DOI Heft:
Nr. 3-4
DOI Artikel:Książek, Andrzej: Historia polskiej sztuki Władysława Tatarkiewicza: =
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.35032#0560
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ANDRZEJ KSIĄŻEK
In this article the author's main wish is to present the
work and its influence on the development of
primarily Polish art history of the widely known
phitosopher Władysław Tatarkiewicz, ln Tatarkie-
wicz's opinion, ail history, similarly to other branches
of history - inciuding the history of philosophy -
beiongs to typological sciences in accordance with the
conclusions he had already come to within the field of
general methodology in the general sciences. The
most readily methodological tools applied by him
were dependent on the notion of type and exchange.
Research in history (both ail and philosophical) do
not lead exclusively to isolated statements but tend
rather to establish general and typical forms, leading
thereby to the formulation of treatises on types in the
history of art and history of philosophy.
In researching Polish sacra! architecture from the
17th century, Władysław Tatarkiewicz distinguished
two types of Roman Catholic church: the Kalisz and
Lublin types. He drew attention to separate and
differentiated types of such churches in contrast to
the ones existing in Western Europe. The author of
this article writes also on the specific features in
Polish secular architecture during the same period,
distinguishing alongside the Baroque of Italy,
Piedmont and Rome that of Cracow and Vilna.
Tatarkiewicz in his research of 18th-Polish
architecture recognised that the hereto uniform style
of this period possessed numerous variations. Among
these, he introduced the category A/anAAtwa
ÆgMVa, which contrasted with that of the aristocracy
or wealthy middles classes, especially in Warsaw, of
the period. This 'Stanislaus-Augustus style',
expressing itself in such monuments as the Łazienki
Palace and interior decorations of the enlarged Royal
Castle in the royal capital differs from that, to name
two examples, of St. Petersburg under Catherine the
Great or French architectural design during the reign
of Louis XVI.
In writing about Polish architecture during the
17th and 18th centuries, Tatarkiewicz draws attention
to the vernacular features of this architecture,
applying the names: Polish Renaissance, Polish
Baroque and Polish Classicism. The author is aware
of the influence under which Polish art and culture
were placed, but equally the separateness of this
culture and its unquestioned contribution in the
history of European culture.
7/Y/us7ote<7 Ay cAùo/is*
ANDRZEJ KSIĄŻEK
In this article the author's main wish is to present the
work and its influence on the development of
primarily Polish art history of the widely known
phitosopher Władysław Tatarkiewicz, ln Tatarkie-
wicz's opinion, ail history, similarly to other branches
of history - inciuding the history of philosophy -
beiongs to typological sciences in accordance with the
conclusions he had already come to within the field of
general methodology in the general sciences. The
most readily methodological tools applied by him
were dependent on the notion of type and exchange.
Research in history (both ail and philosophical) do
not lead exclusively to isolated statements but tend
rather to establish general and typical forms, leading
thereby to the formulation of treatises on types in the
history of art and history of philosophy.
In researching Polish sacra! architecture from the
17th century, Władysław Tatarkiewicz distinguished
two types of Roman Catholic church: the Kalisz and
Lublin types. He drew attention to separate and
differentiated types of such churches in contrast to
the ones existing in Western Europe. The author of
this article writes also on the specific features in
Polish secular architecture during the same period,
distinguishing alongside the Baroque of Italy,
Piedmont and Rome that of Cracow and Vilna.
Tatarkiewicz in his research of 18th-Polish
architecture recognised that the hereto uniform style
of this period possessed numerous variations. Among
these, he introduced the category A/anAAtwa
ÆgMVa, which contrasted with that of the aristocracy
or wealthy middles classes, especially in Warsaw, of
the period. This 'Stanislaus-Augustus style',
expressing itself in such monuments as the Łazienki
Palace and interior decorations of the enlarged Royal
Castle in the royal capital differs from that, to name
two examples, of St. Petersburg under Catherine the
Great or French architectural design during the reign
of Louis XVI.
In writing about Polish architecture during the
17th and 18th centuries, Tatarkiewicz draws attention
to the vernacular features of this architecture,
applying the names: Polish Renaissance, Polish
Baroque and Polish Classicism. The author is aware
of the influence under which Polish art and culture
were placed, but equally the separateness of this
culture and its unquestioned contribution in the
history of European culture.
7/Y/us7ote<7 Ay cAùo/is*