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Tekste plačiau pristatoma ir nagrinėjama vieno Lietuvos menotyros apyvartoje nežinoto grafikos lakšto ikonografija. Tai nyderlandų graverio Theodooro Galle pagal LDK didiko Mikalojaus Kristupo Radvilos Našlaitėlio sumanymą išraižytas grafikos kūrinys, kuris gimė didikui bendradarbiaujant su Plantino-Moretus spaustuvininkais ir nyderlandų graveriais, kai spaudai buvo rengiamas garsios Radvilos Našlaitėlio knygos "Kelionė po Jeruzalę" aprašymas. Raižinyje persipina kelios temos – žmogaus gimties, gyvenimo, mirties ir amžinojo gyvenimo tema, taip pat galime įžvelgti Radvilos Našlaitėlio gyvenimo istoriją, atsispindi to laiko žmogaus gyvenimo vertybės, santykis su Šv. Raštu ir mąstymas apie amžinybę. Reikšminiai žodžiai: ikonografija, žmogaus gyvenimo teatras, XVII a. pirmos pusės grafika, Mikalojus Kristupas Radvila Našlaitėlis, Theodooras Galle, Tomas Makovskis. The print The Tree of Human Life (Arbor Humanae Vitae) is distinguished by its size and rich textual and iconographic material. It combines several iconographic themes – the tree of life, a comparison of a rich man’s and a poor man’s life based on the text of the New Testament (Lk 16, 19-31), and the themes of death and eternal life. These themes are intertwined and related to separate periods of human life (birth, life, death and eternal life), and the engraving itself is embellished with numerous quotes from the Holy Scripture. In total, the copper engraving has a hundred (100) inscriptions-quotes, which expand its visual part and are grouped semantically, while the right and the left sides of the engraving are connected according to the principle of opposites. Though the number of quotes is incredibly large, the artist successfully “dealt” with this task, creating a relatively harmonious composition, even though in some places the inscriptions infringe on the visual part of the illustration or overshadow it. On the other hand, the amount of the inscriptions shows that the author of the engraving, Mikołaj Krzysztof “the Orphan” Radziwiłł, was well versed in the Holy Scripture and arranged them consistently, bringing out the theme of earthly life relevant for that time, and introducing a vision of eternal life. The iconographic analysis of the artwork that has barely caught the attention of Lithuanian art researchers shows its relation to the poetic work The Rise of the Radziwiłłs (Aulaeum Radzivilaeum, 1604) by Mathias Nevius. It is one of the very few examples in the history of Lithuanian art when the main idea of the artwork and the name of the author of its drawing/engraving? (Tomasz Makowski (1575–1630)) is conveyed through the poetic word. This engraving created in Antwerp illustrates the cooperation between the author of the idea, magnate Mikołaj Krzysztof “the Orphan” Radziwiłł, and his engraver Theodoor Galle who embodied his client’s vision. Keywords: iconography, theatre of human life, graphic art of the first half of the 17th century, Mikołaj Krzysztof “the Orphan” Radziwiłł, Theodoor Galle, Tomasz Makowski.

Straipsnyje apžvelgiami Stakliškių Švč. Trejybės bažnyčios XVII–XVIII a. vėlyvojo baroko bei XIX a. interjero įrenginiai ir dailės kūriniai, siekiant išanalizuoti jų stilistines ypatybes, ikonografiją, kaitą. Remiantis XVIII–XIX a. archyviniais dokumentais ir bažnyčioje esamų meno kūrinių ikonografiniu-ikonologiniu bei formaliuoju tyrimais, atskleidžiamos laikotarpiui būdingos meninės raiškos formos ir prasmės, meninė vertė. Daugiausia dėmesio skiriama bažnyčios altorių – retabulų meninės raiškos, ikonografijos ir atvaizdų analizei. Pasitelkiant archyvinius šaltinius – išlikusias bažnyčios vizitacijas, – siekiama išsiaiškinti pirmines ikonografines programas. Aptariami kiti bažnyčioje išlikę sakralinės dailės įrenginiai ir skulptūrinės kompozicijos: krikštykla, sakykla, skulptūros. Raktažodžiai: Stakliškių Švč. Trejybės bažnyčia, Boufalai, ikonografija, barokas, Lietuvos sakralinė dailė. The article gives an overview of the interior furnishings and works of art of late Baroque of 17th–18th centuries and the 19th century at the Stakliškės St. Trinity Church. With reference to the interior works of art the article anlyses their stylistic features, iconography and changes. Based on archival documents from the 18th and 19th centuries and iconographic-iconological and formal studies of the works of art of the church, the forms and meanings of artistic expression, as well as the artistic value characteristic of the period, are revealed. The main focus is on the analysis of the artistic expression, iconography and images of the church altars - retables. Using archival sources – surviving church visitations – the aim was to clarify the original iconographic programmes. Other sacral art installations and sculptural compositions which have survived in the church, and which include the baptistery, the pulpit, the sculptures are discussed. Keywords: Stakliškės St. Trinity Church, Bouffal, iconography, Baroque, Lithuanian sacred art.

Straipsnis skirtas istoriografijoje mažai tirtam objektui – Pirmojo pasaulinio karo laikotarpio Vilniaus dailei, kai miesto meninėje scenoje atsirado naujas žaidėjas – vokiečių dailininkai. Jie atvyko į Rytų frontą kaip kareiviai, dažniausiai dirbo masinėse medijose ir Oberoste sukūrė daug kūrinių vietiniais motyvais, tarp kurių svarbią vietą užima žydiška tematika. Autorė parodo, kaip Vilniuje leisti vokiečių laikraščiai ir iliustruoti jų priedai vaizdavo žydiškąjį Vilnių, kaip formavo žymiausias ikonines jo vietas. Nagrinėjama, kuo skyrėsi tekstinės ir vizualinės interpretacijos, analizuojamas Vilniuje leistų laikraščių "Zeitung der 10. Armee" ir "Wilnaer Zeitung" turinys ir publikacijų skirtumai. Straipsnis pirmą sykį istoriografijoje atskleidžia, kaip laikraščiuose dirbusių intelektualų – žurnalistų, rašytojų, dailininkų – liberalios pažiūros ir žydiška kilmė veikė "Ostjuden" diskurso atsiradimą, kokią reikšmę jam turėjo neformalus „Inteligentų klubas“, veikęs Kaune Pirmojo pasaulinio karo metais ir propagavęs sionistines pažiūras, taip pat iškeliamas tuo pačiu metu susiformavusio žydiškojo diskurso poveikis tarpukario Vokietijos ir Vilniaus meninei aplinkai. The aim of the article is to show the picture of Jewish Vilnius / Vilna created by German artists during the First World War. The research is based on an analysis of works of art published in the press of the time, or stored in institutions in Lithuania, Germany and Belgium, and also on an analysis of writings in German periodicals of that time. The media in Ober Ost during the war took an anti-semitic stance, promoted by the top military leadership, but the author of the article argues that there also existed a different attitude towards the Jews of Vilnius and their heritage. The views and origins of journalists, writers and artists taken on by the editorial boards of German newspapers published in Vilnius and Kaunas influenced the emergence of the "Ostjuden" discourse. This discourse was rather contradictory, and included both fascination with the traditional religious Jewish community, and its cultural heritage and spiritual values, and at the same time horror at the suffering and poverty of the community. This discourse also remained viable in postwar Germany, and influenced the identity of Jewish art in Vilnius in the interwar period.

Straipsnyje sapnų ir vizijų pristatymas Pamokslininkų ordino įkūrėjo šv. Dominyko (Domingo de Caleruega, apie 1174–1221) ikografijoje aptariamas remiantis XVI–XVIII a. Vilniaus pranciškonų ir dominikonų vienuolynų aplinkoje sukurtų dailės kūrinių pavyzdžiais. Lyginant atvaizdus su juos įkvėpusiais pasakojimais, užrašytais pirmajame šventojo gyvenimo aprašyme, vėlesnėse biografijose ir legendose įvardijami skirtingi sapnų ir vizijų vaizdavimo būdai: pasakojimo pristatymas per šv. Dominyko atributus, Pamokslininkų ordino veiklą simbolizuojančią šventojo figūrą arba „čia ir dabar“ vykstančios vizijos kompozicijas. Aptariama, kaip pastarasis žanras, išpopuliarėjęs baroko dailėje, savo įtaigumu nustelbė ankstesnius regėjimų vaizdavimo būdus ir leido šv. Dominyko ikonografijoje įtvirtinti vėlesnes legendas apie vizijas. Atkreipiant dėmesį į šv. Dominyko figūros komponavimą analizuojamuose kūriniuose, aptariamas šventojo vaidmuo sapnų ir vizijų atvaizduose. Reikšminiai žodžiai: šv. Dominykas, dominikonai, pranciškonai, ikonografija, vizijos, sapnai. The article analyses how dreams and visions are conveyed in the iconography of St Dominic (Domingo de Caleruega, circa 1174–1221). The analysis is based on the examples of the 16th–18th century artworks that belonged to the Dominican and Franciscan convents in Vilnius, Lithuania. Comparing the images with the texts that shaped their iconography, different types of the visual representation of dreams and visions are distinguished. The author maintains that accounts based on the testimonies of witnesses to the canonization process helped to form the main attributes of St Dominic, although they usually did not evolve into popular themes in later visionary art. These attributes became the symbols of the Order of Preachers and the figure of its founder in the representation of the famous dream of Pope Innocent III in the Church of the Holy Spirit in Vilnius. Visionary art that became popular in the baroque era sought to present the exact moment of St Dominic’s vision. Its spectacular compositions overshadowed the previous ways of visualization, as is shown by the examples of the early 16th and 18th-century frescoes from the Churches of Sts Francis of Assisi and Bernardine of Siena and the Holy Spirit in Vilnius. Moreover, in baroque visionary art, legends from a later period were embedded into the iconography of St Dominic as visions of receiving the Rosary or the Portrait of Soriano. The texts dating back to the times of St Dominic and later legends all describe dreams and visions as encounters between heaven and earth. The examples of artworks from the Dominican and Franciscan convents in Vilnius confirm that the concept of dreams and visions was also expressed in the iconography of St Dominic. In the visual representations of these encounters, the saint was shown as a representative of his Order and a mediator between God, other saints and humankind. Keywords: St Dominic, Dominicans, Franciscans, iconography, visions, dreams.

Straipsnyje nagrinėjama, kokią įtaką retos ikonografijos "Gerosios Vilties Viešpaties" atvaizdų atsiradimui Lietuvoje turėjo garsaus geologo Ignoto Domeikos (1802–1889) šeimos istorija. Pristatoma atvaizdo istorija ir gerbimo tradicijos plėtra Čilės Santjage ir Vilniaus arkivyskupijoje. Tyrimo metu išaiškėjo Ignoto Domeikos sūnaus kun. Hernáno Domeikos (1859–1931) vaidmuo "Gerosios Vilties Viešpaties" kulto sklaidos istorijoje, nustatyta Vilniaus katedros paveikslo autorystė (Manuelis Jesús Núñezas Gonzálezas, 1870–1953), koreguota istoriografijoje įsitvirtinusi klaidinga paveikslo sukūrimo data, identifikuoti atvaizdo votai Vilniaus katedroje. Vilniaus arkivyskupijoje "Gerosios Vilties Viešpaties" kultas paplito 1899–1929 m.: 1899 m. auksakalio Mykolo Nieviadomskio dirbtuvėse buvo sukurtas katedros paveikslo aptaisas, gausėjo votų. 1901 m. Senųjų Trakų bažnyčioje šalia presbiterijos įrengta titulinė "Gerosios Vilties Viešpaties" koplyčia, jos altoriui nutapytas paveikslas (signuotas: BJC, 1901 r.), 1929 m. Vilniuje išleista pamaldumui ir istorijai skirta knygelė "Pan Jezus Dobrej Nadziei", 1943 m. patvirtinti maldos į "Gerosios Vilties Jėzų" tekstai lietuvių kalba. Iki Antrojo pasaulinio karo Vilniaus arkivyskupijoje atvaizdo gerbimą platino Vilniaus vyskupų aprobuoti maldingi leidiniai, raižiniai, devociniai paveikslėliai, litografijos. Pamaldumas užgniaužtas sovietmečiu. Atgavus Nepriklausomybę ir 1989 m. atšventinus Vilniaus katedrą, "Gerosios Vilties Viešpaties" atvaizdas buvo pakabintas centrinėje navoje, nuo 2003 m. – Švč. Sakramento (Vyskupų) koplyčioje. 2020 m. lapkritį prie "Gerosios Vilties Viešpaties" paveikslo sukabinti šio tyrimo metu identifikuoti votai. The article aims to find out whether the appearance of the images of The Lord of Good Hope with its rare iconography in Lithuania was influenced by the family history of the famous geologist Ignacy Domeyko (Lith. Ignotas Domeika, 1802–1889), while emphasising the contribution of his son, Rev. Hernán Domeyko (1859–1931), towards the dissemination of this cult. The history and iconography of the image, as well as the development of the veneration tradition in Santiago de Chile and the Vilnius Archdiocese is explored. The authorship of the painting of Vilnius Cathedral is established, the erroneous date of its creation established in historiography is corrected, and the votives belonging to the painting are identified.

2020 m. Nacionaliniame M. K. Čiurlionio dailės muziejuje vyko paroda "Ir žodis tapo reginiu: vaizdiniai pasakojimai XVIII-XX a. lietuvių medžio ir linoraižiniuose". Jos tikslas buvo parodyti raižytojų įvaizdintas biblines, šventųjų gyvenimo istorijas (senieji XVIII-XIX a. medžio raižiniai) ir literatūros kūrinių iliustracijas (XX a. medžio ir linoraižiniai) išryškinant stilistines sąsajas tarp žemaitiškų liaudies raižinių ir XX a. grafikų kurtų atspaudų. Tikslas buvo pasiektas, tačiau paraštėse liko įdomybių, kurios atsiskleidė rengiantis parodai, tačiau nebuvo akcentuojamos eksponuojant kūrinius, kadangi vaizdiniai pasakojimai tuomet buvo apsibrėžti tik kaip tiesioginės biblinės ar literatūrinės istorijos, perteiktos raižytojo rankų. Tad šis tekstas anuometinius pasakojimus papildys nuorodomis, kontekstualiau atskleidžiančiomis raižiniuose įvaizdintus pasakojimus. Straipsnyje su skaitytoju bus dalijamasi žiniomis apie raižinių sukūrimo aplinkybes ir autorius. Kiek išsamiau nei kiti raižytojai bus pristatomas Aleksandras Vinkus-Vitkauskas, kurio 190-ąsias gimimo ir 110-ąsias mirties metines šiemet minime. Pasakojimai čia įgis platesnius istorinius, sociokultūrinius kontekstus, įžvelgtus tyrinėjant atskiras raižinių detales ar išraižytus tekstus. Tyrimo objektu pasirinkti XVIII-XIX a. žemaičių medžio raižiniai, nes būtent ši parodos eksponatų grupė pasirodė iškalbingesnė, nei leido atskleisti išsikeltas parodos tikslas. Raižiniai tyrinėjami taikant naratyvinį, ikonografinį, lyginamąjį, formaliosios analizės ir socialinės dailės istorijos metodus. Tekste pristatoma keletas įdomesnių autorių ir kūrinių, atskleidžiami kai kurių ikonografinių tipų specifiniai ypatumai, įvardijami sociokultūriniai veiksniai ir istorinės aplinkybės, lėmusios analizuojamų kūrinių atsiradimą ir funkcionavimą visuomenėje. In 2020, the M. K. Čiurlionis National Museum of Art hosted the exhibition ‘And the Word Became a Sight: Visual Narratives in Lithuanian Wood Carvings and Linocuts of the Eighteenth to the Twentieth Centuries’. The purpose of the exhibition was to showcase scenes from the Bible, stories of the lives of the saints (the old eighteenth-nineteenth-century wood carvings), and illustrations of literary works (twentieth-century wood engravings and linocuts). Although the purpose was achieved, quite a few interesting aspects revealed during the preparation for the exhibition were left behind and overlooked during it, since the visual narratives were defined as direct biblical or literary stories brought to the audience by the carver. Therefore, this text will merely supplement these narratives with additional references that provide more context to the narratives of the engravings. The article dwells on the circumstances and authors of the works; among other authors, the focus is slightly stronger on Aleksandras Vinkus-Vitkauskas, whose 190th birth anniversary and 110th death anniversary will be commemorated in 2022. The narratives will gain broader historical and socio-cultural contexts that were discerned while exploring individual carving details or carved texts. Research was focused on eighteenth-nineteenth-century Samogitian wood carvings, as it was this particular group of exhibits that transcended the purpose of the exhibition in its eloquence. The article offers a short description of a number of interesting authors and pieces and explains specific qualities of certain types of iconography.

Straipsnis skirtas lenkų-italų kilmės grafikės Malgorzatos Chomicz paskutiniojo dešimtmečio kūrybai aptarti, svarbiausią dėmesį koncentruojant į 'Silence' ciklą (2018) ir glaustą jam priskiriamų požymių sklaidą. Tam pasitelkiamos įprastos formalios bei ikonografinės analizės prieigos, taip pat šiai užduočiai sukurtos instrumentinės sąvokos, nusakomos paviršiaus / gelmės, vaizdinio / neregimybės ir kitais terminais. Remiamasi prielaida, kad šis grafikos ciklas įakivaizdina kūrybinio lūžio tašką, slinktį nuo paieškos nuotykio prie atradimų brandos, prie stebėtinai tikslaus žinojimo, ką ir kaip norima tarti meno žodžiais. Kita vertus, Chomicz kūrybinė pastanga straipsnyje virsta impulsu formuluojant bendresnio pobūdžio meninės autorystės sampratas, eskiziškai nužymint pamatines baltų / slavų ir Viduržemio kultūrų vizualaus mąstymo skirtis, aptariant ir probleminant meninės sinekdochos perspektyvą, įtraukiančią žiūrovo žvilgsnį į amžiną tapatumo regimai formai ir ją viršijančio turinio nuotykį. Esminiai žodžiai: Chomicz, grafikos menas, de Chirico, žiūrovo akis, paviršius / gelmė, vaizdinys / neregimybė, gamta netekties pavidalu. The article is dedicated to the work of the Polish-Italian graphical artist Malgorzata Chomicz over the past decade. The focus is on the artist’s Silence cycle (2018), and the concise disclosure of the attributes of the cycle. To achieve this, the usual formal iconographic analysis approach is used. Such instrumental concepts as surface / depth, image / invisibility and other terms serve this purpose. The analysis is based on the premise that this graphical art cycle manifests a turning point in the creative process, a shift from the search adventure to the maturity of discovery, and to a surprisingly precise awareness of what and how should be expressed through the language of art. On the other hand, in the article, the creative endeavour of the artist becomes an impulse for formulating general concepts of artistic authorship, sketching out the fundamental differences in the visual thinking of the Baltic / Slavic and Mediterranean cultures, discussing and challenging the perspective of artistic synecdoche, which draws the viewer’s gaze into the eternal adventure of visual form identity and the content that surpasses it. Keywords: Chomicz, graphical art, de Chirico, viewer’s eye, surface / depth, image / invisibility, nature in the form of loss.

Straipsnyje analizuojama stebuklingų atvaizdų socialinė raiška. Didžiausias dėmesys skiriamas šių atvaizdų socialinei sąveikai ir funkcinėms sąsajoms. Straipsnyje taip pat aptariama stebuklų sociologinė samprata, atvaizdų karūnavimo tradicija, religinių suvenyrų, turinčių atvaizdų kopijas, svarba. Šventi atvaizdai yra svarbi tikinčiųjų religinio ir socialinio gyvenimo dalis. Straipsnyje pateikti argumentai įrodo, kad atvaizdai ne tik prisideda sukuriant stebuklus, bet ir kuria įvairius socialinius ryšius ir tinklus, apibrėžia kasdieninį ir šventinį laiką, paskatina komercinę veiklą, kurioje užtikrinama jų galios ir įtakos sklaida. Jų pagerbimo ir išaukštinimo šventės (karūnavimo apeigos) tampa svarbiais visuomeniniais įvykiais, o jų istorijos (biografijos) – tampa istorikų ir menotyrininkų tyrimų lauku., The article analyses the social expressions of miraculous images. The focus is on the social interactions and functional interfaces of these images. The article also discusses the sociological concept of miracles, the tradition of crowning images, and the importance of religious souvenirs with copies of images. The author uses narratives and examples related to miraculous images in Lithuania. Miraculous and holy images are an important part of the social life of believers. In this article the image is analysed as a social actor. They help to create miracles, as well as various social connections and networks. They define daily and festive times and encourage commercial activities that ensure the spread of their power and influence. Their celebrations of honour and exaltation (e.g. coronation rites) become important social events, and their stories (biographies) become a field of research for historians and art critics. The person interacts with the social construct of the image, the representation he has created. Such a relationship with a miraculous image can last temporarily or permanently and manifests itself in reciprocal exchanges (requests, promises, and votive offerings versus miracles and graces). Religious souvenirs and devotionalias become spiritual and social mediators between the believer and the image, between the believer and the community. Socially empowered miraculous images manifest themselves in national culture and take root in the collective memory.

Straipsnyje aptariamas Lietuvos XIX a. dailininko Napoleono Ylakavičiaus (1811–1861) paveikslas "Kristaus gundymas", iki šiol žinotas tik iš paminėjimų literatūroje. Surinkti šios drobės istorijos faktai ir aprašymas 1862 m. paskelbtame dailininko nekrologe leido konstatuoti, kad tai tas pats paveikslas, kuris užfiksuotas 1968 m. Mečislovo Sakalausko nuotraukoje. Šiuo metu paveikslo buvimo vieta nežinoma, tad išlikusi jo nuotrauka yra vienintelis ikonografinis šaltinis, suteikiantis galimybę plačiau aptarti šį Ylakavičiaus kūrybos kontekste išskirtinį kūrinį. Paveiksle įkūnytos idėjos aptariamos išryškinant jų ryšį su dailininko pasaulėžiūra. Daugelis jo visuomeninio ir asmeninio gyvenimo faktų straipsnyje skelbiama pirmą kartą. Reikšminiai žodžiai: Napoleonas Ylakavičius, romantizmas, Vilnius, Mečislovas Sakalauskas, Kristaus ikonografija, šėtono ikonografija. The article discusses the painting "The Temptation of Christ" by the 19th-century Lithuanian artist Napoleon Iłłakowicz (Napoleonas Ylakavičius, 1811–1861), which has been known so far only from mentions in literature and a description given by Adam Honory Kirkor in the artist’s obituary in 1862. The collected facts of the history of this canvas and Kirkor’s description allowed the author of this article to establish that the same painting was captured in Mečislovas Sakalauskas’s photograph of 1968, which today is held in the collection of the Lithuanian National Museum of Art. At the time of photographing, the painting was held in the Church of Saints John in Vilnius; its present location is unknown. Thus, the surviving photograph is the only iconographic source offering us a possibility to discuss this painting, which is quite extraordinary in the context of Iłłakowicz’s work. The ideas embodied in the painting are discussed through their relation to the artist’s worldview. Many facts of the artist’s public and personal life are published for the first time in this article. The painting was most probably created in the period between 1857 and 1861, when the painter lived in Vilnius. The plot of the canvas is based on the gospel story about the temptation of Christ in the wilderness by the devil offering him control of the world (Lk 4, 5). The artist used the image of the encounter of the Saviour and Satan to express revolutionary ideas of people’s liberation from oppression (both political and economic), which were nurtured in the environment of various societies and masonic lodges that were founded in emigration. This supposition is based on the ideas found in Michał Chodźko’s book "Dziesięć obrazów z wyprawy do Polski 1833 r.: 1834-1835: poema z muzyką do dwóch pieśni, i czterema portretami" published in Paris in 1841, which maintained that the true followers of Christ must become the bearers of freedom (both personal and communal), seek equality among the nations and social classes, and rally efforts in the struggle against the powers of evil. Today these views could be called a combination of the ideas of utopian socialism, Christianity and Messianism. The image of the temptation of Christ here is presented as a vision of the struggle between good and evil that runs through the entire history of humanity, and the resistance of Lithuania and Poland against tsarist Russia is seen as one of the episodes of this struggle. Iłłakowicz’s direct involvement in the preparation of the book (and in the activity of the emigrant “sodality” described there) is testified by the illustrations bound in the book – portraits of the rebels Artur Zawisza (1808–1833), Józef Zaliwski (1797–1855), Szymon Konarski (1808–1839) and Michał Wołłowicz (1806–1833) engraved by Antoni Oleszczyński (Nitan) after Iłłakowicz’s drawings. The sodality not only sought political goals, but also called for the necessity of social changes and had a dream of building a classless society in the restored Polish-Lithuanian Commonwealth and implementing radical changes in all fields of society’s life. They understood this mission as the realisation of the ideals proclaimed in the gospels. Keywords: Napoleon Iłłakowicz, Leonard Chodźko, Romanticism, 19th-century painting, Vilnius, Mečislovas Sakalauskas, iconography of Christ, iconography of Satan.

Straipsnyje nagrinėjama mito apie Lietuvos sostinės Vilniaus įkūrimą recepcija dailės kūriniuose, tiksliau – Gedimino sapno siužeto ikonografija ir istorinis jos kontekstas, vertinant šio įvykio vaizdinius kaip siekį istorinėje sąmonėje įtvirtinti Gediminaičių dinastijos pradžią ir klestinčios nepriklausomos LDK su sostine Vilniuje įvaizdį, kartu atkreipiant dėmesį į jo svarbą formuojantis moderniajai lietuviškajai tapatybei. Tekste aptariami politiniai ir kultūriniai aspektai, turėję reikšmės Gedimino sapno motyvo vaizdavimo tradicijai susiformuoti ir kaitai dailės kūriniuose. Reikšminiai žodžiai: Gedimino sapnas, geležinis vilkas, Vilniaus įkūrimo legenda. In the article, the theme of Gediminas’s dream and its reception in 19th–21st century art is analyzed with a focus on the political and cultural aspects that made an impact on the formation of the tradition of representing this motif in artworks, and its change. It was not until the middle of the 19th century that this subject popularized by chroniclers and historians appeared in fine art; until then, it was only found in texts. The Gediminas legend combines real historical events and a mystical vision; thus, it is not surprising that this theme was aligned with the world perception of the 19th and early 20th century. Artists fascinated with the ideas of Symbolism expanded the rather literal iconography of Gediminas’s dream formed in the era of Romanticism, combining a nostalgic view of the past with ethnic motifs. In independent interwar Lithuania, stripped of its historical capital, the narrative of Gediminas’s dream became one of the key topics of propaganda art; its imagery was also successfully disseminated in popular culture. In the Soviet period, when patriotic aspirations were not tolerated in official art, the history of one of the founders of the Lithuanian state, Duke Gediminas, in many cases was reduced to the legend of the founding of the city of Vilnius. Finally, when the country’s independence was restored, the statehood-related connotation of this topic regained prominence, and a monument to Gediminas became probably the state’s most important initiative, and later, in the 1990s, also an object of discussions. The history of the founding of the capital of the Grand Duchy of Lithuania has not lost its relevance today, and its popular symbols (the Iron Wolf, the castle tower and the image of Grand Duke Gediminas) are used in both traditional and somewhat unexpected forms. Analysing how the relevance of the legend of Gediminas’s dream has been changing is one of the mo Iron Wolf, the castle tower and the image of Grand Duke Gediminas) are used in both traditional and somewhat unexpected forms. Analysing how the relevance of the legend of Gediminas’s dream has been changing is one of the most convenient ways to overview and explain the impact of the political situation on the language of art. Keywords: Gediminas’s dream, Iron Wolf, legend of the founding of Vilnius.

Straipsnis skirtas pirmosios Lotynų Amerikos katalikų šventosios Isabelės Flores de Oliva (1586–1617), visuotinai žinomos kaip šv. Rožė Limietė, atvaizdų ikonografijai Lietuvoje. Jauna mirusi dominikonų ordino tretininkė, garsėjusi itin asketišku gyvenimo būdu, įvairiomis dorybėmis, nepalaužiamu tikėjimu, iškart po mirties imta gerbti Peru tikinčiųjų. Greitai jos kultas išplito ne tik Pietų Amerikoje, bet ir Europoje. Straipsnyje, remiantis publikuotais ir rankraštiniais šaltiniais, taip pat bažnyčiose išlikusiais kūriniais, aptariama, kaip Lietuvos Didžiojoje Kunigaikštystėje buvo skleidžiama žinia apie šv. Rožės Limietės gyvenimą ir asmenį, kas apie šventąją ir „Naująjį Pasaulį“ akcentuota rašytiniuose jos „Gyvenimuose“. Tyrimas parodė, kad „lietuviškoji“ šventosios ikonografija atspindi bendraeuropietiškas šios šventosios vaizdavimo tradicijas, pagrįstas bet kokių kultūrinių skirtybių niveliavimu vaizdinėse jos reprezentacijose. Galbūt taip per šv. Rožės Limietės paveikslą buvo išreiškiamas visos Lotynų Amerikos priklausymas vieningai Romos Katalikų Bažnyčiai. Isabel Flores de Oliva (1586–1617), generally known as Saint Rose of Mary or Saint Rose of Lima, became the first and, until today, the most venerated Catholic saint of Latin America. Almost immediately after her death, this Dominican of the Third Order, who died young and won fame for her highly ascetic life, various virtues and immovable faith, developed a cult following in Peru. Soon enough the cult had spread across South America and Europe. The topic of Saint Rose of Lima has been addressed in a great many publications that appeared in various (primarily Spanish-speaking) countries, but in Lithuania, the devotion to and images of this saint have not received specific research attention. By referring to the published sources and manuscripts, as well as the surviving ecclesiastical artworks, the author of this paper aims to discuss in more detail how information about the life and personality of Saint Rose of Lima was disseminated in the Grand Duchy of Lithuania, what information about Latin America, its culture and people was conveyed in these sources, whether it was reflected in the iconography of the saint, and if so, how.

Straipsnyje analizuojama nežinomo Lietuvos raižytojo 1830 m. galimai Kretingos vienuolyne sukurto medžio raižinio „Nukryžiuotasis“ ikonografija. Atskleidžiami siužeto prasmės niuansai kūrinyje išraižytos responsorijos iš Didžiojo šeštadienio Rytmetinės kontekste. Tyrinėjamas Kryžiaus medžio ryšys su Pasaulio medžio archetipu bei vynmedžio įvaizdžio sąsajos su Eucharistija ir Dievo tauta. Itin daug dėmesio skiriama dėl pranciškoniškosios tradicijos įtakos išplitusiam „dvylikos vynmedžio vaisių“ vaizdiniui ir apaštalų, kaip Jėzaus kančios dalininkų, reikšmei kompozicijoje. Palyginimui aptariami keli kompoziciniais sprendimais ir/ar turiniu panašūs Lietuvos ir Vokietijos kūrinių pavyzdžiai. Analizuojamas raižinys vertingas kaip retas Lietuvoje ir Vakarų Europoje simbolinio ikonografinio Gyvybės medžio tipo Nukryžiuotojo pavyzdys, perteikiantis specifines atvaizdo prasmes. The article analyses iconography in the woodcut of The Crucifix. The woodcut was created by an unknown Lithuanian carver in 1830, possibly at the monastery of Kretinga. It reveals aspects of the plot in the responsory from the Holy Saturday’s Morning mass and the relation between the Cross tree and the archetype of the World tree. Finally, it shows the relation between the images of the grapevine and the Eucharist and the God’s nation. Special attention is focused on the image and role of the ‘twelve grapes’ and apostles as sharers of the passion of Christ, which grew popular under the Franciscan tradition. The paper also includes a discussion of several other compositional solutions and/or pieces that feature the Crucifix, found in Lithuania and Germany. This woodcut has been chosen for analysis as a rare example of the Lithuanian and Western European iconographic Tree of Life Crucifix, which carries specific meanings.

Menotyrininkė Monika EIDĖJŪTĖ aprašo vieną laidotuvių vėliavų komplektą, esantį Mosėdžio Šv. Arkangelo Mykolo bažnyčioje, aptaria laidotuvių tradiciją, analizuojamo komplekto būklę ir reikšmę, ypatingą dėmesį skiria vėliavų paveikslų ikonografijai. The art historian Monika EIDĖJŪTĖ describes the set of funeral banners in the Church of St. Michael the Archangel in Mosėdis, discusses funeral traditions, and analyses the condition and the importance of the banners, paying special attention to their iconography.

Straipsnio objektas – tai Lietuvos nacionalinio dailės muziejaus kolekcijoje saugomas nuotaikingas kamerinis miegančio meilės dievaičio atvaizdas, sukurtas prancūzų dailininko François Lemoyne’o (1688–1737) pagal 1729 m. nutapytą drobę. Specifinei Lemoyne’o kūrinio kartotės ikonografijai pažinti pasitelkiama miegančio Amūro įvaizdžio ištakų, simbolikos ir meninių interpretacijų istorija, kurioje svarbų pėdsaką paliko ir garsiausi dailės pasaulio vardai. Subtiliai antikinės mitologijos ir moralinės alegorijos tradicijas jungianti įmigusio Amūro ikonografija atskleidžia, kad slėpininga miego, sapnų erdvė dailės kūrinyje gali tapti vaizdinga ir paveikia ne ką mažiau paslaptingo ir sudėtingo žmogaus jausmų pasaulio metafora. Reikšminiai žodžiai: Lietuvos nacionalinis dailės muziejus, Vakarų Europos dailė, antikinė mitologija, Amūras, François Lemoyne’as, miego ikonografija. Enveloped in mystery and provoking imagination, the world of sleep and dreams has been a rich source of inspiration for artists since the earliest times. The cornerstones of the secular iconography of sleep in Western art were laid by classical Greek and Roman culture. In the course of centuries, quite a few adventures of gods, goddesses and heroes described in classical myths and other works of literature of that time inspired many artworks interpreting the mythological heritage, which were in some way related to rest or dreams. There is an example of such work in Lithuania as well – the collection of the Lithuanian National Museum of Art (hereinafter referred to as LNMA) boasts an image of the sleeping mythical god of love Amor, created by an unknown artist after the 1729 painting by the French painter François Lemoyne (1688–1737) possibly in the 18th century or the first half of the 19th century, and the search for the history and meaning of the iconography of this work is the main subject of this article. Amor (vel Cupid vel Eros) is mostly seen in artworks as an adorable naughty winged boy armed with his traditional attributes – a bow and arrows. However, since the times of classical antiquity, this vivacious god of contradictory character acting in various plots was often represented in deep sleep. In the art world of the Early Modern Period, it was Michelangelo (1475–1564) and Caravaggio (1571–1610) who adopted this iconographical variation from the surviving classical examples and popularized it in their sculptures and paintings. The works created by these artists and their followers, along with their classical prototypes, encouraged various interpretations of the meanings of the motif. The sleeping Amor was associated both with the direct mythological personification of the ancient Greek god of sleep Hypnos, and with eternal sleep – the so-called memento mori. The motifs of death and resurrection that were prominent in this iconography influenced religious art as well – in works by late Renaissance and Baroque artists, the sleeping winged child morphed into the Infant Jesus of the Passion lying on the cross and symbolizing the allegory of Christ’s suffering. However, it would seem that both Caravaggio and Michelangelo, as well as later artists who represented the theme of the sleeping Amor in the 16th–19th century (the visualisation of this iconographic motif reached its peak in the 16th–17th century), Lemoyne and the creator of LNMA’s Amor among them, followed another interpretational line of iconography, which reflected the realm of the heart and passionate feelings rather than that of death or religion. Already Renaissance humanists often symbolically associated sleep and dreams with the expression of platonic love. It was this approach which appeared in the cultural context of that time that most likely helped to link the image of the sleeping god of love to the concepts of abstention, chastity and loyalty. In other words, it is not until the naughty Amor shooting the arrows of love and plotting intrigues of the heart sinks into the kingdom of sleep that we can feel completely immune to an onslaught of unexpected feelings. Not less eloquent than the condition of sleep in the iconography of this plot is the position of the god’s “dangerous” attributes – a bow and a quiver with arrows. In quite several works, Amor’s bow or its string is broken, and the arrows with the quiver are thrown away or pushed aside. Having tossed his bow next to him and having placed the quiver under his head, the hero of the LNMA’s painting is sleeping as well – sleep overcame his eagerness to hunt for hearts. Incidentally, in art this mischievous child was “tamed” by other means as well. The image of Venus tying or even trimming his wings, or Amor with his hands tied are equally popular iconographic motifs. Going back to the work inspired by François Lemoyne in the LNMA’s collection, it is difficult to say how the painting was perceived by its owners whose names did not survive. Perhaps they interpreted Amor as a moral, philosophical-allegorical commentary and an indirect criticism of human passions, or perhaps it only served as a decorative and playful aesthetical element enlivening the interior. However, not less important is the relation of the painting with today’s viewer. It is through early artworks on the themes of classical mythology held in Lithuania’s memory institutions that we can revisit the mythological plots that once had much greater significance in daily cultural circulation and today are becoming more difficult to decipher. LNMA’s Amor is precisely this kind of informative and intriguing picture, harmoniously fitting in the rich context of the iconography of the sleeping god of love, which has deep roots in early European art and is represented in the works by prominent artists. Keywords: Lithuanian National Museum of Art, Western European art, classical mythology, Amor, François Lemoyne, iconography of sleep.

Vilniaus 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. The 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.

Straipsniu siekiama išsiaiškinti, ar retos ikonografijos „Gerosios Vilties Viešpaties“ atvaizdų atsiradimui Lietuvoje turėjo įtakos garsiojo geologo ir mineralogo Ignoto Domeikos (1802–1889) šeimos istorija; taip pat stilistinė ir ikonografinė tapybos atribucija, datavimas ir interpretacija.

Traditional symbols and codes are very powerful elements of culture. In modernity they have become connected with the paradigm of intertextuality: being actual because of their modern and contemporary treatment, at the same time they are associated with intracultural communication, the national historical background and ethnic traditionalism, as well as having a lot of intercultural features. Paradoxically serving to define cultural boundaries and uniqueness, they also can testify to historical processes of cultural globalization. The aim of this research is to contextualize the iconicity and contemporary meaning of modern national visual symbols (a rue, a six-petal rosette; a sun with wavy rays) and uncover the main differences and similarities between their ancient historical and folkloric meaning and actual modern interpretations based on art, folk art and art-historical, historical, archaeological and folkloric data. This interdisciplinary approach is based on semiotic (i.e. ethnosemiotic), ethnological interpretation and contextual analysis of the function and meaning of visual symbols as elements of culture. The study clarifies how these ornamental signs of national identity, which are related to cultural heritage, but with intercultural historical origins, come alive and come to be newly interpreted by the social imaginary, influenced by scientific concepts in modern religious, spiritual and cultural life and their representations, and how these signs are prevalent internationally. It also analyses how, as logos in highly symbolic forms relating to mythical paradigms, these visual signs are involved in processes of the auto-communication of culture, its transmission, creation and memory, and how they are related to the boundaries of semiotic space or the semiosphere (Lotman 2005: 210; 2009: 131-142).

Straipsnyje šv. Dominyko (1170–1221) asmenybės „išnykimo“ problema analizuojama pristatant jo vaizdavimą ir šventumo išreiškimą biografiniuose ir ikonografiniuose šaltiniuose. Tekstuose jis vadinamas „šventu“ nurodant jo sąmoningą sekimą Kristumi. Ikonografijoje šventumo simboliai tapo ženklais, leidžiančiais atpažinti asmenybę, o šventojo figūra – Dievo gerbimo pavyzdžiu. Jei asmenybės „išnykimas“ susijęs su šventumo perteikimu, tai primena Jeano-Luco Mariono plėtojamą ikonos sampratą. Ši sąsaja leidžia vadinti šv. Dominyką ikona, perduodančia gerbimą ir prarandančia savo ryškumą. XIII a. būdinga krikščioniška šventumo samprata, išryškėjanti šv. Tomo Akviniečio tekstuose, leidžia suprasti šv. Dominyko asmenybės atvaizdą kaip paties šventojo pasirinkimo tapti nuoroda link Dievo tęsinį. In this article, the issue of the “disappearing” personality of St. Dominic (1170–1221) is analyzed through showing the main aspects of his portrayal and the expression of his holiness in biographical and iconographic sources. In these texts, he is called “holy” with a reference to a consciuos imitation of Jesus Christ. In the iconography, the signs of his sanctity became the only signs of his personality, and his figure is used as an example of the adoration of God. If losing a vivid personality is connected with expressing holiness, this problem refers to a concept of the icon formulated by Jean-Luc Marion. It gives us an opportunity to call St. Dominic a typical icon, transferring the adoration and losing his own originality. The 13th century concept of sanctity, expressed in the texts of St. Thomas Aquinas, enables us to understand St. Dominic’s image as a continuation of the saint’s choice to become a reference to God.

Žygimanto Augusto medalio perdirbinys, sujungęs portretinio averso kopiją su iš kabučio perdarytu reversu, straipsnyje interpretuojamas kaip karaliaus asmens ir valdžios komentaras. Pasitelkus vaizdinius ir rašytinius šaltinius, tyrime konstruojamas istorinis Giovanniui Giacomui Caragliui priskiriamo originalo ir jo perdirbinio kontekstas išskleidžiant dvipusio medalio potencialą apversti prasmes. This enquiry focuses on the portrait medal of King Sigismund Augustus attributed to the goldsmith Giovanni Giacomo Caraglio; the medal and its remake are kept in the Ashmolean Museum of the University of Oxford. The medal features in Caraglio’s portrait painted by Paris Bordone in 1553, and is therefore also dated to the same year. The obscure occasion for which the medal was cast prompts reconsidering the relation between its obverse and reverse. The obverse features the bust of the king in profile facing left, while the reverse depicts the figure of Faith encircled with the quote from Virgil’s Aeneid: “DVM SPIRITVS HOS REGET ARTVS” (“As long as the spirit directs these limbs”, IV, 336). Avigdor W.G. Posèq has convincingly argued that the left-facing orientation of the profile coincides with the direction towards the past and is often used when representing humanists, females, minors, and clergymen rather than kings and politicians who are responsible for shaping the future. What is the message behind the medal that depicts the king looking towards the past in combination with the personification of Faith and Aeneas’ promise to remember Dido? This essay argues that this combination acknowledges Sigismund Augustus’ acceptance of his royal duties and his resolution to remain faithful to the Catholic creed of his ancestors in the wake of the death of his beloved spouse Queen Barbara Radziwill (1523–1551). Although, due to Virgil’s authority and the privileged genre of medal art, this item has been regarded as high art, the association between the queens Barbara and Dido bore significant misogynist and erotic undertones. The latter have been exploited in the remake of the medal as its bronze aftercast was adjoined to a former pendant featuring Venus and Mars surprised by Vulcan and Olympian gods mocking them. Due to the identification of the hitherto obscured iconography of the reverse as well as the references to the Reposianus’ epyllion together with Ovid’s Metamorphoses and Ars Amatoria as its literary sources, this unique medallic remake comes across as a humorous gesture. The paper argues that the reverse being fixed to the obverse along the horizontal axis allowed the viewers to reveal the erotic reputation of the king and, by doing so, turn the image of Augustus (meaning, literally, “the elevated one”) head upside down. This way, by a mere twist of fingers, the contradictory combination of reverse and obverse of this medallic remake allowed the erudite and powerful onlookers to join the Olympian gods in their laughter.

Straipsnyje, remiantis išlikusiais negausiais šaltiniais ir vertybėmis, analizuojama Kauno buvusio bernardinių vienuolyno Švč. Trejybės bažnyčios altorių ansamblio ikonografinė programa iki jo uždarymo 1864 m. atskleidžiant šios vienuolijos dvasingumo raišką bažnyčios mene. Siekiant tikslo kelti šie uždaviniai: atkurti senojo interjero altorių ansamblį, atskleisti svarbiausius bernardinių dvasingumo ypatumus, ikonoteologine prieiga išryškinti logines meno ir bernardinių dvasingumo sąsajas bažnyčios dailėje. The article analyses the iconographic programme of the altars of St Trinity Church of the convent of former Bernardine nuns (Sisters of the Third Order of St Francis) in Kaunas until its closure in 1864 and reveals the expression of the spirituality of this order in the sacral art as far as the surviving few sources and heritage allow. In order to achieve the goal, the following objectives were established: (1) to reconstruct the old interior of the altar ensemble, (2) to reveal the most important peculiarities of the Bernardines’ spirituality, and (3) to highlight the logical connections between art and Bernardine spirituality in church art through the icono-theological approach. Scarce earliest sources indicate that the most venerated representation of the Virgin Mary and the relics of the True Cross were in the church in the first half of the seventeenth century, and the Feast of the Discovery and Exaltation of the Holy Cross was celebrated. These hints suggest that piety to the Crucifix and the Mother of God was prevalent at that time. The cult of the Crucifix is associated with the common origin of Franciscan religious devotion, which encourages following the example of St Francis by contemplating the suffering of Jesus Christ. Also, it is not difficult to infer that based on the name of the church, the high altar should have been dedicated to the Holy Trinity; therefore, there should have been appropriate piety practices. It is believed that the fraternity of the Holy Trinity was active from the time of the completion of the church. The main accents of iconography of the altars of the Bernardine Church in Kaunas were formed after the disasters in the mid-seventeenth century, the last fire in 1668. The Holy Trinity was the dominant accent of piety. A painting dated to the early eighteenth century that reflects the post-Tridentine recommendations for visual arts decorated the high altar of the same name. In the early eighteenth century, the exceptional piety to St Joseph also gains prominence: in 1703, the fraternity of St. Joseph was established and a separate altar was dedicated to this saint. The feasts of the Holy Trinity and St Joseph were celebrated. It is believed that the Bernardine nuns in Vilnius, who had settled in the city a little earlier, influenced the piety to the Holy Trinity. A highly developed and majestic iconography distinguished their high altar, visually emphasising the figure of the Crucifix. The exceptional piety of the Bernardine nuns of Krakow to St Joseph influenced the cult of this saint. The first Bernardine nuns came to Lithuania from Krakow and, without doubt, the Lithuanian nuns must have kept in touch with the nuns from Krakow. Devotion to the Virgin Mary and the Crucifix was further developed. Two altars in the church were dedicated to the Mother of God (Mary, Consoler of the Afflicted and Our Lady of Sorrows); also, there were altars of Jesus at the Pillar and the Crucifix. The relics of the True Cross preserved and venerated in the altar of the Crucifix are mentioned from the first half of the seventeenth century. The Feast of the Discovery and Exaltation of the Holy Cross was celebrated. The Bernardine nuns venerated the Franciscan saints and close followers and brothers of St Francis. This is confirmed by the altars of St Francis of Assisi (stigmatisation plot), St Clare, and St Anthony of Padua in the church. A closer study into the lives of the lesser-known saints who can be easily confused with other popular saints of the same name revealed a rich gallery of Franciscan saints, especially females, among them. Bernardine nuns had a separate altar and a feast dedicated to St Elizabeth of Hungary, the patron of the Third Order of St Francis and one of the most venerable followers of the example of St Francis’ life. In the context of other Bernardine monasteries in the Grand Duchy of Lithuania, the Bernardine nuns in Kaunas stood out for their veneration of this saint. Bernardine nuns also distinguished St Rose of Viterbo, St Agnes of Assisi, and St Barbara, whose cult is associated with active devotion of the Lithuanian Bernardines to this saint. The iconography of the Bernardine Church was influenced by the Convent of St George the Martyr in Kaunas, whose church was naturally richer and whose iconographic programme covered a broader spectrum. Interestingly, it also contained images or sculptures of all the above-mentioned saints associated with the Franciscan Observants, including the female saints lesser known to other communities of believers, while individual altars were dedicated to St Rose from Viterbo and St Barbara. The ensemble of church altars, which had been gradually evolving from the seventeenth century, and the practices of piety hardly changed until the closure of the convent in 1864. It is unfortunate that due to the lack of sources, many assumptions and questions remain, and one can only hope that further research into the interior of the church will lead to more discoveries.

The article was written on the basis of source materials gathered for the purposes of the international project “Pruzzenland [ziemie pruskie]. Porównawcza analiza regionalnych konstrukcji tożsamości w podręcznikach szkolnych Niemiec, Polski, Litwy i Rosji,” executed in the years 2010–2013 by the Georg–Eckert–Instytut in Braunschweig (Germany) and the Institute of History and International Relations at the University of Warmia and Mazury in Olsztyn in cooperation with partners in Russia (Moscow) and Lithuania (Vilnius, Kaunas). The research aims at a comparative analysis of school handbooks that were one of the most important means of shaping the identity of the young generation in the 20th and 21st centuries. A total of 740 handbooks in four languages was analysed. The resulting two monographies, one in Polish and one in German, differ slightly in terms of content but are based on the same source material. The works analyse several main topoi: Prussian landscape, specificity of Prussian tribes, battle of Grunwald, issues of religion, canon of important figures across the ages, migrations in the 20th century, history of education and contemporary Polish education regarding the region. Since both monographes do not use the available illustrative materials extensively, this text analyses the image of the Teutonic Order in handbook iconography. The library search that preceded the writing process consisted in analysing scanned pages from handbooks gathered within the project. Not all 288 handbooks included therein regarded the Middle Ages or the modern times, which chronologically encompass the operations of the Order. Some of those publications have very general titles and only browsing through them allowed for the identification that they actually regard later times.

Straipsnyje pirmą kartą lietuviškoje istoriografijoje pristatoma italų kilmės XIX a. architektūrinės keramikos meistrų brolių Bonafede kūryba ir jų meninis palikimas Lietuvoje, kuris susijęs su Vilniuje, Šv. Jurgio skvere (dab. V. Kudirkos aikštė) 1865 m. iškilusia ir 1919 m. nugriauta Šv. Aleksandro Neviškio koplyčia. Dėl sąsajų su carinės Rusijos valdžios represijomis, statinys nors ir ne kartą minėtas publikacijose, tačiau nebuvo Lietuvos dailės ir architektūros tyrėjų išsamiai analizuotas. Be to, XIX a. U p.-XX a. pr. šaltiniai, kuriuose aprašoma koplyčia, nemini keraminės apdailos autorių pavardės. Atribucija tapo galima tik atradus signuotas keramines plokštes Lietuvos dailės muziejuje bei sužinojus, kad Mikniškių cerkvėje (Šalčininkų r.) saugomos šių meistrų sukurtos ikonos. Be to, svarbiu instrumentu tapo Sankt Peterburgo restauratorių bei dailėtyrininkų publikacijos, kuriose broliai Bonafede pristatomi kaip mozaikos ir meninio stiklo akademinės mokyklos pradininkai XIX a. Rusijoje. Svarbu tai, kad Vilniaus koplyčia šiems meistrams buvo jų technologinių eksperimentų įkūnijimo vieta. Čia jie pirmą kartą išbandė naują techniką, kuri, kaip vėliau paaiškėjo, visiškai pasiteisino. The article, for the first time in Lithuanian historiography, introduces the works and artistic heritage in Lithuania of the brothers of an Italian descent, XIX"' century architectural pottery masters named Bonafede. Their artistic heritage is closely connected to Saint Alexande r Nevsky Chapel, that wa s built in 1865 at a Saint Jurgis Square, Vilnius (now V. Kudirka square) and demolished in 1919. The aforementioned building, despite being numerous times mentioned in variuos publications, wa s never comprehensively analysed by Lithuanian art and architecture researchers, because of its connection with the repressions done by the tsarist Russian authorities. Furthermore, in the sources (XIX"' century second halfXX"' century first half) where the chapel is mentioned, the names of its ceramic decoration authors are never disclosed. The attribution became possible only when the signed ceramic plates were found at Lithuanian Art museum and when it was learned that the icons created by these artists are being kept at Mikniškiai church (Šalčininkai district). Furthermore, a very important aspect became the publications, made by St. Petersburg restorers and art critics in which brothers Bonafede are presented as mosaic and art glass academic school pioneers in XIXth century in Russia. A very important point is that Vilnius Chapel became a technological experimentation place for these artists. Here they for the first time used a new technique, which, as it turned out later, was very successful.

Kauno Mažesniųjų brolių pranciškonų observantų konvento Šv. Jurgio Kankinio bažnyčioje saugomas unikalus baroko dailės paminklas – 28 šventųjų kankinių ir išpažinėjų atvaizdai. Ankstyviausių žinių apie minėtus paveikslus randame šio konvento archyve, kuriame rašoma, kad 1741 m. buvo ant drobės nutapyti minėtieji atvaizdai. Mūsų dienas šie vienuolių paveikslai pasiekė labai blogos būklės. Vis dėlto neturime tokių galerijų, kokia būtų ši, jei ant drobės tapyti paveikslai būtų restauruoti. Kiekviename atvaizde atsiskleidžia nutapytojo kelias į šventumą. Kiekvieno paveikslo apačioje būta užrašyto poetiško teksto, kuris apibūdina nutapytąjį vienuolį. Šio objekto tyrimas – tai dar viena galimybė pamatyti kelią į šventumą ir kelią į dailę. There is unique artifact of baroque art in the St. George the Martyr church of the Franciscan minor convent in Kaunas. There are 28 images of saint martyrs and confessors. In the archive of this convent we can find the earliest information about these images. There is a record of 1741 in which they are mentioned. Today they are in quite poor condition, but there is no equivalent to this gallery, even if in its unrestored condition. Every image reveals an individual way to holiness. In every painting there is a poetic inscription whose purpose is to describe a painted friar. This research is another opportunity to look at the way to holiness and the way to art.

Straipsnyje aptariami reti šventųjų globėjų atvaizdai tradicinėje liaudies skulptūroje. Parodomi jų ikonografijos ypatumai ir tai, kas buvo svarbiausia juos vaizduojant. Taip pat apžvelgiama retai vaizduotų šventųjų globėjų samprata liaudiškajame pamaldume. Svarstoma, kokia buvo šių atvaizdų paskirtis kaimo kultūroje. The article discusses the rare representations of saints in the traditional folk sculpture. Attention is drawn to the representations of the saints who had one or another role in the folk piety. By carving sculptures, self-taught craftsman - god carvers tried to make an easily identifiable saint. Therefore, they followed to church iconography, depicted the most typical attributes, clothing, gestures or postures of the saints, sometimes used a more familiar, closer attribute to rural people from their everyday environment. When constructing a monument on the homestead, people often mounted the figures of saint patrons whose names correspond to names of their family. Besides, elsewhere, when building a monument with a specific intention, especially when making a vow, people often mounted the figure of a saint whose name and the names of benefactors match. The benefactors of common monuments in a village or town often wished to have a representation of the saint patron whose names correspond to their names. The cemetery monuments also contained a sculpture of the patron saint of the name of the deceased. The figures of rarely depicted saints were in the monuments of the afore-mentioned places. Rarer sculptures also appeared when the figure of a saint was placed in the monument (both in the churchyard and elsewhere) in whose name was a parish church or the feast day in a parish. The god-carvers made the figures of saint patrons with rarer names for the churches. The peculiarities of the parish's piety and their folk conception also influenced the orders for such sculptures. In the folk piety, saints often receive functions related to the traditional lifestyles, economic activities and folk calendars, in addition to the areas of piety determined by the Church. A large part o f the saints mentioned in the article (Apollonia, Rosalia, Ignatius of Loyola, Lawrence, Benedict of Nursia, etc.) in the folk tradition were associated with the prevention of certain diseases or ailments. Peasant calendar connected many saints with various farm works, the harvest of certain crops, care of livestock and fowls. For example, Saint Helena, Petronilla and Mary Magdalene were associated with the flax harvest. The apostles Mark, Matthew and Bartholomew were considered the patrons of the harvest. Saints Lawrence and Benedict were believed to protect against storms and thunderstorms that often cause fires. However, based on the surviving limited data on the selection of the rare names of saints sculptures, it is supposed that the rarely depicted saints, although with a specific position in the folk piety, in most cases should not be connected to the folk conception or function in the peasants calendar of works but with patronage of a person with the same name because the holy patron obtained with the baptismal name was important in the personal devotion seeking for daily support and patronage.

Galimas daiktas, tai yra įdomiausia Lietuvos istorijoje polemika, virtusi tikru „informaciniu karu“. Jį pradėjo reformacijos apologetas Lietuvos Didžiojoje Kunigaikštystėje Andriejus Volanas, kuris 1583 m. parašė ir Vilniuje išspausdino nedidelę knygelę apie tariamą jėzuitų stabmeldystę Vilniaus lojolininkų stabmeldystės pasmerkimas (Idololatriae loiolitarum Vilnensium oppugnatio). Po trejų metų Volanas išleido naują veikalą apie jėzuitų klaidas dėl Eucharistijos Neteisingų teiginių apie Eucharistiją nuneigimas (Assertionum de Eucharistia falsarum [...] confutatio), kuriame užsipuolė Vilniaus universiteto teologijos profesorių Emmanue- lį de Vega. Katalikai neketino nusileisti. Į kaltinimus atsakė to paties de Vega auklėtinis, Vilniaus kanauninkas Andriejus Jurgevičius1. Jo atkirtis Apie pamaldų ir Šventojoje Bažnyčioje nuo apaštalų laikų labai priimtą šventųjų paveikslų naudojimą (De pio et in Sancta Ecclesia iam inde ab Apostolis receptissimo sacrarum imaginum usu) buvo išleistas 1586 m.

Šio straipsnio objektas - vieno iš žymiausių lietuvių kūrėjų M.K. Čiurliono intertekstai - yra dėmesio vertas reiškinys XX a. lietuvių poezijoje. Poezija, rašyta pagal menų dialogui atviro kūrėjo darbus, skatina atkreipti dėmesį į vizualiųjų menų raišką, muziką, dokumentinį palikimą. Originaliai dialoginius santykius atveriančiuose tekstuose peržengiamas meno kūrinių turinys ir įprasminamas, interpretuojamas M.K. Čiurlionio meninės veiklos savitumas. Susiduriama su nuorodų tinklu: poetai jas ne vien įtraukia į tekstų turinį, bet ir keičia. Analizuojamas Alfonso Nykos-Niliūno ciklas „Čiurlionio gyvenimo etiudai" (1941-1943) aktualizuoja M.K. Čiurlionio likimą ir kūrybos pobūdį. Tekste pastebimi paveikslų „Rex“ (1909), „Laidotuvių simfonija“ (1903) motyvai leidžia permąstyti jų semantines galimybes. Tekstų cikle “ pastebimas ryšys su įvairiais kūriniais turi ekfrazėms ir ikonotekstui būdingų bruožų: atsekami bendrieji paveikslų bruožai (ir M.K. Čiurlionio tapybos stilius), ryškiausi elementai, remiamasi permąstytomis kūrinių idėjomis, kurios savarankiškų tekstų plane tampa poetinio vaizdo kūrimo jungtimi. „Čiurlionio gyvenimo etiuduose“ išplėtojamas kūrybos prigimties antinomiškumas, subjekto susidūrimas su pasaulio suvokimą keičiančia destruktyvia jėga, kurią įprasmina ir akustinis teksto lygmuo. The research object of this article - the intertext in one of the most prominent Lithuanian artists Mikalojus Konstantinas Čiurlionis’s writings is a phenomenon of the 20th-century Lithuanian poetry. Poetry, based on his works of an artist open for dialogue between arts, encourages to pay attention to the expression of visual arts, music, and documentary heritage. Texts that unconventionally disclose dialogic relations also reflect on a creation process, interpret and signify the phenomenon of Čiurlionis’s artistic activity. There is also an encounter with a network of intertextual links: poets not only incorporate them into the content of texts but also modify them. The analysed Alfonsas Nyka-Niliūnas’s cycle, called “Čiurlionio gyvenimo etiudai” (Etudes of Čiurlionis’s Life], (1941-1943) actualises Čiurlionis’s fate and the nature of his creation. Motifs implicated from paintings “Rex” (1909) and “Laidotuvių simfonija” |Funeral Symphony] (1903) allow for rethinking their semantic possibilities. A noticeable connection with various works in the text cycle has typical features to ekphrasis and iconotexts: the general features of the paintings and the most prominent elements might be traced (as well as M.K. Čiurlionis’s painting style); the author refers to the rethought ideas of works, which become a connection of poetic image creation in a design of independent texts. “Čiurlionio gyvenimo etiudai” explicate the antinomy in the nature of creation, the collision of a subject with a destructive power changing the understanding of the world, which is meaningfully delivered by an acoustic level of the text.

Straipsnis skirtas įtakingo prancūzų meno filosofo ir meno istoriko G. Didi-Hubermano vaizdotyros teorijos ir praktikos analizei. Jame siekiama rekonstruoti vaizdo pamėkliškumo ir virtualumo sampratas, kurios yra kertiniai elementai, leidžiantys suprasti Hubermano argumentacijos pobūdį. Tyrime pagrindinis dėmesys sutelkiamas į keturis pagrindinius etapus. Pirma, analizuojama pamėklės / fantomo ir simuliakro paralelė Hubermano, Arūno Sverdiolo ir Gilles’io Deleuze’o teorijose. Antra, fantomo sąvoka aptariama Deleuze’o bei Hubermano psichoanalitinių prieigų kontekste, atskleidžiama antropologinė šios sąvokos dimensija Hubermano teorijoje. Trečia, virtualumo samprata išgryninama aptinkant sąlyčio taškus ir skirtumus Hubermano bei Deleuze’o meno filosofijoje. Atliekant tyrimą, remiamasi Henri Bergsono élan vital koncepcija bei Friedricho Nietzche’s plėtojama jėgų sąveikos idėja. Galiausiai vaizdo teorija rekonstruojama aptinkant skirtingas Hubermano bei Deleuze’o virtualumo sąvokos konotacijas meno kūrinių analizėje.

Trinitorių vienuolijoje kulto ir meno prasme ypatingas dėmesys skirtas ir skiriamas Švč. Trejybei, Jėzui Kristui ir Švč. Mergelei Marijai, tačiau ir apimtimi, ir svarba didelę ordino pamaldumo ir jo dailės dalį sudarė ir sudaro šventųjų pagerbimas bei jų atvaizdų kūrimas. Straipsnis skirtas nuo XVII a. pabaigos Lietuvos Didžiojoje Kunigaikštystėje veikusių reformuotosios basosios atšakos trinitorių (kartu su Lenkijos Karalystės trinitoriais sudariusių Šv. Joakimo provinciją) aplinkoje, pirmiausia - jų bažnyčiose buvusiems pačių trinitorių šventųjų atvaizdams. Aptariamas ir šių atvaizdų vienuolynuose klausimas, pristatoma pasklidimo už ordino ribų pavyzdžių. Remiamasi archyviniais ir publikuotais šaltiniais, literatūra, dailės paveldu. The Order of Barefoot Trinitarians (Barefoot Brothers of the Most Holy Trinity and of the Captives) formed the province of St. Joachim in the Polish-Lithuanian Commonwealth. They have been active in the Kingdom of Poland since 1685 and started the activity in the Grand Duchy of Lithuania (GDL) in 1693. Nine Trinitarian monasteries were founded in the GDL before 1802: three in the present-day Lithuania (in Vilnius-Antakalnis and Trinapolis-and in Jonava) and six in Belarus (in Orsha, Brest, Vitebsk, Maladzyechna, Krivichi and Babinavichy). They accounted for almost one-third of the monasteries of the said province (five were established in Poland and the remaining more than ten in the territory of Ukraine). However, in the GDL the monasteries were still active during 1800-1830, while in the Kingdom of Poland the majority of them was already closed. The monastery in Antakalnis existed until 1864. The article is devoted to the images of the Saints and the Blessed of the Order previously held in the Trinitarian churches (and monasteries) in the GDL as well as to works on this subject outside the Order. For the first time, data on them is systematized, and the iconography of surviving works is discussed. The article is devoted only to the Trinitarians in the GDL. However, the study is essential to gain knowledge on the Trinitarian art in the entire province of St. Joachim. Images of the patriarchs of the Ordcr-St. Jean de Matha and St. Felix de Valois (both canonized in 1666)-uscd to be in every Trinitarian church of the GDL. The high altar was dedicated to them in Trinapolis Church and side altars in seven other churches. More often, the altars used to be built for the painting showing the founders of the Order adoring the Holy Trinity. Altars with a painting of each of the patriarchs were a much rarer case. Several images of the founders of the Order meant for other purposes are also known. The activity of the Trinitarians (establishment of the Holy Trinity confraternities, etc.) in the GDL resulted in the paintings and statues of these saints also appearing in several churches not belonging to the Order. The images of the Blessed Simon de Rojas (beatified in 1766, canonized in 1988) were not present in each Trinitarian church in the GDL. Altars of this title with an appropriate painting were in three churches and small images of the Blessed Simon under the main paintings of a differently titled altars were in two. The paintings of the Blessed Saint Miguel de los Santos (beatified in 1779, canonized in 1862) were more common: four Trinitarian churches had altars with the titular image of this saint, one church had a small image in the lower tier of the altar and two churches had freely hanging images. No images of St. Juan Bautista de la Conception (proclaimed venerable in 1760, beatified in 1819, canonized in 1975) are mentioned in the sources, and only one picture is identified as depicting him. Paintings dominated in the investigated topic with very little data on sculptures available. Only a few images of Trinitarian Saints have survived in Lithuania and Belarus, and the majority of them are no longer in their original places. The origins and identification of some images are still problematic.

Pasitelkiant lyginamąjį istorinį bei vidinės rekonstrukcijos, taip pat tipologinį ir analitinį aprašomąjį metodus, straipsnyje analizuojama Sūduvių knygelės (toliau – SK) ožio latrijos kilmė ir autentiškumas, pateikiama nauja žynio pr. Wurschayto ↔ Borsskayto (S. Grunau), jtv. Wourschkaite A(p) ir kitų SK nuorašų šio hieronimo variantų etimologinė raida. Analitinė vakarų baltų sakralinių apeigų eksplikacija pirmą kartą argumentuojama išlikusių 2-ų autentiškų šio vakarų baltų etnokultūros šaltinio nuorašų piešinių faktografija, kurių ikonografinė informacija, ne pilnai perteikta ar mistifikuota Jeronimo Maleckio parengtos kompiliacijos ir jos perspaudų graviūrose, yra ypatingos svarbos, suponuojanti ne tik įvardytų apeigų autentiškųjų elementų išskyrimą, bet ir paties veikalo sakralinės informacijos verifikaciją. The written sources of the late period — such as the chronicle of Simon Grunau (the beginning of the 16th c) and the so-called Yatvigian Book (of the same period)— explain the pagan cult of the peoples of Prussia. It is assumed that Western Balts, i.e. Prussians and Yatvigians, had their own notions of gods. They made animal sacrifices as an act of thanksgiving or as a prayer for grace, protection, prosperity and fertility. The killing and offering of an animal usually formed part of a pagan religious ritual. This kind of religious behaviour was conducted with the aim of getting a favour from a deity. The article newly (1) actualizes the necessity of assessing the rationale of the existence of the ritual of Western Balts, i.e. killing a goat to atone for the sins of the people of the village; (2) pursues the aim of verification of the possible true function of the mythonym Yatv. Wourschkaite. Special attention is focussed on the iconographical analysis of two illustrations of the α and B manuscripts of the Yatvigian Book (hereinafter YB) which are still preserved. A new hypothesis is presented that the author of YB used a form of phantasmagorical story of the sacrifice to the devil in his description of the immolating of a goat instead of presenting an authentic factographic relict of the Yatvigian ritual. To quote the authors of the Medieval Prussian written sources, the tribes of Western Baltic countries were deeply involved in demonological rites. Also an etymology of the mythonym OPr. Wurschayto, Wursskaito, Worskaito / OPr. Borsskayto, Borsskaito, Borszkayto / Yatv. Wourschkaite A(p), wrſchkatt E, warſkeyten K is presented. In summing up the results of the examination of the factographic motifs of S. Grunau’s chronicle and YB, the following conclusions may be drawn: 1. A lexeme with the sacral connotation EHG bockheiligung was used to indicated a sememe ‘worship of a goat’, but not ‘immolation of a goat’, as has been explained until now by the authors of the Sources of Baltic Religion and Mythology (i.e. BRMŠ). 2. The first fabled description of the West Baltic rite of goat sacrifice is presented in De Borvssiae Antiqvitatibvs Libri Dvo (1518) by Erazmus Stella. 3. The ritual of goat worshiping does not belong to the cultural heritage of the West Baltic peoples, but reflects the motifs of the ancient Semitic rite to abolish an evil using τράγος ἀποπομπαῖος (caper emissaries ‘a scapegoat’), mentioned in the Holy Writ. It is also called the Phenomenon of Azazel. 4. Based on the structural elements of the illustrations of copies of the old edition (resp. α and B), the demonological iconographical essence of the drawings of YB should be explained by distinguishing two main components — the Jew in the negative sense of the sorcerer obtaining in Medieval Europe and the black goat, a pictorial double of the devil, symbolizing evil and magic. 5. S. Grunau in his chronicle presented twofold examples of the same mythonym, i.e. OPr. Wurschayto, Wursskaito, Worskaito ↔ OPr. Borsskayto, Borsskaito, Borszkayto. All of them are compounds of the tatpuruṣa type and are to be attributed to German loan-translations of two different types: 5.1. OPr. Wur-schayto, Wur-sskaito, Wor-skaito ‘sorcerer’ ← EHG war- / wor-(seger), war- (sager) / MLG wâr-(seger), wâr-(sager) ‘ditto’ are half-calqued lexemes. Mythonym Yatv. Wour-schkaite mentioned in YB also belongs to the same morphological type. 5.2. OPr. Bor-sskayto, Bor-sskaito, Bor-szkayto ‘sorcerer’ are representatives of the complete loan-transition word type. None of these is recorded in YB. 5.3. The development of a vocal cluster EHG ā (→ ou [↔ ], o) presupposed the emergence of atypical phonotactic links in the 1st component of the mythonyms OPr. Wor-, Wur- (i.e. OPr. Worskaito / Wurschayto, Wursskaito) / Yatv. War-, Wour-, Wur- (i.e. Yatv. warſkeyten K, Wourschkaite A[p], wrſchkatt E). 5.4. The mythonym OPr. Borsskayto and its variants Borsskaito, Borszkayto are to be explained as calques of the morphological type of nomina agentis, i.e. OPr. *bŭrtskaitas(/-ĭs) *‘sorcerer ↔ he who describes future events, explains mysterious signs’← OPr. *burt-skaitāj(a)s ‘ditto’. 5.5. The structural changes of the analysed mythonyms mentioned in S. Grunau’s chronicle and YB are of the same origin.

Švč. Mergelės Marijos Nekaltojo Prasidėjimo atvaizdai sudaro nemažą Dievo Motinai skirtų paveikslų Vilniaus vyskupijos bažnyčiose dalį. Nuo daugelio kitų Švč. Mergelės Marijos paveikslų šios temos kūriniai skiriasi savo simboliniu pobūdžiu, jie neiliustruoja konkretaus Marijos gyvenimo epizodo, bet pateikia apibendrintą, visuminį jos vaizdinį, persmelktą simbolinių prasmių ir aliuzijų. Kita svarbi aplinkybė - Nekaltojo Prasidėjimo idėja buvo apmąstoma nuo seniausių laikų, o šios temos ikonografija vystėsi keliomis kryptimis ir egzistuoja skirtingos tą pačią ar artimą mintį išreiškiančios ikonografinės kompozicijos. Be to, Nekaltojo Prasidėjimo idėja neretai iš dalies atsispindi ir įvairiuose kituose marijinės temos dailės kūriniuose. Jau nuo seniausių laikų krikščionių mąstytojai, interpretuodami Senojo Testamento knygas, Švč. Mergelės Marijos provaizdį matė kaip Išmintį, asistuojančią Dievui kuriant pasaulį, nuo Sukūrimo pradžios numatytą Dievo planuose.

Apie Trakų Švč. Mergelės Marijos paveikslą ir jo aplinką pastaraisiais dešimtmečiais iškelta naujų, konkrečiais tyrimais paremtų faktinių duomenų. Tačiau stokojama bandymų įkontekstinti šį unikalų meno kūrinį į platesnį mūsų bažnytinės dailės diskursą. Nemažai nuveikta analizuojant atvaizdo kilmę ir kultą liudijančią istoriografiją, tačiau atvaizdo ikonografijos specifika liko nepaaiškinta ir atvira naujoms interpretacijoms. Straipsnyje analizuojama ir gretinama rentgenogramoje regima fragmentiškoji „gotikinė“ paveikslo tapyba ir XVII a. sukurta archaizuota pseudoikona, aptariamos jų reikšminės struktūros ir marijinio kulto kontekstai. Tyrime Trakų Švč. Mergelės Marijos laikoma rožė išskiriama kaip viena galimų paveikslo ikonografinės genezės nustatymo ir įkontekstinimo gairių, analizuojamas šios ikonografinės detalės sąsajos su Rožinio brolijos įtaka klausimas. In the article, the fragmentary “Gothic” painting of the image of Our Lady of Trakai revealed by means of radiography, and an archaized pseudo-icon created in the 17th century are analyzed and juxtaposed, and their semantic structures and the contexts of the cult of Mary are discussed. The research showed that the reconstruction of the painting of Our Lady of Trakai should probably be dated to the late 1620s or early 1630s. In 1622, the Trakai painting was most likely not repainted yet, and by 1645, it was already changed and had acquired a “Greek face”. The change must have taken place between 1628 and 1639, in the 1630s. The author of the article advances an assumption that the painting of Our Lady of Trakai repainted in the 17th century may have had the Immaculate Conception iconography, when the bareheaded Virgin Mary with the Child Christ is represented standing on a crescent; quite often, in images of this iconographic type, holy persons are depicted holding royal regalia and a flower. This assumption follows from the poems of the cycle “The Four Miles of the Virgin Mother” by Maciej Kazimierz Sarbiewski and an illustration of the Trakai book of miracles, as well as the comparison of these sources with examples of paintings from the second half of the 15th century found in Northern Poland – possible analogues of “the Gothic Madonna” of Trakai. The rose held by Our Lady of Trakai is distinguished as one of the possible landmarks of the establishment and contextualization of the iconographic genesis of the painting, and the question of the relation of this iconographic detail to the influence of the Confraternity of the Rosary is analyzed. A close look at the woodcut illustrating the book by Simonas Mankevičius (Symon Mankiewicz) shows that the Child Christ himself is holding a plant branch. It coincides with “the glowing hyacinth” in the hand of Jesus mentioned by Sarbiewski. Jesus may have held a rose as a symbol of purity and chastity. Yet the rose held by the Blessed Virgin Mary was probably not initiated by the tradition of devotion of the Confraternity of the Rosary. Referring to the 17th–18th century texts by Simonas Mankevičius, Johann Drews and other authors, a threeblossom rose branch in the painting of Our Lady of Trakai should be interpreted as a universal symbol of divine grace, love of Jesus and the Holy Trinity itself.

Švč. Mergelės Marijos Nekaltojo Prasidėjimo (lot. Immaculata Conceptio) idėjos vizualinės reprezentacijos klausimas yra labai svarbus religijos istorijos, teologijos ir sakralinio meno tyrimuose tiek dėl jo sąsajų su įvairiais kitais Dievo Motinos vaizdavimo ikonografiniais tipais, tiek ir dėl ilgos, komplikuotos pačios idėjos raidos nuo žmonių tikėjimu pagrįstos prielaidos iki oficialios Bažnyčios dogmos. Mintis apie Nekaltąjį Prasidėjimą glaudžiai siejosi su teologine gimtosios nuodėmės samprata bei jos pokyčiais ir turėjo didelės įtakos vienokiam ar kitokiam Marijos asmens, jos pašaukimo ir vaidmens žmonijos Išganymo istorijoje aiškinimui. Būtent todėl knygą, skirtą įvairiems Marijos atvaizdams Vilniaus vyskupijos bažnyčiose, verta pradėti nuo ikonografinio etiudo, pristatančio Nekaltojo Prasidėjimo temą (1 pav.). Nekaltojo Prasidėjimo tema krikščioniškoje dailėje yra išskirtinė lyginant su kitais marijiniais siužetais. Šios temos kūriniai nesusiję su konkrečiu Marijos žemiškojo gyvenimo momentu ar įvykiu. Tai daugiau simbolinis ir teologinis Marijos paveikslas, pagrįstas Šventojo Rašto tekstais, bibliniais įvaizdžiais, bet kilęs iš apmąstymų ir tikėjimo.

1867 m. Maskvoje buvo surengta pirmoji Rusijos etnografijos paroda, joje buvo eksponuota ir keliasdešimt nuotraukų iš Lietuvos – Vilniaus, Vilniaus ir Telšių apskrities bei Marijampolės. Nuotraukos iš Marijampolės parodos rengėjus pasiekė 1866 m. gegužės pradžioje. Jos buvo suklijuotos ant dviejų kartono lapų, kiekviename priklijuota po keturias skirtingas to paties vyro iš Marijampolės apylinkių ir marijampolietės miestietės nuotraukas, pagal kurias buvo pagaminti parodoje eksponuoti moters iš Marijampolės ir lietuvio vyro iš Marijampolės apylinkių manekenai. Kiekviename lakšte priklijuotos dvi mažesnės miestovaizdžio fotografijos, likusias vietas užpildė plunksnele nupieštos su moterų ir vyrų darbu susijusios buitinės scenos. Šios fotografijos saugomos Rusijos etnografijos muziejaus Sankt Peterburge fototekoje. Nenustatyto vietinio ar specialiai atvykusio autoriaus darytos Marijampolės gatvių ir aikštės nuotraukos yra seniausios žinomos Marijampolės fotografijos, rodančios miesto vaizdus prieš 150 metų. Apie jas rašo fotografijos istorikas Dainius Junevičius. The first-ever Russian ethnography exhibition was held in Moscow in 1867, and showed several dozen photographs from Vilnius, the Vilnius and Telšiai districts, and Marijampolė, in Lithuania. The photographs from Marijampolė reached the organisers of the exhibition as an early acquisition in May 1866. They wer e glued on to two pieces of car dboard, each with four different pictures of a man from near Marijampolė and a woman who lived in the town, according to which models of the man and the woman were made for the exhibition. The pieces of cardboard each had two smaller pictures glued to them, with urban landscapes of the city, and any remaining space was taken up by domestic scenes portraying the work of men and women drawn in pen and ink. The pictur es are kept in the photographic library of the St Petersbur g Museum of Ethnography. These pictures of streets and squares by an unknown photographer are the oldest known photographs of Marijampolė, showing how the town looked 150 years ago. The photography historian Dainius Junevičius writes about them in detail.

Eberhardo Vindekės (Eberhard Windecke) XV a. rankraštinė knyga yra priskiriama pasaulio istorijos kronikoms. Nors originalas neišlikęs, tačiau žinoma keletas jos nuorašų, kurių vienas saugomas Austrijos Nacionalinėje bibliotekoje, yra suskaitmenintas, išleistas kompaktiniame diske ir buvo prieinamas internete. Tame rankraštyje yra nemažai su Lietuva, jos valdovais susijusios medžiagos. 2015 m. Vilniuje buvo išleista knyga su atrinktais rankraščio fragmentais, jų faksimilėmis ir vertimais, liečiančiais Lietuvą. Trumpai pristatomas šis Vilniaus leidinys, o po to nagrinėjamas klausimas kaip ir kodėl minėtoje Vindekės kronikoje buvo pavaizduotas Lietuvos heraldinis ženklas – raitelis su ginklu, t. y. LDK herbas, nuo XVI a. vadinamas Vyčiu (lenk. Pogoń). Minėtame šaltinyje yra 9 Vyčio atvaizdai, pora iš jų pateikiama straipsnyje kaip iliustracijos. Kyla klausimas, iš kur Vindekės knygos rankraščio iliustratorius XV a. viduryje galėjo žinoti kaip atrodo LDK herbas? Dėl šaltinių trūkumo nėra lengva į tai atsakyti. Nagrinėjant šį klausimą pateikiami argumentai, kad informacija apie Lietuvos herbo ikonografiją galėjo pasiekti Europos šalis per Jogailos, Vytauto ir Švitrigailos heroldus, kurie Lenkijos ir Lietuvos delegacijų sudėtyje neabejotinai dalyvavo bažnytiniuose soboruose Konstancoje (1414–1418) ir Bazelyje (1431–1437). Per kitų šalių heroldus ta informacija ir galėjo pasiekti der Werkstat Diebold Lauber in Hagenau dirbtuves Elzase, kur buvo kopijuojami bei iliustruojami rankraščiai, tarp jų ir Vindekės kronika.

Jaučiuosi sujaudintas ir pagerbtas, Algirdo Juliaus Greimo šimtųjų gimimo metinių proga galėdamas prisiminti šj neeilinį žmogų, kuris buvo vienas pagrindinių mano mokytojų ir suvaidino lemiamą vaidmenį mano intelektiniame gyvenime. Tai unikali galimybė apibendrinti viską, už ką esu jam skolingas. Norėčiau patikslinti kai kuriuos dalykus, juos periodizuodamas. Todėl, manau, niekas nesupyks, jei iš pradžių trumpai išdėstysiu mudviejų susitikimo priešistorę. Iš tiesų mes susitikome išskirtiniu moksliniu laikotarpiu, su kuriuo tiesiogiai susijęs visas mano indėlis į struktūrinę semantiką. Kalbant glaustai, tuo metu gamtos mokslų (fizikos, chemijos, termodinamikos, biologijos) srityje iškilo vadinamieji morfodinaminiai matematiniai modeliai: terminu „morfodinaminis“ čia apibūdinami dinaminiai gamtinių morfologijų modeliai, iš kurių patys žinomiausi - Renė Thomo katastrofų teorijos modeliai. Kaip tik tokiame visiškai naujame kontekste aš ir stengiausi performuluoti Romano Jakobsono, Louiso Hjelmslevo, Claude’o Lévi-Strausso ir Greimo struktūralizmą. Semiolingvistinį struktūralizmą reikėjo suvienyti su morfodinamine matematika: tai buvo techniškai sudėtingas ir epistemologiškai nebanalus mokslinis nuotykis. Kad nekiltų neaiškumų, iškart pabrėšiu, jog terminą „morfologija“ vartosiu tradicine, o ne lingvistine (morfosintaksės) prasme: morfologija - tai išorinė tam tikrą sandarą turinčių dydžių forma.

Ivanas Michailovas (1893–1993) — vilnietis ikonų tapytojas, dėl savo išskirtinio talento ir vaisinga veikla įnešęs svarų indėlį į XX a. Lietuvos, Baltarusijos, Lenkijos ir Latvijos sentikių ikonų tapybos tradiciją. Michailovo gyvenimas ir kūrybinis palikimas iki šiol buvo žinomas mažam specialistų ratui ir tik pastaraisiais metais sulaukė didesnio tyrėjų ir žinovų susidomėjimo. XX a. aštuntuoju ir devintuoju dešimtmečiu Ivanas Michailovas įkūrė Vilniaus ikonų tapybos mokyklą ir jai vadovavo. Dabar jos mokiniai sėkmingai dirba Lietuvoje, Latvijoje ir Baltarusijoje. Straipsnio tikslas — išnagrinėti Vilniaus ikonų tapybos mokyklos įkūrimą, veiklą ir dėstymo joje metodus sovietmečiu bei naujomis istorinėmis sąlygomis – nepriklausomose valstybėse. Ivan Ipatievich Mikhailov (1893–1993) — an outstanding and fruitful Vilnius-based icon painter of the 20th century. New studies suggest that has made a significant contribution to the preservation and development of the Old Believers’ icon painting tradition in Lithuania, Belarus, Poland and Latvia in the 20th century. However, Mikhailov’s life and his creative heritage have only in recent years become the property of a wide range of researchers and experts in Russian iconography. In the 1970s and 1980s, Mikhailov was the founder of the Vilnius school of icon painting. Today, his students continue to work successfully in Lithuania, Latvia and Belarus. The purpose of this article is to consider the establishment, operation and teaching methods of the Vilnius school of icon painting that was headed by Ivan Mikhailov. One of the main sources of new and additional information about the facts, circumstances and features of the iconography of training were the stories of his daughter Zoya Mikhailova, an interview with four of his students and other people who knew the icon painter.

Straipsnio tikslas – pasiūlyti Antano A. Jonyno poeziją skaityti ir analizuoti ikoniškumo aspektu. Ikoniškumas straipsnyje suvokiamas kaip atvaizdavimo principas, realybės įkontekstinimas per kalbą ir pristatomas kaip literatūrinio įvaizdinimo reiškinio dalis. Teorinė straipsnio atspirtis – Charles’o Sanderso Peirce’o supratimo teorijos ikonos samprata, tyrimo objektas – Jonyno poetinio teksto raiška ir savybės. Jonyno poezijoje kalba yra sureikšminta: ne tik kaip priemonė, motyvas, bet ir kaip suproblemintas estetinis veiksmas, keliantis klausimą, kiek ir kaip kalba pajėgia šifruoti žmogišką patirtį. Straipsnyje gilinamasi į keletą Jonyno poezijos bruožų, parankių ikoniškumo raiškai tirti: konstatuojamas kalbos ir emocijos komunikacinis statusas, kalbėjimo rakursas, per įvaizdžių ir metaforų analizę nuodugniau gilinamasi į poeto tekstams būdingą atminties kaip aktyvios patirties fenomeno veikimą. The author of this article presents, and examines the expression of, iconicity in the poetry of Antanas A. Jonynas. Drawing on the American semiotician Charles S. Peirce’s sign theory and hermeneutic analysis she reveals how, in Jonynas’s poetry, reality is contextualized through language – its characteristics, expression, and meaning. Unusually for Lithuanian literary studies, the article dicsusses iconicity in terms of cognitive poetics. The article relates poetic expression with both iconicity in language and the function of metaphor within the literary text. These reflect the complex phenomenon of literary visualization and convey the fundamental human ability to think in terms of analogy. As is characteristic for modern poets, Jonynas stresses the importance of language: it is a means, a separate motive, and a problematized aesthetic effect – it is the power to both create a world and to decipher human experience through language. The image of reality within the text is based on the logic of spectacle (the analysis reveals the latter’s metatextual status), and for this reason the drama of the poem can appear to be both real and theatrical. But Jonynas’s texts are characterized by the ability to simultaneously talk about and describe states, and to convince and engage the perceiver: the texts combine sensations and draw on the transmission function (speaking and listening). The author of the article offers a detailed analysis of the nature of the poet’s language and the motif of memory in his writing. Images and the entire texts’s metaphoric level reveal the discontinuity between conscious speaking and nondiscursive experience in Jonynas’s poetry. The poetic text combines elements of reality; existential categories merely create the misleading impression that the status of emotion in the text is equivalent to the represented object or landscape.

Straipsnyje atskleidžiama Vilniaus Aukštutinės pilies rekonstrukcinių vaizdų istorija. XIX amžius, prasidėjęs sparčiu gynybinio komplekso nykimu, paskatino ne tik pirmąsias paveldosaugines praktikas, bet ir menines inspiracijas atvaizduose atkurti didingą Lietuvos Didžiosios Kunigaikštystės dvasią. Menininkai, architektai, menotyrininkai, vėliau archeologai nagrinėdami pilies architektūrinių elementų liekanas bei remdamiesi ikonografija, archeologiniais duomenimis, analogijomis tyrė ir analizavo pirmines statinių formas. Ypač XX a. antrosios pusės piešiniai / brėžiniai, maketai suformavo ir šiandieninį pilies istorinio vaizdo suvokimą. Straipsnyje siekiama išnagrinėti rekonstrukcinių vaizdų kilmę ir atskleisti, kuo grįstas architektūrinių formų vizualinis atkūrimas. The article tells the history of reconstruction images of the Vilnius Upper Castle. The rapid decay of the defences constructions in 19th century have encouraged not only the first heritage protection practices but also artistic inspirations to visually recreate the majestic spirit of the Grand Duchy of Lithuania. Artists, architects, art critics, and later archaeologists, investigated first construction forms by analysing the remains of architectural elements and by referring to iconographic, archaeological data and analogues. Images, schemes and models from the second half of 20th century had a particularly large influence on today’s’ understanding of historic visualisation of architectural forms of the castle. The purpose of this article is to examine the origin of reconstructive images and the grounds of the visual playback of architectural forms.

Straipsnyje, remiantis rašytiniais šaltiniais ir XIX a. publikacijomis, aptariama nuo 1495 m. Vilniuje tikinčiųjų garbinta Dievo Motinos Hodegetrijos ikona, jos ikonografija, aptaisai, votai. Daugiausia duomenų apie ikoną esama nuo XVII a. pradžios iki 1915 m. rudens, kai ji buvo Vilniaus bazilijonų Švč. Trejybės cerkvėje. Publikacijoje patikslinami ikonos istorijos faktai, pateikiami nauji duomenys, liudijantys stebuklingu laikyto atvaizdo kultą. The article discusses the icon of the Hodegetria Mother of God, formerly placed in Vilnius. The currently missing piece of art was considered very important in the Vilnius spiritual life in the 16th – early 20th centuries and was respected by Orthodox, Greek Catholic (Uniate) and Roman Catholic churches. A significant influence on the cult of icons was inspired by the authorship attributed to St. Lukas (later – only its prototype) and historical links with the family of the Grand Duke of Lithuania Alexander Jagiellon (the icon was brought as a dowry in 1495 by his wife Elena, the daughter of the Grand Duke of Moscow). In the 16th century, the icon was stored in the Orthodox Cathedral of the Blessed Mother of God. At that time it was possibly renewed (two side boards were replaced and the icon was repainted with the egg-tempera technique). It is supposed that at that time the partial amendment was made in the oldest silver casings consisting of separate ornamented plates that were covering the background of the icon. Most of the knowledge about the existence of the icon exists from the beginning of the 17th century, when it was transferred into the church of the Vilnius Basilian monastery of St. Trinity. There it became a major factor of Vilnius Latin and Greek Catholic religious integration. The altar of The Mother of God in the church of St. Trinity was patronized by the fraternity of the Immaculate Conception of Holy Mary. The image of the icons is known from the descriptions, lithographs, photographs and copies of the 19th century. It should be noted that there are two different iconographic variations of the copies of the Vilnius Hodegetria (characterized by the different position of the feet of Jesus). The article raises an assumption that the icon could be repainted in the 17th century. The slight change of the image or its iconography may have been adjusted with the silver casings made in 1677. Once again the Vilnius icon was possibly renewed after the fire in 1706. In the middle of the 18th century, the head of Holy Mary was decorated with a new pure gold filigree crown. In 1839, after the repeal of the union and the takeover of the St. Trinity‘s church by the Orthodox, the altar of Holy Mary was demolished and the icon was added to the new iconostasis. In 1866, the old artistic silver casings were melted and from the resulting material the new casing was made in St Petersburg, corresponding to the requirements of the Orthodox. In the same year, the icon was restored. Its oil paints were cleaned. The image unveiled at that time perhaps was not the first original image, but the one created after the icon base corrections, most likely in Vilnius in the 16th century.

Straipsnyje pirmą kartą nagrinėjamos prieš kelis metus surastos XVIII a. II pusės Švėkšnos bažnyčios Kristaus kapo dekoracijos dalys – Adomo ir Ievos, Nojaus, dviejų angelų kontūriniai paveikslai ir iliuziškai tapyti architektūros fragmentai. Remiantis archyviniais duomenimis ir europine Kristaus kapo apipavidalinimo tradicija, bandoma atkurti pagal barokinius principus sukurtos dekoracijos kompozicinę sandarą, nustatyti išlikusių dalių vietą, taip pat pasitelkiant Tridienio liturgiją ir analogus atskleisti šios dekoracijos simbolines alegorines prasmes bei apibūdinti retos ikonografijos meniškus atvaizdus. Paliečiami ir kiti Švėkšnos bažnyčios Didžiosios savaitės inscenizacijos aspektai, turėję įtakos kristologinių pasijinių atvaizdų sklaidai. The article for the first time analyses the decoration parts of the Christ’s tomb of the second half of the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the old church was transferred to the new church, which was built in 1804 and used until the 4th decade of the 19th century. On the basis of the sources and remained fragments we can state that this was a complicated structure of the Paschal decoration designed under the European baroque scenery principles. It was composed of the paintings on boards and canvas and miscellaneous accessories. The Christ’s tomb paintings are characterised by a symbolic allegoric content and artistry. The prophets of the Old Testament and characters the New Testament reflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outline paintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamenting over the Death of Jesus are the exceptional iconography images in the Lithuanian church art. The decorations of the Christ’s tomb were created by the professional masters who decorated the churches in Samogitia in the second part of the 18th century. The images of suffering and dead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passion scenes. This is supported by an interesting archival fact about the shrine with a group of sculptures depicting the tomb of Christ in the Švėkšna churchyard. The fragments of the Paschal decorations in the Švėkšna church are important baroque scenery exhibits, which are valuable for the history of the Lithuanian church art and scenography. The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustration of this multidimensional cultural, religious and artistic phenomenon.

Straipsnyje kalbama apie prezentaciją, reprezentaciją ir simuliaciją kaip vaizdo ontologinius būvius. Šiems būviams įvardyti ir apibūdinti pasitelkiami Christopho Wulfo, Jeano Luco Mariono, Jeano Baudrillardo tekstai. Aptariamas vaizdo ir tikrovės krizės ryšys. Ypatingas dėmesys skiriamas ikonos kaip prezentuojančio vaizdo atvejui, gilinamasi į jos ontologiškumą. Keliami klausimai apie vaizdo galią steigti, atkurti ir neigti tikrovę, taip pat analizuojamas ontologinis vaizdo fenomenologijos potencialas. The article aims to identify how the image exists and what are its possible relations with reality as well as where the power of image can be found when asserting or denying the reality. It strives to clarify the ontology of image and presentation, representation and simulation as ontological states of the existence of an image. The author emphasizes the visual turn, to which philosophical reflexion switched in the 20th century and which witnesses a complicated situation or even a crisis of image. This can be proved first of all with W. Benjamin’s insights about technical reproducibility when the change of the medium, based on photography technologies, leads us to a desacralization (the loss of aura) of an art piece and an image as well. Increased possibilities to produce and spread the images all around the world cause the experience of the world as an image. Consequently, the crisis of image and reality seems to be related to new visual technologies, especially the digital ones, which provoke the abundance of images. In screen culture almost every image becomes self-referent; that is why the question of reality must be raised again. This context allows discussing the influence of the change of medium for the ontological state of image. In ontological point of view, using the classification of images proposed by Christoph Wulf, there are researched cases of: representational image, which is based on mimesis, imitation, simulacrum, or image that have turned into an idol and obtained the status of simulation, and presentational image, which establishes the reality in presence. An example of icon, which is an image treated as sacral image and sometimes also as a piece of art, is used to describe the main features of image as presentation. An icon has a special visibility, which is independent from perspective: by assuming visual austerity and letting viewer to look through the visual surface, it makes its prototype present. The viewer’s gaze meets with a gaze of a Saint. The essence of the presentational power of an icon can be named as that crossing of two gazes. The article is based on works of several philosophers (J. L. Marion, J. Baudrillard, M. Merleau-Ponty), it also analyses the ontological potential of the phenomenology of image, as M. Merleau-Ponty once wrote: any theory of painting is metaphysics.

Straipsnyje ikonografiniu metodu analizuojamos Švč. Mergelės Marijos Ėmimo į dangų vaizdavimo ypatybės XVII–XVIII a. Lietuvos dailėje. Aptariama siužeto kilmė ir raida Vakarų Europoje, atskleidžiamas teologinis matmuo. Nustatomos pagrindinės Lietuvoje plitusios ikonografinės-kompozicinės schemos, elementai, jų simbolika. Lietuvos atvaizdai lyginami su to paties laikotarpio Europos kūryba, pagal galimybes išaiškinami kūrinių pirmavaizdžiai. Straipsnis parengtas pagal Lietuvos mokslo tarybos finansuotą projektą „Krikščioniškoji ikonografija XVII–XX a. Lietuvos dailėje: tradicijos ir transformacijos“ (sutarties Nr. VAT-33/2012). The aim of the paper is to analyze the iconography of the Assumption of the Blessed Virgin Mary in Lithua-nian art of the 17th-18th centuries. The article discusses the origins and development of the storyline in Western Europe, reveals the theological dimension. It analyzes the iconographic peculiarities, compositional schemes, elements, their symbolic meaning in comparison with European creation of the same period. Ac-cording to the possibilities the pieces of art prototypes are ascertained. Assumption of the Mother of God in Lithuanian art of the 17th-18th centuries predominated in both easel and murai painting. This climactic moment was usually composed in church vaulting and cupolas which dur-ing the Baroque period were used for the depiction of apotheotic holy scenes. Remaining paintings witness that in the 17th-18th century iconographic compositions of ternary char-acter were spreading: the action can take place in heavenly or heavenly and earthly spheres; in the latter the apostles are grouped. Typical 17th century schemes have been created following Titian and Rubens proto¬types. This group is represented by Kaunas Archdiocese, Merkinė Church specimens. In the 18th century and especially in its 2nd half more rational, one sphere compositions become more frequent, their origin can be related with specimens created by Guido Reni, Bartolomé Esteban Murillo, Nicolas Poussin. Such group is illustrated in Prienai, Medingėnai, Raguvėlė churches and other paintings. In... [to full text]

Straipsnyje aptariamos Švč. Mergelės Marijos Nekaltojo Prasidėjimo ikonografijos XVII a. dailėje ypatybės, jų pasireiškimas Lietuvos Didžiojoje Kunigaikštystėje šios temos kūriniuose, daugiausia dėmesio skiriant ypač vertingam paveikslui iš Vilniaus Bernardinų bažnyčios. Tai Europoje gana retos ikonografijos drobė, sukurta XVII a. pab., galbūt šioje bažnyčioje veikusios Švč. Mergelės Marijos Nekaltojo Prasidėjimo brolijos užsakymu. Publikacija parengta vykdant Lietuvos mokslo tarybos finansuojamą Vilniaus dailės akademijos mokslininkų grupės projektą „Tapybos istorija ir teologija: Švč. Mergelės Marijos atvaizdų Vilniaus vyskupijos bažnyčiose restauravimas ir tyrimai“ (MIP-15377, vad. dr. Tojana Račiūnaitė). Painterly depictions of the Immaculate Conception of the Blessed Virgin Mary embody the theological ideas that underlie the concept of the Virgin Mary as a perfect spirit, full of grace and free from Original Sin. Being a historical, real person, Mary is also considered as foreseen by God from the very beginning of the World, the Mother of the Saviour created by God’s thought; she is also a personification of the entire Catholic Church. The uneasy task to create a concrete, worldly portrait of the Mother of God and to express within it a multidimensional, metaphysical image of the New Eve, the fiancee of the Holy Spirit and the Woman of the Apocalypse compelled artists to search for symbolic means of art. The paper surveys the iconography of the Immaculate Conception of the Blessed Virgin Mary in the 17th century art of the Grand Duchy of Lithuania, focusing on an especially valuable piece from Vilnius St. Francis of Assisi (Bernardine) Church. This canvas, characterized by a rather untypical iconography, was created in the late 17th century, possibly as a commission by the Confraternity of the Immaculate Conception of the Blessed Virgin Mary that operated at the Church. The theological thought is conveyed via certain symbols (a palm branch, a mirror, a crown of twelve stars, a crown of roses, the dove of the Holy Spirit, etc.) and a particular visual rhetoric: the Virgin is depicted among cherubs, standing on the sphere of the Universe that hovers above the ground in a timeless space; on a cloud above one sees the Infant Jesus with a long cross-shaped spear, piercing a dragon entwined around the Universe. The painting reflects the Christocentric view of the exclusivity and chosenness of the Mother of God, which is characteristic of Mariology of Franciscan Observants. Images with similar iconography appeared in Europe after the victories against Turks, and spread in the Polish–Lithuanian Commonwealth presumably in the 17th century. This artwork is also interesting as an illustration of the view of the Universe characteristic of that time, and the landscape in the lower part of the canvas is intriguing as a possible representation of the city of Vilnius.

Darbe pateikiamas alternatyvus Vilniaus Šv. apaštalų Petro ir Povilo bažnyčios meninės programos aiškinimas. Remiantis ikonografiniais pavyzdžiais yra tikslinama atskirų bažnyčios skulptūrinės puošybos motyvų prasmė ir interpretacija lyginant juos su visuotiniais krikščioniškoje baroko dailėje aktualizuotais alegoriniais įvaizdžiais. Kitaip nei ankstesni tyrimai, identifikuojant bendrą bažnyčios meninę programą orientuojamasi ne tik į naratyvų interjero skulptūrinį dekorą, bet ir į bažnyčios architektūros formų simboliką. Šv. apaštalų Petro ir Povilo bažnyčios erdvės simbolika yra aiškinama platesniame krikščioniškos architektūros kontekste, aptariant, kaip tradiciniai krikščioniškosios architektūros simboliniai įvaizdžiai buvo pritaikyti šiai konkrečiai bažnyčiai. Bažnyčios meninė programa yra identifikuojama atskleidžiant bažnyčios skulptūrinės puošybos prasminę sąsają su jos architektūros formų semantika. Sis aspektas padeda suvokti tikrąsias baroko sakralinės architektūros galimybes kurti iš anksto numatytą, vieningą ir prasmingą meninį turinį. The paper expands the research of iconography of the baroque St. Peter and St. Paul church in Antakalnis, Vilnius (1668-1702) through examination of architectural symbolism, in contrast to previous limited analysis, devoted solely to the symbolism of rich interior stucco decoration of this church. The architectural semantics of the church is explained through comparison to the most distinctive traditional symbolic themes of sacral Christian architecture. Then separate descriptive interior decoration scenes are explained through iconographical comparison to the allegories popular in both religious and secular baroque art. The unity between the abstract architectural semantics and the descriptive symbolic themes of sculptural decoration gives the understanding that architecture this particular Baroque church (if not architecture in general) was very much capable of expressing the independent, integral and meaningful artistic content, which can translate more than its general appearance.

The image of Jonas Basanavičius (1851–1927), the patriarch of the Lithuanian nation, has been formed mostly by the periodical press. However, depictions of him in art, commemorative statues, symbols of statehood (on the currency, stamps, envelopes, and so on), his inclusion in school syllabuses and textbooks, street names, and the names of school and other institutions, are also quite important. Basanavičius himself was involved in the creation of his own image. The historian Algirdas Grigaravičius writes about images of Jonas Basanavičius.

In 2015, the Seimas of the Republic of Lithuania declared the year of Ethnographic regions. Coordinators of the project "The Path of Lithuanian Museums" developed significant theme for ethno culture "The Beauty of Folk Art". Marija Kuodienė established a small travelling exhibition "Mother of God in Lithuanian Folk Art" from the folk sculpture collection of the Lithuanian Art Museum (LAM). Exhibition has revealed essential life stages of the Blessed Virgin Mary, her importance for a folk Christian tradition, the beauty of folk sculpture. The topic was significantly supplemented by the exhibition "Lithuanian Folk Art Tradition in Vytautas Ignas Creative Work" designed by Irena Dobrovolskaitė. On the 29th of May - the 9th of July 2015, both exhibitions were displayed in Veisėjai Region Musem (the branch of Lazdijai Museum). Exhibitions attracted great attention from visitors. On 10th July 2015, exhibitions have been transferred and further exhibited in Marijampolė, in the Memorial Museum of the President of Lithuania K. Grinius. Ancient folk sculpture and exhibition of the famous contemporary graphic artist V. Ignas perfectly reflected the ethno-cultural heritage and the influence of traditional values to the further development of the Lithuanian art. Combined exhibition impressively developed and supplemented the "The Path of Lithuanian Museums" program and Lithuanian folk art theme.

During the period of the second half of 19th c. and the beginning of the 20th c. Orthodoxy was understood as the best way of Russifacation in the North-West region of Russian Empire. The old Orthodox churches were renewed and very many new built. They needed icons - the holy paintings, the most important implements in religious practice and this caused the precedent to form local icon painting in Vilnius which is discussed in this paper. In Vilnius there were no professional Orthodox painters so in the beginning of the second half of 19th c. great and famous masters (Ivan Trutnev, Ivan Chrucki, Vasili Vasilev) were invited to Vilnius from Saint Petersburg and Moscow to create images for the local Orthodox churches. Despite all the efforts of government, Orthodoxy Was and left religion of small comunity and could not compete against Roman Catholics and Jews. The icon painting in the beginning of the 20th c. left as an art of local craftsmen and could not fulfill (with the exception of painter G. Molokin) the need for beautiful paintings in the new churches and private devotion. This caused the orders of paintings to the workshops in Saint Petersburg, Moscow, Kiev and the appearence of huge amount of local stores that were specialized in selling liturgical implements in the beginning of the 20th c. Of course, despite all the strict canons of painting in Orthodox Church, the holy images were influenced by mass production so the attention is given to the mass printed paper icons too. The main aim of this paper is to show how vast and diverse the icon painting was in Vilnius and to represent the artists that are almost or completely forgotten today. Scientific researches may draw the attention and encourage to save that poor inheritance of icons still left in Orthodox churches of Vilnius.

Nuo XVI a. šv. Antano kultas iš Italijos paplito visoje Katalikų bažnyčioje, o 1586 m. popiežius Sikstas V jo iškilmę įtraukė į visuotinį Romos liturginį kalendorių, pakeldamas ją į duplex majus rangą. Pranciškoniškoje aplinkoje sukurti „Šv. Antano gyvenimai“ ir responsoriumas Si quaeris miracula. Europoje išplatino šv. Antano kaip pamokslininko ir stebukladario paveikslą (pirmoji jo biografija, vadinama Assidua, parašyta netrukus po kanonizacijos). Kulto sklaidai galbūt turėjo reikšmės ir tai, kad kai kurie reikšmingi šv. Antano gyvenimo epizodai įtraukti ir į pasakojimus apie šv. Pranciškų Asyžietį. Nuo XIII a. šv. Antano Paduviečio pagalbos buvo šaukiamasi prašant surasti pamestus ar kitaip prarastus daiktus (vėliau Lietuvoje ypač tikėta jo pagalba surandant pavogtus arklius), siekiant apsisaugoti nuo šėtono pinklių (tuo tikslu buvo kalbamas šv. Antano egzorcizmas - „Štai kryžius Viešpaties, bėkite, šėtonai“), jis buvo laikomas šeimos reikalų (ypač moterų, jaunamarčių, gimdyvių, vaikų) globėju, naminių gyvulių saugotoju nuo maro ir kt. Šiame straipsnyje aptariama šv. Antano Paduviečio kulto sklaida Lietuvos Didžiojoje Kunigaikštystėje, nagrinėjama šios sklaidos dinamika šimtmečiams bėgant, analizuojami pagrindiniai veiksniai, skatinę šventojo kulto plitimą Lietuvoje.

Šis straipsnis turi du tikslus - pateikti vieno kūrinio ikonografinę interpretaciją, pasitelkiant jo tekstines dalis, bei panagrinėti vaizdo ir teksto santykį. Aptariamasis kūrinys - Mikalojaus Kristupo Chaleckio knyga „Alegorijos“ - nebuvo plačiau tyrinėta ir analizuota. Ant vieno Mikalojaus Kristupo Chaleckio „Alegorijų“ knygos egzempliorių antraštinio lapo randame provenienciją, paliktą nežinomo skaitytojo: Non lectore tuis opus est sed Apolline libris / Vel teipso q[uo]d ais si tamen ipse scias „Ne skaitytojo tavo knygoms reikia, bet Apolono arba tavęs paties, nes kalbi jei tik pats žinai“. Savo žinute jis perdavė, kad ir ano laikotarpio skairytojui ši knyga buvo sunkiai suprantama, ir prašėsi Apolono, galinčio išaiškinti joje paslėptas prasmes. Dar sunkiau ji gali būti suprantama mūsų laiko žmogui ne vien dėl lotynų ir graikų kalbų, bet ir dėl jau visiškai neįprastos emblemos formos - vaizdu ir tekstu perteikto kūrinio bei alegorinio mąstymo, taip būdingo visai baroko epochai. Knyga mums svarbi kalbant apie vaizdo ir teksto santykį, kuris šiuo atveju yra dvipusis ir neatskiriamas: tik dėl jųdviejų sąveikos jis veikia kaip tikroji kūrinio esmė. The article presents an iconographic interpretation of one literary work and, based on the analysis of its textual parts, examines the relationship between the image and text. The book Allegories, written and published by Nicolaus Christophorus Chaletzki, the nobleman of the Grand Duchy of Lithuania, has never been researched and analysed in more detail. The title page of the copy of Allegories kept in the Ukrainian National Scientific Library named after V. Stefanyk, Lviv, contains a note left by an unknown reader: Non lectore tuis opus est sed Apolline libris /Vel teipso q[uo]d ais si tarnen ipse scias (Your books require not a reader, but Apollo or yourself, as you speak of things known only to yourself). He implied the book was hardly understandable even to a reader of its own time and asked for Apollo, who could explain the meanings hidden in it.