Tekstilės dirbinių rinkinys

LTVeliuonos bažnyčia nuo seno išsiskyrė liturginės tekstilės gausa. Šventovėje išlikęs gausus tekstilės dirbinių rinkinys surašytas tik atgavus nepriklausomybę, kai 2003 m. įsibėgėjo Kultūros paveldo centro specialistų vykdyti bažnytinės dailės inventorinimo darbai. Dar kartą prie rinkinio grįžta jau 2020 m., rengiant jubiliejinį Veliuonos bažnyčios leidinį. Rašant šį straipsnį svarbiu informacijos šaltiniu tapo archyviniai dokumentai. Tyrinėjant jų įrašus, į akis pirmiausia krinta Veliuonos bažnyčioje buvusių tekstilės dirbinių gausa ir įvairovė, taip pat gana didelis lyginamasis jų svoris. Galima numanyti, kad tai lėmė to meto sudėtingos apeigos ir jų spalvinga „scenografija“, kurioms labai tiko iš prašmatnių, anuomet pasakiškai brangių audinių siūti, „auksu“, „sidabru“ ir įvairiaspalviu šilku siuvinėti apdarai ir reikmenys, dosniai aukoti geradarių. Didžioji dalis šių dirbinių, kadais surašytų inventoriuose ar vizitacijos aktuose, mūsų dienų, deja, nepasiekė. Todėl atrodo prasminga trumpa rašytinių šaltinių apžvalga, padedanti rekonstruoti bažnyčioje buvusią tekstilės dirbinių kolekciją, įvertinti jos formavimosi ypatumus ir kaitą. [Iš straipsnio, p. 290]

ENAn extensive collection of textile articles in Veliuona church was inventoried in 2003, after the acceleration of the inventory works of church art performed by the specialists of the Cultural Heritage Centre. The textile heritage was studied and described in detail in 2020 when preparing the text for publication. In addition, archival documents became an important source of information illustrating the abundance and variety of liturgical vestments and accessories in the church. When studying the archival documents, the abundance of textile articles in the Veliuona church and their relatively high weight stands out first of all. It can be assumed that this was determined by former complex rites and their colourful ‘scenography’. For them, it was very suitable to sew from luxurious brocade or silk and embroider with ‘gold and silver’. Unfortunately, once listed in inventories or visitation acts, most of these wares did not reach our days. The collection of textiles that survived in Veliuona church could be grouped into several categories. A significant part of it consists of liturgical vestments altered from the old ones by order of the parson Cypryan Niezabitowski in 1815-1832. The second group of textiles is related to the parson of the church Marcyan Giedroyć, who worked there for many years in 1836-1884. Vestments and accessories donated by him have remained in the church until the present day. Some of them are sewn and embroidered in the workshop of the convent of the congregation of St Catherine in Krakes, Samogitia. These wares are precious because knowledge about the vestments and accessories sewn and embroidered in the workshops of the monasteries of nuns is still very fragmented, and the number of survived wares is small.The most numerous part of the collection that has survived in Veliuo - na church consists of liturgical textiles made in specialised church supply workshops. Among them, we would single out a violet chasuble with accessories, an early example of workshop production probably sewn in the workshop of T. Strakacz i Syn in Warsaw, founded in 1835. The commercial activities of the workshop were oriented to the Northwestern lands of the Russian Empire. Interestingly, the vestment was purchased in Kaunas. The chasuble donated for the church in 1935 is worth mentioning for its bright and subtle decor of the embroidered pillars, stylised in the restrained spirit of art deco. It should be noted that only a small number of vestments decorated with embroidered art deco have survived in Lithuanian churches. Several sets of vestments purchased from the A. Witkowski’s stowage of ecclesiastical wares, Moscow, are kept in the church of Veliuona. These typical wares in Poland and Lithuania were mainly sewn from specially produced fabrics of symbolic decor, reproduced professionally designed ready-made, and embroidered decorations. They were sold in specialised church supplies stores and even ordered by post. Because of their quality, variety, and ornateness in the ‘local market’, they replaced the shiny large- scale pattern brocades of Russian weavers most often used to sew liturgical vestments. These products were available to all strata of the population, and this is illustrated by the liturgical accessories donated in numbers to the church in the late 19th - first half of the 20th century. [From the publication p. 419-420]