Procesijų altorėliai Lietuvoje

LTLietuvoje kadaise tokie populiarus procesijų altorėliai, pranokstantys gausumu panašaus tipo objektus ne viename katalikiškame krašte, skirtini prie раčių vertingiausių mūsų sakralinės dailės kūrinių. Jų tarpe nemaža tikrų šedevriukų. Jungiantys tapybą, reljefą ar net apvaliąją skulptūrą su gausia, paprastai juose dominuojančia dekoratyvine drožyba, jie lig šiolei nebuvo plačiau tyrinėti, nors būtent į mūsų kultūrą giliai jaugusiuose objektuose galima surasti bene vertingiausius ornamentinės drožybos pavyzdžius, atspindinčius sparčią stilių kaitą. Visi šie kuriniai susiję su įvairių bażnytinių iškilmių proga rengiamomis procesijomis. Šių procesijų aprašymuose, kaip ir senose bažnyčių vizitacijose bei inventoriuose, tenka ieškoti ankstyviausių żinių apie mus dominančius objektus. Mūsų krašte procesijas ypač išpopuliarino jėzuitai. Laikydami jas galinga, tikinčiuosius sutelkiančia priemone kovoje su reformacija, šio ordino atstovai neretai paversdavo procesijas teatralizuotais renginiais, įgavusiais labai efektingą pavidalą. [Iš Pratarmės]

ENSmall altars used during processions are very typical of Lithuanian sacral art. As their part the images painted on both sides of a wooden board, tin plate or canvas, expanded with a rich frame form the retabulum which has analogy with the corresponding element of the altar, while in this case it is connected by a table substituting for its base and mensa. During processions a mobile table used to be placed on perches which made it possible to put the Small altar on the ground, contrary to the pheretron characteristic of Po-land, and resulting in the altar with a Small, reduced lower part. Historical sources indicate that the items under consideration used to be known in Lithuania in the second half of 17th century, although the most ancient surviving items from 18th century. At that time beside luxurious carved altars which in many cases were made by highly qualified specialists more humble joiner-made items where pictorial decor was substituted for complicated retabulum carving could some-times be encountered. Anyway the appearance of the retabulum is determined by its paintings. The altars, beside oval images and images bearing the shape of more complicated flexibility, which were specially designed for Small altars, contained older rectangular paintings. Rapidly changing of ornaments on the Small altars facilitate the dating shapes of the earliest pieces of artwork of this kind as well as the observation of the development of decorative carving in Lithuania.The most ancient items that have survived were decorated with a carved ornament of acanthus leaves, which in the second quarter of 18th century were usually connected with winding decorative bands. At about mid century a more complicated regional ornament prevailed, shortly though, in Lithuania, and soon it was ousted by whimsical rococo shaped motives composed of stylized shells, flames and flowers. At the end of the century under the influence of classicism the fragile delicacy of rococo altars was frequently rejected and they acquired а more reserved shape. At that time relief, so popular later, came to be used instead of the painted image. It is noteworthy that all the above mentioned types of decor in the procession altars of Samogitia (Żemaitija) spread a little later and acquired specific features, the more so that meanwhile the carvers there were less professionally qualified. In early 19th century classicism in altars matured into a new type of a compact, oval retabulum with moderate decor of carving dominated by leaves of laurel. As time flew a consistent change of style was lost, and variations of different decor were used side by side. Neorococo spreading in our country revived the carved ornaments of 18th century. During the period of historicism the willing return to the decor of the earlier period, first and foremost, to the previously popular acanthus, was evident. The truth is that the majority of the procession altars in the south-east of Lithuania produced in specialized workshops of Vilnius according to the established compositional designs lost the features of their originality, further-more, the similar type of workshops in the central part of Lithuania contributed to the standardization of the artwork under consideration.The standardization is evident in the neo-gothic altars that appeared towards the end of 19th century and were very popular at the beginning of 20th century as well, at the time when the items produced in Polish workshops were delivered to Lithuania. Samogitial procession altars made by individual masters were able to retain their identity much longer, an outstanding group of altars with cross-shaped retabula among them. Beside procession altars created by professional carvers there were altars by the masters of folk art that strove for a simpler artistic image. The spatial chapel-type altars so popular due to those masters are especially interesting. The soviet period broke the creative traditions of procession altars violently, although in some areas they have always been carried during religious ceremonies. This monograph may serve the double purpose of the revival of this nice tradition and the appearance of new, original works. [From the publication]