Białe drewniane cerkwie prawosławne województwa podlaskiego: architektura i symbolika teologiczna koloru białego

Katarzyna Woszczenko, Adam Musiuk

doi:10.37190/arc250406

Streszczenie

W artykule przedstawiono wyniki badań dotyczących znaczenia symboliki teologicznej koloru białego w kontekście architektury cerkwi prawosławnych województwa podlaskiego. Analiza została przeprowadzona w oparciu o źródła rękopiśmienne, literaturę przedmiotu, komunikaty prywatne, materiały internetowe oraz inwentaryzację fotograficzną wybranych obiektów.

Badania pozwoliły na określenie znaczenia koloru białego w tradycji prawosławnej oraz jego związku z architekturą sakralną regionu podlaskiego. Przedstawiono również przegląd zachowanych białych drewnianych cerkwi oraz analizę ich cech architektonicznych.

Słowa kluczowe

cerkwie prawosławne, architektura drewniana, Podlasie, symbolika koloru, teologia

Podgląd pełnego artykułu jest możliwy wyłącznie na większych ekranach.

2025

4(84)

Katarzyna Woszczenko*, Adam Musiuk**

White wooden Orthodox Churches of the Podlaskie Voivodeship:

architecture and theological symbolism of the colour white

DOI: 10.37190/arc250406

Published in open access. CC BY NC ND license

Abstract

The article presents the results of research on the signicance of the theological symbolism of the colour white in the context of Orthodox church

architecture in the Podlaskie Voivodeship. The analysis was carried out on the basis of manuscript sources, academic literature, private communications,

online materials, and a photographic eldwork of selected buildings. The study encompassed seven Orthodox churches and chapels located in Białystok,

Hajnówka, Lewkowo Stare, Miękisze, Ryboły (Pietraszki sacred forest site), Stawiszcze and Wygoda. Both the dates of their construction and the changes

in façade colour schemes over time were taken into account. The ndings indicate that, while in secular architecture the colour white primarily fullls

an aesthetic function, in sacred architecture it refers to deeply rooted theological symbolism associated with God, Jesus Christ, and the concept of the

church as the house of God. Particularly signicant is its association with St Michael the Archangel, who is sometimes depicted in iconography wearing

white robes. It was further observed that white occurs more frequently in the architectural elements of Orthodox churches with façades of other colours.

The authors emphasise that, in the design of new Orthodox churches, tradition and colour symbolism should be taken into consideration, as they are of

signicance not only for the theological aspect but also for the architectural one.

Key words: cultural heritage, architecture, Orthodox Church, theology, symbols

Introduction

As Wojciech Michera observes, […] colours are like

illnesses – everyone experiences them, everyone considers

themselves an expert, yet in reality, very little can be said

about them with certainty (1987, 83–114). Architects, as cre-

ators of the spaces that surround us, are inuenced by colour,

which undoubtedly plays a crucial role in shaping, organis-

ing, and sustaining these environments. Architects’ attitudes

towards colour appear to be both subjective and varied.

According to Krzysztof Ludwin, this attitude was still ra

ther restrained only a few years ago (2017, 7, 8, 96), where-

as Maria Wojtysiak emphasises the signicance of colour as

an inherent component of architecture (2003). In her doctor-

al dissertation, Justyna TarajkoKowalska notably points to

the rich chromatic tradition of Poland (2005, 2). Numerous

further examples could be provided; however, it is essential

to recognise that an understanding of colour appears to be

of particular importance in architectural practice, especially

in the design of sacred buildings.

In secular architecture, façade colour primarily serves

an aesthetic function and largely depends on the designer’s

personal judgement. In contrast, in the case of religious

structures – particularly those of Orthodox Christianity

– co lour often derives from theological foundations and

may signicantly inuence conceptual and formal design

decisions.

Scope and content of the research

The Podlaskie Voivodeship is characterised by the high-

est concentration of Orthodox churches in Poland. Within its

boundaries are located two dioceses

: the BiałystokGdańsk

A diocese is an administrative unit of the Polish Autocephalous

Orthodox Church. In Poland, there are six dioceses, each covering the

territory of several voivodeships or geographical regions, which is re-

ected in their names.

* ORCID: 0000000154429994. Faculty of Architecture, Bia ly 

stok University of Technology, Poland, email: k.woszczenko@pb.edu.pl

** ORCID: 0000000196859597. Faculty of Architecture, Bialy

stok University of Technology, Poland.

66 Katarzyna Woszczenko, Adam Musiuk

and the WarsawBielsk dioceses. The region is home to nu-

merous wooden Orthodox churches with façades painted in

a variety of colours, including blue (Woszczenko, Musiuk

2023), brown, green (Woszczenko 2023), beige, and white.

The ongoing research, the results of which are being

suc cessively published, encompasses all wooden Orthodox

churches situated in the Podlaskie Voivodeship. The present

article focuses on those churches whose façades are white.

In analysing the rationale behind the choice of white, par-

ticular emphasis is placed on the theological aspect, which

plays a signicant role in shaping both the exterior and in-

terior nishes of Orthodox sacred architecture. The term

“white” has a broad meaning across dierent languages

and may encompass a range of shades – from light yellow

through beige and white to grey (Forstner 1990, 115, 116).

The present study concerns churches that are distinctly

white, while those with lighter façades will be discussed in

a sub sequent publication.

Archival and eld research (September 2023–August

2025), together with multiple photographic eldwork (March

2023–October 2025), have enabled the identication of all

white Orthodox churches in the region. The following sec-

tion presents a catalogue of these buildings, accompanied

by key data, followed by an examination of the hypothesis

regarding the theological inuence on the choice of façade

colour and its relevance to contemporary design.

The study of white wooden Orthodox churches in the

Podlaskie Voivodeship was undertaken due to the clear lack

of research on this subject and constitutes a continuation of

earlier research (Woszczenko, Musiuk 2023; Woszczenko

2023).

State of research

The principal focus of this article is the inuence of the-

ology on the use of colour in the design of wooden Ortho-

dox churches in the Podlaskie Voivodeship. Several pub-

lications have addressed related themes, including a study

by Katarzyna Woszczenko and Adam Musiuk on the sym-

bolism of the colour blue (Woszczenko, Musiuk 2023) and

a separate work by Katarzyna Woszczenko devoted to the

symbolism of the colour green (Woszczenko 2023).

A church represents a synergy of theology and architec-

ture; it is both the House of God and a building intended

for religious worship (Musiuk 2016). Nevertheless, in exist-

ing studies these two areas are often treated separately. The

present research draws upon texts concerning colour theory,

theological concepts, and architectural studies in a broad

sense. Publications on the study of colour (Libera 1987; Kai-

ser, Boynton 1996) focus on human perception and the lin-

guistic semiotics of colour. Theological works and primary

sources (Patrologia Graeca 1865; Bazyli Wielki 1972; Na 

stol na ja kniga swiaszczennosłużytiela 1983; Forstner 1990;

Baldock 1993; Quenot 1997; Radziukiewicz 2001; Ev do ki

mov 2003; Pismo Święte 2004; Skibińska 2018) concern the

Orthodox Christianity, Church teachings, and iconography.

The study also draws on works related to sacred architec-

ture (Kuprianowicz, Hawryluk 1989; Sasna 1990; Brykow

ski 1995; Sosna 2000; Kabac 2007; Kazimiruk 2014; Mu-

siuk 2016; Woszczenko, Musiuk 2023; Woszczenko 2023),

as well as historical (Powieść minio nych lat 2005) and psy-

chological publications (Progo 1953), alongside terminolo

gical dictionaries (KubalskaSul kiewicz, BielskaŁach and

ManteuelSzarota 2003; Przyczyna, Czarnecka and Ła wre

szuk 2022). Additional sources include online materials (the

website orthodox.pl) and interviews with Orthodox priests.

Given the evident shortage of interdisciplinary studies

combining theological and architectural perspectives, this

research was undertaken to provide insights that may assist

architects involved in designing wooden Orthodox churches

in the Podlaskie Voivodeship.

Overview of the research

The colour white

The colour white is sometimes described as the absence

of colour; however, Newton’s theory of colour demonstrates

that it is, in fact, a mixture of coloured rays (Kaiser, Boynton

1996, 12–16). White is generally understood as a pure shade,

free from admixtures of grey or black (Libera 1987) – this is

how it is perceived by a typical observer. In Greek, the term

λευκος (leukos) denotes the colour white with a very broad

spectrum, encompassing shades from light yellow through

beige and white to grey (Forstner 1990, 115, 116).

In the light of the above, the topic has been divided into

two separate studies. The present article focuses exclusive-

ly on white wooden Orthodox churches in the Podlaskie

Voivodeship, whereas a subsequent publication will address

churches with lightcoloured façades falling within the

aforementioned spectrum.

Theological aspects determining the image

of white orthodox churches

A church is regarded as an earthly heaven, and in these

heavenly spaces God dwells and walks among people – these

striking words of Patriarch German I underscore the ex-

traordinary signicance of the Christian temple and are

cited in numerous theological studies (Patrologia Graeca

1865, 384). The Byzantines approached space as the dwell-

ing of God, engaging in architectural exploration aimed at

reconciling the human with the transcendent and innite re-

ality of God. According to historical accounts, the envoys

of Prince Vladimir of Kiev, after visiting Constantinople,

reported: We did not know whether we were in heaven or

on earth; for there is no spectacle or beauty on earth com-

parable to this, and we cannot describe it, only that God

dwells there among people (Powieść minionych lat 2005,

95–97). The concern here was not merely aesthetic; it was

about the presence of God among people, which is inher-

ently beautiful, uplifting the soul, and inspiring awe. The

Church Fathers consider Divine Beauty a fundamental bib-

lical and theological concept; thus, the beauty of the visible

world is extended into the beautiful and good immaterial

reality (Evdokimov 2003, 29).

A symbol expresses something mysterious; its existence,

while beyond intellectual comprehension, can be experi-

enced as simultaneously intimate and distant. Sensory ex-

perience merges with spiritual or subconscious perception

White wooden Orthodox Churches of the Podlaskie Voivodeship

(Baldock 1993, 11–13). Humans have a tendency to under-

stand the world rationally, yet, as Carl Gustav Jung argues,

they suer from a hunger for symbols (Progo 1953, 184–

187, 292). Symbolism in the Orthodox church is multifac-

eted and complex. Within the temple, two natures coexist:

the material, experienced through the senses, and the spiri-

tual, apprehended through symbols (Radziukiewicz 2001).

Icons in Orthodox churches facilitate the transition from the

material to the spiritual world through their intricate beau-

ty, colour symbolism, numerology, and iconographic signs.

Their colours are not mere decoration but constitute a mys-

tical language expressing the spiritual realm (Quenot 1997,

93–96).

Visually, white appears as the absence of colour, and is

therefore associated with lightness (Sendler 1988, 153, 154).

White may symbolise the Creator in glory, as the source of

all things, and His Divine energy, accessible to human un-

derstanding. It is associated with light and the penetrating il-

lumination of God (Hart 2015, 169, 170). Numerous passag-

es in the Holy Bible refer to white. At the Transguration on

Mount Tabor, the clothing of [Jesus] became white as light

(Mt 17:2; Mk 9:3; Lk 9:29)

. Similarly, the Evangelists de-

scribe the garments of the angels present at the Resurrection

and Ascension of Christ (Mt 28:3; Mk 16:5; Jn 20:12;

Acts

1:10). The Book of Revelation contains the most referenc-

es to white, where it symbolises perfect purity, victory, and

eternal glory: the twentyfour Elders are clothed in white

(Rev 4:4), as is the great multitude, beyond numbering (Rev

7:9); the Bride of the Lamb – the Church – is arrayed in

pure, white, shimmering byssus

, signifying the righteous

deeds of the saints (Rev 19:8; 3:4; 6:2; 15:6; 19:11–14)

(Forstner 1990, 115), particularly referring to martyrs.

The colour white carries multiple symbolic meanings:

purity, Divine teaching and knowledge, as well as joy and

happiness (Hart 2015, 169, 170; Quenot 1997, 96–98). In

Isaiah’s vision, God says: Your sins shall be as white as

snow; they shall become as white as wool (Isa. 1:18), refer-

ring to white as a symbol of victory over sin. As a sign of

freedom from sin and spiritual enlightenment, individuals

receiving baptism are clothed in white garments (Quenot

1997, 98). In early Christianity, the deceased were often bur-

ied in baptismal garments (Forstner 1990, 445). The Gospel

describes: Joseph took the body [of Jesus] and wrapped it

in a clean linen shroud (Mt 27:59). According to St Basil

the Great, the white baptismal garment, which adorns us

in heaven, conceals our humanity, overcoming corporeal

mortality and enfolding what is mortal in the indestructible

(Bazyli Wielki 1972). Today, this tradition persists only par-

tially: although the deceased are covered with white shroud,

baptismal garments are rarely used. This illustrates the am-

bivalence of the colour white (Sendler 1988, 153, 154), as

its symbolism relates both to life and rebirth, as well as to

death and transience.

Biblical quotations translated into English come from the edition:

Pismo Święte (2004).

Byssus (sea silk) – a valuable white fabric made from the silky

threads produced by the rapidly coagulating secretion of molluscs, used

in antiquity and the Middle Ages, primarily in the area around Tarentum

(KubalskaSulkiewicz, BielskaŁach and ManteuelSzarota 2003, 45).

As previously noted, white also symbolises joy and fes-

tive occasions; Ecclesiastes encourages the enjoyment of

life: Let your garments always be white (Eccl. 9:8).

In iconography, white robes are primarily associated

with angels and with Jesus Christ on icons depicting, among

others, the Transguration, the Harrowing of Hell, the Res-

urrection, and the Ascension. White also represents the dove

symbolising the Holy Spirit (Sendler 1988, 153, 154; Hart

2015, 169, 170).

The origin of the white robe of angels is related to their

function. Their primary task is the glorication of God the

Father. In His presence, they worship Him, serve Him, and

participate in His governance of the world. Constantly in

His presence, they extol His glory and majesty. They act as

messengers of God (e.g., St Archangel Gabriel announcing

the Good News to the Mother of God – Lk 1:3031), pro-

tectors, comforters strengthening faith, intercessors before

God for humanity, deacons, or envoys conveying God’s

mercy to the righteous and His wrath to the wicked (e.g., St

Ar changel Michael

leading the heavenly hosts against Sa-

tan and his followers, Jud 9; Rev 12:7; see Skibińska 2018).

The functions of angels are therefore directly linked to the

Creator, and thus to His light.

In the Orthodox Church, particular feasts are associated

with dierent colours. White accompanies feasts dedicated to

Jesus, primarily the Feast of Feasts

– Pascha – as well as

feasts of St John the Baptist, the sacraments of baptism and

marriage, and funeral liturgy. During these occasions, clergy

wear white vestments (OCS: obłaczenije

; Nastolnaja kniga

swiaszczennosłużytiela 1983). Within the church interior, de

corative white cloths are placed on lecterns (OCS: anałoj

Observations indicate that some faithful also wear white when

participating in services on the Feast of the Resurrection.

Orthodox churches

of the Podlaskie Voivodeship

Wooden sacred architecture holds an important place in

the history and landscape of the Podlaskie Voivodeship, due

to the ready availability of timber as a building material, the

prevalence of carpentry craftsmanship, and the multireli-

gious character of the region. This topic has been described

in more detail in studies on green Orthodox churches (Wo-

szczenko 2023) and blue Orthodox churches (Woszczenko,

Musiuk 2023); consequently, the present article provides

only a concise overview.

The white colour of the garments in depictions of St Archangel

Michael does not appear consistently; nevertheless, there are numerous

examples of icons that feature it.

Pascha, also known as the Resurrection of Jesus Christ, is re-

ferred to as the feast of feasts, as it is the most important celebration in

the Orthodox Church (Przyczyna, Czarnecka and Ławreszuk 2022, 340,

341, 442, 489).

Obłaczenije – a liturgical vestment, one of the garments worn

by a clergyman during the performance of a religious service, in Old

Church Slavonic (OCS) (Przyczyna, Czarnecka and Ławreszuk 2022,

433).

Anałoj – a type of lectern in an Orthodox church, on which a dec-

orative cloth is placed, together with an icon and/or a cross, the Gospel

book, or other liturgical texts (Przyczyna, Czarnecka and Ławreszuk

2022, 87).

68 Katarzyna Woszczenko, Adam Musiuk

The research focused on Orthodox churches and chapels

constructed in wood, with façades painted white.

Methods

The research was conducted in several stages. It began

with an examination of the records of the Voivodeship Of-

ce for the Protection of Monuments in Białystok, a process

that has been ongoing continuously since October 2022.

A total of 113 structures meeting the established criteria

were analysed – wooden Orthodox churches and chapels

– a gure reecting the state of research as of October 2025.

The task proved demanding, as not all buildings are listed in

the heritage register, while some were identied only during

photographic eldwork.

During the course of this process, it was observed that

the surveyed buildings could be clearly grouped according

to the colour of their façades. The structures were catego-

rised into the following colour ranges: blue, green, brown,

and the lightest, whitish tones (white, beige, pale yellow).

It was also noted that certain buildings had changed colour

over the course of their existence. Previous studies focused

on blue and green churches, whereas the present research

concentrated on those with lightcoloured façades, which

were further divided into two categories – white and light.

In the subsequent stage, basic information concerning

the white buildings was compiled, and changes in the colour

of their façades were recorded (Table 1). Another compo-

nent of the research involved photographic documentation,

carried out intermittently between March 2023 and October

2025, accompanied by an assessment of the current condi-

tion of the buildings. The nal stage consisted of comparing

the number of white churches with that of buildings fea-

turing other façade colours among the wooden Orthodox

churches of the Podlaskie Voivodeship.

Results

Below are presented the parish churches, cemetery church-

es, and chapels of Podlaskie Voivodeship with dierent

functions, built at various times. The criterion for selecting

the buildings for the study was the colour of their façades

– white

Orthodox churches have a tripartite interior: from the

main entrance, there is the narthex for catechumens and pen-

itents, followed by the nave for the faithful, and the sanctu-

ary for the clergy (Brykowski 1995, 19–22). The tripartite

division of the interior is often visible externally in the shape

of the building. The churches analysed are oriented

The research demonstrated that, at present

, only

the fol-

lowing buildings possess purely white façades: the temporary

Orthodox churches are oriented, which means that the sanctuary

is located on the eastern side and faces east.

State of research as of October 2025.

Table 1. Wooden Orthodox churches of the Podlaskie Voivodeship that currently or previously had white façades (elaborated by K. Woszczenko,

based on: Kabac 2007; Sosna 2000, 201–202, 219–223, 413–417; Kuprianowicz, Hawryluk 1989, 4; Sasna 1990, 4; Kazimiruk 2014; orthodox.pl;

interviews with Orthodox priests: Fr. Adam Jakuc from the parish of St John the Theologian in Białystok, September 29, 2023;

Fr. Jarosław Łojka, parish priest of the Nativity of St John the Baptist in Pasynki, October 3, 2025; Fr. Adam Ostapkowicz, parish priest

of the Protection of the Mother of God in Zubacze, October 9, 2023; Fr. Jan Romańczuk, parish priest of the Nativity of St John the Baptist

in Hajnówka, October 10, 2023)

Tabela 1. Badane drewniane cerkwie województwa podlaskiego mające obecnie i w przeszłości elewacje w kolorze białym (oprac. K. Woszczenko,

na podstawie Kabac 2007; Sosna 2000, 201–202, 219–223, 413–417; Kuprianowicz, Hawryluk 1989, 4; Sasna 1990, 4; Kazimiruk 2014;

orthodox.pl; ozmowy z księżmi prawosławnymi: ks. Adamem Jakucem z parafii pw. św. Jana Teologa w Białymstoku, 29.09.2023;

ks. Jarosławem Łojką, proboszczem parafii pw. Narodzenia św. Jana Chrzciciela w Pasynkach, 3.10.2025; ks. Adamem Ostapkowiczem,

proboszczem parafii pw. Opieki Matki Bożej w Zubaczach, 9.10.2023; ks. Janem Romańczukiem, proboszczem parafii pw. Narodzenia

św. Jana Chrzciciela w Hajnówce, 10.10.2023)

Locality Function Dedication Built* Former façade colour Current façade colour

Białystok

temporary

parish church

St John the Theologian 2007** – white

Hajnówka cemetery church All Saints 1952/1953

white

(before renovation in 2017–2018)

natural wood

with a warm tone

Lewkowo Stare parish church Saints Peter and Paul XVIII

white

(before renovation in 2018)

beige

Miękisze chapel

Icon of the Mother

of God Life-Giving Spring

2022 –

white with blue

elements

Ryboły

(uroczysko Pietraszki)

chapel

Icon of the Mother

of God Life-Giving Spring

1926

white with blue elements

in October 2020

natural wood

with a warm tone

Stawiszcze cemetery church

Miracle of St Michael the

Archangel

1965

white

(before renovation in 2021)

white (plaster)

Wygoda cemetery church Transfiguration of Jesus 1840

white

(before renovation in 2013–2014)

natural wood

with a warm tone

* The construction date is presented in three formats, depending on the source: as the specific year of completion, the period of construction, or

the approximate age of the building.

The year of construction given refers to the date of reconstruction in the current parish. The building originally belonged to the Hajnówka Forest

District and later served as a temporary church, among other locations, in Hajnówka, Czyże, and the Nowe Miasto district in Białystok.

White wooden Orthodox Churches of the Podlaskie Voivodeship

Fig. 1. Temporary Orthodox parish church of St John the Theologian

in Białystok, September 2023 (photo by K. Woszczenko)

Il. 1. Tymczasowa cerkiew parafialna pw. św. Jana Teologa

w Białymstoku, wrzesień 2023 (fot. K. Woszczenko)

Fig. 3. Orthodox chapel of the Icon of the Mother of God LifeGiving

Spring in Miękisze, October 2025 (photo by K. Woszczenko)

Il. 3. Kaplica pw. Ikony MB Życiodajne Źródło w Miękiszach,

październik 2025 (fot. K. Woszczenko)

Fig. 2. Orthodox cemetery church of the Miracle of St Michael

the Archangel in Stawiszcze: a) May 2016 (photo by J. Karcz),

b) August 2023 (photo by K. Woszczenko)

Il. 2. Cerkiew cmentarna pw. Cudu św. Michała Archanioła

w Stawiszczach: a) maj 2016 (fot. J. Karcz),

b) sierpień 2023 (fot. K. Woszczenko)

Fig. 4. Orthodox cemetery church of All Saints in Hajnówka:

a) August 2015 (photo by J. Karcz),

b) August 2023 (photo by K. Woszczenko)

Il. 4. Cerkiew cmentarna pw. Wszystkich Świętych w Hajnówce:

a) sierpień 2015 (fot. J. Karcz),

b) sierpień 2023 (fot. K. Woszczenko)

a a

b b

70 Katarzyna Woszczenko, Adam Musiuk

Fig. 5. Orthodox cemetery church of the Transfiguration of Jesus near

the village of Wygoda: a) October 2010 (photo by G. Kossakowski,

source: http://www.ciekawepodlasie.pl/opis/1085,Cerkiew+cmentar-

na+p.w.+Przemienienia+Pa%C5%84skiego.htm, accessed September

23, 2023), b) September 2023 (photo by K. Woszczenko)

Il. 5. Cerkiew cmentarna pw. Przemienienia Pańskiego

w pobliżu wsi Wygoda: a) październik 2010 (fot. G. Kossakowski,

źródło: http://www.ciekawepodlasie.pl/opis/1085,Cerkiew+cmentar-

na+p.w.+Przemienienia+Pa%C5%84skiego.htm, dostęp 23.09.2023),

b) wrzesień 2023 (fot. K. Woszczenko)

Fig. 6. Orthodox chapel at the Pietraszki sacred forest site

near the village of Ryboły: a) September 2020 (photo by J. Chruścicki),

b) November 2024 (photo by K. Woszczenko)

Il. 6. Kaplica na uroczysku Pietraszki w pobliżu wsi Ryboły:

a) wrzesień 2020 (fot. J. Chruścicki), b) listopad 2024 (fot. K. Woszczenko)

parish Orthodox church

of St John the Theologian in Bia

łystok (Fig. 1) and the cemetery Orthodox church in Sta

wiszcze (Fig. 2). The Orthodox chapel in Miękisze (Fig. 3)

is white with blue elements on its façades. In the past,

white façade nishes were present on the cemetery Ortho-

dox churches: in Hajnówka (Fig. 4) and near the village of

Wygoda (Fig. 5), as well as on the chapel at the Pietraszki

sacred forest site near the Ryboły (Fig. 6) and the parish

Orthodox church in Lewkowo Stare (Fig. 7).

It currently serves as a parish church, fullling this function until

the completion of the proper church building. Previously, the building

functioned as the parish church of St George the Victorious in Białystok,

in the Nowe Miasto district.

White wooden Orthodox Churches of the Podlaskie Voivodeship

Fig. 7. Orthodox parish church of Saints Peter and Paul in Lewkowo Stare:

a) July 2013 (photo by K. Maciejewska), b) July 2023 (photo by K. Woszczenko)

Il. 7. Cerkiew parafialna pw. św. Piotra i Pawła w Lewkowie Starym:

a) lipiec 2013 (fot. K. Maciejewska), b) lipiec 2023 (fot. K. Woszczenko)

ly have façades in shades of white (8.9% of the total), includ-

ing one temporary parish church, two parish churches, ve

cemetery churches, and two chapels. Of these, seven can be

classied as distinctly white, either at present or historically.

Only two currently have purely white façades, while one fea-

tures a white façade with blue architectural elements. It may

be presumed that practical considerations account for this

pattern, as white exteriors tend to deteriorate and become

soiled relatively quickly.

Considering buildings that were white in the past, the

total rises to 14, representing 12.5% of all wooden Ortho-

dox churches recorded up to October 2025. Nevertheless,

white architectural elements frequently appear on the fa

çades of churches painted in other colours, particularly

blue. Tombstones in cemeteries are also occasionally paint 

ed white.

White is frequently used in the architecture of wooden

Orthodox churches in the Podlaskie Voivodeship for ele-

ments such as vertical corner boarding, window and door

frames, and the surrounding woodcarving decorations. It is

also applied to woodcarving decorations under the eaves,

at the gables, and to the posts supporting entrance canopies

(Fig. 8). During the research and photographic eldwork,

individual whitewashed gravestones were also noted in the

cemetery, for example in Czeremcha Wieś (Fig. 9) and near

the village of Wygoda.

Conclusions

Research conducted up to October 2025 indicates that

there are 113 wooden Orthodox churches and chapels in the

Podlaskie Voivodeship. Among these, ten structures current-

a b

72 Katarzyna Woszczenko, Adam Musiuk

The surveyed buildings are dedicated to various saints. In

Orthodox Christianity, the colour white is associated with the

Resurrection of Christ, and indeed every Orthodox church is

in some way identied with the Resurrection. The theological

symbolism of this colour is extensive, yet closely connected

with God and with Jesus Christ. It may therefore be inferred

Fig. 8. Examples of wooden Orthodox churches in the Podlaskie Voivodeship,

featuring façades in different colours with white architectural elements

(photos by K. Woszczenko)

Il. 8. Przykłady drewnianych cerkwi województwa podlaskiego w różnych kolorach elewacji z białymi detalami

(fot. K. Woszczenko)

that white is suitable for churches dedicated to all saints, as

well as for the very concept of the church as the House of

God. Particular attention should be given to the cemetery

church in Stawiszcze, whose patron is Saint Archangel Mi-

chael, who is often depicted wearing garments incorporating

elements of white – a characteristic feature of angels.

White wooden Orthodox Churches of the Podlaskie Voivodeship

Summary

The results of the research provide strong evidence sup-

porting the thesis that the use of white in the architecture of

wooden Orthodox churches is rooted not only in aesthetic

considerations but also in theological symbolism. White is

primarily associated with God and Jesus Christ. Given its

rich and profound symbolic meaning, the use of this colour

should be carefully considered in the design of façades,

architectural elements, and interiors of wooden Orthodox

churches.

Translated by

Katarzyna Woszczenko

Fig. 9. White graves in the cemetery in Czeremcha Wieś

(photo by K. Woszczenko)

Il. 9. Białe nagrobki na cmentarzu w Czeremsze Wsi (fot. K. Woszczenko)

Acknowledgements

The authors wish to express their sincere gratitude to all photographers for

making their images available for this publication, and to the parish priests for

their valuable conversations and time, which greatly enriched the research.

The research was carried out as part of work No. WZ/WA-IA/5/2023 at the

Bialystok University of Technology and nanced from the research subsidy

provided by the minister responsible for science.

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Streszczenie

Białe drewniane cerkwie prawosławne województwa podlaskiego: architektura i symbolika teologiczna koloru białego

W artykule przedstawiono wyniki badań dotyczących znaczenia symboliki teologicznej koloru białego w kontekście architektury cerkwi prawosław-

nych województwa podlaskiego. Analiza została przeprowadzona w oparciu o źródła rękopiśmienne, literaturę przedmiotu, komunikaty prywatne, mate-

riały internetowe oraz inwentaryzację fotograczną wybranych obiektów. Opracowanie objęło siedem cerkwi i kaplic prawosławnych zlokalizowanych

w Białymstoku, Hajnówce, Lewkowie Starym, Miękiszach, Rybołach (uroczysko Pietraszki), Stawiszczach i Wygodzie. Uwzględniono zarówno daty

ich budowy, jak i zmiany kolorystyki elewacji w czasie. Wyniki badań wskazują, że biały kolor, choć w architekturze świeckiej pełni głównie funkcję

estetyczną, w architekturze sakralnej nawiązuje do głęboko zakorzenionej symboliki teologicznej, związanej z Bogiem, Chrystusem i ideą świątyni jako

domu Bożego. Szczególne znaczenie ma jego powiązanie ze św. Archaniołem Michałem, niekiedy przedstawianym w ikonograi w białych szatach.

Stwierdzono ponadto, że biel częściej pojawia się w detalach architektonicznych cerkwi o innych kolorach elewacji. Autorzy podkreślają, iż w przypad-

ku projektowania nowych cerkwi prawosławnych należy uwzględniać tradycję oraz symbolikę koloru, co ma istotne znaczenie zarówno dla wymiaru

teologicznego, jak i architektonicznego.

Słowa kluczowe: dziedzictwo kulturowe, architektura, cerkiew prawosławna, teologia, symbolika