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Ikonografia martyrologiczna i doświadczenie mistyczne w malarstwie krakowskim drugiej połowy XX wieku

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Boruta T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2015
|
vol. 8
106-127
PL
Ikonografia mesjanistyczno-martyrologiczna stanowiła istotny element w konstytuowaniu się polskiej tożsamości narodowej, szczególnie w okresach braku niepodległości. Tak było w czasie zborów, jak i w okresie wojny polsko-bolszewickiej czy drugiej wojny światowej. Nabudowana na fundamencie tradycyjnej religijności Polaków i filozofii mesjanistycznej ówczesnych elit literacko-intelektualnych ikonografia martyrologiczna obrazowała teologiczno-historiozoficzny sens cierpienia, rolę Polski wśród narodów świata i eschatologiczną perspektywę dziejową. Także w latach 80. XX wieku, w ramach ruchu kultury niezależnej, sięganie przez twórców do tego sprawdzonego repertuaru środków symboliczno-znaczeniowych było nader częste, a zważywszy na kontekst społeczno-polityczny – jak najbardziej naturalne. Odmienną drogą podążali artyści w Krakowie, choć i oni byli mocno zaangażowani w antykomunistyczny ruch niezależny i często szukali inspiracji w myśli i tradycji Kościoła. W krakowskim środowisku malarzy ikonografia mesjanistyczno-martyrologiczna stanowiła zaledwie marginalną formę wypowiedzi. Odrębność ta miała niewątpliwie źródła w doświadczeniach intelektualnych i kulturowych dawnej stolicy. Po roku 1945 można mówić tu o wielorakości i zaskakującej ciągłości zjawisk artystycznych wyrosłych z refleksji teologiczno-metafizycznej, których continuum znajdziemy także dzisiaj. Na obraz tej sytuacji niewątpliwy wpływ miały: konserwatyzm elit intelektualnych, zachowana ciągłość kulturowa sięgająca dziewiętnastego wieku, klerykalizacja miasta (w Krakowie funkcjonują do dziś liczne zgromadzenia zakonne, kilka seminariów duchownych oraz Uniwersytet Papieski Jana Pawła II – w latach 80. jeszcze jako Papieska Akademia Teologiczna), istnienie „Tygodnika Powszechnego” i wydawnictwa Znak. Akademicki charakter Krakowa, zbudowany na wielości uczelni i bardzo dużym środowisku artystyczno-humanistycznym, sprzyjał polaryzacji postaw od konserwatywnych po awangardowe. Niemniej obecność mocnego intelektualnie miejscowego Kościoła – dialogującego, otwartego na posoborowe zmiany, a przy tym bogatego w wybitne osobowości – nie mogła pozostać bez echa w twórczości najwybitniejszych artystów.
EN
Messianic-martyrological iconography has always been a crucial factor in shaping the Polish national identity, especially in the periods when Poland lost its independence. That was the case during the Partitions, the Polish-Soviet war, and the Second World War. Raised on the foundations of traditional Polish religiousness and the messianic philosophy of the literary-intellectual elites, martyrological iconography visualized the theological and historiosophical sense of suffering, the role of Poland among the nations of the world, and the eschatological perspective on history. Also in the 1980s, within the independent culture movement, artists frequently reached for this verified repertoire of those symbolic-expressive devices; considering the social and political context, it was a natural direction. The Cracow artists chose a different path, despite being deeply involved in the anti-Communist independent movement, and despite quite often searching for inspiration in the thought and tradition of the Church. In the Cracow circles of painters, messianic-martyrological iconography was a marginal form of expression. That difference was undoubtedly rooted in the intellectual and cultural experience of the old Polish capital. After 1945, the theological-metaphysical reflection gave rise to a multitude of diverse but continuous artistic phenomena, extending in their continuum until today. This situation was certainly affected by several factors: the conservatism of the intellectual elites, the unbroken cultural continuum since the 19th century, the clerical character of the city (with many monastic orders and several seminaries, functioning even today, and the John Paul II Pontifical University, then named the Pontifical Academy of Theology), the activity of the weekly “Tygodnik Powszechny” and the publishing house “Znak”. Cracow being a large academic centre, with numerous higher education institutions and vast artistic-humanist circles, favoured the polarization of attitudes, from conservative to avant-garde ones. Nevertheless, the presence of an intellectually potent local Church – open to dialogue and the post-Council changes, but also boasting many distinguished personalities – could not remain unechoed in the creative work of the most notable artists.
2

Ikonografia religijna artystek aktywnych w Ruchu Kultury Niezależnej

100%
Boruta T.
Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej
|
2013
|
vol. 6
75-89
EN
When studying a certain area of art, is it justified to attempt certain generalizations and invoke sexual determinism? Is there such a thing as a type of iconography closer to the experience of female artists? In our times, the lines between the sexes are being blurred and such statements are dismissed as incorrect. However, it may be worthwhile to suspend judgment for a moment and closely examine the peculiar interpretation female artists gave to certain iconographic motifs, especially in those works which tackle religious themes but serve a private, rather than a liturgical, purpose. The largest number of relevant examples herald from the difficult decade of the 1980s, when the pervasively tragic sense of time and place favoured the appearance of art that rooted the audience in a sense of community and metaphysical allusions. Stereotypical thinking about the religious inspiration of women would lead us to expect a large profusion of pieces devoted to the Virgin Mary and the intimate relationship between mother and son in their oeuvre. Pieces of this kind, to be sure, do appear in the 1980s; they usually show the Black Madonna of Jasna Gora, alone or with the infant Jesus. They are, however, rarely infused with the artist’s private experience. Without attempting any synthetic generalizations, but keeping in mind hundreds of relevant paintings, it can be said that in their treatment of Christian iconography the female artists of the Independent Culture Movement rarely addressed the typically feminine theme of motherhood. Motifs of the Passion served as far superior vehicles for their emotional experience. Were we to put a finger on the most typical feature of the Crucifixions created by female artists, it would have to be the unwillingness to depict the body in an explicit, anatomical manner. Their artwork is full of understated forms, luminist expression, nearly abstract arrangements of the surface. However, their works typically reflect a common concern for community and fellow human beings. The theological and artistic need to find a form that would be able to carry the weight of communal experience often pushed them to draw on the theme of the Cenacle. Even when they paint scenes without human figures, such as landscapes and still lifes, their images express the drama of separation and the hope for the restoration of human relationships.
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