Marijos atvaizdas procesijų vėliavose ir altorėliuose, remiantis XVII-XVIII a. rašytiniais šaltiniais

LTStraipsnyje analizuojamas Švč. Mergelės Marijos atvaizdo paplitimas Lietuvos Didžiosios Kunigaikštystės bažnytinių procesijų vėliavose ir altorėliuose. Remiantis XVII-XVIII a. rašytiniais šaltiniais pristatomi pagrindiniai paveikslų ikonografiniai tipai ir jų vaizdavimo specifika. [Iš leidinio]Reikšminiai žodžiai: Altorėliai; Lietuvos Didžioji Kunigaikštystė (LDK; Grand Duchy of Lithuania; GDL); Sakralinė dailė; Vėliavos; Švč. Mergelė Marija; Švč. Mergelės Marijos ikonografija; Altars; Blessed Virgin Mary; Flags; Grand Principality of Lithuania; Sacral fine art; St. Mary the Virgin iconography.

ENThe images found on procession flags and altars of the 17th-18th centuries for the large part reflect the traditions of piety of the Baroque era, and a great many of images of the Blessed Virgin Mary testify to the exclusive piety to the Mother of God. Among the most common images of the Blessed Virgin Mary, Our Lady of the Rosary should be mentioned. It is possible that multi-figurative compositions with this plot were most widespread on procession flags and altars. The images of the Blessed Virgin Mary with the Mysteries of the Rosary mentioned in church documents show that at least in the 17th century the Fraternities of the Rosary followed the instructions of their Statute regarding iconography. At the end of the 17th and in the 18th century, with the increasing number of the Scapular Fraternities, the images of Our Lady of the Scapular also became more abundant. Due to the laconic character of the written sources it is difficult to establish which image was the most common: portrait images of Our Lady of the Scapular, or pictures representing the granting of the Scapular. Images combining two iconographic types - those of Our Lady of the Rosary and Our Lady of the Scapular - are mentioned in church documents of the 17th–18th centuries. The discovered examples deny the statement that such a combination of iconographic types may have been determined by two endowers of the work: the Rosary Fraternity and the Scapular Fraternity. In the period under discussion, the plots of Our Lady of Sorrows, Our Lady of the Immaculate Conception, the Annunciation, and the Holy Name of Mary were quite frequent.Other plots were also quite often supplemented with the iconographic elements of the Immaculate Conception. The scene of the Annunciation to the Blessed Virgin Mary is more often found on procession flags. On the other hand, the episodes from the life of Mary that do not belong to the Mysteries of the Rosary are hardly found on procession flags and altars. The flags of the Holy Name of Mary mentioned in the written sources usually bore symbols, but canvases containing a plot could also be found in the altars of the fraternities. Among the images famous for their miracles, Our Lady of Czestochowa was the most popular. Imitations of other miraculous images (those of Trakai and Zhirovichy) are seen on flags and altars more seldom. Among all the images of the Blessed Virgin Mary mentioned in the analyzed sources, one third does not bear an indication of the title or iconographic type. Quite often these are the images of the Blessed Virgin Mary with the Infant Jesus. Thus it is possible that part of them imitated the images famous for their miracles. As can be seen from the descriptions found in the written sources, the name of the iconographic type Mater Misericordiae was not well established in the documents of the 17th–18th centuries. Most probably due to that reason the images of Our Lady of Mercy are found relatively seldom in the sources of the 17th-18th centuries. Our Lady of Grace was also hardly ever chosen as an image for procession flags and altars. [From the publication]

• Teologija / Theology
• Menotyra / Arts