Czterysta lat Sanktuarium Matki Bożej Pocieszenia w Leżajsku
Jackowski A. (red.), 1999, Czterysta lat Sanktuarium Matki Bożej Pocieszenia w Leżajsku, Peregrinus Cracoviensis, z.7..
Recenzje: ks. dr hab. Maciej Ostrowski
Język publikacji: polski
Wprowadzenie w nurt sympozjum
Początki sanktuarium Matki Bożej w Leżajsku
Perspektywy rozwoju miasta Leżajska jako ośrodka pielgrzymkowego
Treści ideowe obrazu Matki Bożej Leżajskiej
Ideological essence of the picture of the Leżajsk Madonna
Summary: The picture of the Madonna of Leżajsk was painted by Erasums, a priest from the Leżajsk Monastery of Canon Regular, also called the "Godsgravers". Erasmus was a native of Leżajsk who most probably studied painting in Krakow. The picture was painted in distemper on the chalk ground and is dated at the third decade of the 16th century. At first it hang in a wooden church consecrated in 1598. The painting shows a torso of Madonna with Child. The painting, clearly in the type of Hodegetria presents, in a simplified way, the image of Salus Populi Romani from the Basilica of Santa Maria Maggiore in Rome. The image, which gained popularity in Europe after the battle of Lepanto in 1571, was also popular in Poland. The process of painting was taking place in the atmosphere a vivid cult of Virgin Mary which was favoured by the idea of temurale christianitatis, very popular at that time, the more so as in 1621 the Chocim war broke out. The whole population of Leżajsk and the neighbouring areas lived in danger of possible Tatar attacks and the atmosphere of that time undoubtedly had a significant influence upon the process of painting. The concept of the picture makes it slightly different from other copies made in Poland at that time. The author diverges from the concept of vertical configuration of the figure of Madonna. Besides, as the left hand of Madonna is hidden by the figure of the Child, the wrap is lacking. The picture of the Leżajsk Madonna was most probably an imitation of one of many Italian paintings brought to Poland at that time or possibly a graphic (A. Caranzani's from 1579, H & A. Wierix's and J. Sadeler's from 1598). The oldest copy of the original Roman painting is a picture, currently held in Wrocław, which was presented to the Jesuits of Jarosław in 1584. Then it was moved to a Jesuit church in Lvov where it soon became an object of cult. It is quite possible that the Leżajsk painter saw that picture and was strongly impressed with it. It is very probable that Jan Dymitr Solikowski (died 1603), the archbishop of Rome, a strong advocate of the cult of Salus Populi Romani and the supporter of Jesuits played some role in the creation of the picture. In 1598 he consecrated a wooden church in the Leżajsk forest.
Peregrinus Cracoviensis, 1999, z.7, s. 37-50.
Instytut Geografii i Gospodarki Przestrzennej UJ
Teologiczna treść tytułu "Matka Boża Pocieszenia"
Człowiek jako pielgrzym. O pielgrzymowaniu w aspekcie filozoficzno-teologicznym na tle pielgrzymowania do Sanktuarium Matki Bożej Pocieszenia w Leżajsku
Religijno-społeczna rola Sanktuarium Maryjnego w Leżajsku
Leżajsk w sieci ośrodków pielgrzymkowych Polski
Homilia podczas Mszy św. dla uczestników
Kalendarium Sanktuarium Matki Bożej w Leżajsku
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