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HERITAGISATION OF THE VERNACULAR IN A CENTRAL EUROPEAN BORDERLAND: WOODEN CHURCHES AND OPEN-AIR MUSEUMS IN UPPER SILESIA

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Gorzelik J.

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2021

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tom 9

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nr 1

63 – 79

EN

This article focuses on how the demand for social and political meanings, generated by nation-building processes and competence between nationalisms in Central Europe, has determined the protection and heritagisation of vernacular architecture. The problem has been analysed using the example of the wooden churches in Upper Silesia — the region contested by Germany and Poland. These monuments gained unprecedented importance as they were believed to testify to ancient architectural traditions and were used to prove the Germanic or Slavic roots of regional culture. The article reveals the evolution of churches’ meanings and the ways they have affected the monument protection and functioning of open-air museums.

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„Zrodzone z duszy ludu”. Ochrona sakralnej architektury drewnianej na międzywojennym Górnym Śląsku a polsko-niemiecki spór o narodowy charakter regionu

100%

Gorzelik J.

Wiadomości Konserwatorskie

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2020

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tom Nr 62

28--41

PL

Ochronę pomników drewnianej architektury sakralnej uznano za jedno z najpoważniejszych wyzwań, przed jakimi stanęli konserwatorzy zabytków Prowincji Śląskiej, działający od schyłku XIX w. Wypracowana przez nich strategia postępowania doczekała się weryfikacji po Wielkiej Wojnie na podzielonym polsko-niemiecką granicą Górnym Śląsku, gdy drewniany kościół wykorzystywano jako dowód na polski lub niemiecki charakter kultury regionu. Metody ochrony zabytków stosowane przez polskich i niemieckich konserwatorów były nieco inne. W Prowincji Górnośląskiej dopuszczano daleko idące przekształcenia przestrzeni i bryły obiektów, by zachować ich funkcję i lokalny pejzaż. Podobnie jak przed I wojną światową dokonywano też translokacji. W województwie śląskim, gdzie prawna i finansowa sytuacja służb konserwatorskich była korzystniejsza, egzekwowano obowiązek opieki nad zabytkami, wspierając parafie dotacjami. Planowano też organizację skansenu w Katowicach, przenosząc do miejskiego parku drewniany kościół z Syryni. Inny obiekt trafił z Knurowa do Chorzowa. W ten sposób dwa największe miasta polskiej części regionu doczekały się obiektów, które miały stanowić świadectwo jego odwiecznej polskości.

EN

Among challenges faced by conservators of the Silesian Province, who operated since the late nineteenth century, protection of monuments of wooden religious architecture was recognized as one of the most important. The strategy, they had elaborated, was verified after the Great War in Upper Silesia divided by the German-Polish border, as the wooden church was used as evidence for Polish or Germanic character of the region’s culture. The methods of monument protection implemented by Polish and German conservators were to some extent different. In the Upper Silesian Province far-reaching transformations of the space and shape of objects were allowed to preserve their original function and a local landscape. As before the First World War, monuments were also translocated. In the Silesian Voivodship, where the legal and financial situation of conservation services was more favorable, parishes were obliged to take care of churches and supported in their efforts with subsidies. There was also a plan to arrange an open-air museum in Katowice, where a wooden church from Syrynia was moved to the city park. Another monument was transferred from Knurów to Chorzów. In this way, the two largest cities of the Polish part of the region obtained objects that were to testify to its eternal Polishness.

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In Search of the "True Self". Nationalist Salvation Drama in the Art of the Silesian Voivodship (1922-1939)

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Gorzelik J.

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nr 26 Podróż do źródła

41-52

EN

At the turn of the 19th century German Upper Silesia became a battlefield for competing nationalisms that produced opposite narratives on the region's history and its true character. The German, backed by the state, was challenged by the Polish one and their rivalry continued on uneven terms till 1922 as part of the region was incorporated into the Second Polish Republic. Polish claims to Upper Silesia were legitimized by actions undertaken under the slogan of rediscovering Slavic and Polish roots. The official and sacral art was used to transmit these ideas to the regional community. The rule of the Piast dynasty was presented as a Golden Age, when Silesia flourished being part of the Polish kingdom. The monument to the king Bolesław I the Brave was planned in the center of the voivodship's capital Katowice. In the nationalist discourse the monarch embodied the power of the Polish state and its successful struggle against the German enemy. The Middle Ages were also a focus of the catholic-nationalist narrative but in the sacral art the accent was laid not on the warriors but on the Polish-Silesian saints. One of the most important threads of both secular and catholic nationalisms was the elevation of the people. It was the folk culture that - according to the nationalist propaganda - reflected the true spirit of the nation and the Upper Silesian wooden churches were referred to as the most convincing testimonies to the originally and homogenously Polish character of the region. Two of them were transferred from the rural areas to the main cities of the voivodship - Katowice and Chorzów.| The nationalist apotheosis of the common people - peasantry and workers - affected the official image of the Polish insurrections in the years 1919, 1920 and 1921. In the art their participants were stylized as folk heroes, deprived of any attributes of regular soldiers. With these relatively simple means the art of the Silesian Voivodship was to reflect the ongoing salvation drama of the community coming back to its sources, experiencing political and spiritual revival and purification of foreign influences.