Pažaislio kamaldulių "Švč. Mergelės Marijos su Kūdikiu gėlių vainike" paveikslas kaip maldos ir tikėjimo kelrodis

LTStraipsnis skirtas Pažaislio vienuolyno Švč. Mergelės Marijos su Kūdikiu gėlių vainike paveikslo įvairiapusei analizei. Paveikslas visų pirma nagrinėjamas kaip kultinis atvaizdas, kreipiant dėmesį į maldingumo ir tikėjimo dermę, išgyvenamą prie šio malonėmis garsėjančio kūrinio. Tiriamas paveikslo sekinių paplitimas Lietuvos Didžiojoje Kunigaikštystėje, atliekami atvaizdo ikonografiniai tyrimai, atskleidžiama dailės simbolika ir turinys. Aptariamas paveikslo kilmės klausimas aiškinantis spėjamą dvigubą autorystę. Straipsnis parengtas pagal Lietuvos mokslo tarybos finansuotą projektą „Krikščioniškoji ikonografija XVII-XX a. Lietuvos dailėje: tradicijos ir transformacijos" (sutarties Nr. VAT-33/2012). [Iš leidinio]Reikšminiai žodžiai: Bažnyčios; Dailė, religinė; Ikonografija; Ikonologija; Istorija; Kaunas; Krikščionybė; Kristupas pacas; Kultas; Menas, religinis; Paveikslai; Paveldas, religinis; Pažaislio kamaldulių vienuolynas; Popiežius Aleksandras VIII; Restauracija; Stebuklai; Tapyba; Vienuolynai; Šv. Marijos su kūdikiu gėlių vainike paveikslas; Art, religious; Christianity; Churches; Cult; Heritage, religious; History; Iconography; Iconology; Kaunas; Kristupas Pacas; Lithuania; Miracles; Monasteries; Painting; Painting of Blessed Virgin Mary with Baby in the Wreath of Flowers; Pažaislis Camaldolese Monastery; Pictures; Pope Alexander VIII; Restoration.

ENPažaislis Camaldolese Monastery painting Blessed Virgin Mary with Baby in the Wreath of Flowers is the most genuine relic of this monastery which relates the past with the present. This image of Mary was presented by Pope Alexander VII on 30 July 1661 to Kristupas Zigmantas Pacas as a sign of special favour while establishing the Camaldolese Monastery. The patron in 1672 passed this image to the Camaldolese who hanged it in the monk gallery - in an altar painted in sky blue and decorated with silver carvings. During the tsar reign in 1833-1914 Orthodox monks prayed in front of this painting. Later believers addressed Mary in this image, also called as the Mother of Beautiful Love, with prayers and requests. Nowadays people pray and ask for protection as well. For 340 years already believers experience piety at this special Mary's image. Prayer cannot be separated from faith, their interrelation is always alive. Therefore, the object of this article is the painting of Blessed Virgin Mary with Baby in the Wreath of Flowers. The aim of the article is the universal investigation of this cult image emphasizing both theological and artistic expression in the context of spirituality. In order to realize the aim, the following tasks have been set: to reveal the harmony of piety and faith experienced at this cult Blessed Virgin Mary's image following specific examples by analysing the peculiarities of the miraculous cult of this painting and its spread; to reveal the rich iconography of this piece of art and the content of art symbolism by analysing the painting of Blessed Virgin Mary with Baby in the Wreath of Flowers; to arrive at generalizing conclusions. Seeking to realize these tasks, different methods have been employed. However, the object of the investigation has been mainly analysed by iconographic-iconological method.However, the object of the investigation has been mainly analysed by iconographic-iconological method. This method enables to reveal both the material (artistic form) and the spiritual (symbolic content) authenticity of the piece of art. After investigating Pažaislis Camaldolese Monastery painting of Blessed Virgin Mary with Baby in the Wreath of Flowers the author has arrived at the following conclusions. Firstly, the analysis of the peculiarities of the miraculous cult of this painting and its spread has revealed the harmony of piety and faith experienced at the miraculous image of the Holy Mother of God. 'Ms harmony has been revealed in specific examples. Secondly, fixed imitations of this glorious painting (17th-19th cent.) certify the spread of cult in both Catholic and Orthodox sanctuaries. Thirdly, it has been established that the iconography of Pažaislis painting unites two themes of the depiction of the Mother of God: the Loving Mary (Glykophilousa) of the Byzantine origin and Mary in the Wreath of Flowers. In the first one the role of maternity, which in its way also embodies the abstract maternity theme in the endless renewal, is emphasized. The second one, met in art since the end of the 15th century, is as if an allusion to the rosary prayer. Fourthly, the analysis of the Wreath of Flowers, painted in characteristic and expressive way, has indicated that every flower woven in the wreath in one or other aspect unfolds itself flowing into the completeness of the whole. The harmony of the miraculous image and the still life of flowers has been perfectly embodied in this painting. Fifthly, the vicissitudes of the history of the investigated painting can serve for the establishment of the authorship of this piece of art. [From the publication]

• Teologija / Theology
• Menotyra / Arts