Ankstyvieji palaimintojo Juozapato Kuncevičiaus portretiniai atvaizdai

LTStraipsnyje siekiama pristatyti ankstyvuosius žinomus pal. Juozapato Kuncevičiaus grafinius portretus, juos apibūdinti, suskirstyti pagal tam tikrus ikonografinius tipus nurodant jų formavimosi etapus. Tekste išskiriami pagrindiniai portretų kompoziciniai tipai, kuriais remiantis buvo kuriami vėlesni palaimintojo ir šventojo Juozapato Kuncevičiaus portretiniai atvaizdai, puošę LDK bažnyčias, plitę už jos ribų. [Iš leidinio]Reikšminiai žodžiai: Juozapatas Kuncevičius; Šventojo atvaizdas; Ikonografija; Lietuvos Didžioji Kunigaikštystė (LDK; Grand Duchy of Lithuania; GDL); Josaphat Kuntsevych; Image of a saint in the GDL; Iconography.

ENThis article aims to present the early portraits of the martyr Josaphat Kuntsevych. The text briefly outlines the most important features of the martyr's depiction and the main types of his portrait that late became spread in various forms. Real images (vera eßgies) and their origin were closely related to the place where that person lived or worked (loca sancta). A true portrait of Josaphat Kuntsevych was commissioned in Vilnius when his beatification process was being prepared. Vilnius, where the martyr had spent a considerable period of his life, had huge significance upon the formation of the real portrait image of the Saint. The article discusses a few image types of Josaphat Kuntsevych that illustrate the development of the iconography of the saint through his artistic depiction. We may exclude the two main stages of the portrait image 's formation. During the first stage - from the death of Josaphat Kuntsevych (1623) until his announcement as Blessed (1642) - portraits were spread which bore his true appearance. In the first graphic portraits of Josaphat known to us, the martyr is depicted without the tools of martyrdom, with emphasis placed on those distinct features which best reflected his actual appearance. During the second stage (after his beatification, after 1642), an image of him as a martyr was created - with an axe in his head and a palm branch in his hand. This portrait then went onto become the iconographie image of Josaphat Kuntsevych. This image which had its own distinct iconographical varieties spread throughout church art in the GDL. [From the publication]

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