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Klasztor lubiąski w literaturze i sztuce od XVIII wieku do połowy wieku XX.

100%
Jezierska A.
Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
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2007
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issue 2(4)
56-72
2
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Imprezy kulturalne organizowane na terenie Cysterskiego Zespołu Klasztornego w Lubiążu i ich znaczenie dla turystyki

85%
Wiesner W.
Rozprawy Naukowe Akademii Wychowania Fizycznego we Wrocławiu
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2015
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vol. 51
76-83
EN
The monastery and palace complex in Lubiąż is a magnificent example of Baroque art in Lower Silesia and part of the highest quality European cultural heritage. It owes its glory to the Cistercians. However, over the last two hundred years, the condition of the buildings has gradually deteriorated, with the Second World War and the post-war period being particularly destructive. Today, various forms of promotion are sought to save the Lubiąż Abbey; these include commercial and cultural events like the Electrocity Festival or concerts during the Wratislavia Cantans Festival. A question arises whether these events can have any major impact on the restoration of the site. Is there a link between them and the development of tourism in Lubiąż? The author’s reflections are based on an analysis of the available source information, on a free-form interview with the President of the Lubiąż Foundation, and on a survey performed among the participants of the Electrocity Festival held in the former Cistercian Abbey. In addition, the article demonstrates the value of the historic monument of Lubiąż and of its Cistercian heritage.
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Nieznane utwory Johanna Aloisa Lamba w zbiorach muzycznych z dawnego opactwa cystersów w Lubiążu. Przyczynek do biografii kompozytora

71%
Hauptman-Fischer E.
Hereditas Monasteriorium
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2015
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vol. 6
85-100
EN
The musical collection of the Lubiąż Cistercians, currently kept in the Department of Music Collections of the University Library in Warsaw, contains two autograph scores of Johann Alois Lamb, a Czech composer active in the second half of the 18th century in Vrchlabí. Sources with his works were copied for many ensembles in Bohemia and Silesia, but the two works preserved in the Cistercian collection have remained unknown to scholars studying Lamb’s oeuvre and are not listed in the thematic catalogue of the composer’s works. The autograph scores in question add to the existing body of knowledge of J. A. Lamb’s oeuvre and at the same time are his earliest dated compositions. In the article the author presents hypotheses concerning the early period in the composer’s life. A biography of J. A. Lamb’s based on a thorough analysis of sources and dispersed musical items was published in 2014 by the Czech scholar Jakub Michl. In the light of his research the first few years of Lamb’s activity, before 1776, are unknown. No documents or musical manuscripts have been preserved in his hometown of Vrchlabí. Perhaps the mystery can be solved by four manuscripts signed Johannes Lamb from the collection of the Lubiąż Cistercians. Having analysed these manuscripts as well as sources dealing with the Czech composer’s life (described in J. Michl’s monograph), the present author suggests that J. A. Lamb spent his youth in the Cistercian monastery in Lubiąż, where he received musical and elementary education. The two Masses were probably composed when Lamb was still in Lubiąż. The article contains a discussion of all sources associated with Lamb and kept in the Cistercian collection in Lubiąż.
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Rękopiśmienne wykazy malarstwa i grafiki zebrane przez Johanna Gustava Gottlieba Büschinga i przechowywane w Bibliotece Uniwersyteckiej we Wrocławiu. Część 1

43%
Bończuk-Dawidziuk U., Wojtyła A.
Hereditas Monasteriorium
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2015
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vol. 7
435-480
EN
The present source edition focuses on records concerning the painting collection from the Royal Museum of Art and Antiquities in Wrocław brought together in one bound volume by Johann Gustav Gottlieb Büsching (1783–1829), currently kept in the Manuscript Department of the Wrocław University Library and entitled Büsching. Verzeichnisse die Gemalde Sammlung betreffend (no. Akc. 1948/862). The documents were compiled in 1811–1822 (with some additions from 1929) and concern a collection of paintings kept in the university library in Wrocław, which at that time was located in the former Monastery of Canons Regular of St. Augustine on the Sand Island. The paintings were part of the royal collection and came mainly from Silesian monasteries dissolved by the edict of the King of Prussia, Frederick William III, of 30 October 1810. The records begin with a list of paintings from the Monastery of Canons Regular of St. Augustine, where many works of the Silesian Baroque master Michael Leopold Willmann (1630–1706) were inventoried and priced. Another document originated during the dissolution of the Cistercian Abbey of Krzeszów and comprises a list of copperplates made mainly after Willmann’s drawings; they include the Krzeszów Passion. Another list is that of works from the valuable Baroque painting collection from the Cistercian Abbey of Lubiąż. The next leaf in the volume contains a list of works from the Cistercian Abbey of Jemielnica “yet to be sold at an auction”. Selection of paintings for galleries is well illustrated by Büsching’s hand-written notes in another document concerning a division of paintings from the Monastery of Canons Regular of St. Augustine into works to be displayed and works to be exchanged. This is followed by a list of paintings destined for an auction planned for 27 April 1814. The records concerning painting galleries also include a list from the collection of the forest district inspector from Wrocław, Friedrich Georg Graβhoff. Next comes a list of paintings from 1821 signed by Johann Heinrich Christoph Konig, a Wrocław painter who was involved in the restoration of paintings from Silesian monasteries and destined for painting galleries. The transliteration published in the present volume is the first of two parts and encompasses the first 27 leaves. The other leaves from the volume (28–93) will be published in the eighth issue of Hereditas Monasteriorum.
5
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Graduał Cystersów z Jemielnicy PL-WRu I F 418. Nowe ustalenia i hipotezy

41%
Chachulska I.
Muzyka
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2023
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vol. 68
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issue 1
3-19
EN
Kept at Wrocław University Library, the manuscript PL-WrU I F 418, referred to in the literature as the Jemielnica Gradual, has not previously been subjected to detailed palaeographic analysis. This omission has led to erroneous claims concerning its provenance and dating. The hitherto universally accepted claim that the codex originated in the Jemielnica (Ger. Himmelwitz) monastery or in its parent abbey of Rudy Wielkie (Ger. Groß Rauden) has been rejected as a result of detailed palaeographic analysis, which clearly points to Lubiąż (Ger. Leubus) as the place of the manuscript’s compilation. The main evidence to that effect is twofold: a) the identification of the scribe’s hand as that which also copied one of Lubiąż’s oldest antiphonaries (PL-WrU I F 403, from c.1225) and b) the presence of the handwriting of another Lubiąż-based scribe (the copyist of PL-WrU I F 411, from the second half of the thirteenth century) in later additions to the gradual. The only parts of the codex that originated in Jemielnica prove to be the leaves added in the seventeenth century containing formularies that had been lost as a result of substantial damage to the manuscript. The previously inconsistent dating has been revised on the basis of the musical notation: calligraphic features and the identification of handwriting in sources from Lubiąż clearly point to the first third of the thirteenth century as the time of the manuscript’s compilation. Study of the book’s liturgical content, meanwhile, has made it possible to establish this dating more precisely as c.1225 (the original entry on the cult of St Giles points to c.1221 as the terminus post quem). There are also reasons to suspect that both the gradual PL-WrU I F 418 and the antiphonary PL-WrU I F 403 were created for use at Lubiąż Abbey’s oldest subsidiary in Henryków (Ger. Heinrichau), as part of the latter monastery’s original endowments. It remains to be explained when and how the gradual PL-WrU I F 418 found its way to the Cistercian monastery in Jemielnica.  
PL
Przechowywany w zbiorach Biblioteki Uniwersytetu Wrocławskiego kodeks PL-WrU I F 418, znany w literaturze przedmiotu jako graduał jemielnicki, nie doczekał się do tej pory dokładnej analizy paleograficznej, co poskutkowało błędnymi stwierdzeniami dotyczącymi czasu i miejsca jego pochodzenia. Jemielnickie lub rudzkie (Rudy Wielkie – opactwo macierzyste klasztoru jemielnickiego) pochodzenie, powszechnie przypisywane kodeksowi przez dotychczasowych badaczy, zostało odrzucone w wyniku dokładnej analizy paleograficznej, która wyraźnie wskazała na Lubiąż jako miejsce sporządzenia kodeksu. Najważniejszym dowodem za lubiąskim pochodzeniem rękopisu jest identyfikacja ręki kopisty w jednym z najstarszych antyfonarzy lubiąskich pochodzącym z około 1225 r. (PL-WrU I F 403), jak też stwierdzenie ręki lubiąskiego skryby (wykonawcy PL-WrU I F 411, druga połowa XIII w.) w dopiskach późniejszych. Jemielnickie są więc jedynie pochodzące z XVII w. karty papierowe zawierające uzupełniające formularze, których zabrakło wskutek silnego zniszczenia rękopisu. Na podstawie zapisu muzycznego rozstrzygnięto również dotychczasowe sprzeczności w kwestii datowania kodeksu – cechy kaligraficzne oraz identyfikacja rąk w źródłach lubiąskich wyraźnie wskazują na pierwszą tercję XIII w. jako czas spisania rękopisu. Z kolei badania zawartości liturgicznej księgi pozwoliły na sprecyzowanie datacji na około 1225 r. (oryginalny zapis o czczeniu św. Idziego wyznacza termin post quem na ok. 1221 r.) Istnieją także przesłanki ku temu, aby podejrzewać, iż obie księgi – graduał PL-WrU I F 418 wraz z antyfonarzem PL-WrU I F 403 – powstawały jako część pierwotnego wyposażenia najstarszej filii lubiąskiej w Henrykowie. Niewyjaśniona pozostaje natomiast kwestia, kiedy i w jaki sposób graduał PL-WrU I F 418 trafił do cystersów jemielnickich.
6
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Od przedstawień figuralnych do heraldycznych. Opaci lubiąscy i ich pieczęcie od schyłku średniowiecza do sekularyzacji klasztoru w 1810 roku

41%
Kałuski T.
Studia Źródłoznawcze. Commentationes
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2019
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vol. 57
PL
W niniejszym tekście przedstawiono analizę pieczęci opatów lubiąskich od schyłku średniowiecza do 1810 r. Zwrócono uwagę na stronę wizualną poszczególnych pieczęci opackich oraz funkcje, jakie pełniły one w działalności opatów w lokalnych wspólnotach oraz na zewnątrz. Artykuł został podzielony na część analityczną oraz inwentarz pieczęci opatów, w którym zestawiono wszystkie znane typariusze i odciski pieczętne z badanego okresu.
EN
The article presents an analysis of the seals of the Lubiąż (Leubus) abbots from the period between the end of the Middle Ages to 1810. Attention was paid to the visual aspects of individual abbot seals and the functions performed by the seals in the abbots’ activity in both within the local communities and outside. The article is divided into an analytical part and an inventory of abbot seals, in which all known seal matrices and seals from the examined period are summarised.
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