Nauji faktai apie Kauno arkikatedros bazilikos paveikslą „Triumfuojančioji Bažnyčia“
| Author | Affiliation | |
|---|---|---|
LT |
| Date | Issue | Start Page | End Page |
|---|---|---|---|
2010 | 34(62) | 197 | 208 |
XVII a. baroko altoriuose buvo ypač pabrėžiamos poreforminės Bažnyčios triumfo, Kristaus Kūno ir Kraujo, šventųjų idėjos. Šios idėjos atsispindėjo Bažnyčios triumfą vaizduojančiuose dailės kūriniuose: graviūrose ir altorių paveiksluose. Taigi straipsnio tikslas yra išanalizuoti ir palyginti 1626 m. Antverpene atspausdinto mišiolo graviūrinę iliustraciją su Kauno Šv. apaštalų Petro ir Pauliaus katedroje esančiu Triumfuojančiosios Bažnyčios paveikslu, nutapytu 1706 m., atskleidžiant jų teologinę prasmę ir plastinę raišką.
The comprehensive and collective monography of Kaunas Archcathedral Basilica of St. Apostles Peter and Paul was published in 2008, where for the first time four authors described this shrine as the phenomenon of an integrated, multi-faceted political and spiritual history. The versatile art iconology disclosed in the chapter designed for an interior art. Though, the author of this comprehensive study is regretful, that only at the beginning of 2010 artistic genesis of one of the most valuable artworks in this shrine – The Church Triumphant – was discovered. Thus for this reason, there is a will to return to the analysis of this sacred art object once again. The old Missals are kept in Rare Book Department of Kaunas County Public Library, i. e. Catholic liturgical books, which contain the conventional and celebratory order of the Holy Mass. Such Missals often have an artistic bound; they are decorated with initials and illustrations. In our analysis two Missals are important for different reasons; both printed in Antwerp in 1626 and 1634, both contain a print illustration, which can be considered as the prototype of the painting in Kaunas shrine. Thus the aim of this article is to analyze and compare the iconography of the illustration (prototype) from the Missal printed in 1626 and the altar painting (original), revealing their theological meaning and plastic expression. To achieve this objective, icon-theological method will be used, as Christian art is oriented to the embodiment of Christian truths rather than the aesthetic challenges. The post-reform ideas of the triumph of the Church, Christ’s Body and Blood, the saints have been particularly highlighted in the Baroque altars of the 17th century. These ideas reflected the triumph of the Church represented in the works of art: prints and altar paintings.[...].