Šilkas ir auksas: XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje
LTDidelę Bažnytinio paveldo muziejaus liturginės tekstilės rinkinio dalį sudaro drabužiai iš prabangių šilkinių audinių, dažnai ataustų tauriųjų metalų - sidabro ir aukso siūlais. Rengiant muziejų katalogus ir pristatant drabužius, šiems puikiems taikomosios dailės kūriniams dažnai tenka antraeilė vieta. Šiame leidinyje palyginti mažiau dėmesio skiriama patiems siuviniams. Jis sutelkiamas į audinius, iš kurių buvo siuvami ne tik liturginiai, bet ir prabangūs pasaulietiniai, net karališki drabužiai, jais buvo dekoruojami rūmų interjerai ir diduomenės namai. Apsibrėžtas XV-XVIII a. laikotarpis apima nuo seniausio BMP rinkinyje Sudervės bažnyčios kapos audinio, datuojamo XV a. pabaiga - XVI a. pradžia, iki drabužių, pasiūtų iš XVIII a. pabaigos Liono šilkinių audinių, pagamintų prieš Prancūzijos revoliucijos nulemtą šios pramonės žlugimą. Paskutinis nedidelis skyrius - apie kontušo juostas ir jų likimą - simboliškai sutampa ir su Abiejų Tautų Respublikos žlugimo laikotarpiu. Nebežengėme į XIX amžių, atnešusį ir politinių aplinkybių nulemtus pasikeitimus - Lietuvoje pradeda dominuoti rusiškas pusšilkinis brokatas, ataustas dažnai jau ne auksiniais ar sidabriniais, o variniais metalo siūlais, - ir technikos bei pramonės revoliuciją, išradusią žakardines stakles ir dirbtinį šilką. Trys knygos dalys pristato tris atskiras istorijas ir sudėlioja gana nuoseklų pasakojimą apie pagrindinius Europos šilko audimo istorijos etapus ir šilko audimą mūsų krašte. Kataloginės dalys jas puikiai iliustruoja senųjų audinių paveldu, nors ir menkai Lietuvoje išlikusiu. [...] [Iš Įvado].
ENA large part of the collection of liturgical textiles of the Church Heritage Museum consists of vestments made from luxurious silk fabrics, often interwoven with threads of precious metals - silver and gold. While compiling museum catalogues and presenting the clothing held in museums, these excellent works of applied art are often given a secondary place. In this publication, most attention is dedicated not so much to the artefacts themselves as to the fabrics, which were used to make liturgical vestments and sumptuous secular and even royal clothes, and to decorate court interiors and noblemen’s houses. The defined period from the 15th to the 18th centuries includes various artefacts from the earliest fabric in the collection of the Church Heritage Museum dated to the late 15th c. - early 16th c., from which a cope from the Sudervė church is made, to clothes made from late 18th century silk fabrics produced in Lyons before the decline of this industry caused by the French revolution. The last small chapter of the catalogue on kontusz sashes and their history symbolically coincides with the period of disintegration of the Polish-Lithuanian Commonwealth. The time frame does not include the 19th century, which also brought some changes determined by political circumstances - the beginning of dominance of Russian half-silk brocade often interwoven with copper metal threads instead of gold or silver in Lithuania, and the technological and industrial revolution, which prompted the invention of the jacquard loom and artificial silk. Three parts of the book present three different topics, which form quite a consistent narrative about the main stages of the history of silk weaving in Europe. The catalogue part excellently illustrates these topics with photographs of early textiles, even though they are quite scarce in Lithuania.The first part is dedicated to the earliest surviving textiles of liturgical vestments in Lithuania. These are various types of luxurious Italian velvet and brocade from the 15th-17th centuries. The art of silk weaving first reached Italian cities from the East through the ports of the Mediterranean Sea, and eventually flourished there. The 18th century was the period of dominance of French silk, particularly Lyons silk, which is the subject of the second part of the catalogue. This part could not embrace the great number of liturgical vestments made from French textiles, which are held in the museum. The third part of the catalogue deals with local fabrics. It is known that already in 1643 the hetman of the Grand Duchy of Lithuania Stanislaw Koniecpolski established a silk weaving workshop on his estate in Brody (today, Poland), and built a plantation of mulberry trees and silkworms, so that threads would not have to be imported from abroad. Persian-style fabrics were woven in the Brody workshop. In the second half of the 18th century several silk weaving workshops established by noblemen in their domains operated in the Grand Duchy of Lithuania. Unfortunately, it is difficult to identify which textiles were woven there. A small part of the catalogue covering the textile collection of the churches of the Vilnius diocese held at the Church Heritage Museum presents a unique phenomenon of textile of the Grand Duchy of Lithuania - kontusz sashes, as well as several textiles attributed to the royal factory of silk textiles in Grodno. [...].
