Ką apie Gardino Koložos cerkvę pasakoja XIX a. - XX a. pr. ikonografija

LTStraipsnyje aptariama svarbaus LDK senosios architektūros paminklo - Gardino Šventųjų Boriso ir Glebo cerkvės XIX amžiaus ir XX a. pradžios ikonografija. Dailininkų ir istorijos mėgėjų susidomėjimas cerkve ypač sustiprėjo po to, kai 1853 m., paplautos Nemuno srovės, nugriuvo pietinė ir vakarinė pastato dalys. Turima ikonografinė medžiaga leidžia susidaryti tam tikrą vaizdą, kaip cerkvė atrodė prieš ją ištikusią katastrofą, ir gana nuosekliai atspindi naują jos istorijos etapą, paženklintą dar bemaž du dešimtmečius užtrukusio nykimo, po to - suintensyvėjusių pastangų gelbėti šventovės liekanas ir galiausiai, jau amžių sandūroje, vainikuotą sienų konservavimo ir šlaito tvirtinimo darbais. [Iš leidinio]Reikšminiai žodžiai: Dailininkai „archeologai“; Dailininkai „peizažininkai“; Fotografija; Gardinas; Ikonografija; Istorinis peizažas; Koložos cerkvė; Koložos Šventųjų Boriso ir Glebo cerkvė; "archaeological-type" artists; "landscape-type" artists; Grodno; Historical landscape; Iconography; Kalozha church; Kolozha Sts. Boris and Gleb church; Photography.

ENThe article discusses the iconography of Grodno church of Sts. Boris and Gleb (called Kalozha Church) - an important monument of the old architecture of the GDL - in the 19 th and early 20th century. This iconography can be divided into two groups. One - rather scarce - group consists of works that immortalise the church in its state before 1853 when, undermined by the Nemunas stream, the southern and western part of the building collapsed; another - much more abundant - group consists of works by artists and other history lovers that were created when the interest in church particularly increased and that reveal the varying condition of church remains. In the second group of artworks, two types can be distinguished: a “landscape type” with dominant motifs and composition typical of landscape genre and visible efforts of the author to immortalise a wider historical landscape (N. Orda, M. E. Andriolli) and an “archaeological type” which basically only documented the remains of the architectural monument (V. Gryaznov, I. Redkowski, Z. Gloger). Artworks featuring Kalozha Church created from the 1860s to 1880s are an important source of the post-disaster history of this monument evidencing the changes in both the state of remains and the approach towards them.In the mid-19th century, Kalozha was just one of the more interesting relics from the ancient past of this region but, after the suppression of the uprising of 1863 - 1864, as the pro-imperial rhetoric intensified and the aim to “restore the Russian origins” was increasingly actualised, the spread of the images of this church contributed to the Orthodox propaganda in the so-called North-West region (the GDL territory annexed by Russia.) Together with photography which became widely spread by the end of the 19th century, the images of Kalozha became an important instrument for the promotion of the church preservation and rebuilding idea and, at the same time, helped to promptly spread the knowledge on the achievements in the process of bringing this idea to life. The artists and photographers that captured Kalozha Church from the mid-19th century to early 20th century have accumulated a certain compendium of knowledge about the church that allow making the first scientific reconstructions of the building. [From the publication]