During the Renaissance and Mannerist periods, in most European countries the fashion for decorating walls with sgraffiti covered a large part of continent, from Portugal to Romania, and from Central Italy to the German countries and Poland. Its popularity in the middle part of Europe peaked in the 16th and 17th centuries. In many regions, sgraffito was the dominant method of decorating buildings. Sgraffito styles were differentiated by design, artistic level, local conditions and investor preferences. In many regions north of the Alps, sgraffito decorations were, on the one hand, a frequently used method of modernizing medieval buildings, and, on the other, a form of expressing views, often religious ones. Everywhere, however, they expressed supranational belonging to the world of a post-medieval, revival community. It was no different in Silesia, where the sgraffiti madness arrived, thanks to artists who came from the northern regions of Italy around 1540 and settled down until the middle of the next century. The research carried out by the author has proven that, for Silesia, sgraffito was an iconic sign of the architecture of that period. In this region, then belonging to the Habsburg Monarchy, sgraffito decorations covered a wide variety of architectural objects, from barns, walls, and gates to tenement houses, manors, castles, and churches. In the case of the latter, research has shown that temples in Gothic style are heavily decorated with sgraffiti, which should be considered a distinctive feature when compared to other regions. At the same time, it was found that the vast majority of them appeared in forms and themes known to us from other countries covered by the sgraffito fashion. The frame composition made in this technique and, most probably modeled directly on the template by S. Serlia (Tutte L’opere d’Architettura et Prospettiva) from 1619, should be considered as the Silesian contribution to the sgraffito heritage as well as oval bossages. While studying Silesian sgraffito, some local technological differences were also noticed. With the advent of the Baroque period, a large part of the sgraffito decoration was covered (and thus preserved) with a new, baroque decorative costume. We still discover them in the present while carrying out conservation works (sometimes multiple) on historic buildings. Many others, those constantly on display, have been restored to preserve their original shape, or have been reconstructed. Various and simultaneously modernized methods are used to implement these works. Their correct selection depends on in-depth knowledge of sgraffito (historical, artistic, technological and technical) and their regional specificity. It also depends on the constant exchange of experiences between all those dealing with sgraffito heritage.

中文翻译：

---

涂鸦作为文艺复兴时期和风格主义西里西亚的墙壁装饰方法

在文艺复兴时期和风格主义时期，在大多数欧洲国家，用涂鸦装饰墙壁的时尚覆盖了大部分大陆，从葡萄牙到罗马尼亚，从意大利中部到德国和波兰。它在欧洲中部的流行在 16 世纪和 17 世纪达到顶峰。在许多地区，涂鸦是装饰建筑物的主要方法。涂鸦风格因设计、艺术水平、当地条件和投资者偏好而有所不同。在阿尔卑斯山以北的许多地区，涂鸦装饰一方面是使中世纪建筑现代化的常用方法，另一方面是表达观点的一种形式，通常是宗教观点。然而，他们在任何地方都表达了对后中世纪复兴社区世界的超国家归属感。西里西亚也不例外，涂鸦狂潮到来的地方，多亏了 1540 年左右来自意大利北部地区并定居到下个世纪中叶的艺术家。作者进行的研究证明，对于西里西亚来说，涂鸦是那个时期建筑的标志性标志。在这个地区，当时属于哈布斯堡王朝，涂鸦装饰覆盖了各种各样的建筑对象，从谷仓、墙壁和大门到唐楼、庄园、城堡和教堂。就后者而言，研究表明，哥特式风格的寺庙装饰有大量涂鸦，与其他地区相比，这应该被视为一个显着特征。同时，我们发现绝大多数以我们所熟知的涂鸦时尚所涵盖的其他国家的形式和主题出现。用这种技术制作的框架构图，很可能是 1619 年 S. Serlia (Tutte L'opere d'Architettura et Prospettiva) 直接在模板上建模的，应该被视为西里西亚对 sgraffito 遗产和椭圆形凸台的贡献. 在研究西里西亚涂鸦时，也注意到了一些当地的技术差异。随着巴洛克时期的到来，大部分涂鸦装饰都被一种新的巴洛克装饰服装覆盖（并因此得以保留）。我们现在仍然在对历史建筑进行保护工作（有时是多次）时发现它们。许多其他的，那些经常展出的，已经恢复以保持其原始形状，或者已经重建。各种同时现代化的方法被用来实施这些工作。它们的正确选择取决于对 sgraffito（历史、艺术、技术和技术）及其区域特异性的深入了解。它还取决于所有处理涂鸦遗产的人之间不断交流经验。