Sienų tapyba Alšėnų pranciškonų bažnyčioje: istorija, plastikos aspektai, restauravimo darbai

LTStraipsnyje analizuojama Lietuvos Didžiosios Kunigaikštystės kultūros Pažinimui svarbaus paminklo – Alšėnų (dab. Baltarusija) pranciškonų bažnyčios sienų tapyba. Pristatomi svarbūs istoriniai faktai, analizuojama tapybos plastika ir išsamiai nušviečiami 2006-2007 m. vykdyti restauravimo darbai, kurių metu buvo nuvalyta ir atidengta itin aukšto meninio lygio autentiška XVIII a. II pusės polichromija. Atlikti tyrimai leidžia Alšėnų pranciškonų bažnyčios sienų tapybą hipotetiškai priskirti garsaus XVIII a. II pusės-XIX a. pradžios menininko Kazimiero Antoševskio (Kazimierz Antoszewski) teptukui. [Iš leidinio]Reikšminiai žodžiai: Alšėnų pranciškonų bažnyčia; Kazimieras Antoševskis; Kazimieras Antoševskis (Kazimierz Antoszewski); Restauravimas; Sienų tapyba; Tapyti altoriai; Alsenai Franciscans Church; Kazimierz Antoszewski; Painted altar; Painted altars; Restoration; The Franciscans church in Alsenai; Wall paintings.

ENThe Franciscans in Alsėnai were funded by Paulius Steponas (Paul Stefan) Sapiega the vice-chancellor of LDK ( Great Duchy of Lithuania) in 1618. The funds were used to build a masonry church and a residential building. The church was reconstructed by own funds of Franciscans in 1774 and new altars were built approximately in 1790. The grand altar of baroque wall painting has remained till nowadays as a great representation of elevated style. The evidence of it's uniqueness remained in churche's documents since it's creation. There was the amazingly wide description of grand altar with a lot of laudatory expressions in the note of general visitation on 1797. It indicated that it was painted by the great artist with exclusive taste and proffesionall skils using the style of "optical" representation of "Italian architecture". The altars in the side navas weren't described widely enough in comparison with the grand one in the same paper though it was obvious they impressed visitors deeply. Unfortunately wall paintings were painted over when the churche's repairing and cleaning was proceeded in the period between 19th century and the twenties of 20th century after closing monastery in 1832 and disposing the church to civil during the soviet period when the church was used as a storage space for fertilizers and for various workshops. The Franciscans came back to Alsenai to the end of 20th century. They began to take care of conservation of church paintings and invited professionals from Poland to restore the grand altar with Ewa Świecka as supervisor.Exploratory researches have been done providing conditions to shedule restore activities and it was practised on 2006 and 2007. The remarcable beauty of grand altar wall paintings in Alsenai church emerged after cleaning some shells of stain. These paintings are pastiches of architectural structure of marble coloured white, pink, greenish with gold-plated parts and have very much in common with pieces of Kazimierz Antoszewski, the painter who worked in Minsk diocese between the end of 18th and begining of 19th centuries. The sign had been found analogous to signature with easily visible character of "C" which was the first letter of latin version of Kazimierz name. The painter was named by latin form "Casimiro Antoszewski" in monastery's documents where he had painted churches before. These considerations doesn't propose definitive conclusion who was the real author of wall paintings of church in Alsenai, but they arc greatly motivating. [From the publication]