Šiluvos bazilikos paveikslas "Jėzaus teismas" : istorija ir ikonografija

LTReikšminiai žodžiai: Barokas; Bazilika; Ikonografija; Istorija; Jėzaus teismas; Paveikslas „Jėzaus teismas“; Tapyba; Šiluva; Šiluvos bazilika; Baroque; Basilica; History; Iconography; Painting; Painting “The Trial of Jesus"; Shiluva Basilica; The Trial of Jesus; Šluva.

ENThe work’s unique iconography differs from other works of the Basilica of the Blessed Virgin Mary in Šiluva. Underneath the iconography there is an inscription in Polish: “The Ensanguined Trial of the Jews against the World’s Savior Christ”. This composition (oil on canvas; 92 x 188.3 cm) of mostly painted figures has been given a shorter name, “The Trial of Jesus.” The provincial Baroque manners found in the work give reason to believe that the painting was created between the last quarter of the 17th and the first quarter of the 18th century. Since Šiluva Church has no records of the lists of its possessions from 1678-1730, it is impossible to specify the actual date of the painting’s creation. In Šiluva's painting “The Trial of Jesus,” two stages of Jesus’ trial are portrayed - the religious (The High Council of the Jews) as well as civil proceedings (Roman Prefect Pontius Pilate). The Jewish high priest, Caiaphas, is depicted at the top of the central axis of the slanted and long rectangular painting, and in the left upper corner of the painting Pontius Pilate is depicted sitting on his throne. Throughout the entire painting, figures are placed on two or three planes. In the hands of the figures are found parchments with their names and messages. Gathered at the palace of Caiaphas, are the interpreters of the Word, elders, high priests and the Court Council (Matthew 26, 57, 59; Mark 14, 53).Although the story line can be guessed at once, its full content can be perceived only after a longer inspection - after having carefully examined the figures and having read all the lengthy commentaries. In Christian art, the Trial of Jesus was portrayed in various scenes. From the late 16th century, Catholic art depicted interrogation scenes at either the palace of Caiaphas or Pilot. The Lithuanian, Polish and many other artists, used to depict the Sufferings of Christ while relying upon the graphic works of Flemish artists. In fragments of Šiluva's “Trial of Jesus” we may also see the influence of (Flemish) carvings, but the panoramic composition with its abundant inscriptions is something altogether different. Šiluva’s painting, “The Trial of Jesus,” described in the Gospels as a dramatic episode, gives it both solidness and imagery. This artwork s interesting composition is an important record of Church culture during the 17th and 18th centuries. It allows us to understand how the Sufferings of Jesus were thought of, interpreted and conveyed to laymen. Of rather significant importance is the fact that the painting is as of yet the only work depicting such a theme to have been found in Lithuanian church. [From the publication]