Vienuolijų šventųjų ir Abiejų Tautų Respublikos globėjų paveikslai Joniškio Šv. apaštalo Jokūbo bažnyčioje
LTStraipsnyje nagrinėjami Kaišiadorių vyskupijos Joniškio Šv. apaštalo Jokūbo bažnyčios XIX a. vid. tapyti atvaizdai. Remiantis rašytiniais ir publikuotais šaltiniais, siekiama aptarti šventųjų gerbimo tradiciją ir jos kaitą XIX a. viduryje, nustatyti retų altorinių atvaizdų ir vienuolių paveikslų ciklo atsiradimo istorines prielaidas, galimus užsakovo ir dailininkų vaizduojamų asmenų pasirinkimo motyvus, turėjusius įtakos Joniškio bažnyčios specifinės vizualinės ikonografinės programos formavimuisi. [Iš leidinio]Reikšminiai žodžiai: Adomas Steckevičius; Andrius Valinavičius; Anticarinė raiška; Heraldiniai simboliai; Joniškio Šv. apaštalo Jokūbo bažnyčia; Joniškio Šv. apaštalo Jokūbo bažnyčia, vienuolijų palaimintieji ir šventieji, šv. Jadvyga, pal. Juozapatas Kuncevičius, pal. Salomėja, Andrius Valinavičius, Adomas Steckevičius, anticarinė raiška, heraldiniai simboliai; Palaiminta Salomėja; Palaimintas Juozapatas Kuncevičius; Vienuolijų palaimintieji ir šventieji; Šv. Jadvyga; Adam Steckiewicz; Andrzej Walinowicz; Anti-tsarist visual expression; Blessed Josaphat Kuntsevych; Blessed Salomea; Canonised and beatified monks and nuns; Heraldic symbols; Joniškis Church o f St. Jam es the Apostle; Joniškis Church of St. James the Apostle; St. Jadwiga.
ENThe article analyses, in historical aspect, the works contained in Joniškis Church of St. James the Apostle, in Kaišiadorys Diocese, as an illustration of the believers’ reaction to the politics of oppression and restrictions to the Catholic Church which was pursued by the Tsarist government in the 19th century. Joniškis Church (the first church was built by the Jesuits in early 18th century) was rebuilt by a parish priest Fr. Felicijonas Petrauskas in 1848 and after this reconstruction the icono- graphic programme has acquired some relevant politicised accents. In the 2nd tier of the Altar of Crucifix, the image of St. Jadwiga, the patron of Poland and Silesia, was placed instead of the painting of the Blessed Virgin Mary of Częstochowa. In the carved wings of the 1st tier of the Altar of St. Trinity, the paintings of the patrons of Lithuania (St. Casimir) and Poland (St. Stanislaus of Krakow) with state symbols of both nations, Vytis and Eagle, were incorporated. The 3rd tier of the altar contained the painting of the Blessed Josaphat Kuntsevych, the promoter of the Union who symbolised the fight between the Orthodoxes and Ukrainian Greek Catholics (Uniates), painted on the basis of engraving by Christofano Gaspari created in the mid-18th century which was, most likely, transferred from some other church, possibly after its closure. On the church walls, a series of paintings depicting canonised and beatified monks created in ca. 1850 for Joniškis Church by professional Vilnius painters Andrzej Walinowicz and Adam Steckiewicz were hung.The series included two most famous representatives of the Jesuits: St. Ignatius of Loyola and St. Francis Xavier (thus showing the respect for the original owners of the church), two representatives of the Dominicans: the founder of the order St. Dominic and famous preacher St. Vincent Ferrer, and two beatified Franciscans selected because of their nationality: Bernardine Ladislas of Gielniów, the patron of the Kingdom of Poland and the Grand Duchy of Lithuania, and Salomea, the Patron of Poland and the founder of the Order of St. Clare in Poland. The idea behind this representation series with inscriptions may be understood as a visual response showing resistance to repressions pursued by the Tsarist government including the closure of monasteries in Vilnius and the entire Lithuania. The clearly noticeable selection of the heavenly patrons of Lithuania and Poland for the iconographic programme of Joniškis Church reflected the idea of restoration of the Polish-Lithuanian Commonwealth which was spreading in the period between two uprisings (1831-1861). [From the publication]
