Lietuvos gotikinė skulptūra

LTStraipsnyje apžvelgiamos šiuo metu Lietuvoje ar už jos ribų esančios gotikinės skulptūros, sietinos su Lietuvos Didžiosios Kunigaikštystės meno paveldu. Jos susisteminamos pagal sukūrimo laiką, ikonografiją ir stiliaus bruožus. Daugelis skulptūrų plačiau aptariamos pirmą kartą. [Iš leidinio]Reikšminiai žodžiai: Gotika; Skulptūra; Lietuvos sakralinė dailė; Gothic; Sculpture; Lithuanian sacred art.

ENArticle reviews Gothic sculptures that relate to the artistic heritage of the Grand Duchy of Lithuania, and all of the sculptures mentioned within the article are currently in Lithuania or behind its borders. Attention is drawn to the fact that some Gothic works of art may have appeared later in the churches of the GDL, after their delivery from Prussia in the first half of the 15th century. The author ascribes the following works of art of the soft Gothic style: the Madonna of Laukžemė, the Madonna of the Church of Rose (presently in Belarus), as dating from the 19th century and being the work of Polish authors. He also includes in this list the Pieta of the Church of Plateliai, which was attached to the altar of processions in 1903. The oldest known Crucified Christ that relates to the artistic culture of GDL was created around 1400 and is kept in the Church of Semiatyčiai in Palenkė. The best examples of the broken style that spread in the early 16th century are: St. John the Baptist from Kėdainiai Regional Museum, the Madonna of Veliuona and the Madonna with a Pear, both kept in the National Art Museum of M. K. Čiurlionis. The Crucified Christ from the Church of Bagaslaviškis might once have decorated Vilnius Cathedral, as it belongs to this same stream of art and has particular value. The Crucified Christ of the Veiveriai Church, which dates back to the third decade of the 16th century, was transferred to the Judicial Church in Eastern Prussia. The Crucified Christ of Vilnius Bernardine Church might have been created at the same time.The sculptures which appeared at the end of the first quarter of the 16th century, assumed a quieter shape. The rendering of complex drapery was eschewed in favor of a few folds that break sharply across the sculptures surface. New Renaissance features blend with old traditions in the sitting Madonna sculpture of the Alksnėnai Church, which was probably brought from Prussia during the post-Reformation. In addition to the incidence of sculpture in the round, the occasion of relief sculptures also spread during the Gothic period. The relief of the Čekiškė Church depicting the Descent from the Cross was carved masterfully. The works discussed belong to the hands of professional artists of varying levels of skill. However, in Lithuania less professional local masters also worked. Some of their sculptures were installed, for example, the Saint of the Church of Rageliai, which is considered to be the work of a folk carver of the 19th century. [From the publication]