Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/60937
Type of publication: research article
Type of publication (PDB): Straipsnis kituose recenzuojamuose leidiniuose / Article in other peer-reviewed editions (S5)
Field of Science: Menotyra / History and theory of arts (H003)
Author(s): Šurkutė, Indrė
Title: Vilniaus Šv. arkangelo Mykolo bažnyčios didžiojo altoriaus ikonografija
Other Title: High altar iconography of the church of St Michael the Archangel in Vilnius
Is part of: Lietuvos Didžiosios Kunigaikštystės moterų vienuolijos : istorija ir paveldas : mokslo straipsnių rinkinys / sudarytoja Aušra Vasiliauskienė. Kaunas, Vilnius : Vytauto Didžiojo universitetas; Versus aureus, 2014
Extent: p. 211-226
Date: 2014
Note: Knygos ISBN 978-609-467-074-9 (Print); ISBN 978-9955-34-513-8 (Print); ISBN 978-609-467-075-6 (Online); ISBN 978-9955-34-512-1 (Online)
Keywords: Šv. arkangelo Mykolo bažnyčia;Didysis altorius;Ikonografija;Church of St Michael the Archangel in Vilnius;High altar;Iconography;17th century
ISBN: 9789955345138
Abstract: The paper aims at reconstructing the authentic high altar iconography of the Church of St Michael the Archangel (which formerly belonged to the Bernardine Sisters) in Vilnius. The theme of the decorum of the three-tiered altar devoted to the Holy Trinity might be related to piousness of Leonas Sapiega, the endower of the Bernardine Sisters Convent. Although its images were subjected to several changes and repainted in the course of history, the iconography of the Late Renaissance altar (the beginning of the 17th century) remained unaltered. The painted and moulded images of the Holy Trinity, archangels, apostles and the Church Fathers incorporated in the altarpiece lavishly illustrate God’s salvation plan for fallen humanity. The lower tier contains a painting of the Crucified Christ, whereas the upper one depicts God the Father with outstretched hands, who accepts Christ’s sacrifice for sinners. Although the persons of the Trinity are depicted on three separate canvas, the compositional pattern and the idea itself are closely related to the iconographic style of the Throne of Grace. The compositional pattern of God the Father draws on the vivid imagery of the Book of Revelation, which depicts adoration given to the One sitting on the Throne and the Lamb in the celestial liturgy. Apocalyptic allusions to the Last Judgement should not evoke fear but rather flare up hope in the believer who has encountered the paintings: now he participates in the earthly liturgy, yet, by the Redeemer’s grace, he/she will be shown mercy and participate in the celestial liturgy, thus being able to see the One seated on the throne face to face
Internet: https://eltalpykla.vdu.lt/handle/123456789/90
Affiliation(s): Menų fakultetas
Vytauto Didžiojo universitetas
Appears in Collections:Universiteto mokslo publikacijos / University Research Publications

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