Vilniaus Dievo Motinos ikona ir jos kultas Švč. Trejybės cerkvėje

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Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Lietuvių kalba / Lithuanian
Vilniaus Dievo Motinos ikona ir jos kultas Švč. Trejybės cerkvėje
Alternative Title:
Vilnius icon of the Mother of God and its cult in the Greek Catholic Church of the Holy Trinity
In the Journal:
Menotyra. 2017, t. 24, Nr. 1, p. 1-16
Reikšminiai žodžiai: Bazilijonai; Dievo Motinos Hodegetrijos ikona; Ikonos; Meno istorija; Tapyba; Vilnius; Švč. Trejybės cerkvė; Art history; Greek Catholic Church; Greek Catholic Church of the Holy Trinity; Hodegetria of Vilnius; Icon; Icons; Painting; Vilnius.
Ikonografija / Iconography; Meno istorija; Švč. Trejybės cerkvė; Tapyba / Painting; Vienuolijos / Monasteries.
Summary / Abstract:

LTStraipsnyje, remiantis rašytiniais šaltiniais ir XIX a. publikacijomis, aptariama nuo 1495 m. Vilniuje tikinčiųjų garbinta Dievo Motinos Hodegetrijos ikona, jos ikonografija, aptaisai, votai. Daugiausia duomenų apie ikoną esama nuo XVII a. pradžios iki 1915 m. rudens, kai ji buvo Vilniaus bazilijonų Švč. Trejybės cerkvėje. Publikacijoje patikslinami ikonos istorijos faktai, pateikiami nauji duomenys, liudijantys stebuklingu laikyto atvaizdo kultą. [Iš leidinio]

ENThe article discusses the icon of the Hodegetria Mother of God, formerly placed in Vilnius. The currently missing piece of art was considered very important in the Vilnius spiritual life in the 16th – early 20th centuries and was respected by Orthodox, Greek Catholic (Uniate) and Roman Catholic churches. A significant influence on the cult of icons was inspired by the authorship attributed to St. Lukas (later – only its prototype) and historical links with the family of the Grand Duke of Lithuania Alexander Jagiellon (the icon was brought as a dowry in 1495 by his wife Elena, the daughter of the Grand Duke of Moscow). In the 16th century, the icon was stored in the Orthodox Cathedral of the Blessed Mother of God. At that time it was possibly renewed (two side boards were replaced and the icon was repainted with the egg-tempera technique). It is supposed that at that time the partial amendment was made in the oldest silver casings consisting of separate ornamented plates that were covering the background of the icon. Most of the knowledge about the existence of the icon exists from the beginning of the 17th century, when it was transferred into the church of the Vilnius Basilian monastery of St. Trinity. There it became a major factor of Vilnius Latin and Greek Catholic religious integration. The altar of The Mother of God in the church of St. Trinity was patronized by the fraternity of the Immaculate Conception of Holy Mary.The image of the icons is known from the descriptions, lithographs, photographs and copies of the 19th century. It should be noted that there are two different iconographic variations of the copies of the Vilnius Hodegetria (characterized by the different position of the feet of Jesus). The article raises an assumption that the icon could be repainted in the 17th century. The slight change of the image or its iconography may have been adjusted with the silver casings made in 1677. Once again the Vilnius icon was possibly renewed after the fire in 1706. In the middle of the 18th century, the head of Holy Mary was decorated with a new pure gold filigree crown. In 1839, after the repeal of the union and the takeover of the St. Trinity‘s church by the Orthodox, the altar of Holy Mary was demolished and the icon was added to the new iconostasis. In 1866, the old artistic silver casings were melted and from the resulting material the new casing was made in St Petersburg, corresponding to the requirements of the Orthodox. In the same year, the icon was restored. Its oil paints were cleaned. The image unveiled at that time perhaps was not the first original image, but the one created after the icon base corrections, most likely in Vilnius in the 16th century. [From the publication]

1392-1002; 2424-4708
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2018-12-17 14:15:21
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