Komaskų mokyklos atspindžiai XVII a. antros pusės Lietuvos stiuko lipdyboje: nauji tyrinėjimų aspektai

LTReikšminiai žodžiai: Ežerų regiono mokykla; Komaskai; Lombardija; Pažaislio vienuolynas; Pažaislis; Stiuko lipdiniai; Stiuko lipdyba; Tičinas; Trinitorių Viešpaties Jėzaus bažnyčia; Vilniaus Šv. Petro ir Povilo bažnyčia; 17 amžius; Šv. Kazimiero koplyčia; Šv. Kazimiero koplyčia Vilniuje; Chapel of Saint Casimir; Comasques; Lithuania in 17th c.; Lithuania in the 17th c.; Lombardy; Pažaislis Camaldolese Monastery; Pažaislis Monastery; Pre-Alpine Lake Artist School; Pre-Alpine Lake Artists School; Stucco mouldings; Stucco plasterwork; Tichin; Ticino; Vilnius St. Apostles Peter and Paul Church; Vilnius St. Apostles Peter and Paul's Church; Vilnius St. Casimir Chapel; Vilnius Trinitarian Church.

ENIn the context of the Lithuanian cultural heritage the stucco models created in the 2nd half of the 17th–18th centuries take a special place. The high artistic level of modeling mostly determined the fact that the Baroque temples of the 17th century – Vilnius Lateran Canons St. Apostles Peter and Paul’s, Trinitarian Church of the Saviour, Vilnius Cathedral St. Casimir Chapel, Pažaislis Camaldolese Monastery ensemble – appeared in the ranks of the most impressive buildings both in Lithuania and all the Middle-Eastern Europe. The common traits of these buildings is the fact that architecture, sculpture and modeling was created by masters coming from Lake Lugano and Mendrisiotto. Only three stucco modelers – Giovanni Pietro Perti (1648–1714), Giovanni Maria Galli (date of birth and death unknown) and Giovanni Maria Merli (1631–1707) are known from them – however, in Lithuania they left impressive traces, neither before nor after that the mastership of such high level in this sphere of art has been repeated. In the article it is attempted to understand according to what traits we recognize the stucco modeling school of Prealpine Lake Artists (Artisti dei Laghi) and in what way it is reflected in Lithuanian stucco modeling of the 17th century. In generalizing the stucco modeling of the Prealpine Lake Masters it is important to emphasize several principal tendencies which are naturally reflected in Lithuania as well: first of all, the exclusive attention towards the classical ornamentation of architecture which is developed very consistently, arranged both into the entablature, arc, window rims and the framings of wall mural paintings, pilasters. The tune of classical elements creates the impression of harmony and musicality. This part splendidly suits with the innovations of Baroque origin.In the vaults cartouches acquire the domineering importance; they are buttoned with each other by volutes, grotesque, united with the sennits of flowers and fruits, acanthus. An especially important role here is given to the angels of various types. In such way all the vault space is filled and the impression of a dynamic, joyful action is created. The figure stucco modeling has important iconographic significance, exclusive place in all the system is allotted to the figures of both the Saints and the allegoric figures. Stucco décor has especially successfully served in the realization of the ideas of Theatrum Sacrum in the spaces of church interior. In Ticino-Lombardy, Italian territory there is no object which could be compared with the existing in Lithuania as a whole. In this respect the décor of Vilnius St. Peter and St. Paul’s Church can be related only with the works of Prealpine Lake Masters created in Germany and Austria. For the interiors besides common stylistic traits and décor organization traits the phenomenon which is sometimes named as "horror vacui" is typical: stucco modeling here is a domineering artistic means filling the principal spaces of the interior. Still in Swiss–Italian frontier, Ticino canton separate elements and peculiarities of décor system representing the school tendencies which could influence Lithuania’s creation both directly and indirectly are abundant. All these elements in Vilnius and Kaunas objects are arranged very peculiarly, originally, enriched with unique interpretations of decorative details by integrating especially rare or completely new elements. [From the publication]