Trakų bizantinė tapyba ir antroji pietų slavų įtakos banga

LTBizantinės sienų tapybos Trakų parapinėje bažnyčioje, o kartu ir Salos pilies rūmuose, kilmės paieškos ir priskyrimas Moravos mokyklai iškėlė klausimą, koks buvo Serbijos meistrų kelias į Lietuvą ir kokiomis aplinkybėmis jie galėjo gauti didžiojo kunigaikščio ar jo aplinkos užsakymų. Apie 1419 m. Trakuose sukurta sienų tapyba ir 1428 m. Smolenske perrašytas šv. Izaoko Siro pamokymų kodeksas - tai Vytauto užsakyti pietų slavų intelektualiosios kūrybos paminklai. Keliama hipotezė, kad pietų slavų įtaka, bažnytinėje stačiatikių raštijoje pasireiškusi nuo XIV a. pabaigos, LDK katalikišką aplinką pasiekė dėl didžiojo kunigaikščio politinio bendradarbiavimo su Stačiatikių bažnyčios hierarchais, visų pirma išrinktuoju Kijevo metropolitu Grigaliumi Camblaku ir Smolensko vyskupu Gerasimu. Camblakas laikomas jungtimi tarp Trakų tapybos užsakovo ir Moravos mokyklos meistrų. [Iš leidinio]Reikšminiai žodžiai: Antroji pietų slavų įtakos banga; Bizantinė sienų tapyba; Grigalius Camblakas; Konstantinopolis; Lietuvos Didžioji Kunigaikštystė (LDK; Grand Duchy of Lithuania; GDL); Vytautas Didysis, 1350-1430 (Vytautas the Great); Moravos mokykla; Serbijos despotatas; Smolenskas; Trakai; Vyskupas Gerasimas; Šv. Izaokas; Šv. Izaokas Siras; Bishop Gerasim; Byzantine; Byzantine wall-painting; Constantinople; Gregory Tsamblak; Lithuanian Grand Duke Vytautas; Morava; Morava School; School; Second wave o f South Slavic influence Grand Duchy of Lithuania; Second wave of South Slavic influence; Serbian Despotate; Smolensk; St. Isaac; St. Isaac the Syrian; Trakai; Wall-painting.

ENThe style of wall-paintings in the Roman Catholic parish church of Trakai hints at their Balkan provenance. Moreover, the identical structure of base-plaster and similar proportions of figurative compositions of the paintings in the church and the nearby palace of the island- castle suggests that the two interiors were decorated by the same masters. Attribution of the paintings to the Morava School of late medieval Serbia prompts inquiry into the paths that the painters followed to get commissions at the court of Lithuanian Grand Duke Vytautas (r. 1392-1430). Gregory Tsamblak (ca. 1364-1419/20), famous theologian and writer, the former abbot of the Decani monastery and, since 1415, the Metropolitan of Kiev, is seen as a possible link between the painters and their Lithuanian patron. Moreover, the composition of the Last Judgment that has been reconstructed in the Trakai church suggests that it was affected not only by the hands of Orthodox masters who painted the church walls but also by Orthodox minds that contributed to its iconography, echoing the Serbian ideas of eschatological kingship.This raises a broader inquiry into the Orthodox intellectual influence at the Catholic court of the Lithuanian grand duke. In 1428, the homiles of St. Isaac the Syrian were copied upon the grand dukes will and wish. Popularised among the Slavic followers of hesychasm, the ascetical teachings of St. Isaac are considered indicative of the second wave of South Slavic influence in the territories of the former Rus’. Were the paintings in Trakai and the codex copied in Smolensk a part of this influence? How did the influence spreading through the monastic circles reached the court of Lithuania’s Catholic ruler? The hypothetical answer to these questions suggests revising the monastic scenario of the influence by adding a political component to it. In all likelihood, the activities of the highest Orthodox clergy were not reserved to Church matters only and these hierarchs, Tsamblak and his follower Bishop Gerasim, to name the most prominent figures, promoted the then current and hence southern in origin teachings at the Lithuanian grand ducal court. [From the publication]

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