Obraz chorób w malowidłach z warmińskich sanktuariów w Świętej Lipce i Chwalęcinie – refleksje porównawcze

Obraz chorób w malowidłach z warmińskich sanktuariów w Świętej Lipce i Chwalęcinie – refleksje porównawcze

The portrait of diseases in the paintings from Warmian sanctuaries in Święta Lipka and Chwalęcin – a comparative reflection

Jowita Jagla

A chronicle record of miraculous healings is an essential part of the painting decoration in two Warmian sanctuaries – in Święta Lipka and Chwalęcin. The author of the painting decoration, created between 1722 and 1727, in Święta Lipka is Maciej Meyer. The essential part of the iconographic programme – a cycle of miracles performed by Saint Mary of Święta Lipka – is presented in a form of 109 signed medallions (mainly miraculous healings). These medallions are in fact a catalogue of diseases that were plaguing the 18th century pilgrims who are presented as sacrifi cers – kneeling, placing one’s hand on one’s heart – or, less frequently, depicted as ill organs. The paintings are redolent of courtly charm, airiness and lightness. Although there are only six presentations of the miraculous healings in the sanctuary in Chwalęcin – performed by the miraculous crucifi x – they do constitute an essential part of the painting decoration made by Jan Lossau between 1748 and 1749. In contrast to the paintings from Święta Lipka, the health conditions presented in Chwalęcin are totally deprived of the “attractive retouch.” The state of ailment/illness seems to be extremely dramatic and painful both for the depicted ill person and his or her family. The idea behind the miracles “told” through the means of paintings was the same in both sanctuaries. The paintings translated the facts written down in the church books into a more vivid and in consequence into an easier language. Not only did they become an illustrated chronicle of the sanctuaries but also means of propaganda, making the sanctuaries looked at as centres of holy, healing powers! At the same time, from today’s perspective, these paintings are a phenomenal evidence of old illnesses and man’s constant struggle with his/her body. The struggle in which experiencing the miraculous animated role of sacrum was more than often a turning point on the way to recovery.

Prace analityczne

pl