Działalność XVII-wiecznego warsztatu Zielaskich

Abstrakt

THE 17TH-CENTURY ZIELASKIS’ STUDIO AND THEIR WORKS

The Baroque art in Lesser Poland (Małopolska) was characterized by a widespread use of black marble in architecture and, to a lesser extent, in sculpture. Deposited in Dębniki near Kraków, the  material was extracted since the early 17th century; in 1631, the deposits became property of the Carmelite Monastery in Czerna, their owner until 1787. Black marble was used to build portals, altarpieces, alcoves, balustrades, floors, inscription plaques, stoups, or massive paschal candlesticks. Among the mid-17th century sculptors whose works have survived in Kraków and elsewhere in Lesser Poland were Jacek and Wojciech Zielaskis. Little is known of the artists themselves; a few objects signed by them have been identified, and fifteen or so others have been recognized as theirs. Descriptions of Zielaskis’ works are scarce in the literature on the subject; they are barely mentioned in synthetic studies. Zielaskis used the Dębniki marble to produce antependia, sculptures featuring Christ at the Column, baptismal fonts, epitaphs. Covered with thick textile-like ornamentation, the antependia produce an amazing effect of a fabric or needlework (such as those at the Monastery of Friars Minor of the Observance in Stradom or churches in Paczółtowice and Karniowice). Located in front of the Camaldolese Monastery in Bielany, in front of the Convent of Discalced Carmelites in Wesoła quarter, and in churches in Zielonki, Paczółtowice and Siedlec, the columns with panels featuring engraved scenes from the Passion are abundant in iconography and testify to their creators’ artistry as sculptors.