Šv. Onos - idealios žmonos, motinos ir senelės įvaizdis XVIII a. - XIX a. pirmosios pusės Lietuvos katalikiškoje dailėje

LTSiame straipsnyje analizuojamas šv. Onos įvaizdis XVIII-XIX a. pirmosios pusės Lietuvos dailėje, glaustai pristatomi iki šiol neanalizuoti vyravę ikonografiniai tipai bei išryškinamas susiformavusios ikonografijos tęstinumas. Per šventosios atvaizduose „užkoduotą“ socialinį šeimos modelį siekiama atskleisti, ar šv. Onos vizualiniai pavidalai yra susiję ir sąveikauja su Apšvietos epochos dvasinėmis ir moralinėmis nuostatomis bei dėmesiu edukacijai. Pasitelkiant ikonografinį, iš dalies ikonologinį bei šaltiniotyros metodus, atsigręžiama į sociokultūrinį praeities lygmenį, keliami klausimai apie šv. Onos atvaizduose slypinčią galią, kuri galėjo būti pasitelkiama tikrovės pažinimui ir kaitai. Reikšminiai žodžiai: šv. Ona, Šventoji Šeima, ikonografija, .Šit Ona, pati trečioji, Švč. Mergelės Marijos auklėjimas, Šv. Onos brolija, edukacija, Simonas Čechavičius. [Iš leidinio]

ENThe article is focused on the image of St Anne in Lithuanian art of the eighteenth and the first half of the nineteenth century. It briefly presents the prevailing icono- graphic types that have not yet been widely discussed and highlights the continuity of the established iconography. Through the social model of the family “encoded” in the images of the saint, the aim is to reveal whether the visual images of St Anne relate and interact with the spiritual and moral attitudes of the Enlightenment and emphasis on education during this epoch. With the help of iconographic, partly iconological, and source studies methods, the socio-cultural level of the past is addressed, questions are raised about the power of St Annes images, which could have been resorted to for the understanding and change of reality. In Lithuanian Catholic art of the eighteenth century and the first half of the nineteenth century, the image of St Anne, the ideal wife, mother, and grandmother, was unfolding in the images of three iconographic types, differently in each of them: “The St Anne Trinity” (or “St Anne Herself the Third”; “Anna Selbdritt”), “The Holy Family with St Anne” (“St Annes Family”), and “The Education of the Virgin”. In the images of “The St Anne Trinity”, she is portrayed in the social roles of a mother and a grandmother and depicted as an equal representative of the Holy Family and an important participant in the sacrifice of Salvation. Of the eighteenth-century works, the majority survive from the second half of the century. They reiterate the iconographic variants found in Lithuania and abroad in previous centuries. In the first half of the nineteenth century, the iconographic type of “The St Anne Trinity” remains unchanged, but its popularity is markedly declining.It should be noted that to illustrate their publications, St Anne’s fraternities exclusively chose the images of “The St Anne Trinity”. As these images are representative and highlight the high status of St Anne in the Holy Family, they served to emphasise the precedence of St Anne’s fraternities. Moreover, no other iconographic type conveys St Anne’s exceptional closeness with Christ: the grandmother’s communication with her grandson through body language and attributes shows her exemplary spiritual qualities: caring, kindness, and gentleness. In Lithuania, the attribute of the book was not frequent in “The St Anne Trinity”. In some of the images of “The St Anne Trinity” of the eighteenth and the early nineteenth century, the book was depicted open, while St Anne was busy in educating her grandchild, reading the Holy Scriptures to him. In this way, a new image of St Anne, that of a teacher of Jesus, began to evolve, which was probably the result of the impact of the orientation towards education during the Enlightenment. In the seventeenth and eighteenth centuries, in the Grand Duchy of Lithuania, the images of the Holy Family with St Anne, proposed to be called “St Anne’s Family”, were significantly less spread than “The St Anne Trinity”. They represent St Anne as a mother, a grandmother, and the wife of St Joachim, who is standing next to her. Like in Western European art, the composition of “St Anne s Family” usually integrates the group of “The St Anne Trinity” in the centre, while the number of other family members surrounding this group may vary. New varieties of the iconographic type “St Anne s Family”, which are composed following a different principle and no longer include the group “The St Anne Trinity” were found in the churches of religious orders of the second half of the eighteenth century.In the analysed painting of an original composition, St Anne with St Joachim and St Joseph, from the Church of St Michael the Archangel in Tabariškės, St Anne is for the first time the central and most important figure in the painting and embodies the image of a good wife and an attentive housewife. The new image of the saint in art reflected shifts in Catholic culture and demonstrated the attempts of the Carmelites of the Ancient Observance to “visualise” the status of St Anne as an ideal wife. Based on the analysis of the form of the painting, the proof is provided that it was painted by the well-known artist Simonas Čechavičius (Szymon Czechowicz) in around 1770. Compared with Western Europe, the images of “The education of the Virgin” appeared in Lithuania quite late: they emerged in the second half of the seventeenth century and gradually gained popularity in the second half of the eighteenth century. Two variants of the composition of “The education of the Virgin” evolved conveying the image of the Embodiment of Christ and of St Anne, who brought her daughter up perfectly. They continued into the nineteenth century, when in their abundance they surpassed other iconographic types of St Anne. In Lithuania, the most influential and most replicated “The education of the Virgin” image of the period discussed is the engraving of Joseph Wagner made according the drawing of Jacopo Amigoni in 1725-1766. Like in the paintings of “The St Anne Trinity”, several late-eighteenth-century paintings of “The education of the Virgin” place emphasis on St Annes piety, which is also confirmed in hagiographic literature [...]. [From the publication]