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tom 9
nr 1
91 – 109
The history of the Arch‑deanery of Hradná in the area of the Diocese of Nitra goes back to the 12th century. The study examines how the territory of the Arch‑deanery of Hradná changed in the 17th and 18th centuries in the context of major historical events. It also interprets first written evidence about ornamentation and architectural patters of selected churches in the area, based on the earliest visitation protocol by the Nitra canon Ladislav Söréni in 1714, soon after the last uprising of Francis II Rákóczi. Major changes took place especially at the Bánov estate which was owned by the Jesuit collegium in Skalica. Several churches were reconstructed in the Baroque style in the studied period.
Changes in confessional structure and influences should be taken into account by scholars dealing with culture and art. This heritage, in its turn, is an important reflection of the processes going on in cultural history, the actually tangible and analysable entity of phenomena in architecture and art both in particular regions and in Latvia in general. Largely because of this we can speak of regional specificity in Latvia's artistic culture that is rooted in history but retains its significance till our days. These differences stand out quite clearly in various regions of Latvia. The origins of peculiar traits are complicate enough to be reduced to confessions of religion. Still this aspect coincides with the culture researcher Andrejs Johansons' thesis on the process of acculturalisation and the role of church in the regional life in Latvia. It has influenced the ideas of the variation: the familiar and the alien (different) in cross-regional assessment. These differences in Latvia have been historically conditioned by two processes - Reformation and recatholisation. They had not passed by Eastern Latvia as well (meaning the present territory of Latgale and partly Augszeme). The 16th century Reformation involved the entire territory of Latvia, but recatholisation was most successful in this particular part of Latvia. The 17th-18th century artistic heritage reflects and largely typifies precisely this difference of sacred culture, creating a sort of paradigm already then: tradition in the choice of church building prototypes (specific spatial solutions), typical furnishing of premises (involving the masters of fine and applied arts), and a certain tradition in selection of artistic impulses.
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