DOI article:
Kunińska, Magdalena: The Collector (Karol Lanckoroński), the Scholar (Marian Sokołowski) and the Artist (Jacek Malczewski) Three Gazes upon Asia Minor
DOI Page / Citation link:https://doi.org/10.11588/diglit.73804#0035
34
family, dressed in European fashion, from the Persian
seller, by the distinguished presence of a colourful vase at
the axis of the composition.
In the second group of drawings (including A Meeting
with Mevlevi in Konya, A visit in kafana [Fig. 7], A vis-
it at a shadow theatre), participants of the expedition are
distinguished by their typical European dress which - of
course - is a natural state of things but one that deep-
ens the divide and, confronted with juicy descriptions of
'Eastern types'. Unequivocally deepens the binary reading
of the world, rooted in a fascination in terms of the 'un-
canny'.
CONCLUSION
Without aiming for a positivist reconstruction of the hi-
story of the expedition, which, as I have mentioned, has
already been done, and starting from the position of the
postcolonial trend, this incomplete and sketchy glance at
the written and artistic accounts only points to Asia Mi-
nor as an important feature of an art historiography in
Poland which was immersed in the cultural, political, the-
ological and artistic milieu of Vienna and its art historical
and archaeological institutions, far from being neutral in
its goals.
SUMMARY
Magdalena Kunińska
THE COLLECTOR (KAROL LANCKOROŃSKI),
THE SCHOLAR (MARIAN SOKOŁOWSKI)
AND THE ARTIST (JACEK MALCZEWSKI).
THREE GAZES UPON ASIA MINOR
The article is structured around the eponymous 'three
gazes' of the participants of the expedition to Asia Minor
organised and paid for by Karol Lanckoroński in 1884.
Without aiming at a positivist reconstruction of the his-
tory of the expedition, it takes the notion of the traveller's
gaze analysed from the position of postcolonial studies
and power relations as a starting point for critical anal-
ysis. In the following sections, the specific, axiologically
characterised 'lenses' through which the participants look
through are identified: an orientalist view of the Ottoman
Empire, the construction of a West - East difference, and
an aesthetic evaluation bearing the hallmarks of episte-
mological violence.
At the same time, the surviving written and artistic ac-
counts point to research in Asia Minor as an important
feature of art historiography in Poland, which was im-
mersed in the cultural, political, theological and artistic
milieu of Vienna and its historical and archaeological in-
stitutions, far from neutral in their aims.
family, dressed in European fashion, from the Persian
seller, by the distinguished presence of a colourful vase at
the axis of the composition.
In the second group of drawings (including A Meeting
with Mevlevi in Konya, A visit in kafana [Fig. 7], A vis-
it at a shadow theatre), participants of the expedition are
distinguished by their typical European dress which - of
course - is a natural state of things but one that deep-
ens the divide and, confronted with juicy descriptions of
'Eastern types'. Unequivocally deepens the binary reading
of the world, rooted in a fascination in terms of the 'un-
canny'.
CONCLUSION
Without aiming for a positivist reconstruction of the hi-
story of the expedition, which, as I have mentioned, has
already been done, and starting from the position of the
postcolonial trend, this incomplete and sketchy glance at
the written and artistic accounts only points to Asia Mi-
nor as an important feature of an art historiography in
Poland which was immersed in the cultural, political, the-
ological and artistic milieu of Vienna and its art historical
and archaeological institutions, far from being neutral in
its goals.
SUMMARY
Magdalena Kunińska
THE COLLECTOR (KAROL LANCKOROŃSKI),
THE SCHOLAR (MARIAN SOKOŁOWSKI)
AND THE ARTIST (JACEK MALCZEWSKI).
THREE GAZES UPON ASIA MINOR
The article is structured around the eponymous 'three
gazes' of the participants of the expedition to Asia Minor
organised and paid for by Karol Lanckoroński in 1884.
Without aiming at a positivist reconstruction of the his-
tory of the expedition, it takes the notion of the traveller's
gaze analysed from the position of postcolonial studies
and power relations as a starting point for critical anal-
ysis. In the following sections, the specific, axiologically
characterised 'lenses' through which the participants look
through are identified: an orientalist view of the Ottoman
Empire, the construction of a West - East difference, and
an aesthetic evaluation bearing the hallmarks of episte-
mological violence.
At the same time, the surviving written and artistic ac-
counts point to research in Asia Minor as an important
feature of art historiography in Poland, which was im-
mersed in the cultural, political, theological and artistic
milieu of Vienna and its historical and archaeological in-
stitutions, far from neutral in their aims.