Ispanijoje užgimęs, Antakalnyje pamiltas: Jėzaus Nazariečio atvaizdai Lietuvoje

LTRegimantos Stankevičienės knyga „Ispanijoje užgimęs, Antakalnyje pamiltas: Jėzaus Nazariečio atvaizdai Lietuvoje“, lydinti 2019 m. Bažnytinio paveldo muziejuje vykusią to paties pavadinimo parodą, ne tik nuosekliai ir plačiai analizuoja parodos eksponatus, bet ir pristato bendrą joje rodyto tam tikros ikonografijos Jėzaus Kristaus atvaizdo ir jo raidos panoramą. Ji skirta nuo 1700 m. iki dabar, tad jau ketvirtą šimtmetį Lietuvoje kuriamiems „Jėzumi Nazariečiu“, o anksčiau, pagal pirmavaizdį Vilniaus Antakalnio trinitorių bažnyčioje – „Antakalnio Jėzumi“ įvardijamiems Išganytojo atvaizdams. Šio pavadinimo ir specifinės ikonografijos rengiamosios ir įprastos skulptūros, paveikslai, raižiniai ir dar kitos formos kūriniai bei dirbiniai pasklido po bažnyčias, koplyčias, žmonių namus, taip pat ir po įvairiose vietose statomus kryždirbystės paminklus. Jėzaus Nazariečio siužetas iki šiol populiarus tautodailės meistrų kūriniuose, jis interpretuojamas ir profesionalių dailininkų. Pirmą kartą Lietuvoje, ir ne vien joje, taip plačiai parodoma ir aptariama šio atvaizdo meninės raiškos, paskirties, dailės rūšies ir kitokia įvairovė, vaizdavimo raida; analizuojama net 180, neskaitant kituose knygos tekstuose minimų ir iliustruojamų Jėzaus Nazariečio (Antakalnio Jėzaus) atvaizdo pavyzdžių. Leidinys skiriamas ir dailės istorijos specialistams, ir visiems, besidomintiems Lietuvos kultūra, istorija, katalikiškojo religinio gyvenimo ir etninėmis tradicijomis, vienuolijų paveldu ir praeities įdomybėmis: knygoje aptariamo atvaizdo originalui iš Ispanijos būdinga egzotiška istorija ir išvaizda, tad neįprasti ir intriguojantys yra ir kai kurie lietuviški Jėzaus Nazariečio atvaizdai. [Anotacija knygoje]

ENThe book "Born in Spain, Beloved in Antakalnis. Images of Jesus of Nazareth in Lithuania" by Regimanta Stankevičienė is a continuation ofan exhibition with the same title that took place at the Church Heritage Museumin 2019. The book provides a comprehensive and consistent analysis of its exhibits, presents the overall panorama of a certain image of Jesus Christ they represent and describes its evolution. The exhibition and the book are dedicated to the images of the Saviour that have been created since 1700 (i. e. for more than 3 centuries) and have been previously called Jesus of Antakalnis, based on their prototype from Vilnius Antakalnis Trinitarian church, and, later, Jesus of Nazareth. Sculptures (of the dressable and the usual type), paintings, engravings and other types of artworks and other items with this title and of this iconography widely spread in churches, chapels, homes of people and in monuments and crosses standing in various places. The theme of Jesus of Nazareth is still highly popular among the folk artists and its various interpretations are often used by professional artists as well. This is the first study in Lithuania (and beyond) that shows and discusses the diversity of the artistic expression, purpose, type and other characteristics of this image as well as its evolution in such detail. It is also the first analysis that is based on so many examples of the image of Jesus of Nazareth (Jesus of Antakalnis) (180, not including the ones mentioned in the summarising texts or additionally featured in illustrations).The book may be of interest not only to professional art researchers and historians but also to anyone wishing to know more about the Lithuanian culture, the history of the country, the religious life of the Catholics and ethnic traditions, the artistic and spiritual heritage of monastic orders and curious facts about the past: the original image that has inspired the replica discussed in this book has an exotic appearance and an equally exotic history and, therefore, some ofthe Lithuanian images of Jesus of Nazareth are unusual and intriguingin their own right. 1. From Madrid to Vilnius: The Statue of Jesus of Antakalnis, its Origins and History. The first part of the book relates the history of the statue of Jesus of Antakalnis, describes the variations of its image and presents the photographs of the statue, its comparison with its analogue, old tunics of Jesus of Antakalnis and its replica that is believed to have come from the same monastery. The statue that was popularly called Jesus of Antakalnis and was famous for its miracles used to stand in the Trinitarian church in Antakalnis, then a suburb of Vilnius (now part of the city proper). The Trinitarian monastery was funded by Jan Kazimierz Sapieha (1637-1720), the Great Hetman of the Grand Duchy of Lithuania (GDL) and the Voivode of Vilnius, who donated part of his residence for this purpose. The foundation of this Trinitarian monastery, the first of its type in the old Lithuanian state, as well as the invitation of this Order to Poland were related to the political and military situation of the Polish-Lithuanian Commonwealth at the time. In the 17th century both Polish-Lithuanian Commonwealth and the Holy Roman Empire were constantly fighting the Ottoman Empire that was trying to penetrate their lands.After the victory of the Christian countries in the 1683 Battle of Vienna (Kahlenberg), the confrontations with the Ottomans unceasing, the Congregation of the Discalced Trinitarians of Spain (the Order of the Most Holy Trinity for the Redemption of the Captives or SS. Trinitatis de Redemptione Captivorum Discalceatorum in Latin) was invited and established itself in the Kingdom of Poland (1685), the Grand Duchy of Lithuania (1693) and the Holy Roman Empire (1688). In 1736, St. Joachim’s Province encompassing the territory of the Polish-Lithuanian Commonwealth was established. After the partitions of the state (in 1772-1795) the number of its monasteries kept dwindling until 1864, when the Russian tsarist government closed down two last Trinitarian monasteries: one in Antakalnis, Vilnius, and another in Solee, Warsaw. In addition to ransoming captives and their charitable and pastoral activities, the Trinitarians of the St. Joachim’s Province also promoted their spiritual and artistic traditions. One of their most widely spread traditions deeply imprinted in the Lithuanian art was the devotion to Jesus Christ associated with the dressable statue of Jesus of Nazareth (and its copies) that was particularly venerated by the Trinitarians and stood in their church in Madrid. Nowadays the title of this statue and its current Basilica of Jesus of Nazareth under the care of the Capuchins usually includes the name of the house de Medinaceli, who have been its patrons for centuries. Another name the statue and its copies used to bear was the Ransomed Jesus of Nazareth because in 1682 the Trinitarians ransomed the statue and many other religious artworks that had been taken to Meknes (Mequinez in Spanish), the Moroccan sultanate capital, from a Spanish fort in North Africa seized by the sultan’s army, and brought them back to Madrid together with ransomed Christian captives. [...]. [From the publication]

• Menotyra / Arts
• Etnologija / Ethnology