of eight Ukrainian wooden tserkvas that are inscribed on the List, as many as two come from the Hutsul Lands and Pokuttya, which is a clear evidence for the role of this region for the Ukrainian culture. Translated by Joanna Witkowska

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3 Ochrona Zabytków

1 SIWEK A.

1 STOKOWSKI M.

1 Witkowski W.

2 2017

1 2015

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Historyczne centrum Krakowa (1978)

Nauka czytania świata

Jasina – cerkiew Strukowska z Listy UNESCO na tle innych świątyń huculskich