Pasijų Vaikelis Vilniaus Šv. Teresės bažnyčios koplyčioje

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Language:
Lietuvių kalba / Lithuanian
Title:
Pasijų Vaikelis Vilniaus Šv. Teresės bažnyčios koplyčioje
Alternative Title:
Infant Christ Bearing the instruments of the passion in the Chapel of St Theresa's Church in Vilnius
Authors:
Račiūnaitė, Tojana
In the Journal:
Acta Academiae Artium Vilnensis [AAAV]. 2022, t. 106, p. 138-175. Vizijos, legendos ir sapnai mene = Visions, legends and dreams in art
Subject Category:
LT
Vilnius. Vilniaus kraštas (Vilnius region); Lietuva (Lithuania); Religinis menas / Religious art; Ikonografija / Iconography; Tapyba / Painting.
Summary / Abstract:

LTVilniaus Šv. Teresės bažnyčios sienų tapyboje sutinkamas Vaikelio Jėzaus, laikančio kančios įrankius, atvaizdas. Tai vadinamasis Pasijų Vaikelis – iš esmės simbolinis motyvas, jungiantis vaikystės ir mirties realybes. Kadaise šis metaforinis, sapniškas reginys turėjo savą suvokimo ir matymo kontekstą, šiandien prarastą, o gal pamirštą. Straipsnyje aptariama jo ikonografinė genezė ir istorinis kontekstas Vilniaus Šv. Teresės bažnyčios šoninės Dievo Apvaizdos (vėliau – Švč. Mergelės Marijos Gerosios Patarėjos) koplyčioje, bandoma rekonstruoti šio motyvo reikšmę bendresniame bažnyčios prienavio abiejų koplyčių įrangos ir sienų tapybos ikonografiniame kontekste. Atskleidžiama, jog, orientuojantis į šių koplyčių vienas priešais kitą įrengtus altorius, formuota dar viena ikonografinės programos ašis – Kristaus kančių, arba pasijų, ciklas, kuris tarytum kerta pagrindinės navos išilginę pasakojimo vaizdais ašį. Straipsnyje bandoma pagrįsti prielaidą, kad XVIII a. antros pusės bažnyčios polichromija buvo glaudžiai susieta su altorių titulinių atvaizdų ikonografija. Reikšminiai žodžiai: Vilniaus Šv. Teresės bažnyčia, Pasijų Vaikelis, Prahos Kūdikėlis Jėzus, Dievo Apvaizdos koplyčia, Kristaus kančios vaizdai, Švč. Mergelės Marijos Gerosios Patarėjos paveikslas. [Iš leidinio]

ENThe image of the Infant Jesus bearing the instruments of the Passion appears in the mural paintings of St Theresa’s Church in Vilnius. It is the so-called Infant Christ of the Passion – basically a symbolic, metaphorical motif connecting the realities of childhood and death. In the article, its iconographic genesis and the historical context of its appearance in the side Chapel of the Divine Providence (later, of Our Lady of Good Counsel) of St Theresa’s Church in Vilnius is discussed. The author attempts to reconstruct the meaning of this motif in a more general iconographic context of the furnishing and mural paintings of both chapels of the narthex. It is revealed that based on the altars of these chapels standing opposite each other, another axis of the church’s iconographic programme was formed – the series of the Passion of Christ, which was as if intersecting the axis of the visual narrative of the central nave running lengthwise. The author of the article tries to prove the supposition that the polychromy of the church from the second half of the 18th century was closely related to the iconography of the titular images of its altars. While discussing the development of the furnishing of the side Chapel of the Divine Providence, the author provides yet unpublished information in the historiography of Lithuanian art about the statuette of the Infant Jesus of Prague that was once held in that chapel, and the painting of Our Lady of Good Counsel that was held there since the second half of the 19th century and gave the new title to the chapel. Iconographic sources reflecting the development of the chapel’s furnishing – photographs from the first half of the 20th century – are published here for the first time.It has been established that the motif of the Infant Christ of the Passion painted on the vault of the Chapel of the Divine Providence is similar to those seen in engravings by Hieronimus Wierix and Peter Overadt. The motif of a basket and the background of a hilly dramatic landscape are borrowed from Wierix, and the visual expression and movement of the figure of Jesus – from Overadt’s engraving. Both possible sources of the segment of wall painting analysed in the article contain the same words of the psalm et in laboribus a iuventute mea – “I am in labours from my youth” (Psalm 87:16), indicating that the composition is part of the series of the Passion. The research allows us to assert that the side chapels installed in the narthex of St Theresa’s Church in Vilnius in 1764 after the fire of 1760 constituted a coherent programme of the Passion iconography. It was laid out along the axis of the altars of the opposite chapels (The Lord on the Cross and the Divine Providence (The Infant Jesus of Prague)), perpendicularly to the visual narrative about the life of the mystic St Theresa of Avila developed from the entrance to the high altar. The surviving scenes from the Passion-themed wall painting series in the narthex (Christ is stripped of his garments with a smaller composition Christ falls beneath the cross), the figures of the monochromic Blessed Virgin Mary and St John painted on the chapel’s pillars and the Infant Christ of the Passion painted in the late 18th century on the chapel’s vault on the opposite side constituted a coherent iconographical programme, which included both the sculpture of the Crucified Christ and the dressed statuette of the Infant Jesus of Prague.Thus, the sculpture of the Crucified Christ in the chapel’s altar before its reconstruction in 1783 was included in the sequence of Via Crucis stations, or the Mysteries of the Lord’s Suffering, as the Carmelites called them. On this basis we can make an assumption that the fresco on the vault of the Chapel of the Divine Providence – The Infant Christ of the Passion – had a certain programmatic link to the statuette of the Infant Jesus of Prague in the altar. Keywords: St Theresa’s Church in Vilnius, Infant Christ of the Passion, Infant Christ of Prague, Chapel of the Divine Providence, images of the Passion of Christ, painting of Our Lady of Good Counsel. [From the publication]

DOI:
10.37522/aaav.106.2022.122
ISSN:
1392-0316
Subject:
Menotyra / Arts
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Permalink:
https://www.lituanistika.lt/content/99121
Updated:
2022-12-07 21:13:06
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