Papers by Miroslaw Piotr Kruk
Praehistorische Zeitschrift, 2021
A fragmentarily preserved Byzantine icon made of steatite was discovered in 2015 during regular e... more A fragmentarily preserved Byzantine icon made of steatite was discovered in 2015 during regular excavations in Chełm, eastern Poland. Identified as the left wing of a diptych illustrating the Twelve Great Feasts and created at the close of the 12th century, the find is one of the most important and beautiful Byzantine artefacts to have been found in Poland. The icon was uncovered within the confines of the palace complex which was created by Daniel (Danylo) Romanovych († 1264) in Chełm in the second quarter of 13th century. The icon, even though it was found within the borders of what is now Poland, is material evidence of contact between Byzantium and the social elite of the Galicia-Volhynia lands, rather than with the Polish Piasts. In this paper we concentrated on the presentation of the archaeological context of the find, which made it possible to establish that the icon arrived Chełm before the middle of the 13th century (terminus ante quem 1253), and especially on petrographic...
Пътят на Кирил и Методий – пространствени и културно-исторически измерения / The Path of Cyril and Methodius – Spatial and Cultural Historical Dimensions, C. Бърлиева, В. Желязкова, К. Станев ed. (= Кирило-Методиевски студии / Cyrillo-Methodian studies 33), Cофия 2023, 91-108, 2023
In 1436 Zbigniew Oleśnicki (1423–1455), Bishop of Kraków, mentioned that Saint Cyril and Saint Me... more In 1436 Zbigniew Oleśnicki (1423–1455), Bishop of Kraków, mentioned that Saint Cyril and Saint Methodius, were the patrons of the Polish kingdom. This event remains highly mysterious, as because the bishop was rather famous for his activities in the field of strengthening the role of the Roman Catholic Church, and nothing is known of his other manifestations of sympathy for the Orthodox Church, its patrons and saints. Intriguing in this context are the plans for the introduction of ecclesiastical union which were supposedly presented by Gregory Tsamblak, an envoy of Władysław Jagiełło, King of Poland, at the Council of Constance in 1418, as well as a number of his foundations of
orthodox frescoes in the Catholic churches of Lesser Poland.
A separate issue is the memory of the “Solun Brothers” in nineteenth-century Krakow, evidenced by a painting by Jan Matejko in 1885 and his contribution to the painting decoration of the Greek Orthodox Church in the former Catholic Church of St. Norbert in Krakow
M. P. Kruk, Hymny w ikonach Rzeczypospolitej, „Latopisy Akademii Supraskiej” 13: Hymnografia i śpiew cerkiewny w Rzeczypospolitej, red. M. Kuczyńska, A. Z. Nowak, s. 283-298, 2023
Hymny w ikonach Rzeczypospolitej Malarstwo okresu późno-i postbizantyńskiego wyróżnia akcentowani... more Hymny w ikonach Rzeczypospolitej Malarstwo okresu późno-i postbizantyńskiego wyróżnia akcentowanie w coraz większym stopniu wątków maryjnych, z drugiej-tematów homiletyczno-hymnograficznych, związanych na ogół ze świętami maryjnymi. Rodowód tej ikonografii jest naturalnie znacznie starszy, uwagę natomiast zwraca skala zjawiska i jego powszechność. Warto zauważyć jej wizualizację w ikonach dawnej Rzeczypospolitej, tym bardziej, że odróżniają je pewne osobliwości, które należy odnieść do przywiązania ikonografów do motywów tematycznych niespotykanych w innych ośrodkach sztuki prawosławnej 1. Cytaty konkretnych hymnów wpisywane są na zwoje hymnografów w dolnych ramach ikon Matki Bożej, gdzie stoją w towarzystwie proroków umieszczanych po bokach. Cała kompozycja takich przedstawień traktowana być może jako dzieło inspirowane hymnografią, gdyż Hermeneja zgromadzenie proroków z cytatami biblijnymi określała tematem Hymny Prorockie-Anothen hoi profettai 2. Wskazywano tu zatem nie na obecność hymnografów, ale właśnie proroków jako postaci związanych z twórczością hymniczną. Prorocy występowali niemal powszechnie, zarówno na freskach, jak i na ikonach całego, szeroko rozumianego obszaru bałkańskiego. Władysław Podlacha w opisie fresków bukowińskich wskazał, że prorocy ze ścian przednawia otacza
Echoes of Iconoclasm in the Modern Polish‑Lithuanian Commonwealth, 2022
wydawnictwo.ug.edu.pl Online bookstore: wydawnictwo.ug.edu.pl/sklep/ ZH_Gdansk_13.indd 4 ZH_Gdans... more wydawnictwo.ug.edu.pl Online bookstore: wydawnictwo.ug.edu.pl/sklep/ ZH_Gdansk_13.indd 4 ZH_Gdansk_13.indd 4
A New Beginning. Modernism in the Second Polish Republic. Nowy początek. Modernizm w II RP., red. P. Juszkiewicz, A. Szczerski, Kraków 2022, s. 114-129
M. P. Kruk, O znaczeniu i mocy obrazowania sądu ostatecznego / On the meaning and power of the imagery of the last judgement, [w:] Witajcie / Welcome, red. N. Wiernik i in., Kraków 2022, s. 152-161
Byzantinische Zeitschrift, 2021
The paper presents fragments of a Byzantine icon discovered in 2015 during regular archaeological... more The paper presents fragments of a Byzantine icon discovered in 2015 during regular archaeological excavations carried out in Chełm, eastern Poland. Iconographic analyses allow the nine surviving fragments to be interpreted as belonging to a diptych wing with the Great Feasts cycle. The icon represents archaic iconography of the subject, with the scene of Transfiguration placed after Entry into Jerusalem and before the Crucifixion. The artefact was created in the second half or at the close of the 12th century, and it was made from steatite, which has been confirmed by petrographic analyses. The icon was discovered in the remains of a palace complex of King Daniel Romanovich, the greatest ruler of the Galicia-Volhynia Lands. The results of the archaeological research allow the terminus ante quem for the icon’s arrival in Chełm to be determined as before the middle of the 13th century. Various possible explanations as to how the icon found its way to Chełm are also explored in the paper.
Acta Crystallographica Section A Foundations and Advances, Dec 1, 2017
„Folia Historiae Artium. Seria Nowa” 19 (2021), 5-30, 2021
ICONS FROM THE FORMER GREEK ORTHODOX
CHURCH OF ST DEMETRIOS THE MARTYR AT
CZARNA BY UŚCIE GORLICK... more ICONS FROM THE FORMER GREEK ORTHODOX
CHURCH OF ST DEMETRIOS THE MARTYR AT
CZARNA BY UŚCIE GORLICKIE
The paper discusses a unique set of icons executed at the end of the 16 th century and the beginning of the 17 th century, originally forming an altar screen in the no longer
surviving Orthodox church of St Demetrios the Martyr at Czarna in the Beskid Niski region, and now dispersed among Polish museum and church collections of
Orthodox painting. Three of the icons under discussion:
St Demetrios the Martyr and the Scenes from his Life, The
Crucifixion and The Mandylion of Edessa, belong to the
Regional Museum in Nowy Sącz. The other two paintings: The Virgin Hodegetria Surrounded by Prophets and
Christ Pantocrator, are among furnishings of the current
(Roman Catholic) church at Czarna.
The icon of Christ Pantocrator, recently uncovered under a 19th-century overpainting, in the course of a conservation treatment completed in 2019, appears in the present paper for the first time. The above discovery triggered
further research which has led to the identification of the
group of icons under discussion. The analysis of the set
of icons provided an opportunity to discuss a number of
problems related to icon painting on the area of the north-
eastern arc of the Carpathian Mountains, the functioning
of the local painting workshops and the development of
the early altar screens in the area.
The common origins of the group of icons under discussion are attested by the results of their iconographic and stylistic analyses, which allowed to determine their maker as an artist deeply rooted in the tradition of icon painting of the second half of the 16th century, stylistically related to the broadly-defined sphere of painters of the Potylicz [Ukr. Potylych] and Drohobycz [Ukr. Drogobych] area.
A relatively large number of surviving images prompt-
ed the present writers to suggest a reconstruction of the
disposition of the altar screen, which was a structure of
late-medieval origin, unique in the area of Nowy Sącz
covering the western part of the historical Orthodox Diocese of Przemyśl. The two variants of the altar screen reconstruction presented in the article are by no means intended to be final, leaving open the question of the extent of the screen and the actual number of tiers of icons it was composed of.
Dziedzictwo Kunstkamery? Jak powstawały nasze muzea. Materiały z konferencji naukowej zorganizowanej przez Muzeum Narodowe Ziemi Przemyskiej w dniach 2-3 grudnia 2020, red. T. Pomykacz, A. Sarkady, M. Trojanowska, Przemyśl 2020, s. 233-255, 2020
Polskie style narodowe. Polish National Styles 1890-1918 [Wystawa w Muzeum Narodowym w Krakowie, Gmach Główny, 2 lipca 2021 – 29 stycznia 2022], red. A. Szczerski, 77-115, Kraków 2021, s. 322-329, 2021
Kruk 2017: Mirosław Piotr Kruk, The contribution of Polish art historians to studies on Byzantium... more Kruk 2017: Mirosław Piotr Kruk, The contribution of Polish art historians to studies on Byzantium, Kievan Rus' and the Polish-Ruthenian borderland / Wkład polskich historyków sztuki w badania nad Bizancjum, Rusią Kijowską i pograniczem polsko-ruskim, [w:] From Cherven' Towns to Curzon Line. The lands on the Middle Bug during the Middle Ages and the historiographic perspective on the formation of Poland's eastern border, the 18th-21st century / Od Grodów Czerwieńskich do linii Curzona. Dzieje środkowego Pobuża w wiekach średnich oraz postrzeganie formowania się wschodniej granicy Polski w historiografii XVIII-XXI wieku, t. I, red.
Polskie style narodowe. Polish National Styles 1890-1918 [Wystawa w Muzeum Narodowym w Krakowie, Gmach Główny, 2 lipca 2021 – 29 stycznia 2022], red. A. Szczerski, Kraków 2021, s. 76-113, 2021
Dyskusja nad polskim stylem narodowym z początku XX wieku i samo jego pojęcie w opinii obiegowej ... more Dyskusja nad polskim stylem narodowym z początku XX wieku i samo jego pojęcie w opinii obiegowej jest zazwyczaj łączone ze "stylem zakopiańskim" i zasadniczo roztrząsane w odniesieniu do architektury 1. Znane są zabiegi w tym zakresie Stanisława Witkiewicza (1851-1915) 2 , stąd styl, który promował, zwany też bywał "witkiewiczowskim". Zagadnieniu temu poświęcono wiele opracowań 3 oraz wystaw 4 ; zachowało się też dużo dzieł sztuki stylizowanych na ludowe wyroby góralskie z terenu Podhala. Istotną kwestią jest, jak rozumiano owe eksperymenty w czasie, gdy powstawały propozycje architektury i wystroju "zakopiańskiego". W wydaniu poczytnego i opiniotwórczego tygodnika "Świat" z 22 kwietnia 1911 roku ukazał się krótki artykuł pt. Wnętrza artystyczne, podpisany pseudonimem "Zych", którego używał Stefan Żeromski (1864-1925) 5. Autor opisał sanatorium dra Dłuskiego w Zakopanem jako "oazę kultury artystycznej". Urządzenie wnętrz nowego budynku Dyrekcji sanatorium powierzono Karolowi Fryczowi (czytelnia i biblioteka) i Henrykowi Uziemble (pokój muzyczny), a ściany pokoju muzycznego pokrył malowidłami Jan Rembowski. Istotą tej ini
Apulum Series Historia Patrimonium, 2013
Byzantinische Zeitschrift, 2021
The paper presents fragments of a Byzantine icon discovered in 2015 during regular archaeological... more The paper presents fragments of a Byzantine icon discovered in 2015 during regular archaeological excavations carried out in Chełm, eastern Poland.
Iconographic analyses allow the nine surviving fragments to be interpreted as belonging to a diptych wing with the Great Feasts cycle. The icon represents archaic iconography of the subject, with the scene of Transfiguration placed after Entry into Jerusalem and before the Crucifixion. The artefact was created in the
second half or at the close of the 12th century, and it was made from steatite, which has been confirmed by petrographic analyses. The icon was discovered
in the remains of a palace complex of King Daniel Romanovich, the greatest ruler of the Galicia-Volhynia Lands. The results of the archaeological research allow the terminus ante quem for the icon’s arrival in Chełm to be determined as before the middle of the 13th century. Various possible explanations as to how the icon found its way to Chełm are also explored in the paper.
Wędrujące Madonny. Wizerunki Madonn Kresowych na Podkarpaciu, Materiały z konferencji naukowych odbytych w latach 2016-2020 w Przemyślu, 2020
Słowianie w monarchii Habsburgów. Literatura, język, kultura, 2020
Some remarks about the nineteenth-century neo-byzantine frescoes in the Greek Catholic church of ... more Some remarks about the nineteenth-century neo-byzantine frescoes in the Greek Catholic church of the Elevation of the Holy Cross (former church of St. Norbert) in Krakow
The Krakow temple of St. Norbert, nowadays a Greek Catholic Church of the Elevation of the Holy Cross is an early baroque building which interior has been transformed due to several changes in its designation. Recent conservation and adaptation works have restored the interior that corresponds to the current function of the temple used as the Greek Catholic Church. In this connection, the iconostasis designed by Jan Matejko and made in the 1890s was reconstructed, as well as neo-byzantine paintings were unveiled, which are unique in this form not only in the scale of Krakow, but also in the entire region. Frescos ordered by priest Jan Borsuk on the occasion of renewal of the temple and its dedication in 1887 were replaced in 1933 with a new version and this one has was restored during the latest conservation works completed in 2008. In this article, it iss pointed out that despite the postulate that the first phase paintings, ie from the 1880s, should be based on a program, or the style of Ruthenian paintings from the Świętokrzyska Chapel (of The Holy Cross) at Wawel, most probably they used used the patterns of different styles popular in the compendia printed in the western Europe and disseminated during the second half of the nineteenth century. Attention was also paid to certain innovations that were brought by the last renovation in relation to the discovered program of paintings.
Несколько замечаний о неовизантийстских фресках XIX века в греко-католической церкви Воздвижения Креста Господня (бывший костел Святого Норберта) в Кракове
Краковский храм Святого Норберта, а в настоящее время греко-католическая церковь в честь Воздвижения Креста Господня, представляет собой раннее барочное здание, интерьер которого много раз преобразовывался в связи с несколькими изменениями его назначения. Во время недавно проведенных работ по консервации и адаптации был восстановлен интерьер, соответствующий нынешней функции храма, используемого в качестве церкви. В связи с этим в нем был реконструирован иконостас, созданный Яном Матейко, который был изготовлен в 1890-х годах, а также были открыты неовизантийстские фрески, которые в этом виде уникальны не только в масштабах Кракова, но всего региона. Фрески выполнены во время обновления храма священником Яном Борсуком по случаю освящения церки в 1887 году и были заменены в 1933 году новой версией, и именно она была восстановлена во время последней консервации, завершенной в 2008 году. В этой статье указано что, несмотря на постулат о том, что росписи I этапа, т. е. 1880-х годов, должны были быть основаны на программе или стиле русских росписей из капеллы (часовни) Святого Креста при кафедральном соборе в Вавеле, они, скорее всего, были созданы на основании образцов конкретных стилей, содержащихся в сборниках, изданных в Западной Европе и распространенных во второй половине XIX в. Также обращено внимание на некоторые новшества, привнесенные последним ремонтом в обнаруженную программу фресок.
Sztuka cerkiewna Rzeczypospolitej i krajów sąsiednich, 2020
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Papers by Miroslaw Piotr Kruk
orthodox frescoes in the Catholic churches of Lesser Poland.
A separate issue is the memory of the “Solun Brothers” in nineteenth-century Krakow, evidenced by a painting by Jan Matejko in 1885 and his contribution to the painting decoration of the Greek Orthodox Church in the former Catholic Church of St. Norbert in Krakow
CHURCH OF ST DEMETRIOS THE MARTYR AT
CZARNA BY UŚCIE GORLICKIE
The paper discusses a unique set of icons executed at the end of the 16 th century and the beginning of the 17 th century, originally forming an altar screen in the no longer
surviving Orthodox church of St Demetrios the Martyr at Czarna in the Beskid Niski region, and now dispersed among Polish museum and church collections of
Orthodox painting. Three of the icons under discussion:
St Demetrios the Martyr and the Scenes from his Life, The
Crucifixion and The Mandylion of Edessa, belong to the
Regional Museum in Nowy Sącz. The other two paintings: The Virgin Hodegetria Surrounded by Prophets and
Christ Pantocrator, are among furnishings of the current
(Roman Catholic) church at Czarna.
The icon of Christ Pantocrator, recently uncovered under a 19th-century overpainting, in the course of a conservation treatment completed in 2019, appears in the present paper for the first time. The above discovery triggered
further research which has led to the identification of the
group of icons under discussion. The analysis of the set
of icons provided an opportunity to discuss a number of
problems related to icon painting on the area of the north-
eastern arc of the Carpathian Mountains, the functioning
of the local painting workshops and the development of
the early altar screens in the area.
The common origins of the group of icons under discussion are attested by the results of their iconographic and stylistic analyses, which allowed to determine their maker as an artist deeply rooted in the tradition of icon painting of the second half of the 16th century, stylistically related to the broadly-defined sphere of painters of the Potylicz [Ukr. Potylych] and Drohobycz [Ukr. Drogobych] area.
A relatively large number of surviving images prompt-
ed the present writers to suggest a reconstruction of the
disposition of the altar screen, which was a structure of
late-medieval origin, unique in the area of Nowy Sącz
covering the western part of the historical Orthodox Diocese of Przemyśl. The two variants of the altar screen reconstruction presented in the article are by no means intended to be final, leaving open the question of the extent of the screen and the actual number of tiers of icons it was composed of.
Iconographic analyses allow the nine surviving fragments to be interpreted as belonging to a diptych wing with the Great Feasts cycle. The icon represents archaic iconography of the subject, with the scene of Transfiguration placed after Entry into Jerusalem and before the Crucifixion. The artefact was created in the
second half or at the close of the 12th century, and it was made from steatite, which has been confirmed by petrographic analyses. The icon was discovered
in the remains of a palace complex of King Daniel Romanovich, the greatest ruler of the Galicia-Volhynia Lands. The results of the archaeological research allow the terminus ante quem for the icon’s arrival in Chełm to be determined as before the middle of the 13th century. Various possible explanations as to how the icon found its way to Chełm are also explored in the paper.
The Krakow temple of St. Norbert, nowadays a Greek Catholic Church of the Elevation of the Holy Cross is an early baroque building which interior has been transformed due to several changes in its designation. Recent conservation and adaptation works have restored the interior that corresponds to the current function of the temple used as the Greek Catholic Church. In this connection, the iconostasis designed by Jan Matejko and made in the 1890s was reconstructed, as well as neo-byzantine paintings were unveiled, which are unique in this form not only in the scale of Krakow, but also in the entire region. Frescos ordered by priest Jan Borsuk on the occasion of renewal of the temple and its dedication in 1887 were replaced in 1933 with a new version and this one has was restored during the latest conservation works completed in 2008. In this article, it iss pointed out that despite the postulate that the first phase paintings, ie from the 1880s, should be based on a program, or the style of Ruthenian paintings from the Świętokrzyska Chapel (of The Holy Cross) at Wawel, most probably they used used the patterns of different styles popular in the compendia printed in the western Europe and disseminated during the second half of the nineteenth century. Attention was also paid to certain innovations that were brought by the last renovation in relation to the discovered program of paintings.
Несколько замечаний о неовизантийстских фресках XIX века в греко-католической церкви Воздвижения Креста Господня (бывший костел Святого Норберта) в Кракове
Краковский храм Святого Норберта, а в настоящее время греко-католическая церковь в честь Воздвижения Креста Господня, представляет собой раннее барочное здание, интерьер которого много раз преобразовывался в связи с несколькими изменениями его назначения. Во время недавно проведенных работ по консервации и адаптации был восстановлен интерьер, соответствующий нынешней функции храма, используемого в качестве церкви. В связи с этим в нем был реконструирован иконостас, созданный Яном Матейко, который был изготовлен в 1890-х годах, а также были открыты неовизантийстские фрески, которые в этом виде уникальны не только в масштабах Кракова, но всего региона. Фрески выполнены во время обновления храма священником Яном Борсуком по случаю освящения церки в 1887 году и были заменены в 1933 году новой версией, и именно она была восстановлена во время последней консервации, завершенной в 2008 году. В этой статье указано что, несмотря на постулат о том, что росписи I этапа, т. е. 1880-х годов, должны были быть основаны на программе или стиле русских росписей из капеллы (часовни) Святого Креста при кафедральном соборе в Вавеле, они, скорее всего, были созданы на основании образцов конкретных стилей, содержащихся в сборниках, изданных в Западной Европе и распространенных во второй половине XIX в. Также обращено внимание на некоторые новшества, привнесенные последним ремонтом в обнаруженную программу фресок.
orthodox frescoes in the Catholic churches of Lesser Poland.
A separate issue is the memory of the “Solun Brothers” in nineteenth-century Krakow, evidenced by a painting by Jan Matejko in 1885 and his contribution to the painting decoration of the Greek Orthodox Church in the former Catholic Church of St. Norbert in Krakow
CHURCH OF ST DEMETRIOS THE MARTYR AT
CZARNA BY UŚCIE GORLICKIE
The paper discusses a unique set of icons executed at the end of the 16 th century and the beginning of the 17 th century, originally forming an altar screen in the no longer
surviving Orthodox church of St Demetrios the Martyr at Czarna in the Beskid Niski region, and now dispersed among Polish museum and church collections of
Orthodox painting. Three of the icons under discussion:
St Demetrios the Martyr and the Scenes from his Life, The
Crucifixion and The Mandylion of Edessa, belong to the
Regional Museum in Nowy Sącz. The other two paintings: The Virgin Hodegetria Surrounded by Prophets and
Christ Pantocrator, are among furnishings of the current
(Roman Catholic) church at Czarna.
The icon of Christ Pantocrator, recently uncovered under a 19th-century overpainting, in the course of a conservation treatment completed in 2019, appears in the present paper for the first time. The above discovery triggered
further research which has led to the identification of the
group of icons under discussion. The analysis of the set
of icons provided an opportunity to discuss a number of
problems related to icon painting on the area of the north-
eastern arc of the Carpathian Mountains, the functioning
of the local painting workshops and the development of
the early altar screens in the area.
The common origins of the group of icons under discussion are attested by the results of their iconographic and stylistic analyses, which allowed to determine their maker as an artist deeply rooted in the tradition of icon painting of the second half of the 16th century, stylistically related to the broadly-defined sphere of painters of the Potylicz [Ukr. Potylych] and Drohobycz [Ukr. Drogobych] area.
A relatively large number of surviving images prompt-
ed the present writers to suggest a reconstruction of the
disposition of the altar screen, which was a structure of
late-medieval origin, unique in the area of Nowy Sącz
covering the western part of the historical Orthodox Diocese of Przemyśl. The two variants of the altar screen reconstruction presented in the article are by no means intended to be final, leaving open the question of the extent of the screen and the actual number of tiers of icons it was composed of.
Iconographic analyses allow the nine surviving fragments to be interpreted as belonging to a diptych wing with the Great Feasts cycle. The icon represents archaic iconography of the subject, with the scene of Transfiguration placed after Entry into Jerusalem and before the Crucifixion. The artefact was created in the
second half or at the close of the 12th century, and it was made from steatite, which has been confirmed by petrographic analyses. The icon was discovered
in the remains of a palace complex of King Daniel Romanovich, the greatest ruler of the Galicia-Volhynia Lands. The results of the archaeological research allow the terminus ante quem for the icon’s arrival in Chełm to be determined as before the middle of the 13th century. Various possible explanations as to how the icon found its way to Chełm are also explored in the paper.
The Krakow temple of St. Norbert, nowadays a Greek Catholic Church of the Elevation of the Holy Cross is an early baroque building which interior has been transformed due to several changes in its designation. Recent conservation and adaptation works have restored the interior that corresponds to the current function of the temple used as the Greek Catholic Church. In this connection, the iconostasis designed by Jan Matejko and made in the 1890s was reconstructed, as well as neo-byzantine paintings were unveiled, which are unique in this form not only in the scale of Krakow, but also in the entire region. Frescos ordered by priest Jan Borsuk on the occasion of renewal of the temple and its dedication in 1887 were replaced in 1933 with a new version and this one has was restored during the latest conservation works completed in 2008. In this article, it iss pointed out that despite the postulate that the first phase paintings, ie from the 1880s, should be based on a program, or the style of Ruthenian paintings from the Świętokrzyska Chapel (of The Holy Cross) at Wawel, most probably they used used the patterns of different styles popular in the compendia printed in the western Europe and disseminated during the second half of the nineteenth century. Attention was also paid to certain innovations that were brought by the last renovation in relation to the discovered program of paintings.
Несколько замечаний о неовизантийстских фресках XIX века в греко-католической церкви Воздвижения Креста Господня (бывший костел Святого Норберта) в Кракове
Краковский храм Святого Норберта, а в настоящее время греко-католическая церковь в честь Воздвижения Креста Господня, представляет собой раннее барочное здание, интерьер которого много раз преобразовывался в связи с несколькими изменениями его назначения. Во время недавно проведенных работ по консервации и адаптации был восстановлен интерьер, соответствующий нынешней функции храма, используемого в качестве церкви. В связи с этим в нем был реконструирован иконостас, созданный Яном Матейко, который был изготовлен в 1890-х годах, а также были открыты неовизантийстские фрески, которые в этом виде уникальны не только в масштабах Кракова, но всего региона. Фрески выполнены во время обновления храма священником Яном Борсуком по случаю освящения церки в 1887 году и были заменены в 1933 году новой версией, и именно она была восстановлена во время последней консервации, завершенной в 2008 году. В этой статье указано что, несмотря на постулат о том, что росписи I этапа, т. е. 1880-х годов, должны были быть основаны на программе или стиле русских росписей из капеллы (часовни) Святого Креста при кафедральном соборе в Вавеле, они, скорее всего, были созданы на основании образцов конкретных стилей, содержащихся в сборниках, изданных в Западной Европе и распространенных во второй половине XIX в. Также обращено внимание на некоторые новшества, привнесенные последним ремонтом в обнаруженную программу фресок.