Unikali šventųjų bendrija Vilniaus Šv. Kotrynos bažnyčioje

LTTyrimo objektu pasirinkta iki šiol ikonografiniu aspektu nedaug tyrinėta Vilniaus Šv. Kotrynos bažnyčios benediktinų šventųjų altorinių skulptūrų grupė. Straipsnyje atskleidžiama jos ikonografija, išryškinami esmingi kiekvieno asmens hagiografijos akcentai, galbūt nulėmę asmens įtraukimą į grupę. Nustatomi skulptūrų tarpusavio ryšiai, atitiktis altoriaus temai, nusakoma grupės reikšmė bendroje interjero ikonografinėje programoje. [Iš leidinio]Reikšminiai žodžiai: Benediktinai; Šventieji; Ikonografija; Skulptūra; Benedictines; Saints; Iconography; Sculpture.

ENThe church of St. Catherine in Vilnius stood out among the Benedictines in the Grand Duchy of Lithuania with a thoughtful multi-layered iconographic program based on the spirituality of the monastery and its baroque artistic tendencies. The sculptures of Benedictines created by John and Joseph Hedel that decorated the interior of the church are distinguished by the iconography reduced up to the minimum. Therefore, in many cases, only the underfoot inscriptions and inscriptions accompanying the side altar’ sculptures, verbally telling what is not expressed by artistic means or attributes, allow identification of persons. Insignia given to the images express their hierarchical status. It allows us to state that figures in altars are grouped on a hierarchical basis. Another decisive factor in choosing a particular person - as turned out the examination of the hagiography of saints - are individual connections with the primary topic of the altar. Only three sculptures have individual attributes. The symbol of the Trinity represented in the cartouche hold by Blessed Alcuin commemorates the most famous written work of the Saint dedicated to defending the doctrine of the Trinity when it was endangered by the heresy of the adoptionism. Saint Leander and Saint Hildegard trampled a head of Medusa, human and mythological monster, that symbolizes the heretical movements of Arius and Cathar, in which theology the main question was also the Trinity, defeated in the polemical struggle. The highlighting of these individuals can be understood as the purposeful implementation of a solution that becomes a key revealing the essential idea of the iconographic program. The collection of Benedictine images used for the altars, in its broadest sense, expresses a community of saints in the heaven that adore the St. Trinity painted on the second condignadon of the high altar.The visual totality of the altars can be perceived as the peculiar fulfilment of the iconographic type that formed in the glory of the Trinity of the post-Tridcntine period baroquely synthesizing paintings and sculptures into one whole. [From the publication]

• Menotyra / Arts
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