Dendrochronologinių tyrimų taikymas meno kūrinių datavimui Lietuvoje ir jų perspektyvos

LTStraipsnyje pristatomas dendrochronologinių tyrimų taikymas meno kūrinių datavimui. Jis, kaip pagalbinis metodas, gana plačiai naudojamas dailės istorikų tose šalyse, kurių muziejuose, privačiose kolekcijose, religinių pastatų interjeruose saugomi ant lentų tapyti paveikslai, skulptūros, polichromija dekoruotos medinės architektūrinės detalės ir pan. Lietuvoje šis metodas kol kas nenaudojamas (išskyrus pavienius atvejus), todėl straipsnyje nubrėžiamos tokių tyrimų galimybės, perspektyvos, gairės ir nurodomos dendrochronologinio tyrimo ribos. [Iš leidinio]Reikšminiai žodžiai: Dendrochronologija; Medžio rievių chronologija; Lietuvos dailės istorija; Tapyba ant lentų; Skulptūra; Restauravimas; Dendrochronology; Tree-rings chronology; Art history of Lithuania; Paintings on wooden panels; Sculpture; Restoration.

EN[...] The tradition of painting techniques in Lithuania differs from the techniques used in Western and Central Europe. Lithuanian painting techniques of the 15th–17th centuries are related to the Eastern schools. Paintings on wood were mostly made on lime panels, sometimes on oak and pine panels. Because lime chronologies are not available, at present it is not possible to date the paintings on lime panels by the dendrochronological method. However, two paintings on oak panels – the so-called Madonna of the Sapiehas from the Church of St Michael the Archangel and the painting of Our Lady from the Tytuvėnai church – could be distinguished. They were and still are highly respected miraculous paintings of the Holy Mother of God, which are of crucial importance for the history of Lithuanian Christianity and art. A dendrochronological analysis of their oak panels could be performed during their restoration. The Holy Mother with Child from the Tytuvėnai church was under restoration from 2003 to 2006. The most recent restoration of the Madonna of the Sapiehas was performed in 2014. Unfortunately, collaboration among art historians, art restorers and dendrochronologists was not initiated. Quite many paintings on wooden panels from the Grand Duchy of Lithuania are held in museums and churches of Lithuania, as well as in private collections. A dendrochronological analysis of these paintings is above all important for establishing the species of wood.A comprehensive research may help define the historical development of the technologies of Lithuanian art and painting more precisely and attribute these artworks to a certain tradition. Moreover, a dendrochronological analysis may point out more potential objects of research, which are painted on oak and pine panels. The analysis of paintings from the 16th–18th centuries made on oak and pine panels will not only help revise the date of their creation, but also may revise the periodization of Lithuanian art history, because the majority of artworks created in Lithuania lack historical documentation and are usually dated by art historians on the basis of stylistic analysis. A potential group of paintings for dendrochronological dating includes 16th–17th century paintings by European artists (Italian, Flemish, Dutch, Italian, Spanish, etc.). We would like to emphasise this group of paintings because of a wide experience of dendrochronologists in Western and Central Europe. In Western Europe, scientists have access to much more well-replicated oak and pine reference chronologies at present and the majority of museums and private collectors have investigated their collections. A comparison of their results with the dendrochronological analysis of paintings held in Lithuanian museums will contribute to a more precise dating and identify the possible cases of falsification and copying. Furniture, altars, painted architectural details and other interior objects in secular and religious historical buildings have a huge potential for dendrochronological analysis. The entire group of objects from the 17th and the 18th centuries is still waiting for the attention of researchers (both dendrochronologists and art historians). [From the publication]