Kristaus Prisikėlimo ikonografija Tytuvėnų bernardinų konvento sienų tapyboje

LTStraipsnyje aptariama Tytuvėnų bernardinų konvento pirmojo aukšto galerijoje esančio sienų tapybos ciklo dalis – kompozicijos, susijusios su Kristaus Prisikėlimo tema, nagrinėjamos Tytuvėnų sienų tapybos sąsajos su Europos dailės ikonografija. Straipsnio tikslas – nustatyti grafinį kompozicijų pirmavaizdį, sienų tapybos sukūrimo laikotarpį, aptarti vaizdų ikonografijos ypatybes ir nagrinėjamos temos kompozicijų vietą bei funkciją bendrame tapybos cikle. [Iš leidinio]Reikšminiai žodžiai: Tytuvėnai; Bernardinai; Bažnytinė dailė; XVII a. pirmosios pusės sienų tapyba; Prisikėlimo ikonografija; Jeronimas Nadalis (Jerome Nadal); Jeronimas Vieriksas (Hieronim Wierix); Tytuvėnai; Franciscans Observants (Bernardines); Church art; wall painting of the 1st half of the 17th century; Iconography of the Resurrection; Hieronim Nadal; Hieronim Wierix.

ENThe article discusses part of the cycle of wall paintings - the compositions related to the theme of the Resurrection of Christ - from the first-floor gallery of the Tytuvėnai convent of Franciscans Observants (referred to as Bernardines in Lithuania). The article specifies the period of creating these w of the images and the position and function of the compositions of the above-mentioned theme in the whole cycle of wall paintings. The correspondence between the Tytuvėnai wall painting and the iconography of European art is analysed and the graphic prototype of the compositions is identified as illustrations of the book by Jesuit Hieronim Nadal Adnotationes et Meditationes in Evangelia, which were created at the end of the 16th century (first published in 1593 and later republished multiple times). The theme of the Resurrection was found to be very important in the cycle of wall paintings in the first floor gallery of the Tytuvėnai Bernardine convent. Two scenes are related to this theme, enthroning both Christ as the Redeemer of humanity from sins and death and His Mother who alone believed in the Resurrection of Her Son and waited for it and, therefore, was rewarded with the joy of being the first person to see His glory. The other scenes of the cycle are arranged not in a strict chronological order but rather in such a way that the importance of the Resurrection is emphasized because of its central, space-arranging position in respect of the other scenes. Watching from one side, the scenes of the Resurrection of Christ and Appearance to Mother complete the cycle of the images of Christ's life, starting with Entering Jerusalem and ending with the Crucifixion; looking from the other side, the two compositions complete the cycle of the scenes of the Sufferings of Christ.The prototype for the painted compositions is the woodcuts from the book of Jesuit H. Nadal Adnotationes et Meditationes in Evangelia, carved by Hieronim Wierix at the end of the 16th century after the drawings of Bernardino Passeri.all paintings (the 1st half of the 17th century), discusses the characteristics of the iconography. [From the publication]