Results found: 2

Search results

Search:
in the keywords: the Hutsul Land

Sort By:

Limit search:

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

100%

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

Między stereotypem a mitem – huculski Józef Wittlin

88%

Choroszy J. A.

TEKA Komisji Polsko-Ukraińskich Związków Kulturowych

2021

vol. 6

issue 16

35-48

У двох повістях Юзефа Віттліна, в «Солі землі» та у збереженому фрагменті «Здорової смерті», знаходяться численні посилання на гуцульську тематику (Гуцульщина та її мешканці гуцули). Письменник застосував стереотипи і міфи, які вже використовувалися у ХІХ столітті, переносячи їх на дві постаті головних героїв. В післявоєнній кореспонденції з Станіславом Вінцензем, автором циклу «На високій полонині», ці згадки та звертання до Гуцульщини, Віттлін пов’язує з власною особистою ситуацією на еміграції. Автор статті ставить питання про зв›язок, який існує між гуцульськими мотивами в текстах, що належать вже до історії літератури і цих мотивів в егодокументах. Це метод, що дозволяє проаналізувати цю взаємозалежність є антропологією пережитого і походить з герменевтики Вільгельма Дільтея, удосконалений Едвардом М. Брунером.

Two novels by Józef Wittlin: Sól ziemi (The Salt of the Earth) and the preserved fragment of Zdrowa śmierć (Healthy Death) contain numerous references to the Hutsul motifs (The Hutsul Land and the Eastern Carpathian highlanders). The writer applied the stereotype and the myth established in the 19th century onto to the two main characters. In the post-war correspondence with Stanisław Vincenz, the author of the series Na wysokiej połoninie (On the High Uplands), Wittlin connects the allusive references with his personal situation in exile. The author of the paper poses questions about the connection among the Hutsul topics in the texts from the history of literature and egodocuments, describing it through the lenses of the anthropology of experience derived from Wilhelm Dilthey’s hermeneutics, further developed by Edward M. Bruner.

W dwóch powieściowych dziełach Józefa Wittlina, w Soli ziemi i zachowanym fragmencie Zdrowej śmierci, znajdują się liczne odniesienia do tematyki huculskiej (Huculszczyzny i wschodniokarpackich górali). Pisarz wykorzystał stereotyp i mit wypracowane w XIX wieku, przenosząc je na dwie postaci głównych bohaterów. W powojennej korespondencji ze Stanisławem Vincenzem, autorem cyklu Na wysokiej połoninie, aluzyjne odwołania do Huculszczyzny Wittlin wiąże z własną sytuacją osobistą na emigracji. Autor opracowania stawia pytanie o związek, jaki istnieje między wątkami huculskimi w tekstach należących do historii literatury i w egodokumentach. Metodą, która pozwala opisać tę relację, jest antropologia doświadczenia wywodząca się z hermeneutyki Wilhelma Diltheya, a rozwinięta przez Edwarda M. Brunera. W dwóch powieściowych dziełach Józefa Wittlina, w Soli ziemi i zachowanym fragmencie Zdrowej śmierci, znajdują się liczne odniesienia do tematyki huculskiej (Huculszczyzny i wschodniokarpackich górali). Pisarz wykorzystał stereotyp i mit wypracowane w XIX wieku, przenosząc je na dwie postaci głównych bohaterów. W powojennej korespondencji ze Stanisławem Vincenzem, autorem cyklu Na wysokiej połoninie, aluzyjne odwołania do Huculszczyzny Wittlin wiąże z własną sytuacją osobistą na emigracji. Autor opracowania stawia pytanie o związek, jaki istnieje między wątkami huculskimi w tekstach należących do historii literatury i w egodokumentach. Metodą, która pozwala opisać tę relację, jest antropologia doświadczenia wywodząca się z hermeneutyki Wilhelma Diltheya, a rozwinięta przez Edwarda M. Brunera.

Refine search results

1 Ochrona Zabytków

1 TEKA Komisji Polsko-Ukraińskich Związków Kulturowych

1 2021

1 2015

1 Choroszy J. A.

1 Witkowski W.

Search results

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

Między stereotypem a mitem – huculski Józef Wittlin