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1

Anna Adamczyk, "Kościoły drewniane w województwie kieleckim", Kielce 1998 : [recenzja]

100%

Penkalla A.

Ochrona Zabytków

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2000

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issue 3

337-338

2

Polskie kościoły drewniane : straty wojenne - straty pokojowe : Wołyń i wieluńskie

88%

Brykowski R.

Ochrona Zabytków

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1994

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issue 2

158-167

EN

Vohynia and the Wieluń region were two parts of the former Commonwealth. The Wieluń region „always” constituted the western borderland and Volhynia was situated in the center of the Commonwealth — the Crown and the Grand Duchy of Lithuania — and only in 1920 did it become the eastern borderland. During the Russian partition, Volhynia witnessed a particulaly harsh restriction of the organization of the Catholic Church and the destruction of its sacral buildings. On 1 September 1939 armoured Wehrmacht divisions made their way towards Warsaw across the Wieluń region and the Soviet army appeared in Volhynia on 17 September of that year. The Yalta agreement decided that this seized land should be never returned to Poland. The different fate of the two regions was reflected in the size and state of the preserved historical monuments including wooden church architecture, especially closely connected with Polish culture. In September 1939 there were 25 wooden churches in the Wieluń region. None of them were damaged during the war campaign and the five years of the German occupation. The most valuable of these wooden objects comes from the sixteenth century. Unfortunately, today only a single such edifice stands unchanged while the rest have been either rebuilt or subjected to transformations which obliterated their original character and stylistic features. The most difficult period for the survival of those monuments in an unaltered form were the years of the post-war consolidation of the Polish state (1921-1925 and 1948-1949) and, predominantly, periods of great socio-political upheavals and tension: the taking over of power by Edward Gierek (1970), the emergence of „Solidarity” and the years of martial law (1978-1984). Successive rulers of the „people’s democracy” required domestic order and, at the very least, the neutrality of the clergy; for this reason, activity contrary to the law about the protection of cultural property was simply „unnoticed”. In September 1939 there were 39 wooden churches in Volhynia. Here also none was destroyed during direct wartime hostilities. Subsequently, however, the German- Soviet front moved twice across the area, and Volhynia was the site of warring Polish, Ukrainian and Soviet partisan movements. Only as regards some of the churches do we have information about the time and manner of their destruction and about the perpetrators of arson. The church in Tomaszgrod was burnt down by Soviet partisans in 1943. In the same year, the Germans and the Ukrainian police killed the population of the Polish village of Myszkowka, setting fire to all the buildings. The Germans or members of the Ukrainian Insurgent Army burnt down the church in Wojkiewicze, together with the residents of the village who were trapped inside the building. The same crime was committed by the Ukrainian Insurgent Army in Choloniewicze; in the village of Dermanka it killed all the Poles and set fire to the buildings. When on 18 July 1943 the Polish self-defense managed to flee Huta Stepańska, surrounded by the Ukrainian Insurgent Army, the village and the church were burnt and razed to the ground. Only a single ruin of a wooden church (from 1771) has been preserved in Wiszenki. In Volhynia the war against Polishness — Poles and Polish culture — lasted from September 1939 for the next 52 years, up to the collapse of the Soviet Union. After 1947 and the resettlement of Poles from annexed Volhynia to the new Polish state, surviving churches were pulled down and used for construction material or fuel; others became kollhoz storehouses or, totally ruined, they were abandoned as was the case in Wiszenki. It would be extremely difficult to estimate the losses and we can only cite the number of the damaged churches in Volhynia; in seven instances we have at our disposal modest iconographie material. Losses which Polish culture suffered in Volhynia are even more painful considering that for all practical purposes we know nothing about the outfitting of these examples of wooden sacral architecture.

3

Dziesięć lat Drewnianych Kościołów Południowej Małopolski na Liście światowego dziedzictwa UNESCO

75%

Fortuna-Marek A.

Ochrona Zabytków

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2014

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issue 2

139-153

EN

Ten years, which passed since the Wooden Churches of Southern Małopolska have been inscribed into the UNESCO World Heritage List, pose a great opportunity to present the activities and successes in the area of preservation and widely understood protection of these unique sites. The main purpose behind the UNESCO List is ensuring relevant protection to the most valuable cultural goods to preserve them in possibly unchanged form for the future generations. Therefore, the issue, whether current guardianship and protection of the Małopolska churches are sufficient for maintaining their unique and universal value, authenticity and integrity, is worth discussing. The Wooden Churches of Southern Małopolska are a serial inscription covering six Gothic churches built using the horizontal log technique and located in the following localities: Blizne, Binarowa, Dębno Podhalańskie, Haczów, Lipnica Murowana and Sękowa. The churches have been subject to numerous important conservation and renovation works throughout the last ten years. Their scope varied depending on the church, its needs and requirements. Apart from the conservation and renovation works necessary to preserve the sites of world heritage in due manner, the actions aiming at delivery of the tasks under the UNESCO World Heritage Convention have been taken. To ensure possibly highest protection standards of the UNESCO List sites in Poland, including wooden churches of Małopolska, the actions targeted on their monitoring and assessment of preservation, scientific research and works aiming at proper site management have been performed. These works were carried out for the most under the statutory tasks of the National Heritage Board of Poland. Two separate Polish and Norwegian projects aiming at improving the system of world heritage protection in Poland and Norway and working-out better and more effective methods for managing the sites inscribed into the UNESCO List were delivered within the scientific works. Research performed under both these projects covered also the wooden churches of southern Małopolska.

4

Drewniana architektura sakralna w Polsce : zagadnienie typów i form regionalnych w rozwoju historycznym

75%

Kornecki M.

Ochrona Zabytków

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1992

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issue 1-2

7-31

EN

Wooden constructions belonged to the inseparable elements of the historical landscape of Poland. Its universal nature, form and development were connected with ethnic-cultural traditions, the extensive supplies of building material and ease of its tooling, as well as the prevalent social and economic conditions. In the process of historical transformations, they always reflected two, apparently contradictory tendencies; on the one hand, tradition, particularly constant in isolated peripherial environments, and, on the other hand, currents from the outside, whose influence varied as regards its degree and range. Within this panorama a special place was assigned to churches, the foremost achievements of carpentry and dominating architectonic elements of settlement structures, which played essential socio-ideological role. Their variety was affected by the location of the country on the European crossroads, and by the cultural contacts between the West and the East. Polish wooden churches have been the subject of extensive research and publications. This article, based on a synthetically outlined background of their development, pays special attention to the variety of regional types and forms, observed in an historical perspective. Churches. It is well know that the form and nature of Polish wooden churches were influenced by principles which originated in Western culture, although local conditions were important, at least as regards material culture. This fact was the reason for the domination of frame construction. Unfortunately, extant objects do not date from a period earlier than the fifteenth century, and an attempt at filling this gap has so far been unsuccessful. The oldest surviving edifices present an already high technical level and at times even complicated solutions which were proposed by professional guild workshops, and the reason for the typicality of the buildings. At the end of the Middle Ages, the original regions of Poland (Little Poland - the Cracow archdiocese, and Greater Poland - the Gniezno archdiocese) witnessed a domination of two consistently realised types which differed as regards the conceptions for covering the two main fragments - the nave and the presbytery. The churches were single-nave and originally without towers, decorated with modest Late Gothic ornaments of a universal typological range. In the sixteenth and even in the seventeenth century this „Gothic" architectonic programme was continued since the Renaissance and Mannerism were not adopted by wooden architecture. Nonetheless, the typicality of the edifices was no longer closely observed, and the technical quality deteriorated due to the regress of the guilds as well as the exhaustion of the supplies of good building material. In certain regions a turret built in the post-frame construction and added to the main part of the building became a universal feature. The Baroque made its imprint as late as the end of the seventeenth century, and initially affected only details (the illusory vault). At that time it was already possible to distinguish many regional groups which reflected either common sources of their realization or local variants. In the eighteenth century there appeared a new factor: the participation of professional architects (sometimes educated dilletantes) who, often contrary to the properties of the building material, undertook attempts at a realization of concrete fashionable architectonic types in wood. This is a unique phenomenon of Polish wooden architecture, unknown elsewhere. Attempts were made at „imitating" a number of purely Baroque solutions disseminated in Poland during the Counter-Reformation. One can encounter copies of the Jesuit transept-dome basilica (the Roman II Gesu model), basilicas with blocked tower facades, unturreted basilicas, with a pair of chapels as a transept, and, finally, hall, tower and unturreted projects. Churches with such greatly differentiated programmes and often with rich architectonic embellishments (not to mention painted and statuary decorations) occur either as isolated examples or constitute related groups which sometimes are the outcome of copying patterns from nearby. The article cites instances of such affiliations. Nonetheless, those foremost creations constitute a minority since alongside there survived a modest traditional type of building, enrooted in medieval patterns, and only superficially modelled on the Baroque - such accents as tower helmets can be grouped according to regions. This current is accompanied by primitive folk examples connected with an increasingly stronger initiative upon the part of wider social groups. Sporadically, it is also possible to encounter objects realized by sui generis peasant „entrepreneurs" who were commissioned to erect various constructions and primarily employed local or wandering artisans. The nineteenth century - the era of the decline of Polish statehood - was a period of regression caused by numerous factors, including the impoverishment of the country, longterm wars and foreign rule, all of which influenced also the Polish Church. The wooden sacral architecture of the time reflects Classicism, neo-Gothic and eclectic styles to a lesser degree although one comes across more interesting solutions. At the turn of the century, a search, stimulated by patriotic moods, was made for national forms in architecture which reached assumed cultural roots. Against this background there emerged a wave of neo-regionalism which produced interesting effects based originally on observations of the folk architecture of the Podhale region. The same trends enlivened wooden church architecture which preferred patterns from Piła, mainly applied in the southern parts of the country. The neo-regional current was continued, although to a smaller extent, in the interwar period. Later on, wooden churches appeared more as temporary constructions, bringing to an end a magnificent chapter in the history of Polish architecture, so characteristic for the identity of the local cultural landscape. Russian Orthodox and Uniate churches. The origin, development and changes of wooden Russian Orthodox churches are not easily determined. A significant role was played not by the sources themselves but rather by the paths of various inspirations, the divergent and variable Church organization, the history of Polish expansion in areas of cultural contacts, the history of the union with the Eastern Church as well as ethnic relations: migrations, assimilation and war cataclysms. The absence of many links in the development process, the insufficient archive source material and, until recently, unsatisfactory scientific publications constituted a serious obstacle. At present, it is possible to distinguish several regional groups of this architecture and to capture their transformations in longer spaces of time. A distinct group is composed of churches in the Carpathian and sub-Carpathian regions, particularly the Lemko edifices found in the most westerly enclave. They were built as a result of the late colonization of this mountaineous region by the Walachian- Ruthenian shpeherds, intermixed with the Polish population. The result was the emergence of a tripartite building corresponding to the requirements of lithurgy, with elements borrowed from church architecture; an essential element is a post-frame tower with an overhanging bell storey, built to the west from the women's section. Another distinct accent are onion domes which top the towers and other parts of the edifice. Further to the East the buildings combined various features. The oldest were single dome (with the copula over the nave) or triple-dome churches. The outer solid revealed domes which often assumed the forms of geometrical, tiered roofs. From the eighteenth century this was also the region of Uniate churches, outwardly similar to Roman Catholic buildings, with modest solids, in which the divisions required by lithurgy were as if introduced into the interiors. Another group includes churches in the eastern parts of the Lublin region (Tomaszow, Zamość and Hrubieszow), an enclave where the Uniate Church, abolished by the Russians, survived in the Austrian partition area. The extant buildings, predominantly single-or triple-dome, can be distinguished from their Carpathian counterparts. Here too, Uniate edifices were similar to modest rural churches. A special group is represented by Orthodox churches along the Lithuanian-Byelorussian frontier. The older, post-Uniate constructions are relatively unadorned and include edifices built on a ground plan of an elongated polygon with a geometrical quasi-dome, or, as in the above mentioned regions, they outwardly resemble village churches. On the other hand, buildings dating from the nineteenth and twentieth centuries, which survived in large numbers, reveal elements of Russian or Byelorussian architecture. They are of a tri-partite configuration, with a dominating central part and with walls covered by horizontal planking. A characteristic feature is a vertical tower, sometimes an octagon, with a pillar helmet. Just as frequent are walls painted blue, a colour not used in Polish sacral architecture in other regions. The article does not fully discuss the extensively formulated topic. Its general intention, presented against a background of an abbreviated outline, was to emphasize problems of the regionalism of wooden church architecture which call for further detailed investigations.

5

Kościół pod wezwaniem św. Marcina w Ćwiklicach w świetle najnowszych odkryć. Wstęp do badań

75%

Klajmon B.

Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

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2013

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vol. 1

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issue 1

121-139

PL

Artykuł przedstawia najnowsze wyniki badań i odkryć dotyczących kościoła pw. św. Marcina w Ćwiklicach. Autorka podsumowuje dotychczasowy stan wiedzy o obiekcie, dokonuje analizy źródeł niebędących dotąd przedmiotem badań oraz stawia tezy dotyczące dalszych badań. Dokonuje także próby datowania wyposażenia kościoła i źródłowego potwierdzenia wyników badań dendrochronologicznych wskazujących na średniowieczne pochodzenie świątyni.

EN

The article presents the most recent results and findings relating to the St. Martin’s Church in Ćwiklice. The author summarizes the hitherto state of knowledge about the building, analyzes the sources that have previously not been considered as the subject of research and puts forward the hypotheses for further research. Furthermore, she also attempts to date the church furnishings and to confirm in written sources the results of dendrochronological tests which indicate medieval origin of the church.

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4 Ochrona Zabytków

1 Rocznik Muzeum "Górnośląski Park Etnograficzny w Chorzowie"

1 2014

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1 Brykowski R.

1 Fortuna-Marek A.

1 Klajmon B.

1 Kornecki M.

1 Penkalla A.

Anna Adamczyk, "Kościoły drewniane w województwie kieleckim", Kielce 1998 : [recenzja]

Polskie kościoły drewniane : straty wojenne - straty pokojowe : Wołyń i wieluńskie

Dziesięć lat Drewnianych Kościołów Południowej Małopolski na Liście światowego dziedzictwa UNESCO

Drewniana architektura sakralna w Polsce : zagadnienie typów i form regionalnych w rozwoju historycznym

Kościół pod wezwaniem św. Marcina w Ćwiklicach w świetle najnowszych odkryć. Wstęp do badań