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Instytut Sztuki (Warschau) [Hrsg.]; Państwowy Instytut Sztuki (bis 1959) [Hrsg.]; Stowarzyszenie Historyków Sztuki [Hrsg.]
Biuletyn Historii Sztuki — 70.2008

DOI Heft:
Nr. 1-2
DOI Artikel:
Grotowski, Piotr Ł.: On the margins of meaning: some remarks on gesture as depicted in the Orthodox frescoes of Roman Catholic churches in Poland
DOI Seite / Zitierlink: 
https://doi.org/10.11588/diglit.35032#0170

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PtOTR Ł. GROTOWSKI



7. IF/W/cv/, <ro//6gm^ c//Mrc/7 o/*7Ag Lzrg/'/z, 2. ÜM/////7, F7o/p 7T/77/7p
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churches. It could be an effort to unite different religions under his sceptre,^ but more
possibly, the Greek style appealed to his taste, as Jan Długosz states in his C/z/wzz'c/a^
' The earliest evidence of Jagiello's efforts appears in a letter containing the response of the patriarch of Constantinople,
Anthony IV to an unpreserved petition of the king and the metropolitan of Kiev, dated back to the year 1397; see: Zc7o
/U/Furg/?umy Con.sTu/?7u;o/)o//7u/n', A/CCCVU-A7CCC6/7, ed. Franciscus MIKJL0S1CH, Iosephus MÜLLER, ("Zc7o <?7
r/z/Vowota g/*ogco /7zgr/z'z ogvz yocro g7/zro/o/zo", vol. 2), Vindobonae 1862, pp. 280-85. On 25th February, 1418, during
the Council of Constance, Grgory Camblak proposed the union of both Churches; see: Gerhard PODSKALSKY, "L'in-
tervention de Grigorij Camblak, métropolite de Kiev, au concile de Constance (février 1418)",/?gvz/g <7gy FZtz&y 57avgy
70 (1998), pp. 289-97. The king probably took part in preparations for the Florence-Ferrara Council (the 'Polish'
project of the Union was reported there by the Cistercian abbot of Mogiła, John Stechir; see: Tadeusz S1LN1CK1,
Ao/zo/ypowyzgg/z/zg 0 Po/sFo, Warszawa 1962, p. 93), and he conducted negotiations with Kiev's Patriarch concerning
the reconciliation of both churches himself, but the latter was eventually excommunicated by the patriarch of Constan-
tinople; see: Joseph GILL, 77/g CoM/?c?7 ofF/org/zcg, Cambridge 1982, p. 25. A different point of view is presented by
Aleksander NAUMOW, "Władysław Jagiełło wobec prawosławia", [in:j ATyz/zco 7Fó/'cy SW/ytg/ /za Zazzzłzz Lzz/zg/yAzzzz.
//zyZorza, 7go/ogz'a, yzZzzła, Æo/zygnvac/'a, ed. Barbara PAPROCKA, Jan SIL, Lublin 1999, pp. 17-24.
loanni DLUGOSSII, FzyZo/aag Fo/o/zzcag 7/7/r/ A77, [in:] „Opera omnia", ed. Aleksander PRZEŹDZIECKI, vol. 4,
Cracoviae 1876, p. 536; see also: Bernard WAPOWSKI, Dzz'g/'g Fo/'azzj- Fo/.sFz'g/' /' IK'gFz'ggo Fyz'ę.s'7wa Lz'7gwyłz'ggo or/
roG 73A0 r/o 7535, ed. Mikołaj MALINOWSKI, Wilno 1847, p. 218; also: Marcin BIELSKI, F/wzzFa /wMa, ed.
Joachim BIELSKI, Cracoviae 1598, p. 348, Martin CROMER, Dg o/'r'gz/zg g7 z*g/zzzy ggy/z'y Fo/o/zoz*zz/z: /zF/7 AWY Basile-
ae, 1550, p. 453. The theory about family influences on Jagiello's taste was formulated by RÓŻYCKA-BRYZEK,
"Bizantyńsko-ruskie malowidła ścienne w kolegiacie wiślickiej", Fo/za T/zytonagZ/Vaaz 2 (1965), p. 49. The possibi-
lity proposed recently by some Ukrainian scholars that the king could not End a proper artist in Poland must be rejected;
cf.: Volodymyr ALEKS ANDO VYC, 5'Uayggzzy/r Go/7 ' - /zzoZ/'or Fvo/a F/ar/yy/ava 777agaz7a - / pgrgw/y Fg zz;a//az*y7s'o
A7F-VFy7o/y7', „Ukrains'ke maljarstvo XIII -XV st. Studii z istorii mystectva" 1, L'viv 1995, p. 119.
 
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