Graeco opere w strategii politycznej króla Władysława Jagiełły
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2019
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Graeco opere in political strategy of Ladislaus II (Władysław Jagiełło), king of Poland
Abstract
Przedmiotem mojej rozprawy doktorskiej jest grupa malowideł ściennych wykonanych z inicjatywy króla polskiego Władysława II Jagiełły, określanych przez kronikarza Jana Długosza terminami graeco opere, pictura graeca lub sculptura graeca. Dekoracje takie dotrwały do naszych czasów – w różnym stanie zachowania – w czterech miejscach: w kaplicy Trójcy Świętej w Lublinie, w kolegiacie w Wiślicy, w katedrze w Sandomierzu i w kaplicy Mariackiej katedry w Krakowie. O kilku innych wiemy jedynie ze źródeł. Cechą charakterystyczną tych realizacji jest połączenie bizantyńskiego programu ikonograficznego z architekturą wnętrz gotyckich. Mimo prowadzonych od przeszło 150 lat badań, nie są jasne przyczyny i znaczenie ideowe powstania tej oryginalnej syntezy artystycznej. W nauce upowszechniła się teza o prywatnych, estetycznych upodobaniach króla Władysława Jagiełły do malarstwa bizantyńsko-ruskiego. Nie zgadzam się z tą tezą. Zazwyczaj w średniowieczu powstające pod patronatem monarchów realizacje artystyczne, były istotną częścią komunikowania ich programów politycznych, dlaczego w tym przypadku miałoby być inaczej? Rezultaty badań prowadzą mnie do konkluzji, że wprowadzenie malowideł graeco opere do wnętrz obiektów szczególnie ważnych na polityczno-religijnej mapie Królestwa Polskiego, było elementem strategii prezentacji królewskiej władzy i majestatu Władysława Jagiełły. Kreowano w ten sposób wizerunek sukcesora dynastii Piastów, i głowy państwa, które tak jak przez wieki Bizancjum, jest „tarczą” i „przedmurzem” chrześcijańskiego świata.
The interest of my Ph.D. thesis is a group of wall paintings commissioned by the Polish king, Ladislaus II (1352/62–1434), the founder of Jagiellonian Dynasty on the Polish throne (1386-1596). They were named graeco opere, pictura graeca or sculptura graeca by the polish chronicler, Jan Długosz (Johannes Longinus). It is known that those pieces of art survived to our times in four places (Lublin, Wiślica, Sandomierz and Kraków – Cathedral), although their conditions are various. Moreover, a few of them are known only from sources. A characteristic of those realisations is the connection between the Byzantine iconographic program and the gothic architecture. Even though the research studies have been held for over 150 years, clear reasons and ideological meaning of this original artistic synthesis are still unknown. A generally accepted thesis says that it is simply because of king Ladislaus II private aesthetic taste to Byzantine-ruthenian art. Personally, I disagree with such conviction, because it was common in the Middle Ages for monarchs to use the “visual arts” to intensify the presentation of royal political programs. Why would it have been different in that case? The results of my research have led to conclusion that the implementation of graeco opere paintings to interiors of the most important locations on the religious-political map of Poland then was a significant element of strategy on presenting Ladislaus II as a leader and lawful successor on the Polish throne. The created image of the successor and continuer of the Piast dynasty was associated with Byzantium, which was seen as shield and bulwark of the Christendom.
The interest of my Ph.D. thesis is a group of wall paintings commissioned by the Polish king, Ladislaus II (1352/62–1434), the founder of Jagiellonian Dynasty on the Polish throne (1386-1596). They were named graeco opere, pictura graeca or sculptura graeca by the polish chronicler, Jan Długosz (Johannes Longinus). It is known that those pieces of art survived to our times in four places (Lublin, Wiślica, Sandomierz and Kraków – Cathedral), although their conditions are various. Moreover, a few of them are known only from sources. A characteristic of those realisations is the connection between the Byzantine iconographic program and the gothic architecture. Even though the research studies have been held for over 150 years, clear reasons and ideological meaning of this original artistic synthesis are still unknown. A generally accepted thesis says that it is simply because of king Ladislaus II private aesthetic taste to Byzantine-ruthenian art. Personally, I disagree with such conviction, because it was common in the Middle Ages for monarchs to use the “visual arts” to intensify the presentation of royal political programs. Why would it have been different in that case? The results of my research have led to conclusion that the implementation of graeco opere paintings to interiors of the most important locations on the religious-political map of Poland then was a significant element of strategy on presenting Ladislaus II as a leader and lawful successor on the Polish throne. The created image of the successor and continuer of the Piast dynasty was associated with Byzantium, which was seen as shield and bulwark of the Christendom.
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Władysław II Jagiełło, Ladislaus II Jagiello, malowidła bizantyńsko-ruskie, Byzantine-ruthenian paintings, Jagiellonowie, graeco opere, antemurale christianitatis, Jagiellons, graeco opere, Antemurale Christianitatis