Pilgrimage Church of Wies

World Heritage Research

Discover scientific research and academic studies that deepen our understanding of Pilgrimage Church of Wies from its history and significance to its conservation, management, and contemporary challenges.

• Sanktuarium jako miejsce święte. Perspektywa antropologiczna

  The Pilgrimage Church of Wies, or Skrzatusz Sanctuary, stands as a unique example of Catholic sanctuaries, distinguished by its spontaneous and universal pilgrimage movement rooted in the sensus fidelium. This study, grounded in Mircea Eliade's phenomenology of religion, explores the sanctuary's role as a condensed presence of the sacred, contrasting it with profane spaces. It highlights the sanctuary's distinctiveness from other holy places, such as chapels or parish churches, and its function as a center of permanent formation amid rapid dechristianization in Poland. The research also examines the challenges posed by social media to young people's piety while emphasizing Skrzatusz Sanctuary's resilience in addressing these threats.

  Perszon, J. (2025). Sanktuarium jako miejsce święte. Perspektywa antropologiczna. Rocznik Skrzatuski, 13, 59–87. https://doi.org/10.69553/rs.2025.13-03

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• Rococo Aesthetics and the Problem of Trompe l'Oeil

  Rococo art, often perceived as purely ornamental and artificial, is revealed to have deep engagement with naturalism and illusionism through its use of trompe l'oeil techniques. This study demonstrates that rococo aesthetics, exemplified in works by Fragonard, Liotard, and the Wieskirche church, challenge conventional perceptions by employing visual illusions not just to deceive but also to interrogate the role of the viewer in art. The analysis shows that rococo is a self-conscious meta-style, transcending mere decoration to explore the complexities of boundaries in artistic creation. By examining paintings, architecture, and ornamental prints, the research highlights how trompe l'oeil functions as both an artistic tool and a conceptual device, reshaping our understanding of rococo's relationship with nature and illusion.

  Yonan, M. (2024). Rococo Aesthetics and the Problem of Trompe l’Oeil. Art and Artifice in Visual Culture, 32–49. https://doi.org/10.4324/9781003478898-4

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• Wallfahrtskirche auf dem Einkorn bei Schwäbisch Hall - ein Werk des Würzburger Barockbaumeisters Joseph Greissing (1710-1715)

  The Pilgrimage Church of Wies, designed by the Würzburg Baroque architect Joseph Greissing between 1710 and 1715, stands as a testament to the enduring legacy of religious devotion and architectural innovation. The church's origins trace back to 1472 when a local figure, Sigmund Weinbrenner, attached a pilgrimage sign from Bamberg to an oak tree in the Einkorn forest, sparking a secondary pilgrimage movement linked to the Fourteen Saints' site. Greissing's design, characterized by its Baroque elements, not only served as a spiritual hub but also reflected the cultural and religious fervor of the period. The study delves into the historical significance, architectural nuances, and the socio-religious dynamics that shaped this UNESCO World Heritage Site, offering insights into the intersection of faith, art, and history.

  Gabor, I. (2023). Wallfahrtskirche auf dem Einkorn bei Schwäbisch Hall - ein Werk des Würzburger Barockbaumeisters Joseph Greissing (1710-1715). Württembergisch Franken, 84, 133–150. https://doi.org/10.53458/wfr.v84i.5617

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• Pygmalion in Bavaria: The Sculptor Ignaz Günther and Eighteenth-Century Aesthetic Art Theory (review)

  This review highlights the groundbreaking analysis of Bavarian sculptor Ignaz Günther's work, linking his rococo compositions to eighteenth-century aesthetic theory. Christiane Hertel's study reveals that Günther's sculptures, known for their psychological expressiveness, reflect a deliberate self-awareness and critique of devotional expectations, blending Protestant critiques of idolatry with Catholic ritual functions. By employing a comparative method—contrasting Günther's art with texts by thinkers like Winckelmann, Kant, and Rousseau—Hertel argues that his work subverts traditional religious art norms while engaging with broader philosophical concepts of self-reflection and sensation. The study innovatively bridges the gap between art history and aesthetic theory, offering a fresh perspective on Bavarian rococo art.

  Yonan, M. (2012). Pygmalion in Bavaria: The Sculptor Ignaz Günther and Eighteenth-Century Aesthetic Art Theory (review). Eighteenth-Century Studies, 45(3), 457–459. https://doi.org/10.1353/ecs.2012.0033

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• The Wieskirche: Movement, Perception, and Salvation in the Bavarian Rococo

  The Wieskirche, a renowned Bavarian Rococo pilgrimage church, offers a unique lens to reexamine the often-overlooked religious architecture of 18th-century Europe. This study challenges contemporary perceptions of rococo design as excessive or lacking in restraint, instead highlighting its sophisticated treatment of interior space and spiritual symbolism. By focusing on the Wieskirche—designed collaboratively by Dominikus Zimmermann (architect) and his brother Johann Baptist Zimmermann (painter and stucco carver)—the research demonstrates how movement, perception, and salvation are intricately woven into its architectural and decorative elements. The study employs a multidisciplinary approach, drawing from art history, philosophy, and cultural analysis to revisit the Bavarian Rococo church typology, integrating recent scholarship on French rococo while addressing gaps in Anglo-American studies. It argues for a reevaluation of these structures as significant contributors to 18th-century art and aesthetics.

  Yonan, M. (2012). The Wieskirche: Movement, Perception, and Salvation in the Bavarian Rococo. Studies in Eighteenth-Century Culture, 41(1), 1–25. https://doi.org/10.1353/sec.2012.0003

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