Veiviržėnų bažnyčios iliuzinė tapyba ir XVIII a. II pusės - XIX a. I pusės Kristaus kapo dekoracijos : politikos priemonės ir jų sėkmė

LTStraipsnyje nagrinėjama Veiviržėnų Šv. Mato bažnyčios apipavidalinimui naudota iliuzinė tapyba, apie kurią liudija iki mūsų dienų išlikęs ant drobės tapytas Šv. Marijos Magdalietės altorius. Pasidomėti šia tema paskatino bažnyčios palėpėje surasti kontūrinės tapybos paveikslai, retabulo fragmentai, po to archyviniai duomenys apie šventovėje buvusį tapytą Kristaus kapą. Siekiant „rekonstruoti“ kūrinį, ieškota XVIII a. II pusės – XIX a. I pusės katalikiškos Europos Velykų dekoravimo pavyzdžių, apibendrintos Lietuvos bažnyčių archyviniuose dokumentuose surastos žinios apie minimo laikotarpio Kristaus kapo apipavidalinimą. Aptariama vėlyvojo baroko dekoracijų sandara ir ikonografija. Remiantis analogais, aiškinamasi Veiviržėnų bažnyčios iliuziškai tapytų kūrinių autorystė. [Iš leidinio]Reikšminiai žodžiai: Veiviržėnų bažnyčia; Velykų dekoracija; Kristaus kapas; Iliuziškai tapyti retabulai; Vėlyvojo baroko tapyba; Veiviržėnai Church; Easter decorations; Tomb of Jesus; Retables with trompe l’oeil painting; Late Baroque painting.

ENThe object of analysis of the current paper is the trompe l’oeil painting used in the decoration of the Church of St. Matthew in Veiviržėnai from the end of the 18th to the 2nd quarter of the 19th century, which is testified by the surviving altar of St. Mary Magdalene painted on canvas. The authoress of the paper also aims to establish the origin of several wooden planks containing the compositions of trompe l’oeil painting (“Agnus Dei”, “Angels in Adoration”), some architectural details and contour paintings (“Our Lady of Sorrows”, “Angel”, a detail of “St. John”) discovered in the attic of the church. Information found in the documents about a painted Tomb of Jesus of superb craftsmanship held in the church directed research to the decoration of the Paschal Triduum. In the 2nd half of the 18th century and the 1st half of the 19th century, the painted Easter decorations of the Tomb of Jesus were not known in Lithuania (with the exception of a contour composition in Tytuvėnai and several individual sculptures of the Deceased Christ, the Lying Christ, and the Resurrected Christ), thus a wider context has been introduced: examples of the Tomb of Jesus of Late Baroque in Catholic Europe. The structure and iconographic programme of Late Baroque decorations that have survived mainly in the churches of the Alps region (Switzerland, Germany, Austria) is explored. Information about the Lithuanian versions of decoration of the Tomb of Jesus has been sought in archival sources. Referring to the sources it can be asserted that the structure and iconography of Late Baroque versions of the Tomb of Jesus widespread in Catholic Europe (which survived in the churches of the Alps region) was adopted in Lithuania. From the 2nd half of the 18th century compositions painted on a handcrafted shield consisting of three to five gates, and retables with trompe l’oeil painting prevailed.The surviving works of contour painting depicting the scenes from the Old Testament “King David” and “Daniel in the Den of Lions” show the favourite compositions of the Old Testament used in the decoration, the most popular symbols, and the allegoric visual language. The example of the Tomb of Jesus of Veiviržėnai Church painted on wooden planks that survived in fragments is a typical work of Late Baroque and so far the sole known Paschal decoration of retable type containing trompe l’oeil painting in Lithuania. The author of this work, painter Jagminas who worked in Samogitia, was identified according to the existing analogues. Under the impact of the ideas of Enlightenment, the attitude to the decoration of the Tomb of Jesus gradually changed. The aim was to present a historical interpretation of the events of the New Testament (by depicting the environment and landscape of the times of Jesus Christ), to clarify and emphasize the idea of the New Testament, the suffering of Christ, and salvation. In provincial churches the aspect of domestic life sometimes became predominant, and some elements of funerary decoration were adopted. The research that has been carried out reveals the spread of culture and art of Catholic Europe and the timely and natural adoption of traditions. [From the publication]