Vilniaus universiteto Joachimo Lelevelio salės restauravimo iššūkiai ir sprendimai

LTStraipsnyje pateikiama 2017–2018 m. Vilniaus universiteto J. Lelevelio salėje vykdytų polichromijos tyrimų ir sienų tapybos restauravimo darbų apžvalga. Analizuojama tyrimų metu rasta 1760 m. tapyta freska, įvairių XVII–XX a. laikotarpių sienų tapyba ir pristatoma jos restauravimo istorija. Apžvelgiami atliktų polichromijos tyrimų metodai, sienų tapybos išsaugojimo ir eksponavimo sprendimų priežastys. [Iš leidinio]Reikšminiai žodžiai: Vilniaus universiteto J. Lelevelio salė; Šv. Stanislovas Kostka; Sienų tapyba; Jerzy Hoppenas; Restauravimas; Joachim Lelewel Hall of Vilnius University; St Stanislaus Kostka; Mural painting; Jerzy Hoppen; Conservation.

ENThe construction of the part of the buildings of Vilnius University containing the Joachim Lelewel Hall began in the 16th–17th century. It is thought that the first floor was added in the late 17th century, and a Jesuit chapel may have been furnished and painted at the same time. Later the chapel was repeatedly renewed and reconstructed. In 1760, as the new rector Ignacy Żaba came to office, a fresco representing the Blessed Virgin Mary and St Stanislaus Kostka with the Christ Child was painted on the plafond of the chapel’s vault. When the Jesuit order was abolished, in 1775 the premises were given over to the Physics Department and equipped as a Physics Room. In the first quarter of the 19th century, the former chapel was divided into two floors and housed a drawing studio of the Art Department and, later, the Academy of Medicine and Chemistry and the Theological Academy, as well as the state archives. In 1920, the premises were given back to Vilnius University and during a renovation performed in 1925 baroque murals with several overpaintings were exposed on its vaults.The fresco representing St Stanislaus Kostka was not exposed at that time, as it was presumed that it did not survive. In 1930, Jerzy Hoppen took up the conservation works. While reconstructing the baroque murals on the vaults, he was more inclined to create an original work rather than preserve the authentic image. In 2017, the analysis of the vault and the murals revealed six stages of painting and its conservation, and an eighteenth-century fresco was uncovered. It was established that during the conservation, the murals were repainted so many times that neither the original baroque décor nor Hoppen’s reconstruction were visible. The overpaintings merged with each other, making it too complicated to distinguish which layer belonged to which stage. With the help of contemporary technologies, it was established that original paintings from different periods have survived in the hall, and on the basis of the discovered data, the conservation concept was mapped out. It was decided to reject the uniformity of colours and stylistics in the hall, and to reveal the authenticity and originality of painting from different periods respecting the historical development of the hall was made top priority. [From the publication]