Mickevičiaus Madona: atvaizdo ikonografija ir raiška romantizmo kultūroje

LTStraipsnio objektas yra Dūkštų Šv. Onos bažnyčiai priklausęs "Apreiškimo Mergelės" paveikslas, kuris, XIX a. šaltinių liudijimu, galėjo priklausyti Adomui Mickevičiui. Pateikiami kūrinio istorijos metmenys, hipotezės, analizuojamos kūrinio ikonografinės ypatybės, išryškinamas atvaizdo funkcionavimo romantizmo kultūroje aspektas. Paveikslas sovietmečiu dingo, todėl aptariamas remiantis išlikusia ikonografine medžiaga. [Iš leidinio]Reikšminiai žodžiai: Apreiškimo Mergelė; Dūkštų Šv. Onos bažnyčia; Adomas Mickevičius (Adam Mickiewicz); Sassoferrato'as; Romantizmas; Virgin of the Afflatus; St Anne’s Church in Dūkštai; Adam Mickiewicz; Sassoferrato; Romanticism.

ENMickiewicz’s Madonna is a small devotional picture of the Blessed Virgin Mary at St Anne’s Church in Dūkštai, which has been associated with the Romantic bard Adam Mickiewicz (1798-1855) since the 19th century. Even today, the work is cloaked in an aura of mystery - the picture disappeared under suspicious circumstances during the Soviet period, and all knowledge of it comes from earlier publications and iconographic material. Due to a number of fateful coincidences, the claim that has become entrenched in Lithuanian historiography is that Mickiewicz’s Madonna is another image currently at the church, which was painted based on an initial 17th-century painting by Giovanni Battista Salvi (II Sassoferrato, 1609-1685). The aim of this article is to reveal the historical context of the image of the Dūkštai Blessed Virgin Mary attributed to Mickiewicz as a unique and exceptional case of cultural expression from the Romantic era in Lithuania, and, based on the surviving visual material, to analyse the iconographic details of the work. The construction of St Anne’s Church in Dūkštai organised by Fr Joachim Dembiński in 1850-1856 earned wide acclaim from society at large. The priest can be credited with the fact that being both a cleric and a cultural figure, he managed to rouse up not only the local parishioners, but also the educated layers of Lithuanian society, and the aristocracy, who became actively involved and enthusiastically contributed by generously donating works that were necessary for the shrine’s space - both acquired art, and their own works. The painting Mickiewicz’s Madonna became a representational piece in the course of this campaign. Ever since its appearance at the new St Anne’s Church in the 19th century, the painting of the Dūkštai Divine Afflatus of the Virgin has been the focus of exceptional attention and significance.This has been due to the romanticised accounts in the writing of Vladislovas Sirokomlė and Konstantinas Tiškevičius that the painting sent from Paris used to belong to Adam Mickiewicz and was his favourite picture of Mary. Some of the facts on this matter from the 19th century were inaccurate or were simply questionable. It is known that Mickiewicz really did give his close friend, the Polish writer and publicist Konstancija Lubenska-Wodpolowna the image of Mary as a gift. What remains unclear is how the work found its way to Dūkštai, however, it is likely that the painting in the church did once belong to the famous Romanticist bard. When analysing portrait iconography of Mary where she is depicted without the Infant, researchers often face the typological problem that similar compositions or even the same work is attributed to different themes, i.e., they have the same title. In cases where there is some discrepancy, the interpretation given by the author that has been entrenched in history is accepted. Mickiewicz’s Madonna is considered the Virgin of the Afflatus. This interpretation has been based on examples from European works and compositions where Mary is depicted with her hands clasped in prayer, which are often considered as the Virgin of the Afflatus, as well as on the publication by Mieczysław Skrudlik from 1926-1927, where the author compared the Dūkštai and Gates of Dawn images of the Virgin, highlighting the aesthetic parallels with the Afflatus. [From the publication]