Apšvieta ir knygos kultūra: XVIII a. antros pusės Vilniaus pasaulietinių leidinių iliustracijos ir jų šaltiniai

LTStraipsnyje keliais aspektais nagrinėjamos XVIII a. antros pusės Vilniaus pasaulietinių leidinių iliustracijos. Tyrimo objekto specifiškumą apsprendžia Vilniaus spaudos institucinis pobūdis. Keliamas tikslas užfiksuoti pasaulietinius leidinius su iliustracijomis, aprašyti iliustracijų siužetą, nustatyti autorių, vaizdo šaltinius ir atskleisti atsiradimo kontekstą. Tyrime remiamasi prielaida, kad XVIII a. knygos iliustracijos menui darė įtaką Apšvietos vertybės. [Iš leidinio]Reikšminiai žodžiai: Apšvieta; Knygos kultūra; Iliustracijos; Alegorijos; Portretai; 18 amžius; Spaustuvės; Enlightenment; Book culture; Illustrations; Allegories; Portraits; 18th Century; Printing houses.

ENIn the second half of the 18th century, Vilnius had four institutional printing houses: one was the Academia’s press enterprise, and the other three belonged to the Piarist, Basilian and Franciscan congregations. Inspired by the ideas of Enlightenment, Vilnius institutional printing houses began to seek out new types of book design. The paper takes a close look at the illustrations of secular books printed in Vilnius during the second half of the 18th century. Secular illustrations of this period is still a largely under-researched area. Such research is key in revealing the interactions between the traditionally religious and the newly enlightened worldviews that circulated aroud the book culture of the Great Duchy of Lithuania at that time. The research focuses on the six illustrations from different secular books. Three illustrations come from the Piarist printing house: “The Allegory of Diplomacy” (engraved by Johanna Dorothea Philipp-Sysang) from the book published in 1758; “The Allegory of the Piarist School of Piety” (by the artist F. Moser), book published in 1774; and “The Allegory of Electricity” (engraver unknown) in the publication from 1786. Two illustrations appear in the books printed in 1781 by an academic printing house: “The Portrait of Lucius Anneus Seneca” (engraver unknown) and “The Exterior View of Vilnius University” (engraver unknown). One unauthored illustration-vignette in the book printed in 1791 by the Basilian printing house depicts a labouring child. The research sought to identify the symbols, subjects and iconographical origins of these illustrations. It turned out that two of the illustrations (“The Allegory of Electricity” and the view with Vilnius University) were original works made by the local artists.Meanwhile Seneca’s portrait gives away the local author’s personal preferce, as the type of the iconographical portrait he chose to imitate originates in the humanist reception of the stoicist philosophy. [From the publication]