Šv. Kryžiaus kulto atspindžiai Vilniaus Kalvarijų bažnyčios sienų tapyboje

LTReikšminiai žodžiai: Ikonografija; Krikščionybė; Kryžiaus kelias; Sieninė tapyba; Sienų tapyba; Vilniaus Kalvarija; Vilniaus Kalvarijų bažnyčia; Vyskupas Ignotas Jokūbas Masalskis; Šv. Kryžiaus kultas; Bishop Ignacy Jakub Massalski; Calvary of Vilnius; Christianity; Cult of Holly Cross; Iconography; Mural painting; The Church of intention in Vilnius; The cult of the holy Cross; The murals; The way of the Cross.

ENThe present article discusses the influence of the cult of the Holy Cross on the development of the iconographic programme of the murals in the Vilnius Calvary church. Individual scenes of the ensemble have been set and analysed against the contemporaneous events from the history of the Vilnius Diocese. The murals, illustrating the Legend of the Holy Cross, consist of the following scenes: Victory of the Emperor Constantine over Maxent ius, Invention of the Cross, and Exaltation of the Cross. Additionally, as a background to the subject mailer, the development of the cull of the Holy Cross, and its pictorial tradition in Western art, but in particular in Eastern European and Polish and Lithuanian art, are summarised. A separate chapter is devoted to the motif of Christ's Passion, which appears in the murals on several sites in the church itself and is continued in stucco decoration of the sacristy. Inclusion of the subject of the Holy Heart, very popular in the 18th century, and theme of Christ's public activity in the overall icono- graphic programme of the church reflects devotion of the Mercy of God - very popular in that period - and is examined here with relevance to the existing situation in the Vilnius Diocese. Namely - to solemn celebration of the Jubilee Year [1776], the so-called "Merciful Year", declared by the Pope Pius VI, thanks to the bishop of Vilnius, Ignacy Massalski's personal engagement, and to the religious dogmas preached and taught on this occasion. The Dominican Mercy of God devotion has been discussed here as well and finally the issue of the authorship of the murals' iconographic programme is shortly outlined. [From the publication]