Stebuklingosios Švč. Mergelės Marijos skulptūros kaimo kultūroje
LTStraipsnyje aptariamos kaimo aplinkoje stebuklais garsėjusios Švč. Mergelės Marijos skulptūros. Išskiriamos skulptūros viešojo pamaldumo sferai priklausančiuose (kapinių, šventorių, bendruose kaimų) ir privataus pamaldumo reikmes tenkinusiuose (sodybų) paminkluose, taip pat buvusios stebuklais garsėjusiose vietose – prie gydomųjų galių turinčių šaltinių, akmenų, medžių. Aptariami tokių skulptūrų siužetai, jiems teikiamos pagarbos formos ir turinys. Nagrinėjama, kokie prašymai vyravo ir kaip buvo atsidėkojamą už patirtas malones. [Iš leidinio]Reikšminiai žodžiai: Apžadai; Liaudies skulptūra; Stebuklingosios skulptūros; Votai; Švč. Mergelė Marija; Folk sculpture; Miraculous sculptures; Rurul sculpture; The Blessed Virgin Mary; Virgin Mary; Votum; Vows.
ENThe current article deals with the miraculous sculptures of the Blessed Virgin Mary found in rural environment: in a common monument in a village, cemetery or churchyard, in homesteads and monuments built on the occasion of making a vow "for health", or on the sites that were traditionally considered miraculous (at the springs, trees, and stones having the healing power). In Lithuanian folk sculpture, the most widespread were the episodes of the suffering of the Mother of God (the Pieta, Our Lady of Sorrows), thus these plots are quite frequent among the sculptures famous for their miracles. Statuettes with the plots related with the apparitions of the Blessed Virgin Mary (Our Lady of Graces, Our Lady of the Immaculate Conception, Our Lady of Lourdes) quite often gained fame for their graces as well. The number of imitations of the miraculous images of Our Lady (of Šiluva, of the Gate of Dawn) is not large in folk sculpture, thus very few of them are found among the statuettes famous for their miracles. Therefore, the plot did not have a great influence on the "miraculous character" of the sculpture. The iconographic type of the miraculous sculpture depended both on the site of the monument, the given vow, and the intention of its erection. In the current paper, the forms of veneration of the sculptures famous for their miracles are discussed.In order to experience a miracle or grace, a vow to the Blessed Virgin Mary had to be given at first (e.g. to build or renovate a monument in her honour, to donate money or votive objects, etc.). Village people used to offer small mirrors, ribbons, beads, pins, rosaries, and other small objects to the Mother of God, and used to dress her statuettes with clothes. These were offerings made with a certain intention (most often wishing to recover from an illness), or in gratitude for the experienced grace. The graces that were asked for were very concrete and reflected the basic needs of the people. In conclusion it can be said that the iconographic qualities or the visual expression of sculptures did not determine their "miraculous character". The "miraculous character" of one or another sculpture was mainly related with the experience of the believers or a certain sacred site (a spring, a tree, or a stone, which have gained fame for their miracles). The forms of veneration of the miraculous sculptures in rural environment show that the adoration of objects of local significance repeats the forms of veneration of the famous images acknowledged as miraculous by the Church. [From the publication]
