Kontušo juostos Lietuvos bažnyčių liturginiuose apdaruose

LTStraipsnyje nagrinėjamas bajoriško drabužio elemento - kontušo juostų - panaudojimas liturginiuose drabužiuose. Remiantis raiškiausiais tokių dirbinių pavyzdžiais, išlikusiais Lietuvos muziejuose ir bažnyčiose, analizuojama, kaip per amžius istorinės aplinkybės, žmonių skonio ir estetinių nuostatų permainos pakeitė šių dailiosios tekstilės šedevrų paskirtį, pavidalą ir meninę išraišką.

ENThe article discusses the subject of the importance of kontusz sashes between the 19th and early 20th centuries in Lithuania within the context of the historical record of textiles. As a consequence of a number of factors, men stopped wearing the so called national outfit - the kontusz costume together with its main accessory kontusz (Slutsk) sash in the period mentioned. The weaving of such sashes gradually vanished until it ceased completely and the sashes became either exhibits in the private collections of landlords, or were kept as relics of the past. Many of the sashes were destroyed completely, whilst for others a practical use was sought. Some konutsz sashes were adapted into the sewing of wall mats, cushions or spreads. At the end of the 19th century more and more kontusz sashes were taken to churches. It was pondered upon on how better to use these luxurious fabrics that were of a very specific form and decor. In some places attempts were made to lay them on the floor in front of catafalques, but mostly the sashes were given to more or less experienced masters so that they could make liturgical vestments from them. In the second half of the 20th century all liturgical vestments made from the kontusz sashes or their fragments that were found in churches were announced to be monuments of Lithuanian culture; they were art valuables that had to be looked after by the state. Such collections of clothing were housed in museums; with several of these collections belonging to a few churches of the Republic. The exhibhion "Christianity in Lithuanian Art" provided a rare opportunity to see and explore how, during the creation of a liturgical vestment, such a fabric of original form and peculiar decor as the konutsz sash, was integrated into its composition.This compositional integration exemplified the crossing and interaction of a few different artistic cultures. This article draws attention to these liturgical vestments: in which the creator of the vestment not only preserved as much of the kontusz sash itself as was possible, highlighting its composition and decor, but also used the sash to create a new work. Among the most successful examples of these works, the liturgical vestments of Lithuanian Art Museum and the church of Panevėžys are mentioned. The article presents various photographs of vestments in which kontusz sashes were used in one way or another.