Švč. Mergelės Marijos įvaizdžių sodas "Chaleckio dvinaryje" (1642)

LTStraipsnio tikslas – aptarti Švč. Mergelės Marijos simbolius, kuriuos savo kūrinyje naudoja LDK didikas Mikalojus Kristupas Chaleckis. Jis sukūrė ir pateikė skaitytojui Chaleckio dvinarį, arba Dvi Lelijų puokštes, kurios simbolizuoja Marijos prigimtinį tobulumą ir antgamtinį prakilnumą. Knygelėje, išleistoje Vilniuje, tėvų bazilijonų spaustuvėje 1642 m., pateikiamas savitas Marijos įvaizdžių rinkinys. [Iš leidinio]Reikšminiai žodžiai: Mikalojus Kristupas Chaleckis; XVII a. pirmos pusės LDK literatūra (lotynų k.); Devocinė literatūra; Meditacijų knygos; Emblema; Loreto Švč. Mergelė Marija; Akatistas; Valkininkai; Chaleckio dvinaris; Mikołaj Krzysztof Chalecki; Literature of the Grand Duchy of Lithuania of the first part of the 17th century (in Latin); Devotional literature; Emblem; Our Lady of Loreto; Akathist; Valkininkai; Chalecki’s Binary; Meditations books.

ENThe article analyzes the book Binarius Chalecianus sive due Manipuli Liliorum... (The Chalecki Binary, or Two Bouquets of Lilies) by Mikołaj Krzysztof Chalecki (ca. 1589–1653) published “in Vilnius, in the printing house of the Basilian fathers at the Church of the Holy Trinity, in the year of the Lord 1642” and dedicated to the Blessed Virgin Mary. This work is a unique collection of invocations to Mary, compiled in an extended emblem form. The book is divided into two parts, each consisting of twelve emblems. Each emblem is comprised of a lemma, a copperengraved icon (pictura) with an inscription, and a prose subscription. This customary three-part composition is supplemented by a separate quote with an extended prose explanation and another three wider prose reflections, so-called three drops of nectar, each having a title and an explanation. In other words, an emblem’s structure consists of seven separate modules, which form a construction of 24 emblems in the work. The work is characterized by binarity, and not only the duality of the structure of the work related to binary models, but also the duality of symbolism is underlined. In addition to the key theme – the praise of Mary and the lily represented in all icons of the emblems, – the theme of Christ is constantly emphasized with an adequate symbol. The chosen parts of the said work – “The Lily in Depths” and “The Lily in Sunlight” – correspond to the structure of the Akathist Hymn.This hymn widespread in the Byzantine tradition consists of 24 parts: twelve kontakia (a theological idea or a story from the life of Christ related to the life of Mary) and twelve oikoi (laudations and praises of Mary associated with her heavenly glory and her role in the history of Salvation); the hymn is both Mariological and Christological. In the visual part of the emblem, symbols associated with the qualities of Mary and her son Christ established in Christian iconography are mainly used, meanwhile the invocations to Mary are chosen from a much wider pool of sources, where the influence of the litany of Loreto and the Akathist of the Revelation to Theotokos is distinct; the Latin and Greek traditions of piety are harmoniously combined in this work and have acquired an original interpretation. The text provides grounds to presume that the Vilnius-based printmaker Christoph Albrecht Vogel, who collaborated with the Basilian and Jesuit printing houses in the middle of the 17th century, is the author of the engravings in this work. The booklet compiled by Chalecki is related to a concrete place – the Valkininkai filial monastery of the Conventual Franciscans of the Grand Duchy of Lithuania, as well as the cabin of Our Lady of Loreto endowed and furnished by the noble Mikołaj Krzysztof Chalecki and his wife, and the image of Mary, aimed to establish and disseminate a piety of new form. [From the publication]

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