Švč. Mergelės Marijos atvaizdai atgailos kanauninkų Videniškių bažnyčioje

LTStraipsnyje remiantis šaltiniais pirmą kartą išsamiai nagrinėjami Videniškių bažnyčios Švč. Mergelės Marijos paveikslai, siekiama atskleisti regulinių atgailos vienuolių puoselėto marijinio pamaldumo, veikusių brolijų istorijos bruožus. Pagal XVII a. pab. archyvinį aprašymą bandoma rekonstruoti seniausio (neišlikusio) didžiojo altoriaus Švč. Mergelės Marijos atvaizdo ikonografiją. Remiantis šaltinių ir natūrinių tyrimų duomenimis tiriami iki mūsų dienų išsaugoti XVII a. laikyto dingusiu originalaus didžiojo altoriaus Nekaltojo Prasidėjimo ir šoninio Škaplierinės altoriaus Švč. Mergelės Marijos paveikslų kilmė, istorija, ikonografija, meniniai ypatumai ir aptaisai. Reikšminiai žodžiai: Videniškių bažnyčia, Atgailos kanauninkai, brolijos, Švč. Mergelės Marijos paveikslai, ikonografija, auksakalystė. [Iš leidinio]

ENThe article analyses the veneration traditions for the Blessed Virgin Mary and her images in the church in Videniškiai (built in 1618) that belonged to the Regular Canons Penitentiary monastic order. A document from 1693 records the early knowledge of the cult of the Blessed Virgin Mary. It mentions the painting of Regina Caeli (which has not survived) on the high altar, which believers had venerated for many years. The painting was decorated with a crown, casings, many ex-votos, and various ornaments. At that time, the side altar, with the image of the Immaculate Conception and decorated with a crown, under the patronage of the eponymous fraternity, was dedicated to the glory of the Blessed Virgin Mary. In the late 17th century, the painting of the Immaculate Conception was moved to the altar which was built in the hrst quarter of the 18th century and covered by high-quality goldsmith’s casings (it was mounted on a copy at the end of the 20th century). The original painting from the late 17th century was recently found, and being in poor condition, it was trimmed. It depicts the Blessed Virgin Mary on a crescent, stepping on a grass snake’s head surrounded by playing and adoring angels. The painting is valuable for the study of the iconographic development of the Immaculate Conception. We used 17th–19th-century sources to explain the atypical origin and original purpose of the painting of the Blessed Virgin Mary on the present side altar. It is identihable with a painting of the movable altar of the Fraternity of the Immaculate Conception mentioned in a document from the late 17th century. The ‘once acquired’ painting was donated by Mikołaj Stefan Pac, Bishop of Vilnius. Mikołaj Słupski, Bishop of Gratianopolis, and Melchior Nyżiński, the third infulatus of the monastery, organised its transfer to the church in Videniškiai.Subtly forged Baroque-style casings surround the artistic image of the Blessed Virgin Mary. The valued and venerable painting from the mid-18th century was adorned with repousse silver sheets of the Regency style, enlarged, shapely framed, and mounted to the built altar attributed to the Fraternity of Our Lady of Mount Carmel, established in 1751. The location of the paintings of the Virgin Mary on the side altars and the Immaculate Conception on the high altar did not change ajer the closure of the Monastery of the Canons Penitentiary in 1832, although the altars themselves were repeatedly rebuilt and repaired. The paintings of the Blessed Virgin Mary surviving in the Videniškiai church are valuable pieces of art, and the ornaments of precious metal – delicate works of Vilnius goldsmiths – testify to the traditions of the devotion to the Mother of God upheld by the Canons Penitentiary, and their conservative, respectful approach to old artistic images. Keywords: the church of Videniškiai, Canons Penitentiary, fraternities, paintings of the Blessed Virgin Mary, iconography, goldsmith. [From the publication]