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Universalia Et Particularia. Ars Et Praxis Societatis Jesu in Polonia

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Universalia Et Particularia. Ars Et Praxis Societatis Jesu in Polonia Universalia et particularia Publikacja finansowana w ramach programu Ministra Nauki i Szkolnictwa Wyższego pod nazwą „Narodowy Program Rozwoju Humanistyki” w latach 2016–2020 Projekt badawczy pt.: Repertuar muzyczny Towarzystwa Jezusowego w Rzeczpospolitej Obojga Narodów (1565–1773) Universalia et particularia Ars et praxis Societatis Jesu in Polonia eds Bogna Bohdanowicz, Tomasz Jeż F o n t e s Warszawa 2018 Musicæ Wydawnictwo Naukowe Sub Lupa in Polonia Fontes musicæ in Polonia, B/III Fontes Musicæ in Polonia www.fontesmusicae.pl seria B, vol. III Redaktorzy serii | General Editors Bogna Bohdanowicz, Tomasz Jeż Rada Naukowa | Scientific Council dr hab. Paweł Gancarczyk, prof. Instytutu Sztuki Polskiej Akademii Nauk dr hab. Agnieszka Leszczyńska, Uniwersytet Warszawski dr hab. Aleksandra Patalas, Uniwersytet Jagielloński dr hab. Danuta Popinigis, prof. Akademii Muzycznej w Gdańsku dr hab. Barbara Przybyszewska-Jarmińska, prof. Instytutu Sztuki Polskiej Akademii Nauk prof. dr hab. Marcin Szelest, Akademia Muzyczna w Krakowie mgr Ewa Hauptman-Fischer, Biblioteka Uniwersytecka w Warszawie (sekretarz | secretary) Recenzenci | Reviewers dr hab. Irena Bieńkowska, Uniwersytet Warszawski [10], [13] prof. dr hab. Mirosława Hanusiewicz-Lavalle [2] dr Maciej Jochymczyk, Uniwersytet Jagielloński [7] dr hab. Jerzy Kochanowicz, prof. Dolnośląskiej Szkoły Wyższej [1], [14] dr hab. Agnieszka Leszczyńska, Uniwersytet Warszawski [6] dr hab. Aleksandra Patalas, Uniwersytet Jagielloński [3], [4] dr hab. Barbara Przybyszewska-Jarmińska, prof. Instytutu Sztuki Polskiej Akademii Nauk [8] dr hab. Magdalena Walter-Mazur, Uniwersytet im. Adama Mickiewicza [12] dr Arkadiusz Wojtyła, Uniwersytet Wrocławski [9] dr Marcin Zgliński, Instytut Sztuki Polskiej Akademii Nauk [5] prof. dr hab. Alina Żórawska-Witkowska, Uniwersytet Warszawski [11] Na okładce | Cover photo Imago primi saeculi Societatis Iesu: a provincia Flandro-Belgica eiusdem Societatis repra esentata, eds Johannes Bolland, Philip Fruytiers, Cornelis Galle, Sidronius de Hossche, Jean de Tollenaere, Jacques van de Walle, Antwerpen 1640, s. 326 Tłumaczenia | Translations Piotr Szymczak, Tomasz Zymer Korekta językowa | Proofreading Elżbieta Sroczyńska, Halina Stykowska Projekt i wykonanie układu graficznego | Graphic design and page layout Weronika Sygowska-Pietrzyk © Andrzej Józef Baranowski, Lars Berglund, Dariusz Galewski, Irina Gerasimowa, Maciej Jochymczyk, Jerzy Kochanowicz, Dariusz Kowalczyk, Andrea Mariani, Alina Nowicka-Jeżowa, Jan Okoń, Barbara Przybyszewska-Jarmińska, Serhij Seriakow, Marcin Szelest, Jūratė Trilupaitienė & Instytut Muzykologii Uniwersytetu Warszawskiego Wydawnictwo Naukowe Sub Lupa ISBN: 978-83-65886-56-9 Od redakcji Oddajemy w Państwa ręce zbiór artykułów, zebranych po konferencji pt. Uni- wersalizm i partykularyzm jezuickiej kultury artystycznej: konteksty – tradycja – źródła, zorganizowanej w dniach 22–23 września 2017 roku w ramach pro- jektu Repertuar muzyczny Towarzystwa Jezusowego w Rzeczpospolitej Obojga Narodów (1565–1773), realizowanego przez Uniwersytet Warszawski w mo- dule „Tradycja 1a” Narodowego Programu Rozwoju Humanistyki, finansowa- nego przez Ministra Nauki i Szkolnictwa Wyższego. Tytuł konferencji zachęcał jej uczestników do przyjrzenia się jezuickiej kulturze artystycznej XVII i XVIII wieku zarówno z perspektywy zjawisk globalnych, jak i lokalnych; miał też sugerować wybór perspektywy badawczej, osadzonej w perspektywie kompa- ratystycznej, ideowej bądź źródłoznawczej. W poszukiwaniu klucza do interpretacji jezuickiej kultury muzycznej, pie- lęgnowanej w Rzeczpospolitej Obojga Narodów, wzięli udział nie tylko muzy- kolodzy, ale także reprezentanci siostrzanych dyscyplin humanistycznych. Mu- zyka była bowiem jednym z wielu języków tej samej kultury, przemawiającej za pośrednictwem różnych gałęzi sztuki, które służąc wspólnemu nadrzędnemu celowi, powiązane były tymi samymi prawidłami retoryki. Badacze zajmują- cy się jezuicką architekturą, edukacją, literaturą, muzyką i teatrem, zgodnie potwierdzają, że sztukę krzewioną w środowisku Towarzystwa Jezusowego warunkowały z jednej strony bardzo wyraźne tendencje do homogenizacji: za- równo w skali prowincji czy państw, jak i kontynentów, a nawet całego globu. Z drugiej strony kierunek działania wskazywały jezuitom strategie kulturowej akomodacji, tak bardzo charakterystyczne dla tego środowiska, a zarazem tak daleko wyprzedzające swoją epokę. W perspektywie tej jedynej w swoim rodzaju i fascynującej dychotomii przybliżamy więc zjawiska kultury, składające się na ten historycznie bezpre- V Od redakcji cedensowy projekt cywilizacyjny. Projekt ten powstawał w oparciu o precyzyj- nie sformułowaną, nośną i konsekwentnie stosowaną koncepcję misji w kul- turze (Dariusz Kowalczyk SJ); kształtowano go także w nieustannym dialogu z obecnymi w piśmiennictwie ideami humanizmu (Alina Nowicka-Jeżowa). O niezwykłych owocach tych kulturowych konfrontacji zadecydował dosko- nale zorganizowany system administracji zakonnej, regulujący funkcjonowa- nie różnego rodzaju instytucji (Jerzy Kochanowicz, Serhij Sieriakow) i pro- gramujący modus operandi zakonników, posłanych nie tylko jako misjonarze i muzycy (Barbara Przybyszewska-Jarmińska), ale także rzemieślnicy i artyści (Dariusz Galewski). Ogromny impet, z jakim Towarzystwo Jezusowe św. Igna- cego Loyoli szerzyło swą misję w Europie XVII–XVIII wieku, zaowocowało szerokim rozprzestrzenianiem się powstających w Rzymie wzorów kultury (Lars Berglund), odnoszących się zarówno do ewangelickiego radykalizmu, jak i do katolickiego przepychu architektury baroku (Andrzej Józef Baranow- ski). Kształcenie i wychowanie młodzieży również wymagało sztuki: przede wszystkim muzyki i teatru, które skwapliwie wykorzystywano, rozwijano i pie- lęgnowano w wielu ośrodkach zakonnych kontynentu (Jūratė Trilupaitienė). Rozmach organizacyjny Towarzystwa Jezusowego pozostawił na mapie Europy sieć nowych kościołów oraz kolegiów, w których powstały i rozwijały się liczne i nowe zjawiska w kulturze. Ich definiowanie i śledzenie wyznacza tematy badawcze dla muzykologów i historyków kultury, nie mniej istotne niż dla literaturoznawców czy historyków sztuki. Wśród eksplorowanych w tej dziedzinie źródeł na szczególną uwagę zasługują różne rodzaje dokumentów historycznych: zakonne roczniki i katalogi (Maciej Jochymczyk), sumariusze teatralne (Jan Okoń), inwentarze pokasacyjne (Andrea Mariani), tabulatury organowe (Marcin Szelest), a także traktaty teoretyczne i rękopisy muzyczne (Irina Gerasimowa). Obserwowane dzięki tym źródłom zjawiska i studiowane w proponowanych perspektywach badawczych procesy składają się na niezwy- kle plastyczną panoramę uprawianej przez polskich jezuitów kultury, rozpiętej szeroko między ideałami określanymi wtedy jako ars a ich realizacją – praxis, wykazującą cechy zarazem globalne i lokalne. Bogna Bohdanowicz, Tomasz Jeż VI Editor’s note The collection of articles we now present to you is the product of a conference entitled Universalism and Particularism in Jesuit Artistic Culture: Contexts – Traditions – Sources, held on 22nd–23rd September 2017 as part of the project The Music Repertoire of the Society of Jesus in the Polish-Lithuanian Common- wealth (1565–1773), within the “Tradition 1a” module of the National Pro- gramme for the Development of Humanities, financed by the Polish Minister of Science and Higher Education. The first part of the conference title encour- aged the participants to look at Jesuit 17th- and 18th-century artistic culture in the context of both global and local phenomena, while the second suggest- ed the choice of a research perspective: comparative, focused on ideas, or on source studies. The participants of our search for the keys to interpret Jesuit music culture as cultivated in the Polish-Lithuanian Commonwealth were not only musi- cologists, but also representatives of sister disciplines in the field of the hu- manities. Music was one of the many languages of one and the same culture, speaking through many disciplines of art, but serving one superior goal and bound by the same rhetorical principles. Scholars dealing with Jesuit architec- ture, education, literature, music and theatre all agree that art created in the environment of the Society of Jesus was conditioned by a very distinct tenden- cy toward homogenisation (on the level of provinces, states, continents, as well as globally) on the one hand, and by strategies of cultural accommodation on the other – so highly characteristic of Jesuit activity and very much ahead of their time. In the context of this unique and fascinating dichotomy, we examine the vari- ous cultural phenomena that made up the Jesuits’ historically unprecedented civilizational project. It was a project based on an attractive, precisely formulated VII Editor’s note and consistently applied concept of mission within the given culture (Dariusz Kowalczyk SJ), developed in continuous dialogue with humanist ideas present in contemporary texts (Alina Nowicka-Jeżowa). These cultural confrontations bore wonderful fruit thanks to the perfectly organised system of Jesuit administration, which regulated the activity of many types of institutions (Jerzy Kochanowicz, Sergiy Seryakov) as well as the modus operandi of Jesuits sent to various locations not only as missionaries and musicians (Barbara Przybyszewska-Jarmińska), but also as craftsmen and artists (Dariusz Galewski). The impetus with which the Society of Jesus developed its missions in 17th- and 18th-century Europe led to a wide dissemination of cultural models originating
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