Iš mecenatystės istorijos: Jonušo Radvilos mecenatystė

LTJonušas Radvila (1612-1655) - Vilniaus vaivada ir LDK didysis etmonas buvo vienas iš paskutiniųjų Biržų atšakos Radvilų. Baigė kalvinų mokyklą Biržuose, Koidanovo ir Slucko gimnazijas. Mokėsi Leipcigo, Leideno, Altdorfo universitetuose. Viešėjo kaip diplomatas Saksonijos kurfiursto dvare Drezdene, lankėsi pas Karolį I Stiuartą, taip pat infantės Izabelės, Ispanijos vietininkės Nyderlanduose, dvare. Jo lėšomis tęsiamos pirmtakų pradėtos Biržų rezidencijos, Kėdainių kalvinistų bažnyčios statybos. Etmono iniciatyva Kėdainių evangelikų reformatų mokykla buvo reorganizuota į gimnaziją. Jonušas Radvila pasikvietė į miestą spaustuvininką Joachimą Jurgį Rhetą, pedagogą Janą Amosą Komenskį. Jo dvare dirbo matematikas, fortifikatorius ir gydytojas Adomas Freitagas, olandų tapytojas Abraomas van Vesterfeldas, poetai Danielius Naborovskis, Zbignevas Morštinas. Jonušo Radvilos, 1655 m. sąjungos su Švedija iniciatoriaus, politinė veikla susilaukė kelių monografijų, o jo mecenatystė tėra fragmentiškai nušviesta. Visiškai netyrinėtos etmono pažiūros į dailę bei architektūrą. Nėra aiškiau apibūdinta sarmatiško skonio įtaka, taip pat vakarietiškų mecenatystės formų bei tipų poveikis, europietiškos kultūros, literatūros fenomenų refleksija LDK magnato dvare. Straipsnyje bandoma išryškinti kaip kuriuos Jonušo Radvilos, kaip kultūros subjekto, bruožus. [Iš teksto, p. 163]

ENJonušas Radvila (1612-1655), a Vilnius voivode and hetman of the Grand Duchy of Lithuania was one of the last Radvilas from the Biržai offshoot. He confessed Calvinism. J. Radvila finished Koidanov and Slutsk gymnasia. Under the patronage of Alexander Przypowski and Albrecht Dfbowski he went abroad, studied at Leipzig, Leiden and Altdorf universities. His being brought at the estate of Father Kristupas and a number of years spent abroad afforded him to acquire diplomatic and military skills, necessary for the 17th century magnate of the Grand Duchy of Lithuania, to ensure the political career. Art in Jonušas Radvilas' life served his political goals. The Kunstkamera in Biržai was a representative collection of Northern type, where alongside armoury, everyday garments of aristocrats, household articles, „curiosities", not very selective natural world objects, there were painting of Holand genre, then in fashion in Europa, portraits of family members, canvases, immortalizing the feats of arms. Together with prestigious motives of obtaining the collection there were those of purely educational value. The relations between Jonušas Radvila and his court artists are typical of the 17th-century Lithuania and Poland. They were also conditioned by the understanding of the Middle Ages creation: It is not considered as a special, exceptional field of self-expression. In Biržai, Zabludavas and Kėdainiai construction was carried out according to the models and samples, selected by the customer himself. In Jonušas Radvila’s correspondence we could not come across the names of the artists who worked for him. We know only Petras Plytininkas (the Brick-maker), Jonas Mūrininkas (the Stone-mason), Jonas Tapytojas (the Painter), Švedas with his disciples who worked on Biržai, Kėdainiai, Zabludovas and Papilė construction sites.The humanistic studies of Jonušas Radvila excelled most of the artists who worked at the estate, though there were some exceptions. artists who worked at the estate, though there were some exceptions. In the cultural environment of the hetman a new type of an artist emerged and it was close to the image, then formed in Europe of New Ages, that of an educated and individual creator. Poet Danielius Naborovskis occupied an exceptional place at the court, even though his emancipation was not so vivid as in Western Europe of the period: the poet was much dependent on the financial possibilities of the court that was in debts. Of importance in the Maecenas activity of Jonušas Radvila were the motives of glorification of the family and his own self. They are based on the Sarmatian cult of ancestors and ethic principles of aristocratic West Europe, identifying the earthly success with noble birth. The Arcadian attitudes were pronounced in the cultural environment of the hetman. Arcadian themes, having found their reflection in the Radvila collection in a variety of variants, were reflected in the writings of Jonušas Radvila and affected the habits of the court. Themes of death and times in the 17th-century culture, accompanied by allegories and concepts, are treated didactically. They are being reflected in Jonušas Radvila’s environment as well. In the last days of the hetman’s life death and time lose their representative forms and become part of vita contemplativa that was endured with subjectivity, characteristic of new times.