Šv. Antano Paduviečio gyvenimas ir darbai Vilniaus pranciškonų bažnyčios skliauto tapyboje

LTStraipsnyje pirmą kartą Lietuvoje pristatomos Vilniaus Švč. Mergelės Marijos Ėmimo į dangų (pranciškonų konvetualų) bažnyčios centrinės navos skliauto tapybos kompozicijos, rekonstruojama ir nagrinėjama jų sandara ir ikonografija, atskleidžiama visų skliauto figūrinių kompozicijų idėjinė programa. Pasitelkdama rašytinius ir ikonografinius šaltinius, per vienoje bažnyčioje nutapytą ciklą autorė pristato Lietuvos Didžiojoje Kunigaikštystėje skleistus itin populiaraus pranciškono šv. Antano Paduviečio biografijos faktus ir dvasingumą. [Iš leidinio]Reikšminiai žodžiai: Šv. Antanas Paduvietis; Pranciškonai; Sienų tapyba; Ikonografija; Idėjinė programa; St. Anthony of Padua; Franciscans; Wall painting; Iconography; Idea program.

ENFor the first time in Lithuania, the article presents painting compositions on the vault in the central nave of the church of the Assumption of the Virgin Mary (Franciscan Conventuals). The study aimed to reconstruct and analyse the structure and iconography of the painting and reveal the conceptual program of all figurative compositions of the vault. The cycle of paintings on the vault in the central nave of the Franciscan church in Vilnius is an exceptional reflection of the devotion to St. Anthony of Padua in the lateBaroque art of the Grand Duchy of Lithuania. The cycle has no analogues in Lithuania, and the closest example is the wall painting in the Bernardine church in Warsaw. The study analyses 22 scenes that are currendy more or less visible; five of which are in central frescoes and 17 in the accompanying lunettes. In addition, the cycle is supplemented by ten emblem compositions whose extremely poor condition does not allow to understand the depicted motifs and symbols. At present, it is almost impossible to decipher their inscriptions or fragments, which would allow to understanding the meaning and language of the emblems. Therefore, the study does not analyse the emblematic compositions. Vault frescoes form a continues iconographic program depicting the most famous miracles and essential moments of the life of St. Anthony of Padua. Antanas Karenga, the guardian of the monastery, is hypothetically considered the creator of the iconographic program. Scenes were identified using the illustrated book Effigies S. Antonij Paduani by Johann Kauffmann about the life of Saint Franciscan and miracles published in Augsburg in 1699 and other pictorial analogues present in the European art. In addition, life descriptions of St. Anthony o f Padua were used: the first one - Assidua, the second - Juliana and later - Dialogus, Benignitas and Raymundina.Life of St. Anthony by Vergilio Gamboso and the work Iconographie de l'art chretien by Louis Reau as well as Žyvataišventųjų by Motiejus Valančius were also used. The cycle of frescoes on the vault of the central nave in the Franciscan Church in Vilnius consists of these scenes: 1) Ferdinands calling to join the monastery; 2) St. Anthony of Padua joins a Franciscan monastery (receiving the Franciscan habit or clothing); 3) Humble work of St. Anthony of Padua in the kitchen of the monastery; 4) St. Anthony of Padua response to the Dominican sermon; 5) The appearance of St. Francis of Assisi during the sermon of St. Anthony at the Arle Chapter (or the bilocation of St. Anthony of Padua in Montpellier or Limoges); 6) Ships rescue from the storm; 7) Miracle with a talking baby; 8) Miracle in Lisbon (Resurrection of the murdered to testify the innocence of St. Anthony’s father); 9) The re-attached foot; 11) St. Anthony of Padua has dinner with heretics (or "miracle of unbroken glass"); 12) St. Anthony of Padua sermon to the fishes; 13) The vision of St. Anthony of Padua (the apparition of the Holy Child to St. Anthony of Padua); 15) The angel messenger; 17) Sermon to the people; 18) Hair regrowth for a woman; 19) The salvation of the calling; 20) Miracle of the mule (miracle with the Blessed Sacrament); 21) Satan disturbs the preaching of St. Anthony. Due to the lack of prototypes and fragmentary visible images, scenes in frescoes No. 14,16 and 22 remain unidentified. The ongoing restoration of the frescoes may in the future revise the names of the scenes, uncovering all details of the images that would allow specifying and identifying the unknown scenes. The restoration of the emblematic compositions would allow a more in-depth and precise understanding of this iconographic program.The iconography of the vault is directly related to the miraculous image of St. Anthony of Padua and upheld devotion to Saint Franciscan. Selected plots of frescoes have originated from several sources written by the Saints contemporaries and later authors who documented the popular legends. The plot on the vault emphasizes the influence of the sermons of St. Anthony of Padua, his struggle against heresies and the dogma of the Incarnation. The particular importance was given to the Sacrament of Penance. [From the publication]