DOI Artikel:
Różycka-Bryzek, Anna: Obraz Matki Boskiej Częstochowskiej: Pochodzenie i dzieje średniowieczne
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20611#0030
nego kalendarza Cerkwi święto Maitki Boskiej
Częstochowskiej, budzącej równocześnie zaintere-
sowania naukowe 72.
Chociaż więc może obraz powstał jako ikona
i w pierwszej fazie istnienia mógł pozostawać w
72 Ibid.
kulcie ortodoksyjnym, z chwilą przybycia do Pol-
ski zrósł się na trwałe z kultem i liturgią kato-
licką i nie był nazywany — zgodnie z polską tra-
dycją językową — ikoną. Jeśli w ubiegłym stule-
ciu stosowanie tego terminu warunkowały wspo-
mniane okoliczności polityczne — dzisiaj pojawia
się on w szerokim nurcie ekumenizmu.
THE IMAGE OF THE VIRGIN HODEGETRIA OF CZĘSTOCHOWA
ORIGIN AND MEDIEYAL HISTORY
The image of the Virgin Hodegetria hais been in the
Pauline monastery of Jasna Góra in Częstochowa sińce
1382 or 1384, and sińce those times it has become the
object of devotion for entire Poland. A rich legendary
literaturę has grown up around it. Scholarly research
started only at the end of the 19th century. However,
its origins and extent of alterations carried out before
1382 and after the Hussite profanation dn 1430 have not
been satisfactorily explaiiined so far.
In the author’s study of 1984 (coauthor J. Gadomski)
three chronological phases have been distinguished, which
are now confirmed by the radiographic examinatioh.
In the present article the author confronts, regarding
each phase, the results of iconographic and stylistic ana-
lysis with the evidence of the written sources.
1. The icon was created in a Greek or an Italian
Byzantinising milieu of the 12th or 13th century.
2. In the second half of the 14th century it was
repainted by an Italian master of Sienese tradition
who, while preserwing the original outline and the
main iconographic features, essentially modified its arti-
stic expressiOtn.
3. In this by now Italianised form, the icon was ga-
ven by Ladislav, prince of Opole, to the Częstochowa
monastery, where it was partially damaged by the Hus-
sites in 1430. The subseąuent repairs strengthened its
western features, mainly by the addition of the frame
with its Gothic decoration, and of four silver guilt pla-
ques engraved with the scenes concerning the Incama-
tion and the Passion of Christ, here interpreted as com-
memorative of the profanation.
Częstochowskiej, budzącej równocześnie zaintere-
sowania naukowe 72.
Chociaż więc może obraz powstał jako ikona
i w pierwszej fazie istnienia mógł pozostawać w
72 Ibid.
kulcie ortodoksyjnym, z chwilą przybycia do Pol-
ski zrósł się na trwałe z kultem i liturgią kato-
licką i nie był nazywany — zgodnie z polską tra-
dycją językową — ikoną. Jeśli w ubiegłym stule-
ciu stosowanie tego terminu warunkowały wspo-
mniane okoliczności polityczne — dzisiaj pojawia
się on w szerokim nurcie ekumenizmu.
THE IMAGE OF THE VIRGIN HODEGETRIA OF CZĘSTOCHOWA
ORIGIN AND MEDIEYAL HISTORY
The image of the Virgin Hodegetria hais been in the
Pauline monastery of Jasna Góra in Częstochowa sińce
1382 or 1384, and sińce those times it has become the
object of devotion for entire Poland. A rich legendary
literaturę has grown up around it. Scholarly research
started only at the end of the 19th century. However,
its origins and extent of alterations carried out before
1382 and after the Hussite profanation dn 1430 have not
been satisfactorily explaiiined so far.
In the author’s study of 1984 (coauthor J. Gadomski)
three chronological phases have been distinguished, which
are now confirmed by the radiographic examinatioh.
In the present article the author confronts, regarding
each phase, the results of iconographic and stylistic ana-
lysis with the evidence of the written sources.
1. The icon was created in a Greek or an Italian
Byzantinising milieu of the 12th or 13th century.
2. In the second half of the 14th century it was
repainted by an Italian master of Sienese tradition
who, while preserwing the original outline and the
main iconographic features, essentially modified its arti-
stic expressiOtn.
3. In this by now Italianised form, the icon was ga-
ven by Ladislav, prince of Opole, to the Częstochowa
monastery, where it was partially damaged by the Hus-
sites in 1430. The subseąuent repairs strengthened its
western features, mainly by the addition of the frame
with its Gothic decoration, and of four silver guilt pla-
ques engraved with the scenes concerning the Incama-
tion and the Passion of Christ, here interpreted as com-
memorative of the profanation.