Devociniai paveikslėliai - vakarykščio pasaulio atšvaitai

LTStraipsnis skirtas smulkiems leidinėliams, esantiems spaudos, dailės ir net religijos paraštėse, marginalijoms, neturinčioms net nusistovėjusio bendrinio pavadinimo. Tai - religiniai / devociniai, šventųjų ar šventieji paveikslėliai (abrozdėliai) - katalikiškos devocionalijos. Jų paskirtis - skatinti asmeninį, intymųjį m aldingumą. Aptariami mūsų prosenelių maldaknygėse laikytų paveikslėlių panaudos būdai ir funkcijos, apžvelgiamas paveikslėliuose paliktų rankraštinių "pėdsakų" komunikacijos laukas, atidengiama tipiškuose XIX a. antros pusės-XX a. pradžios masinės gamybos paveikslėliuose slypinti vakarykščio pasaulio mozaika, drauge ir Lietuvos nepriklausomybės tapsmo ženklai. [Iš leidinio]Reikšminiai žodžiai: Religiniai paveikslėliai; Bažnyčių dailė; Kontrafakcija; Lietuvių raštija; Maldingumas; Atminimo kultūra; Religious pictures; Church art; Contra-faction; Lithuanian writing; Devoutness; Cultural memory.

ENThe religious pictures that were so widely circulated in society in the late 19th-early 20th centuries created a unique communication field, which the author attempts to overview in the publication. These mass-produced objects did not only make private devoutness easier to achieve, but were also the initial images of sacred and folk art works, an elementary reader, so to speak, in Christian iconography, or a certain artistic standard. They were a popular gift, or commemorative object, a greeting used in place of a postcard - simply, a part of cultural memory. In addition, they acquired some of the features characteristic of votive offerings. They would frame the daily existence of a given person: acting as a reminder of the first important celebration - one’s First Communion, whereas placed in the hands of the deceased, they would see them off onto their final journey. The pictures were also considered a funereal object. The auxiliary functions of devotional pictures are alike in almost all Catholic countries. Nonetheless, these small prints are also an intimate history of a small nation, or more precisely - its tiny fragments, authentic testimonies of the people and the period. Individual expression (inscriptions, provenances) - the content of these ego documents - added uniqueness to the mass-produced objects. Amid the background of the ban on printed material, the pictures developed into one of the aspects of the book-smuggling phenomenon, and a way of reviving Lithuanian writing. They are important to the development of Lithuanian writing, often testifying to the unity of religious and national goals. The Lithuanian pictures are also a reflection of the political realities of that period, recording the opposition to Russification and the first inclinations towards sovereignty. [From the publication]