DOI Artikel:
Chodyński, Antoni Romuald: Symbolika dekoracji ram i rzeźby św. Rajnolda Mistrza Adriana Karffycza w gdańskim Dworze Artusa
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43645#0069
było dzięki sile70. Aluzje herkulejskie w dekoracji rzeźby św. Rajnolda, trium-
falne wątki w dekoracji ram do dwóch dużych obrazów Martina Schonin-
cka oraz nadany im kształt przypominający łuk bramy triumfalnej, wyraźnie
nawiązują do symboliki triumfu antycznego w wystroju gdańskiego Dworu
Artusa. Półkoliste ramy Adriana Karffycza, zwłaszcza te z treściami militar-
nymi z Ławy Malborskiej, należą więc do tych dzieł rzemiosła artystycznego,
których forma i symbolika treści nawiązują do bram triumfalnych, wyko-
rzystując kod architektoniczny sięgający swoją genezą monumentów starożyt-
nego Rzymu.
Symbolism ofFrame Decoration and ofSt Reinold’s Sculpture
by Master Adrian Karffycz in Gdański Artus Manor
Adrian Karffycz, a woodcarver and sculptor, worked on the furnishings decora-
tion of the Big Hall in Gdańsk’s Artus Manor in 1533-1541. This included mainly the
frame decoration for semicircular paintings hung above the benches of Artus Man-
or’s Brotherhoods. In St Reinold’s Bench, Karffycz’s were four frames for the paint-
ings by Master Georg: The Death ofLucretia, Sacrifice ofMarcus Curtius, Execution of
Decius Phuphecius, and Diana and Acteon. In the Bench of St Christopher, the Master
decorated the frames of the paintings by Lorenzo Laurrenstein: Lot with His Daugh-
ters, The Story of Jephthah, and of the representation of God the Father. In the Mal-
bork Bench, he adorned the frames of four paintings by Martin Schoninck: Siege ofthe
Malbork Castle, Holferness Camp, Salvator Mundi, and The Virgin and Child. Moreo-
ver, in 1533-1534, Karffycz executed a sculpture showing the Bench’s patron, namely
St Reinold; the heads in the capitals of the wooden panelling of the Malbork Bench; ten
planet personifications; and a frieze featuring a triumphal procession. The meaning of
Karffycz’s heads has been recently analyzed by A. Woziński.
Karffycz’s sculpted frames contain a rich repertory of ornamental and meaningful
motifs. Grotesąue elements and arabesąues intertwine with floral motifs, while the
artist’ s imagination provided him with various forms of hybrid creatures, derived from
mythology and symbolically related to the sea, thus close to Gdańsk’s character (Tri-
ton, the Nereids), putti as genuses, as well as fantasy małe and female figures personi-
fying forces of naturę. The world of those creatures emphasized with hues included
blue associated with water. Among the array, mascarons can be seen: human masks
with open eyes, interpreted by A. Woziński as personifications of the day.
Karffycz was artistically active in the second ąuarter of the 16lh century, namely
the period when early-Renaissance pattern-books were being promulgated in Europę,
containing both woodcuts and copperplate engravings, these including grotesąue,
arabesąue, and candelabra forms, as well as the world of fantasy creatures, extremely
popular in the decorative art of the period. He applied many of those ideas in his
wood-carved pieces which he created in Gdańsk. He may have used pattern book pages
distributed during the annual Dominican Fair, created by so-called minor masters:
70 Karl Kerenyi, Mitologia Greków, tłum. R. Reszke, Warszawa 2002, s. 397.
Symbolika
dekoracji
ram i rzeźby
św. Rajnolda...
67
falne wątki w dekoracji ram do dwóch dużych obrazów Martina Schonin-
cka oraz nadany im kształt przypominający łuk bramy triumfalnej, wyraźnie
nawiązują do symboliki triumfu antycznego w wystroju gdańskiego Dworu
Artusa. Półkoliste ramy Adriana Karffycza, zwłaszcza te z treściami militar-
nymi z Ławy Malborskiej, należą więc do tych dzieł rzemiosła artystycznego,
których forma i symbolika treści nawiązują do bram triumfalnych, wyko-
rzystując kod architektoniczny sięgający swoją genezą monumentów starożyt-
nego Rzymu.
Symbolism ofFrame Decoration and ofSt Reinold’s Sculpture
by Master Adrian Karffycz in Gdański Artus Manor
Adrian Karffycz, a woodcarver and sculptor, worked on the furnishings decora-
tion of the Big Hall in Gdańsk’s Artus Manor in 1533-1541. This included mainly the
frame decoration for semicircular paintings hung above the benches of Artus Man-
or’s Brotherhoods. In St Reinold’s Bench, Karffycz’s were four frames for the paint-
ings by Master Georg: The Death ofLucretia, Sacrifice ofMarcus Curtius, Execution of
Decius Phuphecius, and Diana and Acteon. In the Bench of St Christopher, the Master
decorated the frames of the paintings by Lorenzo Laurrenstein: Lot with His Daugh-
ters, The Story of Jephthah, and of the representation of God the Father. In the Mal-
bork Bench, he adorned the frames of four paintings by Martin Schoninck: Siege ofthe
Malbork Castle, Holferness Camp, Salvator Mundi, and The Virgin and Child. Moreo-
ver, in 1533-1534, Karffycz executed a sculpture showing the Bench’s patron, namely
St Reinold; the heads in the capitals of the wooden panelling of the Malbork Bench; ten
planet personifications; and a frieze featuring a triumphal procession. The meaning of
Karffycz’s heads has been recently analyzed by A. Woziński.
Karffycz’s sculpted frames contain a rich repertory of ornamental and meaningful
motifs. Grotesąue elements and arabesąues intertwine with floral motifs, while the
artist’ s imagination provided him with various forms of hybrid creatures, derived from
mythology and symbolically related to the sea, thus close to Gdańsk’s character (Tri-
ton, the Nereids), putti as genuses, as well as fantasy małe and female figures personi-
fying forces of naturę. The world of those creatures emphasized with hues included
blue associated with water. Among the array, mascarons can be seen: human masks
with open eyes, interpreted by A. Woziński as personifications of the day.
Karffycz was artistically active in the second ąuarter of the 16lh century, namely
the period when early-Renaissance pattern-books were being promulgated in Europę,
containing both woodcuts and copperplate engravings, these including grotesąue,
arabesąue, and candelabra forms, as well as the world of fantasy creatures, extremely
popular in the decorative art of the period. He applied many of those ideas in his
wood-carved pieces which he created in Gdańsk. He may have used pattern book pages
distributed during the annual Dominican Fair, created by so-called minor masters:
70 Karl Kerenyi, Mitologia Greków, tłum. R. Reszke, Warszawa 2002, s. 397.
Symbolika
dekoracji
ram i rzeźby
św. Rajnolda...
67