Simbolinės potridentinio altoriaus dekoro prasmės

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Knygos dalis / Part of the book
Language:
Lietuvių kalba / Lithuanian
Title:
Simbolinės potridentinio altoriaus dekoro prasmės
Alternative Title:
Symbolic meaning of the post-Tridentine décor of the altars
Authors:
Aleksandravičiūtė, Aleksandra
In the Book:
Tridento visuotinio Bažnyčios susirinkimo (1545-1563) įtaka Lietuvos kultūrai / sudarytoja Aleksandra Aleksandravičiūtė. Vilnius: Kultūros, filosofijos ir meno institutas, 2009. P. 279-309
Subject Category:
LT
Barokas / Baroque; Kultūros paveldas / Cultural heritage; Religinis menas / Religious art.
Summary / Abstract:

LTVatikano II susirinkimas (1962-1965) permąstęs potridentinės liturgijos tradicijas, kartu atitinkamai pakoregavo vizualiojo apeigų reprezentavimo formas ir tvarką. Ilgainiui susiklostė modernios bažnyčios vidaus planavimo ir puošybos taisyklės, atitinkančios šiuolaikinės liturgijos poreikius. Pasikeitus celebranto padėčiai prie altoriaus, konceptualiai sustiprinus simbolinį Mišių stalo vaidmenį liturgijoje ir nustačius stacionarią Švč. Sakramento tabernakulio vietą altoriuje, iš esmės transformavosi ir įprastinė altoriaus struktūra. Viena svarbiausia naujovė neabejotinai buvo ta, jog altoriaus mensa atsiskyrė nuo retabulo. Retabulas prarado savo tradicinę funkciją - vaizdais palydėti apeigų turinį, sustiprinant ritualinio vyksmo įtaigumą. Be to, dabartinėje šventovėje susirinkusi bendruomenė sutelkia visą dėmesį į kunigo veiksmus, veidą, jo žodžių prasmę, bet ne į retabulo atvaizdus, atsidūrusius už celebranto nugaros, taip potridentinio tipo retabulas nustojo būti privaloma sakralinės aplinkos dalimi. Lietuvoje Vatikano II susirinkimo nutarimų sklaida vėlavo, daugumos bažnyčių interjerus pradėta pertvarkyti pagal naujus reikalavimus tik atgavus Nepriklausomybę. Tuomet jau skubiai ir ryžtingai imtasi darbo. Šiandien nedaugelyje mūsų bažnyčių galima pamatyti nepertvarkytą, nesuskaldytą potridentinį altorių. Straipsnyje, pasinaudojant ikonografinės ir formaliosios stiliaus analizės metodais, aptariama potridentinio tipo altorių simbolinės raiškos ir įtaigos priemonių kaita XVII-XIX a. Proceso aptarimui pailiustruoti pasitelkta keletas būdingų pavyzdžių iš Lietuvos bažnyčių. [Iš leidinio]Reikšminiai žodžiai: Tridentas; Altorius; Post-Trident; Altar; Sakralinė dailė; Bažnyčių paveldas; Retabulas; Tridento susirinkimo nutarimai; Vatikano II susirinkimo nutarimai; Barokas; 17 amžius; 18 amžius; Sacred arts; Heritage of Catholic churches; Altarpiece; Altar retables; Council of Tret; Second Vatican Council; Baroque.

ENArt criticism literature does not provide much information on the transformations of the visual altar rhetoric during the 17th-19th centuries, i.e. over three hundred years between the Council of Trent and the Second Vatican Council. [...] The article provides a general review of the dispersion of symbolic structural elements and ornaments of the 17th-19th century altar retables. In this regard, Lithuanian church altars did not possess any essential differences compared to the analogues from other countries. The article presents certain characteristic examples from Lithuanian churches. According to the monograph Christian Altar by Father Joseph Braun, the main and unvarying meanings of the post-Tridentine altar were the following: the symbol of Christ, the image of his founded Church, figura impleta of the Solomon's Temple, the stone, the cross of Christ, the crib, Faith and the human heart, the Throne of God, and the throne of the saints and martyrs (the mausoleum). The 17th-18th century altar retables represented all those symbolic meanings conforming to the decrees of the Council of Trent. The 17th century altars stood out for their steady and integral décor system. The structure of retables was monumental, reminiscent of a triumphal arch and representing the idea of the victorious post-Reform Church. Typical 17th century décor elements included a curtain (screen) and motives of angels and plant garlands. Such decoration elements reminded of symbolic links between the Church and the Solomon's Jerusalem Temple.Grapevines carved on the pillars of retables served as the sign of the elected people of Jerusalem as well as the Catholic Church. Grape bunches denoting Eucharistie wine and the blood of Christ represented an altar as the body of Christ or even Christ himself. The aspect of glorification intensified in the programmes of the 18th century altars. This is related to the elevation of the role of the Holy Sacrament and the prominence of adoration in religious practice, and also to the contemplation on Faith, Hope and Love. More elegant altar shapes, lighting effects, symbols of rhythm and pastel colours as well as the polyphonic interaction of visual and musical elements of liturgy created the atmosphere of light and joyful jubilation, which differed immensely from the majestic and often dramatic "visual timbre" of the 17th century retables. Such changes were determined partly by the 18th century altar decoration, which gained more secular features, but most importantly by the revised meanings of symbolic décor elements (i. e. motives of a baldachin, acanthus and shell). The 19th century altars were constructed according to their 17th or 18th century prototypes. In the 19th century, the fact of altar programme disintegration can be observed. Architectural integrity of a retables became less related to the contents of paintings or sculptures; whereas, the décor remained only as passive background for traditional images of the saints. [From the publication]

Subject:
Menotyra / Arts
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Updated:
2020-10-17 19:38:44
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