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#0180
174
PtOTR Ł. GROTOWSKI
/Z FMÓ/777, ZZo/y TTih/fy c/7u/?e/,
/JćWicćChw .svc/te, Jagfg/Zo łttee/tTtg
Mo^67* o/GoJ,y^6^CO 077
.s7o77TO.se wo// /eo<Zó7g /o go//o7y
the composition, where two figures of Christ each holding a host and chalice grew out of the
body of God the Father. The apostles in the foreground are shown kneeling with joined
hands, but no longer prostrated in prayer. The folds of their mantles manifest the influence of
Gothic painting from around the year 1400 (ill. 10)W As yet, there are no known examples
of contemporary Western compositions, similar to the Lublin paintings. Anna Różycka
Bryzek, however, has drawn attention to an unpreserved fresco in the hospital church at
Bolzano (1514), which presents all the elements known from the Jagiellonian scene in the
same arrangement.^ The unusual conjunction of God the Father and the two half-figures
of Christ proves that both scenes must have been derived from the same Gothic source.
Orthodox painters employed by the new Catholic king were facing a very difficult
challenge. They had to adjust the canonical programme of the Eastern Church to the
demands of Western dogma and liturgy. The Byzantine artists portrayed two moments
from the Last Supper separately: the Announcement of Judas's betrayal, included in the
narrative cycle of the most important Evangelical events, and Christ as the high priest
giving Communion to the Apostles. The latter subject was not related to the Do<f6Æ<207To77,
^ Tadeusz M. TRAJDOS, „Treści ideowe wizerunków Jagiełły w Kaphcy Św. Trójcy na Zamku Lubetskim", ßm/ety/?
T/rsToni óztMC, 4ł (ł97ł), pp. 316-20, argues for the possibiiity that a few scenes in the presbytery of the Lubiin chape)
were painted by a Western master.
^ RÓŻYCKA-BRYZEK, RizaniyTMło-rMWe /yiu/ow/uZa w Gg/i'cy zu/TiCi op. cit., pp. 84-6, ids. )04-5.
'' This thesis was forrmdated by RÓŻYCKA-BRYZEK, „Bizantyńsko-ruskie matowidła w Potsce wczesnojagiehoń-
skiej...", op. cit., pp. 307- )3.
PtOTR Ł. GROTOWSKI
/Z FMÓ/777, ZZo/y TTih/fy c/7u/?e/,
/JćWicćChw .svc/te, Jagfg/Zo łttee/tTtg
Mo^67* o/GoJ,y^6^CO 077
.s7o77TO.se wo// /eo<Zó7g /o go//o7y
the composition, where two figures of Christ each holding a host and chalice grew out of the
body of God the Father. The apostles in the foreground are shown kneeling with joined
hands, but no longer prostrated in prayer. The folds of their mantles manifest the influence of
Gothic painting from around the year 1400 (ill. 10)W As yet, there are no known examples
of contemporary Western compositions, similar to the Lublin paintings. Anna Różycka
Bryzek, however, has drawn attention to an unpreserved fresco in the hospital church at
Bolzano (1514), which presents all the elements known from the Jagiellonian scene in the
same arrangement.^ The unusual conjunction of God the Father and the two half-figures
of Christ proves that both scenes must have been derived from the same Gothic source.
Orthodox painters employed by the new Catholic king were facing a very difficult
challenge. They had to adjust the canonical programme of the Eastern Church to the
demands of Western dogma and liturgy. The Byzantine artists portrayed two moments
from the Last Supper separately: the Announcement of Judas's betrayal, included in the
narrative cycle of the most important Evangelical events, and Christ as the high priest
giving Communion to the Apostles. The latter subject was not related to the Do<f6Æ<207To77,
^ Tadeusz M. TRAJDOS, „Treści ideowe wizerunków Jagiełły w Kaphcy Św. Trójcy na Zamku Lubetskim", ßm/ety/?
T/rsToni óztMC, 4ł (ł97ł), pp. 316-20, argues for the possibiiity that a few scenes in the presbytery of the Lubiin chape)
were painted by a Western master.
^ RÓŻYCKA-BRYZEK, RizaniyTMło-rMWe /yiu/ow/uZa w Gg/i'cy zu/TiCi op. cit., pp. 84-6, ids. )04-5.
'' This thesis was forrmdated by RÓŻYCKA-BRYZEK, „Bizantyńsko-ruskie matowidła w Potsce wczesnojagiehoń-
skiej...", op. cit., pp. 307- )3.