Mickevičiaus Madona: atvaizdo ikonografija ir raiška romantizmo kultūroje
| Author | Affiliation | |
|---|---|---|
LT |
| Date |
|---|
2018 |
Straipsnio 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.
Mickiewicz’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 (Il 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 Dembinski 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. [...]