Išganytojo atvaizdas paramentuose

LTSeniausi autentiški liturginiai apdarai neišliko. Apie jų formą, rūšis bei dekorą daugiausia galima spręsti tik iš menkų užuominų rašytiniuose šaltiniuose ir vaizduojamosios dailės kūrimuose. Pastarųjų iš pirmykštės krikščionybės laikų taip pat išliko ne itin daug. Jėzaus Kristaus įvaizdžiai ir antropomorfinės figūros tekstilės technikomis atliktų liturginių rūbų puošyboje pasirodė ankstyvųjų viduramžių epochoje ir idėjiniu bei ikonografiniu požiūriu atitiko vaizduojamosios dailės kūriniuose teikiamą Išganytojo asmenybės sampratą. Paramentikos, taip pat ir visoje taikomojo meno istorijoje pačios reikšmingiausios - liturginius rūbus puošiančios ir įprasminančios siuvinėtos daugiafigūrės kompozicijos, kuriose atsispindi ir laike besikeičianti Jėzaus idėja. Iš pradžių tai gerasis savo avelių ganytojas, valdovas, blogio nugalėtojas, vėliau - nukryžiuotas, artimųjų ir mokinių apraudamas kenčiantysis, bet taip pat ir didžiai tauri, harmoninga asmenybė. Visa tai perteikiama savitomis, ypatingomis, aukštesnės realybės įspūdį turinčiomis sukurti medžiagomis bei priemonėmis. Tačiau XVII-XVIII amžiai - tai jau nebe figūrinių, bet augalinių motyvų vyravimo paramentikos puošyboje laikotarpis, kai ilgą laiką pirmavusi siuvinėjimo technika pamažu ima užleisti vietą audimui ir šios technikos priemonėmis kuriamam dekorui. Tik XIX a. prasideda vadinamasis liturginių rūbų "aukso amžius", kai į jų dekorą sugrįžta viduramžiais populiarūs kristologiniai motyvai, kurie moderniaisiais laikais jau kitaip interpretuojami ir įvaizdinami kitokiomis priemonėmis. [Iš leidinio]Reikšminiai žodžiai: Paramentai; Išganytojo atvaizdas; Paraments; Image of the Saviour.

ENThe article the history of representation of Jesus Christ in the décor of Catholic liturgical vestments - paraments - is discussed. The most important symbol of Christianity itself - the Cross - should be regarded as one of the first emblems that can be associated with Jesus Christ as well. It appeared on ritual vestments later than in the fine arts, first as a small, and later as a large cross adorning the entire back side of the vestment, composed from narrow strips of fabric of different colour in the shape of Y or t. Judging from the scanty relics, it seems that part of the early and already direct emblems of the Saviour on the vestments of Roman Catholic priests were of verbal character. One type of such emblems consists of the Saviour's monograms, abbreviations of His name or title, and another type - of His full name embroidered or woven in the arms of the cross, called borders, on the liturgical vestment. It is possible, though not confirmed, that vestments worn by Catholic priests who arrived in pagan Lithuania from foreign countries in the 13lh century might have been decorated in this way. It seems that at the beginning of the 2nd millennium A.D., vestments embroidered with anthropomorphic motifs also became widespread. This kind of décor used to be scattered over the entire area of the vestment around the centrally located figure. Most often this figure was Jesus Christ, who, like in period paintings, was represented as the Good Shepherd, the Conqueror, the Saviour, and the Ruler.The latter image of the Ruler, as can be seen from the inventory of the Vilnius Cathedral, is conveyed in the decoration of one vestment found in this Lithuanian temple, whereas several other surviving fragments of the early vestments of the Cathedral already illustrate the image of Christ in art characteristic of later periods. On the cross that survived on a Gothic chasuble, the Saviour is represented as tortured to death, and in the surrounding compositions other episodes of the history of His suffering are depicted. It is an image of the Saviour-martyr characteristic of the Gothic style. In another fragment of a liturgical vestment of the Vilnius Cathedral - "The Last Supper" embroidered on the shield of a cope - the idea of Christ as a harmonious personality, unconditionally alternative to evil, already typical of the Renaissance art, is conveyed. After a certain break that took place in the 16th-18lh centuries, during which vegetal and floral motifs were predominant in the décor of liturgical vestments, and embroidery gradually gave way to weaving, the 19th century saw the beginning of a new period in church décor, as well as a new stage in the history of paraments, which lasted till 1940. This period is often considered a revival of paraments, as the transition from manual work to industrial production allowed to make vestments perfectly suited for church rites from readymade details produced in large series very rapidly. The article is concluded with a survey of Christological motifs of the décor and the means of their production characteristic of this new stage in the development of liturgical vestments. [From the publication]