Vaizdiniai ir žodiniai bizantinės tapybos registrai. Trakų bažnyčios atvejis

Direct Link:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Lietuvių kalba / Lithuanian
Vaizdiniai ir žodiniai bizantinės tapybos registrai. Trakų bažnyčios atvejis
Alternative Title:
Visual and verbal modes of Byzantine paintings in the parish church of Trakai
In the Journal:
Acta Academiae Artium Vilnensis [AAAV]. 2018, t. 90, p. 49-70. Po Trakų Dievo Motinos karūna
Reikšminiai žodžiai: Graikiška maniera; Bizantinė sienų tapyba; Moravos mokykla; Lietuvos Didžioji Kunigaikštystė (LDK; Grand Duchy of Lithuania; GDL); Serbijos despotatas; Trakai; Grigorijus Camblakas; Jonas Sakranas; Petras Skarga; Greek manner; Byzantine wall-painting; Morava School; Serbian Despotate; Trakai; Gregory Tsamblak; Jan Sacranus; Piotr Skarga.
Graikiška maniera; Grigorijus Camblakas; Jonas Sakranas; Lietuvos Didžioji Kunigaikštystė (Lietuva; LDK; Grand Duchy of Lithuania; GDL); Moravos mokykla; Petras Skarga; Serbijos despotatas; Tapyba / Painting; Trakai.
Byzantine wall-painting; Greek manner; Gregory Tsamblak; Jan Sacranus; Morava School; Piotr Skarga; Serbian Despotate.
Summary / Abstract:

LTBizantinė sienų tapyba Trakų parapinėje bažnyčioje ir iš dalies Salos pilies rūmuose yra vieninteliai Lietuvoje šios dailės pavyzdžiai, patekę į rašytinius šaltinius. Straipsnyje aptariamas išlikusios tapybos turinys, stiliaus ir kompozicijos sąsajos su Serbijos Moravos mokyklos daile ir rekonstruojamas tapybos nyksmas, užfiksuotas XVII a. pirmos pusės raštijoje. Taip pat šaltiniotyrine analize atskleidžiama ir graikiškos manieros samprata potridentinėje Lietuvos Didžiojoje Kunigaikštystėje (toliau – LDK). [Iš leidinio]

ENByzantine wall paintings in the parish church of Trakai unveiled in 2006 posed questions about their provenance, reception, immediate and historical contexts. Circumstantially dated to ca. 1419, these murals covered the entire nave; however, part of them was lost ca. 1500 due to the construction of a new apse. Sometime before 1645, the paintings were whitewashed and disappeared from sight, but paradoxically entered written records. These circumstances prompted us to explore the visual and verbal modes of the paintings by searching for stylistic and iconographic parallels and inquiring into the understanding of a “Greek” image among the Catholics of the Grand Duchy of Lithuania. Although Byzantine murals might be considered visually vernacular in Lithuania around 1400, the research attributes the Trakai paintings to anonymous masters of the Morava School and hypothesizes that they got grand ducal commission via mediation of Metropolitan Gregory Tsamblak. Arguably, not only did Orthodox hands paint the walls of this Roman Catholic church, but also Orthodox minds elaborated its iconographic programme. By 1500, the preference for Byzantine art expired and the Orthodox creed was understood as confessionally and politically wrong. Jan Sacranus made this position manifest in his treatise “Elucidation of Ruthenian Errors” (1501), which placed Orthodox Ruthenians and their liturgy into the realm of fallacy and hate. Provisions of the Council of Trent urged revising the position of Rome towards the Greek tradition. This revision exempted ancient icons from the realm of the confessional regarding them as testimonies to the apostolic times. In Lithuania, Piotr Skarga solved the tension between the Orthodox rite and venerable icons by separating Greek images from Greek hands in his treatise “On the Unity of the Church of God…” (1577).The preacher argued that Greek images that decorated the walls of old Catholic churches and were found as panels in Rome were an integral part of the Roman Church and the sole guardian of the Christian tradition. Post-Tridentine renovation of the parish church of Trakai preferred icons to murals; hence, the altarpiece of Our Lady was transformed into a pseudo-icon and Byzantine wall paintings were whitewashed. Importantly, these changes in the visual register prompted the preservation of the “Greek” images in the verbal mode. [From the publication]

Related Publications:
2022-01-11 19:25:29
Views: 26    Downloads: 13