Šventųjų ir palaimintojo Mykolo Giedraičio paveikslai atgailos kanauninkų Videniškių bažnyčioje

LTStraipsnyje nagrinėjamas regulinių atgailos kanauninkų vienuolijos Videniškių bažnyčios tapybos paveldas. Remiantis archyviniais šaltiniais ir išlikusiais kūriniais siekiama ištirti altorių titulų ir paveikslų kaitą laikui bėgant, užčiuopti šventovės puošyboje pasireiškusius atgailos kanauninkų formuotus ikonografinės programos principus ir akcentus. Didžiausiais dėmesys skirtas išlikusiems tapybos kūriniams, ypač 2018 m. palaimintuoju paskelbto ir ta proga restauruoto palaimintojo Mykolo Giedraičio atvaizdui. [Iš leidinio]Reikšminiai žodžiai: Videniškių bažnyčia; Atgailos kanauninkai; Šventųjų ikonografija; Palaimintojo Mykolo Giedraičio paveikslai; Videniškės church; Repentant canons; Iconography of saints; Paintings by Blessed Mykolas Giedraitis.

ENThe article analyses the artistic values of the church in Videniškiai that belonged to the Regular Canon Penitentiary monastic order. Changes in the titles of altars and paintings over the centuries are investigated on the basis of archival sources and survived works. The study also reveals the principles of the iconographic program formed by the Order of Canon Penitentiary that revealed in the decoration of the church in 1618-1832. Attention is focused on surviving paintings of saints and especially to the origin and iconography of the image of Michał Giedroyć in the church in Videniškiai that was proclaimed blessed in 2018. The painting was restored on this occasion by Jūratė and Rimvydas Derkinčiai. In the late 17th century, there was a painting in the church in Videniškiai depicting saints of the Order of Canon Penitentiary. In the first half of the 18th century, a separate altar of St. Augustine, whose teaching was followed by the monks, with the titular painting was built. The church in Videniškiai is named after the martyr St. Lawrence who is connected with the origins of this order. His painting was placed into the second condignation of the side altar in the mid-18th century. His image never hung in the high altar because this most venerated place was dedicated to the divinity of Christ - glorify the revelation and the Immaculate Conception of the Virgin Mary. Side altars were dedicated to the representations of the passion of Jesus and the Virgin Mary. The saints of other monastic orders were also venerated in the church in Videniškiai. However, the canon penitentiaries chose not the founders of other monastic orders but other saint men distinguished by various charisma - Franciscan St. Anthony of Padua, Dominican St. Vincent Ferrer (not survived) and later - Jesuit St. Francis Xavier. St. Casimir, the patron of Lithuania and contemporary of the Blessed Michał Giedroyc, was venerated in the church in Videniškiai.The monks also upheld the cults of saints popular in the universal church. In the early 19th century, the paintings of St. Joseph and St. Jude Thaddaeus supplemented the set of pictures of the saints. In the church in Videniškiai, without particular respect to the Virgin Mary, the cults of the saint men dominated. There were no images of the saint women in the altars. To this day, the old painting of rare iconography depicting St. Augustine’s vision and a subtle painting of St. Anthony of Padua (both from the first half of the 18th century) have survived. The paintings of St. Lawrence and St. Casimir were replaced by new ones in 1850-1856 that could have been painted by the artist Kanutas Ruseckas or his apprentice. Canon Penitentiary monastic order and benefactors Giedroyć family took care of the spread of the cult of the blessed Michał Giedroyć in the church in Videniškiai. The old and alive tradition of the devotion of this blessed man is evidenced by the altar of the Blessed Michał Giedroyć in the church with ex-votos, a sign of grateful believers, and a large old painting with scenes of miracles mentioned in the document of the late 17th century. Up to this day, an image of the Blessed Michał of the contemplative composition has survived, which may have been painted on the occasion of the consecration of the church in 1684 or several decades later. Its artistic expression is typical to the paintings of the second half of the 17th century. The carving of the similar composition of Blessed Michał by Tarasevičius (the 1680s) could serve as an iconographic archetype for the painter. The painting of the Blessed Michał is covered by silver casings made in the second half of the 18th century. It is the only known image of the Blessed Michał with such type of decorations not only in Lithuania but also in Poland.In the early 19th century, the chapel of Giedraičiai was built to the church, and the painting was transferred to the altar there, where it remains to this day. [From the publication]