Skaudvilės bažnyčios didysis altorius ir kiti Felikso Gedvilo kūriniai

LTStraipsnio objektas – Skaudvilės bažnyčios presbiterijos įranga, didžiojo altoriaus istorinė raida ir kaita, skulptoriaus Felikso Gedvilo indėlis į šio komplekso ikonografinę ir meninę raišką bei kitų Žemaitijos bažnyčių puošybą. Tikslas – publikacijoje siekta išnagrinėti ir patikslinti Skaudvilės presbiterijos įrangos ir didžiojo altoriaus sukūrimo laiką, jo kaitą, aptarti ikonografiją, XVIII a. pab.–XX a. I ketv. ir 1877 m. įrangos ir skulptūrinio dekoro raiškos ypatybes. Taip pat atskleisti Skaudvilės altoriaus meistro F. Gedvilo kūrybos bruožus, pristatyti kitas šio autoriaus skulptūras, esančias Žemaitijos bažnyčiose ir Žemaičių muziejaus „Alka“ rinkinyje. Reikšminiai žodžiai: Skaudvilės bažnyčios didysis altorius, Feliksas Gedvilas, Tomas Podhaiskis, šventųjų ikonografija, XIX a. IIp. skulptūra. [Iš leidinio]

ENn the context of Lithuanian churches, the presbytery of Skaudvilė Church, which was built in 1797, stands out, where the high altar is unusually composed across two floors, in different flats, enriched with architectural motives of various styles, sculptures and ornamental carvings. This altar was thought to have come from the end of 18th century or the beginning of 19th century, its author is considered to be the sculptor Feliksas Gedvilas, whose signature was found in the sculpture of St. Paul. The year “1877” inscribed in the signature went unnoticed. Thus, the non-simultaneous design of the Skaudvilė church presbytery complex took place in several stages. In the beginning of 19th century the high altar consisted of a mensa with a tabernacle and a sculpture of the Crucified in the gallery, in the background of the fabric, attributed to the late Baroque master Tomas Podhaiskis (1741 – after 1794 (?)). In the document of the year 1821 the current altar of the gallery is already mentioned, The Virgin Mary and St. Mary Magdalene figures are next to the statue of the Crucified (survived, stored in the gallery). In 1877, the sculp- tor Feliksas Gedvilas, who worked in the Samogitian diocese, developed and completed the artistic composition of the presbytery, made a new high altar on the first floor, and designed the gallery. The sculptures of this author became meaningful iconographic and visual accents – above the first high tabernacle he incorporated a sculpture of the Pieta, which was connected with the theme of the suffering, crucified Savior on the altar of the gallery. At the tabernacle, F. Gedvilas built a symbolic symbol of Zacharias and St. Archangel Gabriel, on the sides – traditional sculptures of St. Peter and Paul.The old figures of holy women in the Crucifixion Gallery were replaced by The Virgin Mary and St. John‘s sculptures. On the backstage of the gallery above the gate was raised the statue of Jesus’ pred- ecessor, St. John the Baptist and the patron of Jesus St. Joseph’s sculptures. The presbytery was diversified by the fence of the gallery of angel sculptures holding candles - with plant and ornamental carvings of heads winged angels. The sculptural composition of the presbytery of the Skaudvilė church and the high altar is the most significant work in the biography of F. Gedvilas. Based on the plastic features of the sculptures on the high altar of Skaudvilė church, the works of F. Gedvilas in other churches were attributed. It includes the artistic and iconographically unique compositions of the chapel of the Kriukai church and the V–XIV stations of the Cross road, sculptures of saints, rare and popular in Lithuanian religious art, and several sculptures of the Crucified. It is assumed that he was able to make procession altars. In the 19th century 7th–9th decades F. Gedvilas carved round, single and group compositions, saliences. He was proficient in hagiography, depicting the exact attributes of saints, carefully conveying liturgical clothes, and sometimes writing their Latin names on pedestals. This craftsman compensated for the lack of professionalism with his peculiar carving, the harmony of laconic forms and various decor, the sense of rhythm, the thoughtfulness of the sculptures, which suited the ecclesiastical sacred space.