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DOI Artikel:Rottermund, Andrzej: The "Road to Independence" in Polish art of the 19th century
DOI Artikel:Dobrzeniecki, Tadeusz; Muzeum Narodowe w Warszawie [Mitarb.]: Maiestas Domini from the Faras Cathedral in the National Museum in Warsaw: (prolegomena to the iconography)
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18864#0079
For reasons at times beyond the organizers' control, the exhibition did not include the icono-
graphy of the years immediately before regaining idependence. The rebirth of the state, however,
was reflected in Jacek Malczewski's allegoric painting and in a painting by Włodzimierz Tetmajer
(fig 13).
The themes and motifs presented at the exhibition could be easily complemented by paintings
growing from the needs and the imagination of 20th century artists. The paintings have not
necessarily had a great effect on the development of Polish art, but it must be stressed again
that research into, and presentation of, visual communieation must not be confined to the
discussion of the artistic function. Aware of other functions we acquire a wider perspective,
which allows us to view even awkwardly executed images of national heroes, insurgents, tormen-
ted prisoners, highlanders and Cossacks, orphans and hunters as symbols that have shaped and
will continue to shape the cultural personality of generations of Poles.
Translated by Joanna Holzman
Tadeusz Dobrzeniecki
MAIESTAS DOMINI FROM THE FARAS CATHEDRAL
IN THE NATIONAL MUSEUM IN WARSAW
(PROLEGOMENA TO THE ICONOGRAPHY)
Polish archeological excavations in Nubia disclosed murals on the walls of the Faras Cathedral.
A considerable part of them is now owned by the National Museum in Warsaw. In the Warsaw
collection of the Faras frescoes, the student of Christian art finds some iconographical problems
requiring exp!anation. Especially outstanding is a fresco, removed from the Eastern wali of
the Northern aisle of the Cathedral1. Here Christ is represented, seated frontally on a decorated
throne. His bare sandaled feet rest on the suppedaneum. His vestments consist of long tunics,
flatty sweeping down to the floor, and the outer cloth, which fits the upper part of His body and
loosely flows down from the knees (trabea). The whole surface of this cloth is divided by dark
lines into parallel stripes. At equal intervals in the middle of these stripes run rows of eyes, painted
with red colour in equal intervals. The simplified pattern of each eye consisting of the contour
with the pupil and the upper eyelids is marked with black colour (fig. 1). Christ holds in His
K. Michałowski, Faras. die Kathedrale aus dem JFiistensamI,Einsiedeln—Ziirich—Koln, 1967, p. 133-—4, pl. 53 ; The
same, Faras. Wall Painting in the Collection of the National Museum in Warsaw. The Chapter on Inscriptions by S. Jako-
bielski, Warsaw, 1974, pp. 177—184, No 35 : the painting was executed most probably in the middle in the Xllth
century; the distance of the figurę from the Ievel of the floor 2.10 m; the height of the preserved figurę of Christ 2.40 m
(the head, the part of the shoulder and the left hand are lost).
69
graphy of the years immediately before regaining idependence. The rebirth of the state, however,
was reflected in Jacek Malczewski's allegoric painting and in a painting by Włodzimierz Tetmajer
(fig 13).
The themes and motifs presented at the exhibition could be easily complemented by paintings
growing from the needs and the imagination of 20th century artists. The paintings have not
necessarily had a great effect on the development of Polish art, but it must be stressed again
that research into, and presentation of, visual communieation must not be confined to the
discussion of the artistic function. Aware of other functions we acquire a wider perspective,
which allows us to view even awkwardly executed images of national heroes, insurgents, tormen-
ted prisoners, highlanders and Cossacks, orphans and hunters as symbols that have shaped and
will continue to shape the cultural personality of generations of Poles.
Translated by Joanna Holzman
Tadeusz Dobrzeniecki
MAIESTAS DOMINI FROM THE FARAS CATHEDRAL
IN THE NATIONAL MUSEUM IN WARSAW
(PROLEGOMENA TO THE ICONOGRAPHY)
Polish archeological excavations in Nubia disclosed murals on the walls of the Faras Cathedral.
A considerable part of them is now owned by the National Museum in Warsaw. In the Warsaw
collection of the Faras frescoes, the student of Christian art finds some iconographical problems
requiring exp!anation. Especially outstanding is a fresco, removed from the Eastern wali of
the Northern aisle of the Cathedral1. Here Christ is represented, seated frontally on a decorated
throne. His bare sandaled feet rest on the suppedaneum. His vestments consist of long tunics,
flatty sweeping down to the floor, and the outer cloth, which fits the upper part of His body and
loosely flows down from the knees (trabea). The whole surface of this cloth is divided by dark
lines into parallel stripes. At equal intervals in the middle of these stripes run rows of eyes, painted
with red colour in equal intervals. The simplified pattern of each eye consisting of the contour
with the pupil and the upper eyelids is marked with black colour (fig. 1). Christ holds in His
K. Michałowski, Faras. die Kathedrale aus dem JFiistensamI,Einsiedeln—Ziirich—Koln, 1967, p. 133-—4, pl. 53 ; The
same, Faras. Wall Painting in the Collection of the National Museum in Warsaw. The Chapter on Inscriptions by S. Jako-
bielski, Warsaw, 1974, pp. 177—184, No 35 : the painting was executed most probably in the middle in the Xllth
century; the distance of the figurę from the Ievel of the floor 2.10 m; the height of the preserved figurę of Christ 2.40 m
(the head, the part of the shoulder and the left hand are lost).
69