DOI Artikel:
Noworyta-Kuklińska, Bożena: Krośnieńska Madonna i problemy jej proweniencji
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27559#0369
MATERIAŁY
367
wątpliwości fakt sprowadzania z Krakowa i zamawiania tam dzieł sztuki. Praw-
dopodobnie takąż drogą przybyła tu rzeźba Madonny z by zwieńczyć
nowo powstający w krośnieńskiej farze ołtarz główny^.
Ogłąd tej pięknej krośnieńskiej rzeźby; swobody w upozowaniu Maryi i Jezusa,
ich naturalnych gestów oraz ciepłego spojrzenia, jakim Matka ogarnia Syna,
pozwała dostrzec i zwrócić uwagę, w jak niezwykły sposób nowożytne treści łączą
się w tym wypadku z późnogotycką jeszcze formą.
THE MADONNA OF KROSNO AND THE PROBLEMS OF !TS ORIGIN
Summary
In the Krosno parish church, in the wardrobe of the baroque Virgin Mary of Loreto altar,
behind the central painting, for many years a beautiful sculpture of Madonna with Child has
found shelter. It is one of the few medieval works preserved in this typically baroque
interior. It is a slender, upright wooden sculpture. The figure of Virgin Mary is shown in
contrapposto, slightly bent in her waist, with her head turned right towards the naked Child,
supported and presented by the Mother. The robes of Mary standing on a half-moon are
richly pleated. On her long hair there is a decorative band. The Child with a lively and
natural look, with His hand grasping a sphere - the symbol of supremacy, omnipresence and
omni-causality. His breast and left wrist are decorated with painted string of coral beads that
symbolise apotropaic powers, pointing also to the subsequent Jesus' Passion.
Researchers became interested in the Krosno sculpture in the 1960s. They situated it in
the trend of post-Stoss sculpture, as a work of one of the Cracow workshops. A. M.
Olszewski accurately noticed its similarity to Tilman Riemenschneider's workshop, which
seems proper and justified on all accounts.
Tran^łatcJ &y Tarłea^z Karłowicz
^ Ks. W. P a r t y k a, GotycA: c!?raz Koronac/';' Mary: w koJc:'e/e/araym w KroJnlc,
Lublin 1985, mps BKUL, s. 42.
367
wątpliwości fakt sprowadzania z Krakowa i zamawiania tam dzieł sztuki. Praw-
dopodobnie takąż drogą przybyła tu rzeźba Madonny z by zwieńczyć
nowo powstający w krośnieńskiej farze ołtarz główny^.
Ogłąd tej pięknej krośnieńskiej rzeźby; swobody w upozowaniu Maryi i Jezusa,
ich naturalnych gestów oraz ciepłego spojrzenia, jakim Matka ogarnia Syna,
pozwała dostrzec i zwrócić uwagę, w jak niezwykły sposób nowożytne treści łączą
się w tym wypadku z późnogotycką jeszcze formą.
THE MADONNA OF KROSNO AND THE PROBLEMS OF !TS ORIGIN
Summary
In the Krosno parish church, in the wardrobe of the baroque Virgin Mary of Loreto altar,
behind the central painting, for many years a beautiful sculpture of Madonna with Child has
found shelter. It is one of the few medieval works preserved in this typically baroque
interior. It is a slender, upright wooden sculpture. The figure of Virgin Mary is shown in
contrapposto, slightly bent in her waist, with her head turned right towards the naked Child,
supported and presented by the Mother. The robes of Mary standing on a half-moon are
richly pleated. On her long hair there is a decorative band. The Child with a lively and
natural look, with His hand grasping a sphere - the symbol of supremacy, omnipresence and
omni-causality. His breast and left wrist are decorated with painted string of coral beads that
symbolise apotropaic powers, pointing also to the subsequent Jesus' Passion.
Researchers became interested in the Krosno sculpture in the 1960s. They situated it in
the trend of post-Stoss sculpture, as a work of one of the Cracow workshops. A. M.
Olszewski accurately noticed its similarity to Tilman Riemenschneider's workshop, which
seems proper and justified on all accounts.
Tran^łatcJ &y Tarłea^z Karłowicz
^ Ks. W. P a r t y k a, GotycA: c!?raz Koronac/';' Mary: w koJc:'e/e/araym w KroJnlc,
Lublin 1985, mps BKUL, s. 42.