Madona su auskarais: Rykantų Švč. Mergelės Marijos su Kūdikiu paveikslo tyrimai ir restauravimas

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Language:
Lietuvių kalba / Lithuanian
Title:
Madona su auskarais: Rykantų Švč. Mergelės Marijos su Kūdikiu paveikslo tyrimai ir restauravimas
Alternative Title:
Madonna with earrings: the research and conservation of the painting of the Blessed Virgin Mary with the Child Jesus in Rykantai
Authors:
In the Journal:
Acta Academiae Artium Vilnensis [AAAV]. 2019, t. 92/93, p. 305-339. Restauravimo laboratorija
Subject Category:
LT
Apsauga ir restauravimas / Preservation and restoration; Religinis menas / Religious art; Tapyba / Painting.
Summary / Abstract:

LTStraipsnyje skelbiami ir interpretuojami Rykantų Švč. Mergelės Marijos su Kūdikiu paveikslo tyrimai, atlikti 2013–2014 m. restauruojant kūrinį. Tiriant įvairiais metodais analizuota kūrinio tapybos būklė, jo plastinės raidos istorija, kelti paveikslo sukūrimo laiko ir istorinės priklausomybės klausimai. Straipsnyje empirinė „laboratorinė“ kūrinio analizė jungiama su istorinėmis jo kilmės bei paskirties prielaidomis ir ikonografinių kontekstų nuorodomis. [Iš leidinio]Reikšminiai žodžiai: XVII–XVIII a. LDK tapyba; Rykantų Švč. Mergelės Marijos su Kūdikiu paveikslas; Rykantų Švč. Trejybės bažnyčia; Tapybos restauravimas; 17th–18th century painting of the Grand Duchy of Lithuania; Painting of Our Lady of Rykantai; Rykantai Church of the Holy Trinity; Painting conservation.

ENThe article presents and interprets the research on the painting of Our Lady of Rykantai conducted in 2013–2014 during the conservation of the work. In the course of the research, the condition of the painting and the history of its visual development was analysed by various methods, and the issues of its dating and historical provenance were raised. In the text, the empirical “laboratory” analysis of the work is combined with historical assumptions about its origin and function, its iconographical analysis and references to iconographic contexts. Though the composition of the painting and the nature of some details allowed us to presume that it was created in the 17th century, the data of chemical analysis moved that date to the 1720s–1730s. The iconography of the painting of Our Lady of Rykantai is related to the lost Madonna of Skaruliai (Madonna Skorulska), which appears in an engraving by Aleksandr Tarasewicz. This relation is based not only on the similarity of images visible to the naked eye, but also on the data of physical research: a radiograph image shows the rays surrounding Mary’s head, pendants decorating her clothes and strings of beads with ribbons tied at the sides. In the iconographic respect, the painting is also close to a wider group of images of the Mother of God, Ruler of Heaven, which imitate the miraculous painting of Our Lady of Bylynichy, famous in these parts from the 17th century.The above-mentioned iconographic links and analogues allowed us to distinguish unique compositional features characteristic exclusively of the given painting of Our Lady of Rykantai or rarely encountered in Marian iconography. Unlike in the above-mentioned variants of Hodegetria, the Virgin Mary in this painting is looking not directly in front of her, but at Jesus. The look is emotionally highly expressive feature of an anthropomorphic image, and in the case of the painting under discussion, its direction emphasises the bond between mother and son, adds intimacy to the work and distances it from the viewer. On the other hand, Mary’s humbly lowered eyes create a kind of contrast with her royal status and the regalia of power (crown, sceptre), which as if require an upright, strictly frontal and proud posture. The Blessed Virgin holds the sceptre in a specific way; besides, she is represented without a cloak or maphorium typical of canonical iconography, but with a veil freely covering her head, wearing not only a crown and a string of beads, but also pearl earrings which are quite rare in the images of Mary. The painting of Our Lady of Rykantai, depicting the Ruler of Heaven with the Saviour of the World in a portrait-like manner, is comparatively small and has a painted oval frame. Besides, a radiograph shows that under a layer of overpaint, in the foreground of the composition, a little altar or reliquary with two burning candles was represented in front of the Blessed Virgin Mary with the Child Jesus. These features allow us to presume that the painting was meant for private piety and might have belonged to some manor chapel or a private collection. Later, already placed in a casing, the work most probably hung in an altar or was part of a portable altar. Finally, probably in the second half of the 20th century, it found its way to the Rykantai Church of the Holy Trinity. [From the publication]

ISBN:
9786094473128
ISSN:
1392-0316
Subject:
Menotyra / Arts
Related Publications:
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https://www.lituanistika.lt/content/80032
Updated:
2019-11-07 13:37:19
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