Kościoły rzymskokatolickie kresów II Rzeczpospolitej

• Autorzy: Burno F.

Warianty tytułu

EN

Roman catholic churches of the former border territories of the second republic of Poland

• Języki publikacji: PL

Abstrakty

EN

The goal of this article is to indicate the ideological contents of sacral architecture, in particular of Roman Catholic churches built on the Western and Eastern borderlands of the Second Republic of Poland. These were territories regained by Poland as a result of the military and diplomatic actions of 1918-1921, characterised by a large percentage of national minorities. The national identity of these territories was determined, to a large extent, by the religious factor. The Roman Catholic denomination of the Latin rites possessing, according to the Constitution of March 1921, primus inter pares status, was identified with Polish. Therefore, Roman Catholic churches were an element of the "strengthening Polish identity program in the borderland territories. They were one of the principal devices of pro-state propaganda. They legitimised Polish authorities on these territories, manifesting their Polish identity on par with representative state administration buildings. In the twenties, the continuation of tradition, accentuating the bond of the revived Poland before its decline and partition (by countries including Russia and Prussia) at the end of the 18th century, was emphasised mainly by the so-called "mansion house style" originating from the National Romanticism movement of the beginning of 20th century, and in representative buildings by serious, coarse forms of academic classicism. A similar situation took place in sacral architecture, with the so called "familiar style" (with roots similar to the "mansion house style"). Most frequently, inspiration came from "provincial" parish churches, mainly of baroque style, since this was the style associated with the period of the greatest magnificence of the old Republic of Poland. The Polish character of the Eastern Borderland territories in the twenties was attested by churches with stone underpinnings, buttresses, arcades, high roofs, and towers covered with spherical helmets with lanterns. In the Lvov voivodship, architects, inspired by the designs of Adolf Szyszko-Bohusz, additionally decorated these picturesque compositions with fancy volute gables. This "familiar" baroque was supported by the local authorities. Similar forms - picturesque, slightly modernised baroques forms - also prevailed in the Vilnius voivodship. In the Western voivodships of the Second Republic of Poland (see map) i.e. on the territory of the former Prussian sector, the baroque was identified as "Polish", in opposition to neo-gothic which was considered to be a "German" style. They wanted to oust the "Prussian" brick neo-gothic (Backsteingotic) dominating in the landscape, a reminder of German rule on these territories. In sacral architecture, eclectically combined baroque forms, closer to 19th century historism than early modernistic stylisations of the "familiar style" prevailed. These neo-baroque forms were popular, for example, in the second half of the twenties in the Silesian voivodship - the largest industrial region of the Second Republic of Poland. However, the most representative Roman Catholic churches erected in the twenties in the borderlands used classical forms, traditionally considered to be the best expression of the authority of power. Relatively fewer motives derived from the repertoire of classical forms may be found in the St. Peter's and St. Paul's Apostles church in Trembowla, Podole (A. Szyszko-Bohusz, 1923-1928); the general composition brings Roman architecture to mind. The architect achieved in this performance the impression of antiquity. He skilfully presented transformations to viewers - classicistic reconstruction of the Roman building which has a symbolic meaning (emphasising the durability of Polish culture on this territory). Construction of the cathedral in Katowice (from 1927, Zygmunt Gawlik and Franciszek Mączyński), capital of the Silesian voivodship, was also a political manifestation. Architects gave this construction an attire of slightly modernised classicism, enriched with baroque motives. The main, never constructed, accent of the building was intended to be the very high tambour of the dome covering the central part, thanks to which the entire structure would dominate the city panorama. The ideological content of this building is evident. The cathedral was supposed to evidence the durability, stability and power of the Polish authority in this territory. A similar message, relating to the Roman Pantheon, was carried by the monumental church of Missionaries in Bydgoszcz (Adam Ballenstedt, from 1924). At the end of the twenties and beginning of the thirties, modern forms, inspired by expressionism, functionalism, and Auguste Perret's structuralism, were more and more boldly introduced to sacral architecture. However, both clergy and state authority preferred moderately modem compromise solutions. Church constructing in the thirties, as well as architecture in general, was dominated by monumental forms, reflecting the New Tradition trend (K. Frampton). The "Polish identity" of the borderlands in this period were not supposed to be strengthened by churches, whose forms directly referred to historical styles, but were impressive reinforced concrete churches - monuments, places of worship strongly impressing audiences with their scale and mass and occasionally by the expression of accumulated blocks. These types of solutions were introduced en masse in the Silesian voivodship, where they enjoyed both the acceptance of the clergy and the support of civil authorities, who at the end of twenties started to create a modern image for this dynamically developing region. Neo-baroque forms proved inappropriate for this purpose. Churches of the Polish part of Upper Silesia, from approximately 1929-39, designed by architects including Jan Affa and Henryk Gambiec, combined modem stylisation with more traditional solutions. For example, in the church of St. Joseph in Świętochłowice-Zgoda (from 1931), Affa used the traditional layout of a basilica church with a tall tower at the axis. The entire composition consists of strongly geometrised blocks, giving away the influence of functionalistic architecture (however, softened by streamlined forms). The political context of sacral architecture was also important in the Pomerania voivodship. In the twenties, baroque-derived forms were willingly applied, as in the Eastern Borderline and Upper Silesia. However, from the beginning of 1930, these slightly modernised historical forms started to be replaced with moderately modern and, at the same time, strongly monumental, solutions. The most important sacral construction of Pomerania was intended to be the Sea Basilica in Gdynia - modern, port city of the Second Republic of Poland, built from scratch. The design of Bohdan Pniewski, from 1923, assumed the erection of a huge reinforced concrete cathedral" with three high towers - "masts" visible from far away. In the thirties, architecture in the Pomerania voividship was suppose not only to legitimise the Polish authorities on this territory, but also - as in Upper Silesia - to be evidence of the region's development and to enhance its modern image. Compositions consisting of simple, harmoniously linked blocks of monumental expression prevailed in sacral and civil architecture at the time. Good examples include the churches of Stefan Cybichowski, for example in Hel (1931-1933) and in Tczew (1932-1936). One of the most impressive Catholic churches built in the Second Republic of Poland - St. Wojciech church in Starogard Gdański (Kazimierz Ulatowski, 1933-1939) was also intended to have propaganda functions. This church can be considered as one of the best examples of monumental sacred architecture of the thirties in Poland. It skilfully combined tradition with modernity. The impression of dignity and power was achieved by the operation of a mass of stereo metric blocks, smooth surfaces deprived of wall articulation. However, the church's dominant feature was the dome, relating to the Italian Renaissance. Propaganda functions were also fulfilled by monumental churches erected in the thirties in Lvov (the largest city of the Eastern and Southern borderlands), usually located on hills and uplands; the soaring belfries of monumental churches were supposed to dominate the domes of orthodox churches. In the thirties, these modem forms, although relating to the traditions of church construction, were applied especially willingly in the design of churches dedicated for territories situated East from Lvov, covered by the official policy program of strengthening Polish character of these land (Wołyń and Podole). The local sacral architecture was dominated by compact, strongly geometrised forms with high, detached belfries. The monumental effect was achieved in these constructions by exposing large surfaces of smooth walls, frequently opened up with narrow holes. A good example of a Catholic church which was intended to be a symbol of the Polish statehood in Wołyń (populated by less than 30% Poles) is the church in Sarny - one of the new borderline military and official colonies, designed by Władysław Stachoń and built in 1935-1939. The architect based the composition of this structure on the play of static blocks - two prisms: a massive trunk with a slender belfry tower sitting on it. This composition was also applied in the church in Potasznia (Otton Fedak, 1936-1939). These powerfully majestic churches, filled with pathos, were supposed to express the state's stability, integrity and strength. They were intended to be legible signs both for Polish settlers and the Ukrainian minority (however, it should be said, actually the majority).

Słowa kluczowe

PL

architektura sakralna; kościoły

EN

sacral architecture; churches

• Wydawca: Komitet Architektury i Urbanistyki PAN ; Politechnika Warszawska, Wydział Architektury
• Czasopismo: Kwartalnik Architektury i Urbanistyki
• Rocznik: 2005
• Tom: T. 50, z. 3-4
• Strony: 115--142
• Opis fizyczny: fot., rys.

Twórcy

autor

Burno F.