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THE ARCHITECTURE OF WOODEN ORTHODOX CHURCHES IN 19TH CENTURY LATGALE (Pareizticigo koka baznicu arhitektura Latgale 19. gadsimta)

100%

Bistere A.

Makslas Vesture un Teorija

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2004

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vol. 2

29-38

EN

Wooden Orthodox churches, built in Latgale during the 19th century, combine both ethnographic building traditions such as horizontal beam structures and other traditionally Latvian means of construction with influences of Russian church architecture. This is especially evident in the architectonic layout of buildings, the decorative finish of facades, and the architecturally plastic design of towers as well as in the spatial arrangement of interiors, especially iconostases. We should also remember the features of the architectural styles predominant in 19th century Latvia. These are particularly pronounced in the Neo-Classicism influenced architectonic solution of the Skeltova Church; other churches feature eclectic combinations of forms representing different architectural styles. Wooden Orthodox churches in 19th century Latgale have mostly a prolonged type of planning. The belfry, narthex and catholicon are most commonly completed by an apse at the eastern end and placed on a longitudinal axis. There are exceptions; the Skeltova Church and the Alexander Nevsky Church in Daugavpils feature central square-type planning. On the other hand, the layout of the Tilza Church was influenced by the fact that the building had previously been used as a school prior to its adaptation for the needs of a church. Three types of spatial layout can be distinguished in the exteriors of Latgale's wooden Orthodox churches. The first type is represented by the Skeltova and Daugavpils Alexander Nevsky churches, which feature central planning; this resulted in a square layout covered by a dome in Skeltova but by a four-pitched roof with small towers in Daugavpils. The Orthodox churches in Goliseva, Pudinava and Vjortulova, chronologically later than the Skeltova Church, feature a rectangular layout with a prolonged catholicon covered by an octagonal structure making up about 1/5 of the building's height.

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THE DESTINY OF RESEARCH INTO THE HISTORY OF ARCHITECTURE OF LATGALE (Latgales arhitekturas vestures petniecibas likteni)

88%

Kaminska R.

Materiali Latvijas makslas vesturei

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2001

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vol. 2

69-79

EN

If we analyze the accomplishments of Latvia's art specialists thus far, we see that one of the most important areas of work has been research into the history of architecture in various parts of the country. Traditions of researching the architecture of Latgale have developed in several phases. Thus, for example, authors working in the region in the first half of the 20th century developed themes which appeared in the work of professional art and architecture historians in the late 19th and early 20th century (among them Wilhelm Neumann) - a look at important churches and Medieval castles in Latgale in the context of the Baltic region. Monuments in Latgale were also reviewed in the context of Latvia's entire artistic heritage (Boris Vipper). Arturs Krumins, for his part, produced a monograph on the 18th century architecture in Latgale, Most of the attention during this period was devoted to older architectural monuments, and the idea that Latgale's architecture is unique in some way was associated at that time with the concept of 'Lettigalian Baroque'. In the latter half of the 20th century, too, Latgale has most often been considered in the context of Latvian architecture as whole. The range of historical periods, comprising specific phenomena under investigation, however, expanded. Architecture from the 18th to the 20th century has been studied extensively (Dainis Brugis, Janis Zilgalvis, Ieva Lancmane, Janis Krastins, etc.). Monuments from Latgale have increasingly been appearing in encyclopedic or summarizing publications devoted to the broader Northeastern European region Jurijs Vasiljevs, etc.). Polish researchers have particularly been interested in Latgale. This has been seen in attributions (Kazimierz Glowacki, Stanislaw Lorentz), in searches for stylistic expressions in certain eras (Zbigniew Homung), and in the context of studying philanthropic work and the activities of spiritual orders (Andrzej Baranovski, Jerzy Paszenda, et al.).

3

Strofy polskie Zofii Rujkówny znad Dźwiny

75%

Durejko A.

Literatura i Kultura Popularna

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2010

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vol. 16

143-150

EN

The tradition of Polish literature has no continuity in the former Poland’s Livonia. Zofia Rujkowna began her literary adventure in the Polish press published in Latvia in the interwar period. Her poems can be found for example in “Dzwon”, “Nasz Głos”, “Nasze Życie”. She is the author of numerous works dedicated to the land that is situated by the Dvina River. Among them quite a few poems appeared on the occasion of many anniversaries: the anniversary of publishing “Dzwon” or the tenth anniversary of Latgalia’s liberation.

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ARTISTIC MONUMENTS IN LATGALE IN THE CONTEXT OF THE REGION'S HISTORY OF CULTURE AND THE ARTS (Latgales makslas pieminekli novada kulturas un makslas vestures konteksta)

75%

Kaminska R.

Materiali Latvijas makslas vesturei

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2000

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vol. 1

51-62

EN

There are some 2,700 artistic monuments in Latgale, according to a list that was prepared by specialists in the field of cultural monuments. These are works of fine and applied arts which, in most cases, have survived in the region's churches and cemetery chapels and which can be dated from the 16th to the 20th century. The contacts which the region has had with various European arts phenomena over the centuries reveal a specific choice of sources of inspiration and the involvement of specific professional foreign artists in fulfilling orders from Latgale. The dominant direction in the artistic heritage created under the influence of the Catholic Church's traditions is the Southern direction' which filtered into Latgale via the experience of Central European artists. This can be seen most clearly in late-Baroque stucco sculptures in Latgale, and is connected with sculptors of the so-called Vilnius Baroque center. Further evidence of links with the artistic pursuits of Southern European Catholic countries is found in the fact that paintings by Andrea del Sarto, Guido Reni, Bartolome Esteban Murillo and others were localized or copied for altars in Latgale's churches. 19th century links with the countries of Central Europe, in turn, are evidenced in the fact that such artists as Jan Matejko, Jozef Peszka, Apolinary Horawski and Kazimierz Alchimowicz, among others, were commissioned to do work for churches in Latgale. The traditions of ancient Russian art came into Latgale along with the arrival of Old Believers from the Orthodox Church in the late 17th century. Most of these people came from deep within Russia's heartland, bringing along icons, books and items of metalwork - collections there were updated over the course of time. Many items were created on the spot, and this work continues to this very day in such towns as Daugavpils and Rezekne. The style of these artworks is dominated by influences from Northern Russia, but there are traces of other regions, too, including some echoes of Western art. In other words, the presence of both the Eastern and the Western Christian church helped to establish the colorful uniqueness of culture in Latgale.

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2 Materiali Latvijas makslas vesturei

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2 Kaminska R.

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THE ARCHITECTURE OF WOODEN ORTHODOX CHURCHES IN 19TH CENTURY LATGALE (Pareizticigo koka baznicu arhitektura Latgale 19. gadsimta)

THE DESTINY OF RESEARCH INTO THE HISTORY OF ARCHITECTURE OF LATGALE (Latgales arhitekturas vestures petniecibas likteni)

Strofy polskie Zofii Rujkówny znad Dźwiny

ARTISTIC MONUMENTS IN LATGALE IN THE CONTEXT OF THE REGION'S HISTORY OF CULTURE AND THE ARTS (Latgales makslas pieminekli novada kulturas un makslas vestures konteksta)