DOI Artikel:
Kunińska, Magdalena: The Collector (Karol Lanckoroński), the Scholar (Marian Sokołowski) and the Artist (Jacek Malczewski) Three Gazes upon Asia Minor
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.73804#0031
30
and such ornaments, and much of a fantastic and Asian
character [Fig. 2].41
He attributes all deviations from the Attic norm to local
influences (which is a rather typical strategy and was analy-
sed inter alia by Aleksandra Lipińska by way of the exam-
ple of Boims Chapel in Lviv42) and identifies the the ruler
who had the heroon built as only an uncivilised robber:
We have no idea of the extent of his state or the mo-
mentousness of his power. He was probably a mountain
bandit living by robbery, but using the gains of modern
civilisation to enhance his importance and brilliance.43
II B. THE SIGNIFICANCE OF RESEARCH
In addition to reviving knowledge of the classical tra-
dition, the aim is also to raise the level of one's own era
(a constant theme), hence we can read:
That they [it is Austrian exploration and discoveries in
Asia Minor - M. K], with the entire body of research
connected with them, may have unequally greater, pra-
ctical and more vivid consequences for our civilisational
future. It is not in vain that the world has devoted so
much attention and effort to them, it is not in vain that
it has followed them and their progress with so much
attention; who knows whether in them lies the key to
the turn that our materialistic age of drink, culture and
art should take. With the over-realistic instincts of our
time with an observation turned exclusively to the in-
dividual and accidental features of the world around us
with a mind preoccupied with attractive, ideal notions
by the grey lines in the spectrum around us, we can find
a more invigorating spark of rebirth elsewhere than in
contact with that noble antiquity which, no less than our
time in nature, sought the source and starting point of
its creativity. To be able to squeeze from its living womb
the laws of the ideal.44
Last but not least, both Sokołowski and Lanckoroński
remain in the circle of the Habsburg competition with
Germany, hence raising the role of Benndorfs discover-
ies:
Thanks to this expedition and the results, Vienna can
no longer envy Berlin the Pergamonian sculptures, as
it possesses works of Greek art that are significant for
science.45
41 Idem, Austryackie poszukiwania, p. 31 (as in note 24).
42 A. Lipińska, Die Boim-Kapelle in Lwiw. Eine Herausforderung des
Hybriden, a lecture at Humboldt University, Berlin, 01.02.2023.
43 M. Sokołowski, Austryackie poszukiwania, p. 32 (as in note 24).
44 Ibidem, p. 33.
45 Ibidem, p. 25. The specific arms struggle' between the centres is
perfectly clear in the context of the presentation of the Heroon
from Trysa precisely, for which Eitelberger had high hopes. In
the end, the Heroon did not play such an important role and did
not gain the popularity of the Pergamon Altar (see for example:
The thesis of the specific role of the region in the Euro-
pean perspective and zone of interests also did not escape
the descriptions of the bazaar in Smyrna:
The bazaar, with its high wooden-beam supported and
outward opening frames on the shores, shaded by the
boughs of the Platanus trees rustling in the wind, where
we noticed the balanced and varied mass of goods aga-
inst the dark depths, looks mysterious and has an in-
termediate character between East and West, between
Asia and Europe.46
Although in many places Sokołowski uses impres-
sionistic, even painterly language, and does not shy
away from anecdotal tales (such as one on camels with
tiny bells), the sheer difference in language use is strik-
ing, and Sokolowskis gaze is infected with Orientalist su-
perstitions, while he proposes only the painterly gaze (of
'French painters of the romantic era'47) to encounter the
local context. This remark is a good starting point for the
final perspective - that of the artist.
III . LENSES OF JACEK MALCZEWSKI
Finally, a few remarks about Jacek Malczewski's gaze to-
ward Asia Minor. His drawings have so far accompanied
us as anecdotal illustrations, but it is worth noting that
- despite Winiewicz-Wolska's48 full analysis - orienta-
list accents are present here as well. It should be remem-
bered that Malczewski had the status of a 'friend' in the
expedition's line-up, and not that of a drawer-documen-
talist, which is perfectly evident in the comparison of the
two views of Hadrian's Gate in Antalya: one by Malczew-
ski and the second published in Lanckorońskis book.
Animated by the artist, probably drawn on the spot, in an
anecdotal snapshot, the scene bears traces of genre pain-
ting [fig. 3]. Malczewski gets himself into trouble, peeping
in and chronicling the expedition at many moments, but
the question remains to what extent he himself succumbs
to conventional forms and Orientalist thinking and com-
posing.49
H. D. Szemethy, 'Die osterreichischen Trysa-Expeditionen im
BewuBtsein der Offentlichkeit des 19. Jhs.', in Akten des 9. Oster-
reichischen Archdologentages am Institut fur Klassische Archeolo-
gie der Paris Lodron-Universitat Salzburg, 6.-8. Dezember 2001,
eds B. Asamer, W. Wohlmayr, Vienna 2003, pp. 195-199).
46 M. Sokołowski, 'Z podróży na Wschód', p. 48 (emphasis - M.K.)
(as in note 25).
47 Ibidem, p. 98.
48 J. Winiewicz-Wolska, both works cited in note 10.
49 A seminal work of Linda Nochlin brought the orientalism theo-
ry into the field of visual studies, while she analyses the 'pictur-
esque' visions of the East in French painting. The crucial terms are
these of domination hidden behind 'realism' and the specific time
measuring in this kind of painting. See L. Nochlin, 'Imaginary
Orient', in eadem, The Politics of Vision, New York 1983, p. 33-59.
and such ornaments, and much of a fantastic and Asian
character [Fig. 2].41
He attributes all deviations from the Attic norm to local
influences (which is a rather typical strategy and was analy-
sed inter alia by Aleksandra Lipińska by way of the exam-
ple of Boims Chapel in Lviv42) and identifies the the ruler
who had the heroon built as only an uncivilised robber:
We have no idea of the extent of his state or the mo-
mentousness of his power. He was probably a mountain
bandit living by robbery, but using the gains of modern
civilisation to enhance his importance and brilliance.43
II B. THE SIGNIFICANCE OF RESEARCH
In addition to reviving knowledge of the classical tra-
dition, the aim is also to raise the level of one's own era
(a constant theme), hence we can read:
That they [it is Austrian exploration and discoveries in
Asia Minor - M. K], with the entire body of research
connected with them, may have unequally greater, pra-
ctical and more vivid consequences for our civilisational
future. It is not in vain that the world has devoted so
much attention and effort to them, it is not in vain that
it has followed them and their progress with so much
attention; who knows whether in them lies the key to
the turn that our materialistic age of drink, culture and
art should take. With the over-realistic instincts of our
time with an observation turned exclusively to the in-
dividual and accidental features of the world around us
with a mind preoccupied with attractive, ideal notions
by the grey lines in the spectrum around us, we can find
a more invigorating spark of rebirth elsewhere than in
contact with that noble antiquity which, no less than our
time in nature, sought the source and starting point of
its creativity. To be able to squeeze from its living womb
the laws of the ideal.44
Last but not least, both Sokołowski and Lanckoroński
remain in the circle of the Habsburg competition with
Germany, hence raising the role of Benndorfs discover-
ies:
Thanks to this expedition and the results, Vienna can
no longer envy Berlin the Pergamonian sculptures, as
it possesses works of Greek art that are significant for
science.45
41 Idem, Austryackie poszukiwania, p. 31 (as in note 24).
42 A. Lipińska, Die Boim-Kapelle in Lwiw. Eine Herausforderung des
Hybriden, a lecture at Humboldt University, Berlin, 01.02.2023.
43 M. Sokołowski, Austryackie poszukiwania, p. 32 (as in note 24).
44 Ibidem, p. 33.
45 Ibidem, p. 25. The specific arms struggle' between the centres is
perfectly clear in the context of the presentation of the Heroon
from Trysa precisely, for which Eitelberger had high hopes. In
the end, the Heroon did not play such an important role and did
not gain the popularity of the Pergamon Altar (see for example:
The thesis of the specific role of the region in the Euro-
pean perspective and zone of interests also did not escape
the descriptions of the bazaar in Smyrna:
The bazaar, with its high wooden-beam supported and
outward opening frames on the shores, shaded by the
boughs of the Platanus trees rustling in the wind, where
we noticed the balanced and varied mass of goods aga-
inst the dark depths, looks mysterious and has an in-
termediate character between East and West, between
Asia and Europe.46
Although in many places Sokołowski uses impres-
sionistic, even painterly language, and does not shy
away from anecdotal tales (such as one on camels with
tiny bells), the sheer difference in language use is strik-
ing, and Sokolowskis gaze is infected with Orientalist su-
perstitions, while he proposes only the painterly gaze (of
'French painters of the romantic era'47) to encounter the
local context. This remark is a good starting point for the
final perspective - that of the artist.
III . LENSES OF JACEK MALCZEWSKI
Finally, a few remarks about Jacek Malczewski's gaze to-
ward Asia Minor. His drawings have so far accompanied
us as anecdotal illustrations, but it is worth noting that
- despite Winiewicz-Wolska's48 full analysis - orienta-
list accents are present here as well. It should be remem-
bered that Malczewski had the status of a 'friend' in the
expedition's line-up, and not that of a drawer-documen-
talist, which is perfectly evident in the comparison of the
two views of Hadrian's Gate in Antalya: one by Malczew-
ski and the second published in Lanckorońskis book.
Animated by the artist, probably drawn on the spot, in an
anecdotal snapshot, the scene bears traces of genre pain-
ting [fig. 3]. Malczewski gets himself into trouble, peeping
in and chronicling the expedition at many moments, but
the question remains to what extent he himself succumbs
to conventional forms and Orientalist thinking and com-
posing.49
H. D. Szemethy, 'Die osterreichischen Trysa-Expeditionen im
BewuBtsein der Offentlichkeit des 19. Jhs.', in Akten des 9. Oster-
reichischen Archdologentages am Institut fur Klassische Archeolo-
gie der Paris Lodron-Universitat Salzburg, 6.-8. Dezember 2001,
eds B. Asamer, W. Wohlmayr, Vienna 2003, pp. 195-199).
46 M. Sokołowski, 'Z podróży na Wschód', p. 48 (emphasis - M.K.)
(as in note 25).
47 Ibidem, p. 98.
48 J. Winiewicz-Wolska, both works cited in note 10.
49 A seminal work of Linda Nochlin brought the orientalism theo-
ry into the field of visual studies, while she analyses the 'pictur-
esque' visions of the East in French painting. The crucial terms are
these of domination hidden behind 'realism' and the specific time
measuring in this kind of painting. See L. Nochlin, 'Imaginary
Orient', in eadem, The Politics of Vision, New York 1983, p. 33-59.