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Dzieje budowy kościoła św. Jakuba w Toruniu w XIV wieku w świetle analizy architektonicznej

100%
Konieczny A.
Biuletyn Historii Sztuki
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2012
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vol. 74
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issue 1
5-32
EN
The article concerne the date of construction of St. James’s Church in Toruń (Thorn). The author refuted Teresa Mroczko’s thesis based on erroneous assumptions about the chancel having been built in stages. The preserved in situ original roof framing over the chancel dated 1317 clearly demonstrates that this part of the church was built over a brief period of time, with the cornerstone for this fragment of the building having been laid in 1309. The current nave main body was built after a longer break, and after the original design had been altered. St. James’s Church in Toruń
2
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Kościół św. Krzyża w Wieliczce na tle jednonawowych świątyń europy środkowo- -wschodniej w XII i XIIIi w

58%
Kozłowski K.
Studia i Materiały do Dziejów Żup Solnych w Polsce
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2014
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issue 29
51-68
EN
The remnants of the Romanesque church of St. Cross were uncovered during the archaeological excavations carried out in the years 1960-1961 and in year 1966. They are located in the north-western part of the present-day Adam Mickiewicz Park in Wieliczka, in the area of the medieval village, called Gorzec, located west of the town. The temple served as a  hospital church, designed for the poorest inhabitants of “Wielicza Sól” (the original name of Wieliczka). Based on the negatives of the foundations it was found that it was a single nave building with the apse from the east, classified in the group of many Polish churches often constructed in the twelfth and thirteen centuries. Outside Poland, the church in Wieliczka can be compared closest to the twelfth and thirteenth-century single nave churches in the Czech Republic, in present-day Slovakia and in Hungary. The described above architectural type in the mentioned countries in Central and Eastern Europe evolved from the central building – a  rotunda, functioning a  fortified town, magnate, graveyard and parish churches. There is a possibility that the church of St. Cross was erected by the building workshop employed in the construction of the Church of St. Mary Magdalene and St. Nicholas in Dziekanowice, near Wieliczka, which has also a single nave and is similarly dated. Unfortunately, due to lack of resources, this question remains unclear and similarly the questions about the architectural detail, sculptural decoration or polychrome the used in the temple from Wieliczka.
3
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Architektura przedsoborowa kościoła pw. św. Józefa w Zabrzu autorstwa Dominikusa Böhma a posoborowa odnowa liturgiczna

58%
Bogdan M.
Liturgia Sacra. Liturgia - Musica - Ars
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2023
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vol. 62
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issue 2
195-223
EN
Describing the synthesis of liturgy and architecture, the article proves that the Church of St. Józefa in Zabrze has always served and continues to serve well in the area of the Holy Liturgy. Its creator, Dominikus Böhm, tried to make an architectural synthesis of two images of a sacred object, the one representing the church as the House of God and the one representing the church as the house of the community of believers. The article presents the symbiosis of Böhm's pre-conciliar and post-conciliar creative intuition where respect for tradition and conservatism coexist with the spirit of 20th century modernism. When describing the original facade of the church in Zabrze and its plan, it refers to historical style inspirations and symbolic language used in the church of St. Joseph when all this serves the good of architecture and liturgy. At the same time, other sacred realizations of Dominikus Böhm and other architects active at that time are taken into account. This applies to the analysis of church interiors with a central, longitudinal liturgical arrangement and everything that brings us closer to each other in sacred architecture, the common path of history, present and future.
PL
Artykuł opisując syntezę liturgii i architektury udowadnia, że budowany w zgodzie z międzynarodowym Ruchem Liturgicznym z pierwszej połowy XX wieku kościół św. Józefa w Zabrzu zawsze służył i dalej dobrze służy obszarowi Liturgii Świętej. Jego twórca Dominikus Böhm starał się dokonać architektonicznej syntezy dwóch obrazów obiektu sakralnego, tego wyobrażającego kościół jako Dom Boży oraz tego wyobrażającego kościół jako dom wspólnoty wierzących.  Artykuł prezentuje symbiozę przedsoborowej i posoborowej twórczej intuicji Böhma gdzie uszanowanie tradycji i konserwatyzm współegzystuje z duchem modernizmu XX wieku. Gdy opisuje się oryginalną fasadę kościoła w Zabrzu oraz jego plan odwołuje się do historycznych stylowych inspiracji oraz języka symbolicznego zastosowanego w kościele św. Józefa gdy wszystko to służy dobru architektury i liturgii. Uwzględnia się jednocześnie inne realizacje sakralne Dominikusa Böhma oraz innych działających w owym czasie architektów. Dotyczy to analizy wnętrz kościelnych o układzie liturgicznym centralnych, podłużnych i tego wszystkiego co przybliża ku sobie w architekturze sakralnej, wspólną drogę historii, teraźniejszości i przyszłości.   
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