Andrzej Kozieł – författare

This volume deals with original mystical initiatives and related artistic realizations, which were created in the circle of the outstanding Silesian poet and theologian, Johannes Scheffler, known as Angelus Silesius, abbot of the Cistercian monastery in Krzeszów, Bernhard Rosa and the most outstanding Silesian artist, Michael Willmann. Although the 17th century Silesian mysticism is now very popular worldwide, we know very little about the relationship between mysticism and art in former Silesia. This issue has never been the subject of a comprehensive study. It is not surprising, therefore, that the research so far overlooked the unusual and unique joint initiative mentioned above by two outstanding Silesian mystics and the best Silesian artist of the Baroque era. Its aim was to combine elements of mystical experience with various forms of mass piety of a counter-Reformation nature. Importantly, all forms of mass mystical piety were closely linked to the use of devotional works of art, which were designed primarily by Michael Willmann. They became the most popular images in the religious culture of Silesia until the end of the 18th century. Just as the literary and philosophical achievements of Silesian mystics led by Angelus Silesius, so also works of art serving mystical piety, which were created by Willmann, we can safely consider as a kind of event and an important contribution of Silesia to the culture of European Baroque.

Was the Cistercian abbey in Krzeszów really a European center of art and theological thought? This study in eight chapters tries to answer this question. The first chapter shows how deep the foundations of the Krzeszów Abbey go. The next three chapters are devoted to various works, initiatives and architecture of the Baroque era. First, the unique painting of Our Lady of Mercy in the Mater Misericordiae type, which was created in 1624, was presented. Then, the sculptural foundations of Abbot Geyer in the area of the Krzeszów abbey and in its latifundia were discussed. Finally, the architecture of the baroque abbey church, unique on a European scale, was presented. Grace of the Blessed Virgin Mary. This proves what an extraordinary center Krzeszów was in terms of the art created there.In the next two chapters, the reader finds the answer to the question: Was Krzeszów also a significant theological center in Europe at that time? First in terms of Catholic dogmatic, and then in terms of biblical linguistics.The study ends with two chapters, the first of which focuses on the sacralization of the landscape by introducing modern forms of imitation of the Holy Land and the cult of saints. The second one presents the baroque iconography of the Cistercian monastery in Krzeszów from the end of the 17th century to the beginning of the 20th century, which shows the changes in its social function over the centuries.