„Człowiek zmysłowy bowiem nie pojmuje tego, co jest z Bożego Ducha”1. Obrazy nocy czynnej ducha Adama Chmielowskiego 1

Paintings by Adam Chmielowski from late 70’ties of the 19th century and from 1880 are interpreted by historians of art as landscape paintings. Yet those who knew Chmielowski personally, like Henryk Sienkiewicz, writer and art critic, and also Konstanty Michalski, theologian and priest, thought that they show Chmielowski’s penchant for Christian mysticism and were created as a sign of changes in artist’s soul.Taking into consideration Chmielowski’s biography and comparing it to writings by great mystics like Paul Apostle, St. Teresa of Ávila and St. John of the Cross there can be noticed that opposition between light and dark visible in paintings in bright colours (Vision of St. Margaret, 1880, Ecce Homo [1879–1881]) and in dark colours (Evening landscape [1879–1880], Italian cemetery after dark, 1880, Gray hour, 1880, Monk at the cemetery [c. 1880]) reflects opposition in artist’s personal life and also in his spiritual life.Despite that the painter didn’t write much about his private life and nothing on his spiritual experience, his paintings include a sign system rich in semantic meanings reaching mysticism of Old Testament, Christian and also Plato. Landscapes and scenes presented by painter are only communication formula, style, selected to express thoughts and feelings filling his mind and spirit. According to my research in 70-ties of the 19th century Chmielowski was on his mystical way, at this stage called Active Night of the Spirit (according to classification by St. John of the Cross). In such condition Christian actively stimulate himself to make his faith better despite many problems in “real” life. So, on one hand, Chmielowski benefits from the light of spiritual and mystical knowledge; on the other – he goes his own way, in the darkness of doubt, depression and weakness because he draws strength from putting his trust in God.