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 mus...

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Hauptverfasser:	Kruk, Mirosław Piotr 1967- (VerfasserIn), Wywiórska, Nadia (VerfasserIn)
Format:	Artikel
Sprache:	Polish
Veröffentlicht:	2021
Schlagworte:	Geschichte 1580-1620 Ikonenmalerei Ikone Niedere Beskiden
Zusammenfassung:	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 prompted 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.
Beschreibung:	15 Illustrationen
ISSN:	0071-6723