Search results

1

Ochrona parku krajobrazowego w Kalwarii Zebrzydowskiej

100%

Mitkowska A.

Ochrona Zabytków

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1976

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issue 2

89-95

EN

The author presents one of the best preserved landscape units in our country, namely the one coming from the 17th century at Kalwaria Zebrzydowtska, Cracow District. As regards its style, it represents Mannerism. The main part of the complex covering an area of 300 hectares it the so-called Kalwaria, designed as a reproduction of Jerusalem Calvary and comprising buildings in Mannerism style with early Baroque elements. The landscape park is now endangered by unisupervised management of the area which is expressed in it'he building of living quarters and farm buildings in its vicinty, in unsystematic planting of trees and so on. The author suggests to establish there a recreation complex which could be used by inhabitants of near- by Cracow, which should create chances for keeping and preserving monumental values. Consequently, she postulates a number of changes concerning both the town of Kalwaria Zebrzydowska and its surroundings. They tend towards preservation of the area’s nature and establishment of a tourist centre there and, above all, towards arrangement of the whole architectural setting.

2

Sanktuarium pasyjno-maryjne w Kalwarii Zebrzydowskiej i jego związki z Janem Pawłem II

100%

Rusecki OFM I.

Łódzkie Studia Teologiczne

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2006

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vol. 15

199-220

EN

Kalwaria Zebrzydowska is the second, most significant Passion-Marian Sanctuary in Poland after Częstochowa. It has become widely known not only in Europe, but all over the world, thanks to Holy Father – John Paul II – who visited it twice: in 1979 and 2002. In its first part, the present article brings readers closer to this unique place by presenting its history and its significance in shaping religious behaviors of the Polish society. In the second part of the article, the author showed the bonds between John Paul II and Kalwaria, which is now more and more often called „Papal Kalwaria”. This part contains also excerpts of the Pope's speech of 1979 and His homily during the Holy Mass of August 19, 2002, as the most vividly showing those specific, emotional bonds connecting Holy Father with Kalwaria Zebrzydowska.

3

Wybrane zagadnienia z dziejów Kalwarii Zebrzydowskiej. Na 400-lecie pierwszej lokacji Kalwarii Zebrzydowskiej (1617-2017), praca zbiorowa, red. nauk. Andrzej Nowakowski, Wydawnictwo 3kolory, Kraków 2017

100%

Pałosz D.

Wadoviana. Przegląd historyczno-kulturalny

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2017

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issue 20

185-188

4

Nowy Zebrzydów – przykład miasta kalwaryjnego położonego w cieniu symbolicznego Miasta Świętego

89%

Płonka M.

TECHNE. Seria Nowa

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2022

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issue 9

201-218

EN

Among all types of modern Polish cities, the settlements lying in the shadow of the Calvary complexes were collectively called Calvary towns. The oldest example included in this group – Zebrzydow aka Nowy Zebrzydow (today Kalwaria Zebrzydowska) - was a private town, providing a base for a much larger symbolic city, which was Jerusalem copied after Christian van Adrichem’s treatise, in the lands of Lanckorona and Barwałd eldership. The construction of the Polish Holy Land, however, violated the existing rules for the location of cities. Already in the first years of erecting the chapels, huge problem arose, because Mikołaj Zebrzydowski gave the best lands of peasants from the surrounding royal lands – Stronie and Leśnica to the construction of the complex. Due to hunger, the peasants were forced to migrate, e.g. to Zebrzydow, where they soon formed the middle class. With their appearance in the city, the cultivation of land was instilled in the city, which, apart from trading devotional items and serving pilgrims, constituted the main income of the townspeople. In addition, the city located by Mikołaj, and later by his son Jan, was to be “worthy” of the Holy City. Therefore, it was forbidden to graze livestock in the area of Jerusalem, it was ordered to properly celebrate church ceremonies in the city, and Jews and heretics were forbidden to settle there. The aim of the article is to clarify the definition of a Calvary town on the example of Zebrzydow, additionally taking into account, inter alia, the ideological importance of this type of center as a purely Catholic city.

PL

Pośród wszystkich typów nowożytnych miast polskich osady leżące w cieniu kompleksów kalwaryjnych zostały nazwane zbiorczo miasteczkami kalwaryjnymi. Zaliczany do tej grupy najstarszy przykład – Zebrzydów vel Nowy Zebrzydów (ob. Kalwaria Zebrzydowska) – był miastem prywatnym, stanowiącym zaplecze dla znacznie większego od siebie miasta symbolicznego, którym była skopiowana na ziemiach starostwa lanckorońskiego i barwałdzkiego za traktatem Christiana van Adrichema Jerozolima. Budowa polskiej Ziemi Świętej naruszyła jednak dotychczasowe zasady lokacji miast. Już w pierwszych latach wznoszenia kaplic pojawił się ogromny problem, ponieważ pod budowę kompleksu Mikołaj Zebrzydowski oddał najlepsze ziemie chłopów z okolicznych królewszczyzn – Stronia i Leśnicy. W związku z głodem chłopi zmuszeni byli do przymusowej migracji, m.in. do Zebrzydowa, w którym niedługo potem tworzyli stan mieszczański. Wraz z ich pojawieniem się w mieście zaszczepiono kulturę uprawiania ziemi, która obok handlu dewocjonaliami i obsługi pielgrzymów stanowiła główny dochód mieszczan. Do tego lokowane przez Mikołaja, a później jego syna Jana miasto miało być „godne” Miasta Świętego. Zabroniono więc wypasu zwierząt hodowlanych w obszarze Jerozolimy, nakazano należycie święcić w mieście uroczystości kościelne, a także zakazano osiedlania się tu Żydom oraz heretykom. Celem artykułu jest doprecyzowanie definicji miasteczka kalwaryjnego na przykładzie Zebrzydowa, uwzględniając dodatkowo m.in. ideowe znaczenie tego typu ośrodka jako miasta czysto katolickiego.

5

Kompleks kalwaryjny w Kalwarii Zebrzydowskiej jako krajobraz pamięci i pomnik XVI-wiecznej Jerozolimy

89%

Płonka M.

Ochrona Zabytków

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2019

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issue 2

189-216

PL

Mikołaj Zebrzydowski, po lekturze dzieła Christiana Kruika van Adriche¬ma (łac. Christianus Crucius Adrichomius) pt. Theatrum Terrae Sanctae, postanowił w 1604 r. ufundować pierwszą w Polsce kalwarię, wzorowaną na układzie przestrzennym XVI-wiecznej Jerozolimy. Od samego początku ogromną rolę w kompleksie kalwaryjnym na ziemi Zebrzydowskich odgrywała udramatyzowana forma wspominania wydarzeń z życia Jezusa. W jednej przestrzeni od samego początku wartości duchowe i niematerialne łączyły się z materialnymi świadectwami przeszłości, mistrzowsko wkomponowanymi w krajobraz, a spajającym je elementem był niematerialny pierwiastek, który autor nazywa theatrum Terrae Sanctae. W XVII w. na ziemiach polskich powstał więc barokowy kompleks, tworzący przestrzeń modlitewną do celebracji nabożeństwa dróżek kalwaryjskich, a w szerszej perspektywie krajobraz pamięci. Autor, wykorzystując przykład kompleksu kalwaryjskiego w Kalwarii Zebrzy-dowskiej i teorię Jana Assmanna, zwraca uwagę na przestrzenny aspekt pamięci i jej funkcję w odbiorze miejsca, które nie było autentyczne, ale dzięki owemu theatrum urosło do takiej rangi.

EN

Mikołaj Zebrzydowski, after reading the work of Christian Kruik van Adrichem (Latin: Christianus Crucius Adrichomius) entitled Theatrum Terrae Sanctae, decided in 1604 to found the first calvary in Poland, modelled on the spatial layout of sixteenth-century Jerusalem. From the very beginning, a dramatized form of recollecting events in the life of Jesus played a great role in the calvary complex on the land of the Zebrzydowski family. In one space, from the very beginning, spiritual and intangible values had been associated with material testimonies of the past, masterfully integrated into the landscape, and the element integrating them was a non-material element, referred to by the author as theatrum Terrae Sanctae. In the seventeenth century, a Baroque complex was created on the Polish territory, creating a prayer space for the celebration of the calvary paths, and, in a broader perspective, a memory landscape. The author, using the example of the calvary complex in Kalwaria Zebrzydowska and the theory of Jan Assmann, draws attention to the spatial aspect of memory and its function in the reception of a place that was not authentic, but had grown to such a rank thanks to the said theatrum.

6

Obrazy o treściach mariologicznych w kaplicy Grobu Matki Boskiej w zespole Kalwarii Zebrzydowskiej. Z badań nad recepcją grafiki w malarstwie polskim XVII w.

89%

Dzik J.

Folia Historica Cracoviensia

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2008

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vol. 14

EN

The Chapel of Our Lady's Tomb in Brody, complete with valuable interior furnishing, in terms of history and territory belongs to the architectural landscape concept of the Marian- and Passion-themed compound in Kalwaria Zebrzydowska. In the fields of the late-Renaissance choir parapet and the galleries of the chapel there are a series of paintings showing hitherto unspecified Marian themes. The items have never been referred to in literature on Kalwaria or mentioned in guidebooks or maintenance records. The article analyses, in a broad context, the symbolism of 37 Marian scenes presenting Mary and symbolic objects (e.g. a heart, a building, a garden).

PL

Kaplica Grobu Matki Boskiej w Brodach z cennym wyposażeniem wnętrzanależy historycznie i terytorialnie do założenia architektoniczno-krajobrazowego zespołu pasyjno-maryjnego Kalwarii Zebrzydowskiej. W kwaterach późnorenesansowego parapetu chóru muzycznego i ganków przyściennych tej kaplicy znajduje się cykl obrazów o dotychczas bliżej nieokreślonej tematyce maryjnej. Obiekty te nie były nigdy wymieniane w literaturze związanej z Kalwarią ani wzmiankowane w publikacjach przewodnikowych czy ewidencji konserwatorskiej. Artykuł w szerokim kontekście analizuje symbolikę 37 scen maryjnych, eksponujących postać Maryi oraz przedmioty o znaczeniu symbolicznym (serce, budowla, ogród).

7

W świecie, ale nie ze świata — o fenomenie brata Józefa Żarnowieckiego

89%

Sagało M.

Roczniki Kulturoznawcze

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2018

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vol. 9

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issue 2

77-98

PL

Artykuł ukazuje brata Józefa Żarnowieckiego (1913-2003) i ma na celu zachowanie pamięci o jednej z najbardziej rozpoznawalnych postaci w sanktuarium w Kalwarii Zebrzydowskiej. Brat Józef przez ponad pół wieku wiódł ascetyczny żywot w kalwaryjskim sanktuarium. Ponieważ nie udało się zgromadzić o bracie Józefie zbyt wielu informacji z powodu jego skrytości, w pracy oparto się głównie na kilku publikacjach (artykule o kalwaryjskich pustelnikach, wywiadzie udzielonym przez brata Józefa, filmie dokumentalnym Pasja). Wizerunek brata Józefa wyłania się również ze świadectw pielgrzymów, pamiętających go osobiście. Ich wypowiedzi stanowią dodatkowe źródło informacji, jak brat Józef był postrzegany i jak wpływał na innych. Z przywołanych w artykule świadectw wyłania się postać skromnego, ubogiego człowieka, przemierzającego z nisko pochyloną głową dróżki, pogrążonego w głębokiej modlitwie. Swoją pełną pokory postawą przykuwał uwagę pielgrzymów, którzy chętnie obdarowywali go drobnymi datkami i prosili o modlitwę w różnych intencjach. W ich pamięci zapisał się przede wszystkim jako cichy pustelnik, „dziad” kalwaryjski.

EN

The article presents the character of Brother Józef Żarnowiecki (1913-2003), and aims to preserve the memory of one of the most recognisable characters at the sanctuary in Kalwaria Zebrzydowska. Brother Józef, for more than half of the century, was an ascetic in Kalwaria Zebrzydowska. Due to the secrecy of Brother Józef, not much direct information about him has been gathered. Therefore, the work was based on the publications such as: an article about Kalwarian’s hermits, an interview given by Brother Józef and a documentary titled Pasja [The Passion]. An image of Brother Józef emerges from testimonies of Kalwarian’s pilgrims as well. Their statements provide an additional source of information on how Brother Józef was perceived and what influence he had on others. From the quoted in the article testimonies, we obtain the character of a modest, poor person, traversing Kalwarian’s paths with his head bowed low down, deep in prayer. With his humble attitude, he attracted pilgrims’ attention, who willingly gave him small donations, and asked for prayers for various intentions. In their memory, he primarily remains a silent hermit, “a Kalwarian’s beggar.”

8

Jan Jerzyczek – a resident painter of the Calvary complex in Kalwaria Zebrzydowska

89%

Płonka M.

Folia Historica Cracoviensia

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2021

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vol. 27

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issue 1

55-84

PL

Twórczość stałego malarza klasztornego Jana Jerzyczka (1788-1842) jest paradoksalna, bo jego umiejętności warsztatowe i praktyka malarska zostały zaliczone do kręgu sztuki ludowej, mimo iż sam artysta kopiował obrazy XVII-wieczne i malował na podstawie XVI-wiecznych grafik antwerpskich oraz własnego doświadczania misteriów kalwaryjskich. Monografiści kompleksu w Kalwarii zaledwie wspomnieli o Jerzyczku, ale bez podawania kontekstu historycznego, gospodarczego i politycznego pracy stałego malarza klasztornego na początku XIX wieku, przez co nie dostrzegli fenomenu malarstwa Jana w czasie występujących wówczas zmian. Celem artykułu jest uporządkowanie wiedzy na temat działalności Jerzyczka w Kalwarii i jego twórczości, za pomocą której można ustalić ikonografię pierwotnych kalwaryjskich obrazów-scenografii, usuniętych w ramach pierwszej kompleksowej „konserwacji” polskiej Jerozolimy za o. Gaudentego Thynella OFM. Jednocześnie dostrzeżenie malarstwa Jerzyczka pozwala zwrócić uwagę na pojmowanie sztuk plastycznych (gł. malarstwa) w Kalwarii w pierwszej połowie XIX wieku jako zamiennika wycofanych po 1772 roku scen misterium, których praktykowanie (zdaniem władz austriackich) nie licowało z powagą nabożeństwa. Paradoksalność twórczości Jerzyczka polegała również na tym, że znacznie lepiej malował obrazy inspirowane własnym uczestnictwem w misteriach kalwaryjskich, bo górę nad grafikami brało wówczas osobiste doświadczenie.

EN

The art of resident monastic painter Jan Jerzyczek (1788-1842) is paradoxical, as his technical skills and painting technique were categories as folk art even though the artist himself copied 17th century work and his paintings are based on 16th century Antwerpian engravings as well as his own experience of the Calvary’ mystery plays. Authors of monographs on the Calvary complex barely mention Jerzyczek, yet even without providing a historical, economic, and political context of the job of a resident monastic painter in the early 19th century, due to which they fail to notice the phenomenon of Jan’s paintings in the course the changes that were in progress at that time. The aim of this article is to organise knowledge on Jerzyczek’s activity and work in the Calvary, which would serve as the basis for determining the iconography of original Calvary scenery and images which were removed in the course of the first comprehensive ‘maintenance’ of the Polish Jerusalem under the supervision of Gaudenty Thynell OFM. At the same time, a closer look at Jerzyczek’s paintings allows us to perceive the visual arts (mainly painting) in the Calvary in the first half of the 19th century as a replacement for the mystery play scenes removed after 1772, the observance of which (according to Austrian authorities) was incompatible with the solemnity of the service. Jerzyczek’s art is also paradoxical in that he was much better at painting pictures inspired by his own participation in Calvary mystery plays when personal experience prevailed over his printed influences.

9

Publikacje za 2002

89%

Witkowski M.

Wadoviana. Przegląd historyczno-kulturalny

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2020

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issue 23

249-267

EN

List of publications on Wadowice and the surrounding area, which appeared in 2002.

10

Kalwaria Zebrzydowska: manierystyczny zespół architektoniczno-krajobrazowy oraz park pielgrzymkowy (1999)

88%

FURMANIK B.

Ochrona Zabytków

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2017

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issue Dodatek Specjalny. Dziedzictwo w Polsce.

113-118

EN

Kalwaria Zebrzydowska: the Mannerist Architectural and Park Landscape Complex and Pilgrimage Park, is a cultural landscape located south of Kraków, which dates back to the first half of the 17th century. It is notable among European Calvaries for its distinctive architectural features, for the skilful amalgamation of religious devotion and nature, and for the uninterrupted tradition of the mysteries enacted here. The sacral complex, embedded in the surrounding landscape, consists of: a basilica with a monastery, a number of churches, chapels, and other architectural structures, all connected by alleys, that had been built in successive stages from the 17th until the beginning of the 20th century. Criteria: (ii), (iv) The landscape and people of the pilgrimage park in Kalwaria Zebrzydowska Nowadays, visitors coming to the Pilgrimage Park in Kalwaria Zebrzydowska can feel they have moved in time and space to a place where nature intermingles with art — the architecture of the Bernardine monastery and of the churches and chapels standing along the paths to Calvary merges with the picturesque landscape of hills covered with forests, fields, and meadows. Historians, art historians, biographers of the Zebrzydowski family, and other researchers of this place have for centuries focused on its history and transformations, and the richness of the works of art that can be found in Kalwaria Zebrzydowska, not only architectural art, but also decorative art and the interior furnishing of the Calvary buildings. Speaking of the Pilgrimage Park in Kalwaria Zebrzydowska, it is also necessary to look at the landscape which provides a magnificent setting for the complex of churches and chapels, that tries to imitate the layout of Jerusalem, and to the people who have shaped this landscape for centuries, appearing in it for a brief moment during their visits or having lived there for their entire lives. The history of the Calvary complex in Kalwaria Zebrzydowska goes back to the late 16th and early 17th century, when Mikołaj Zebrzydowski, inspired by stories of people who went on pilgrimages to Jerusalem at that time, but also, as legend recounts, affected by a dream in which he saw a cross on the top of Żar Mountain looking out from his castle on Lanckorońska Mountain, decided to build a chapel there, modelled on the Golgotha chapel in Jerusalem and dedicated to the Holy Cross. He also built a monastery, which he handed over to the Order of Friars Minor — the Bernardines. An idea also emerged to enrich the local landscape with elements based on the topography of the Holy Land (such as Golgotha, the Mount of Olives, Zion, Mount Moriah, and the Kidron River) and build a Calvary with the Stations of the Cross, the Via Dolorosa, and later also the Path of the Mother of God. This unique coalescence of sacrum with nature in the form of a Calvary complex, also referred to as “Zebrzydowska Jerozolima” [Zebrzydowska Jerusalem], was the first complex of this type in Poland and provided the inspiration for many imitators. A monastery building and a number of churches and chapels of high artistic value, designed by Paweł Baudartha, were erected over a dozen years. The work of Mikołaj Zebrzydowski was continued over the following centuries by expanding the extent of the Calvary, building new chapels, enriching the artistic decoration of the interiors and the architectural programme, and, from the early 20th century, by focusing mainly on renovation and conservation works in order to maintain the place in good condition. However, it is necessary to point out that the complex in Kalwaria Zebrzydowska is not merely a cluster of over forty churches and chapels situated along paths. It is a well-thought-out and carefully designed composition of a vast landscape park. The Calvary paths, leading to the series of buildings, were determined as cuttings through woodlands or in the form of multi-row avenues in an open landscape. The uneven topography of this area enabled the creation of views linking particular elements of the Pilgrimage Park and with the surrounding landscape. The Bernardine monastery and the Church of Saint Mary of the Angels, situated prominently on a slope of Żarek Mountain, are the dominant features of the surrounding area. Visible to pilgrims from afar, they invite and at the same time inspire awe. Equally important in the perception of the complex in Kalwaria Zebrzydowska, alongside its history and composition, is the role of people in it. It was man who created this place for himself and new generations to come. Pilgrims have travelled to Kalwaria Zebrzydowska since the moment it was established in the early 17th century in order to worship God. They worshipped Him during the Passion Play organised in Kalwaria Zebrzydowska during Holy Week, adoring the painting of Our Lady of Kalwaria who is regarded as having miraculous properties, celebrating the August indulgence ceremonies of the Assumption of the Blessed Virgin Mary, or by individual prayer. This tradition has been maintained continuously for centuries up to this day and the Holy Week and Marian processions are some of the finest religious ceremonies in Poland. The people of the Calvary are also the people who have lived here for many centuries, both the Bernardines and men from the nearby towns and villages. In today’s world of rapid change and the pressure of civilisation, a number of questions arise. Does love for this place and respect for its sacrum still exist and are they capable of defending it against change? Does the way up Golgotha still require a contemporary pilgrim to make an effort and share his suffering with Christ carrying his cross, or is it a recreational walk? The areas surrounding the Calvary complex are changing and so are the needs of both the local people and pilgrims. The pride of the local community, arising from the fact that they live in a place that is so important, can be set against the difficulties involved in the regular religious ceremonies, which attract hundreds of thousands of people. Their desire for a comfortable and modern life clashes with restrictions imposed by the monument inspectors who wish to protect this valuable historic site. The expectations of the contemporary pilgrim necessitate modifying the transport, accommodation, and service infrastructures to ensure safety along the avenues going to Calvary. Despite all this – despite the passage of time, despite the wars that have taken place, and the changing lifestyles – for five centuries the Pilgrimage Park in Kalwaria Zebrzydowska has striven to remain unchanged and to resist the signs of modern times. This was confirmed by the description in the entry of Kalwaria Zebrzydowska: the Mannerist Architectural and Park Landscape Complex and Pilgrimage Park on the UNESCO World Heritage List. This refers to the site as unique on a worldwide scale, as an exceptional union of sacrum with nature, and an example of a large-scale landscape complex that combines natural beauty and landscape design with the spiritual values of Calvary, mystery plays and the principles of Baroque art, which found their expression in a complex of churches and chapels embedded in the landscape. It is hoped that the Calvary created by man for others as a place to worship of God, who became Man, a place that still attracts thousands of pilgrims from around the world, will continue unchanged as it lasts and serves future generations.

11

Česko-polské písňové vztahy na příkladu vydavatelské strategie Orlovy tiskárny

88%

Szturcová M.

Historica: revue pro historii a příbuzné vědy (Historica: Review in history and related sciences)

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2017

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vol. 8

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issue 1

44-55

EN

The study deals with the topic of Czech-Polish relations in the context of broadside ballads production (especially pilgrim) as exemplified by Orel’s printing house in Frýdek. The study focuses on the question of how the popularity of the pilgrim sites located in the territory of present-day Poland (Częstochowa and Kalwaria Zebrzydowska) reflected in Orel’s printing house editorial-publishing strategy. The study also deals with the topics of the existence of Czech and Polish variants of religious (especially pilgrim) songs, Orel’s other Polish-language output, and the printing house’s ties to other printing enterprises in the region of Upper Silesia.

12

Fotografie przechowywane w Archiwum Prowincji OO. Bernardynów w Krakowie i Archiwum Klasztoru OO. Bernardynów w Kalwarii Zebrzydowskiej dokumentujące historię Sanktuarium Pasyjno-Maryjnego w Kalwarii Zebrzydowskiej

71%

Sitnik OFM A.

Archiwa, Biblioteki i Muzea Kościelne

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2021

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vol. 117

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issue specjalny

294-302

EN

The Provincial Archive of Bernardine Fathers in Cracow and the Archive of Bernardine Monastery in Kalwaria Zebrzydowska have the largest collection of photographs which document the history of passion-marian sanctuary of Kalwaria Zebrzydowska. In 1999 the complex was added to the UNESCO list of World Heritage Sites and since 2000 it has been recognized as a Polish historic monument. Hence, it is appropriate to depict the photographic legacy of the Sanctuary in the present article. Most of the collections of photographs require studies and digitalization. They are pending to be published online. Lots of photographs in the Provincial Archive and in the monastery’s archive require ordering. They are scattered mostly in the Provincial Archive over the personal records of particular monks. Hopefully, soon they will find their place in the National Digital Archives, formed in 2008, which stores the biggest collection of photographs.

PL

Archiwum Prowincji oo. Bernardynów w Krakowie i Archiwum Klasztoru oo. Bernardynów w Kalwarii Zebrzydowskiej posiadają największy zasób fotografii dokumentujących historię sanktuarium pasyjno-maryjnego w Kalwarii Zebrzydowskiej. W 1999 r. obiekt ten został wpisany na listę światowego dziedzictwa UNESCO, a w 2000 r. uznano go za Pomnik Historii Polski. W niniejszym artykule zaprezentowano jego spuściznę fotograficzną. Kolekcje tych zbiorów w większości wymagają opracowania, zdigitalizowania i czekają na udostępnienie w formie wirtualnej. Wiele zdjęć należy jeszcze uporządkować. Znajdują się one w rozproszeniu przede wszystkim w Archiwum Prowincji przy aktach personalnych poszczególnych zakonników. Miejmy nadzieję, że w niedługim czasie znajdą swoje miejsce w powstałym w 2008 r. Narodowym Archiwum Cyfrowym, które w swoich zbiorach posiada największy zasób fotografii.

13

Ojciec Stefan Antoni Podworski OFM – Duszpasterz (1854–1913)

71%

Rusecki OFM I. M.

Łódzkie Studia Teologiczne

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2014

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vol. 23

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issue 4

103-119

EN

This article presents Father Stefan Podworski – one of the most outstanding monks at the turn of the 19th and 20th centuries. In 2013 we celebrated the 100th anniversary of his death. Father Stefan Podworski stood out as a fervent priest with excellent organizational abilities. He was also a brilliant preacher with a strong, beautiful voice. Father Podworski worked in two monasteries: in Kalwaria Zebrzydowska and Alwernia. He rendered especially great services during preparations to the coronation of a miraculous painting of Kalwarian Blessed Virgin, which took place in 1887. Later, Father Podworski was very keen in spreading Her worship.

14

Stalle w Kalwarii Zebrzydowskiej w świetle odkryć dokonanych podczas ostatniej konserwacji

63%

Pytlarz E.

Ochrona Zabytków

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2013

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issue 1-4

61-74

EN

During the renovation of the stalls, situated in the choir of monastery church Our Lady of Angels, done in 2010 we have found several important things. The stalls, with many seats in 2 rows, were put along 3 walls of the choir. There were many times before mentioned in literature, but always dated after 1632 or even later. They consists of many parts made in different times, but the oldest and most interesting are backs of the seats: in the architectural shape with scenes from the life of Holy Mary in bas-relief, surrounded by strapwork ornament. When there were dismantled first time since end of XVII century, on the other side was found, written in sanguine, date: “1617 in Augusto” with signatures of – no doubts – authors. There were several names, sometimes hard to read: twice appeared name of Thomas Barwinek from Krakow; one, of which we know only origin “ from Sieciechow”, then “Tobias Pokorny”, “Alensa[kowicz?]” and others. Beneath, with a different writing character was found inscription: “1696 die 22 Mai”. The first inscription means the end of work on stalls, and it is exactly the same, as we can date basing on the strapwork ornament. Analysing 2 middle scenes we assume that they concern episode of St. Francis ’s life, exactly the moment when he asked for indulgence for pilgrims coming to pray at the church of Holy Mary of Angels, also called Porziuncula by Assisi. This choice of scenes, without anything common to the main subject, is probably connected with similar indulgence, that Franciscan church in Kalwaria obtained in 1612. It indicates, that they started to carve the stalls in 1612 or just after that date. Both scenes are also connected with the name of church – the same as by Assisi. The first of them, Adoration of Holy Mary with Jesus by St. Francis and Franciscan monks, has added later 3 carved coats of arms, connected with Michal Zebrzydowski – the youngest member of Zebrzydowski family – monastery founders. Maybe the seat beneath coats of arms was reserved to this family? During the renovation it was decided that backs of the stalls were made as a whole and nobody ever planned to paint them, apart from mussels, put over bas-reliefs, which were painted blue and gilt. The only added elements were small bas-reliefs, nailed over the primary decoration of frieze: blue panels with gilt sentence, which was part of primer prayer to St. Francis. They were made in the same style as the rest of decoration, so they are probably coming from the first baldachin, removed in 1696. In that time the church was enlarged and they made the new baldachin in a form of balcony with balustrade and wooden vases – similar to the new music choir. Both baldachin and balustrade were later on changed once again. The present balustrade, looking very primitively as a kind of naïf Baroque , was made during the church renovation in years 1793-1832. This renovation, done by father Tulinski, was much criticised later. Stalls were then renovated around half of XIX cent., when were made present lower benches, baldachin, columns and lectern. There were decorated with wooden inlays and veneer, the same as furniture in the sacristy, with date on them: 1859. The last elements were added after the monographic essay on Kalwaria, written by prof. Szablowski in 1933. There were carved quite primitively in pinewood. The last discovery reminds us names of authors. I also proves,that stalls are older than it was suspected. We estimate them as a very good example of early Dutch Mannerism style in Poland. Backboards, together with the oldest chapels of Kalwaria make evidence, how far to the south of Poland came influences of North European art. Maybe it was because of Paul Baudarth, chapels’ designer, who probably brought to woodcarvers some graphic patterns, or maybe made some sketches himself? Translated by Elżbieta Pytlarz

15

Kult poutních míst slezsko-polského pohraničí v českých kramářských písních 18. a 19. století

51%

Szturcová M.

Historie – Otázky – Problémy (History, Issues, Problems)

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2017

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vol. 9

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issue 1

167-174

EN

The study focuses on the reflection of the cult of pilgrimage sites located in the territory of today’s Poland in pilgrim songs of Czech provenance from the 18th–19th century. Its focus of attention is on the songs to Częstochowa, which was a sought-after destination for pilgrims from Moravia and Silesia, and Kalwaria Zebrzydowska, which is very popular in Teschen Silesia. It also deals with the regional Frýdek-based printing house of František Orel, who published prints for sale at the Polish pilgrimage sites at the end of the 19th and early 20th century.

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Stalle w Kalwarii Zebrzydowskiej w świetle odkryć dokonanych podczas ostatniej konserwacji

Kult poutních míst slezsko-polského pohraničí v českých kramářských písních 18. a 19. století