Portretas ir asmens tapatybė. Radvilų ikonografijos fragmentai

LTDubingių piliakalnio 2003–2004 m. archeologinių kasinėjimų metu, tyrinėjant senųjų bažnyčių vietą ir piliavietės aikštelę, aptikta evangelikų reformatų bažnyčioje buvusių Radvilų giminės didikų palaikų perlaidojimo vieta. Istorinių ir antropologinių tyrimų metu buvo iškelta prielaida, kad kapavietėje yra Vilniaus vaivados, LDK kanclerio ir didžiojo etmono Mikalojaus Radvilos Rudojo (apie 1512–1584), LDK maršalkos, Vilniaus vaivados ir LDK kanclerio Mikalojaus Radvilos Juodojo (1515–1565), Radvilos Juodojo žmonos Elžbietos Šidloveckos-Radvilienės (1533–1562), Radvilos Rudojo sūnaus, Naugarduko vaivados, Mozyriaus ir Merecko seniūno Mikalojaus Radvilos (apie 1546–1589), LDK taurininko ir Vilniaus kašteliono Jonušo Radvilos (1579–1620), Kristupo Radvilos Perkūno pirmosios žmonos Onos Sobkovnos-Radvilienės (?-1578) ir Radvilos Rudojo vaikaičio Mikalojaus Radvilos (1575–1577) palaikai. Dėl tokios prielaidos ir atsirado šis straipsnis, kuriame aptariami Dubingiuose manomai palaidotų Radvilų portretai, siekiant juos įvertinti meninio ir antropologinio „autentiškumo“ aspektu. [Iš leidinio]Reikšminiai žodžiai: Autentiškumas; Ikonografija; Portretas; Radvilos (Radziwill; Radvila family); Authenticity; Iconography; Portrait.

ENThis inquiry has been inspired by the assumptions raised during archaeological, historical, and anthropological research carried out in 2003-2004 in Dubingiai. Then, the remains of Mikołaj Radziwiłł the Red (1515-1584), Mikołaj Radziwiłł the Black (1515-1565), Elżbieta Szydłowecka-Radziwiłł (1533-1562), Mikołaj Radziwiłł (ca. 1546-1589), Janusz Radziwiłł (1579-1620), Ana Radziwiłł-Sobkówna (d. 1578), and Mikołaj Radziwiłł (1575-1577) were found buried in the cemetery on the site of the ancient settlement of Dubingiai. The article discusses the hitherto known portraits of the representatives of the Radziwiłł family and aims at assessing them from the perspective of anthropologie authenticity. The link between a person's image and remains has neither sufficient historical documentation, nor historiographical elaboration in Lithuania. One must admit that Lithuanian art history has not yet faced a task of analysing representations from images or portraits as possible sources of anthropologie (anatomic) research: that is, critical analysis of artworks has been undertaken for solving issues of art history, but not for answering questions pertaining to history and anthropology. Hence, art criticism has to be in a certain sense re-qualified to deal with image anthropology or the research of visual representations of a person. [From the publication]The review of the available iconography of the Radziwiłłs in Dubingiai has shown that it is very uneven both in terms of quantity and authenticity. A large part of known images of the Radziwiłłs of Dubingiai are to be deemed secondary iconographie sources, for the most part, graphic copies of paintings. Further elaboration of this topic would require: (1) to search within the holdings of Vienna museums for painted portraits of Radziwiłł the Black and Radziwiłł the Red originating from the collection of the Ambras Castle; (2) to search for sketches for medals and prints in Austrian and German collections; (3) to deepen the knowledge about the oeuvre of medal makers Joachim Deschler and Johan Trilner as well as engravers Joannes and Jakobus von Heyden, Giovanni Battista Fontana, and Dominicus Custos in order to compare the Radziwiłł portraits with images of other persons created thereby; and (4) with the help of historians studying the Radziwiłł family archives, to collect information about portrait commissions and circumstances of their production. [From the publication]