VYTAUTAS MAGNUS UNIVERSITY
Aurelija RUSTEIKIEN
ART OF THE CARMELITE MONKHOOD: ICONOGRAPHY OF OUR LADY OF THE SCAPULAR WITHIN HISTORICAL BOUNDARIES OF THE GRAND DUCHY OF LITHUANIA
Summary of Doctoral Dissertation Humanities, Art Studies (03 H)
Kaunas, 2013 The scientific doctoral dissertation was prepared at Vytautas Magnus University in 2009-2013. The right of the doctoral studies was granted to Vytautas Magnus University jointly with the Architecture and Construction Institute at the Decision No. 926 of the Government of the Republic of Lithuania on July 15, 2003.
Scientific supervisor: Prof. Dr. Laima Šink nait (Vytautas Magnus University, Humanities, Art Studies 03 H)
The scientific doctoral dissertation is defended at the Council of Art Studies Scientific Field of Vytautas Magnus University:
Chairman: Prof. Habil. Dr. Vytautas Levandauskas (Vytautas Magnus University, Humanities, Art Studies 03 H)
Members: Prof. Dr. R ta Janonien (Vilnius Academy of Arts, Humanities, Art Studies 03 H) Dr. Aist Paliušyt (Lithuanian Culture Research Institute, Humanities, Art Studies 03 H) Prof. Dr. K stutis Žemaitis (Vytautas Magnus University, Humanities, Theology 02 H) Prof. Habil. Dr. Alfonsas Motuzas (Vytautas Magnus University, Humanities, Art Studies 03 H)
Opponents: Prof. Habil. Dr. Aleksandra Aleksandravi i t (Vilnius Academy of Arts, Humanities, Art Studies 03 H) Dr. Liudas Jovaiša (Vilnius University, Humanities, History 05 H)
The doctoral dissertation will be defended at the public meeting of the Council of Art Studies Scientific Field at the art gallery 101 of Vytautas Magnus University, address: Laisv s Al. 53 – 101, LT – 44309, Kaunas, Lithuania, on December 10, 2013 at 2 pm.
The summary of the doctoral dissertation was distributed on November, 2013. The dissertation is available for review at the library of Vytautas Magnus University and Martynas Mažvydas National library of Lithuania.
VYTAUTO DIDŽIOJO UNIVERSITETAS
Aurelija RUSTEIKIEN
KARMELIT VIENUOLIJOS DAIL : ŠV . MERGEL S MARIJOS ŠKAPLIERIN S IKONOGRAFIJA ISTORIN SE LDK RIBOSE
Daktaro disertacijos santrauka Humanitariniai mokslai, menotyra (03 H)
Kaunas, 2013
Mokslo daktaro disertacija rengta 2009 – 2013 metais Vytauto Didžiojo universitete. Doktorant ros teis Vytauto Didžiojo universitetui suteikta kartu su Architekt ros ir statybos institutu Lietuvos Respublikos Vyriausyb s 2003 m. liepos m n. 15 d. nutarimu Nr. 926.
Mokslinis vadovas: Prof. dr. Laima Šink nait (Vytauto Didžiojo universitetas, humanitariniai mokslai, menotyra 03 H)
Mokslo daktaro disertacija ginama Vytauto Didžiojo universiteto Menotyros krypties taryboje:
Pirmininkas Prof. habil. dr. Vytautas Levandauskas (Vytauto Didžiojo universitetas, humanitariniai mokslai, menotyra 03 H)
Nariai: Prof. dr. R ta Janonien (Vilniaus dail s akademija, humanitariniai mokslai, menotyra 03 H) Dr. Aist Paliušyt (Lietuvos kult ros tyrim institutas, humanitariniai mokslai, menotyra 03 H) Prof. dr. K stutis Žemaitis (Vytauto Didžiojo universitetas, humanitariniai mokslai, teologija 02 H) Prof. habil. dr. Alfonsas Motuzas (Vytauto Didžiojo universitetas, humanitariniai mokslai, menotyra 03 H)
Oponentai: Prof. habil. dr. Aleksandra Aleksandravi i t (Vilniaus dail s akademija, humanitariniai mokslai, menotyra 03 H) Dr. Liudas Jovaiša (Vilniaus universitetas, humanitariniai mokslai, istorija 05 H)
Daktaro disertacja bus ginama viešame menotyros mokslo krypties tarybos pos dyje 2013 m. gruodžio 10 d. 14 val. Vytauto Didžiojo universiteto Men galerijoje ,,101”, Adresas: Laisv s al. 53 – 101, LT – 44309, Kaunas, Lietuva.
Daktaro disertacijos santrauka išsi sta 2013 m. lapkri io d. Disertacij galima perži r ti Lietuvos nacionalin je Martyno Mažvydo ir Vytauto Didžiojo universiteto bibliotekose.
INTRODUCTION
Novelty of the theme, topic, actuality. The research of fine arts of monkhoods that flourished in the Grand Duchy of Lithuania (GDL) in the 17th-18th century is important as evaluation of artistic, cultural and spiritual heritage of the past. Even though the monastic tradition is rather short in GDL, the valuable and original heritage encourages to analyse the culture of monasteries as a separate layer of cultural tradition. The solid contribution of one of the largest monkhoods of GDL, the Carmelite Order, to the nurturance of religious art should be evaluated by a wider and deeper aspect of art criticism. Also, religious fraternities, which became the only nurseries for Catholicism after the closure of monasteries, played an important role in continuing the tradition of piety and church art in our country. The chosen Marian aspect of research – Our Lady of the Scapular – reflects one of the main piety cults of the Carmelite monkhood. The purpose of this work is to draw attention to the iconography of images of Our Lady of the Scapular. The place of this iconographic derivative has not yet been defined unambiguously in the system of Marian iconography: iconographic dictionaries grant a different status to portrayals of Our Lady of the Scapular. The historically tardy legitimation of the Carmelites’ piety determined a slower spread of devotion to St. Scapular as compared with the cult of St. Rosary spread by the Dominicans heartily in the Middle Ages; therefore, today we have a conditionally unequal positioning of two iconographies of analogical origin – Our Lady of the Rosary in particular is mentioned and predominates in the majority of art dictionaries or directories while Our Lady of the Scapular is not referred to. Due to the different perception of the conception of iconography of Our Lady of the Scapular or identification of this derivative on the basis of distinct criteria, inaccuracies and mistakes emerge while identifying and evaluating portrayals of the Carmelite Mother of God. Such a situation prevails not only in our country but also in art criticism of the entire Europe, and this causes confusion and complicates iconographic research of Marian portrayals. Images portraying Out Lady of the Scapular are named differently: by confining to the theme of the vision plot, by coupling the title of the image with the title granted by the church, by continuing to use the title of piety of people, by emphasising the prototype of the image or the place of origin. These variants do not correspond with the iconographic typologization of art research rather
often. Therefore, the type of Our Lady of the Scapular should be defined indicating the essential attributes of representation. In the research the internal composition of objects is analysed structurally, and the multi-layered iconography is revealed in this way. It is of great importance to find the notional dominant in portrayals of Our Lady of the Scapular of combined iconography that determines the naming of the theme. The raising of this issue is actual for identification of heritage objects and their systemisation both in Lithuania and other European countries. The identification of objects is also aggravated by the broken iconography of these images altering with time: some images were created for evoking Carmelite spirituality right from the start, other images gained the iconography of Our Lady of the Scapular later while adorning the portrayals with casings, yet others – while repainting images or inducting the devotion to the scapular on the art work in another manner. Although the mobile sacramental of the scapular coming with an image reflects the piety context of the time period, it does not survive on the long run the most often, and iconographic changes may be recorded only according to entries in church inventories. It should be noted that the delivery of the scapular garment as a sacramental is portrayed not only in Carmelite art themes – the analogical plot is repeated in images of the Servite Order. Our Lady of the Scapular is also portrayed with the scapular sacramental of the fraternity form in Marian images of the Mercedarian Order. The aforementioned works of art are frequently attributed to the Carmelite artistic heritage erroneously due to the usual visual similarity. Such evident mistakes prove that art criticism lacks clear criteria on the basis of which the specifics of the iconographic type of Our Lady of the Scapular could be named and the legitimate status could be granted to this derivative. The lack of theological knowledge or theological education of specialists that carry out iconographic research could be referred to as a general problem in art criticism today. Usually connoisseurs of religious art gain knowledge about history of the Catholic church, its structure, institutions, Catholic piety and liturgy from lasting experience, individual studies of secrets of Christian faith and consultations with Church representatives. The aforementioned topic is explored in our art criticism for the first time; therefore, the research is of high value due to its novelty and actuality. This research is
6 unique on the European scale too as there are no works of art criticism that would analyse the iconography of Carmelite Marian images of GDL in such a wide European context. Meanwhile, the funds of Lithuanian old religious art will be enriched with the analysis of newly discovered objects and the classified iconographic material of images of the Mother of God that encompasses three centuries of existence of the Carmelite monkhood in our country. Object of the dissertation. The chosen object of the research, images of the iconographic type of Our Lady of the Scapular, coincides with the step highly needed in our art criticism, i.e., with the systematic attitude of iconographic type to religious art works. Portrayals of the Mother of God that belonged to Carmelites of both confessions, monkhoods of Carmelites of Ancient Observance and the Discalced Carmelites, have been included into the research field. The period of existence of monastic orders does not coincide with the historical stages of statehood in our country: GDL lost the status of the state in 1795 but monkhoods continued existing for half a century longer. Despite the political changes, religious life persisted, functioning monasteries remained centres of Catholicism, and after their closure parish churches took over the role of spreading Christianity traditions. Therefore, the chronological borders of the research encompass the period that includes two stages: the first one, the period of existence of the Carmelite monkhood in GDL embraces the years 1506 – 1832, i.e., from the first establishment of the Carmelite monastery in GDL to the general closure of such monasteries, and the second one is from 1832 to the end of the 19th century when Carmelite art traditions were continued passively at the initiative of religious fraternities of the Scapular. As the Carmelite spirituality is named as deriving from the milieu of iconographic type of Our Lady of the Scapular, Carmelite monasteries of GDL are valued as the main locations of the researched object, and parish churches are also included in the subsequent period of spread. The geographic research field of the object is limited with the borders of the Grand Duchy of Lithuania established by the Union of Lublin in 1569 until the first partition of the Polish-Lithuanian Commonwealth in 1772. The state of GDL that flourished in this territory for more than two centuries united ethnical Lithuanian and Belarusian lands. The present borders of the Republics of Lithuania and Belarus coincide with the borders in the 17th-18th century in general; therefore, different titles of the territories (Belarus and Gudija in Lithuanian) used in the work do not contradict each other as they mark the components of the state of GDL.
7 The object was searched for comprehensively: in Lithuanian and Belarusian Carmelite monasteries and churches that belonged to them, in parish churches, state archives, library and museum funds, auctions and private collections. The data from archival sources is not eloquent when describing the iconography of the object but the fact of mention is important while establishing the field of spread of portrayals of Our Lady of the Scapular and revealing the iconographic programme of some particular sacred space. More than sixty objects of Our Lady of the Scapular were traced or mentioned in Belarus territory, in Lithuania - more than one hundred seventy. Sufficient contextual material has been collected both from the closest neighbour of GDL Poland (sixty objects), and from various European countries, where Carmelite monks lived - about three hundred objects. Objects of fine and applied arts with iconography of Our Lady of the Scapular have been included into the research field: easel and monumental painting works, graphic plates and prints, illustrations of books, sculptures, liturgical utensils, signs of devotion and religious images. A more extensive view of iconography of Our Lady of the Scapular is attained without limiting the performance technique and purpose of objects. Images of altars and small procession altars predominate in the objects’ purpose; sculptures, images on flags and in church interior décor are not so frequent. Thus, all possible objects of the respective period have been included while reconstructing the iconography of Our Lady of the Scapular from various sources. Objectives and tasks. The objectives of this dissertation is to ground the specifics of the iconographic derivative of the Mother of God as Our Lady of the Scapular that formed as a result of the Carmelite monkhood’s piety by presenting the definition of the term and revealing the multi-layered iconography of these Marian portrayals in GDL. The objective of the dissertation is related with the following tasks: 1. To disclose the relation between the piety of the Carmelite monkhood and the history of origin of the iconographic type of Our Lady of the Scapular. 2. To define the conception of the iconographic type of the Mother of God – Our Lady of the Scapular by offering terminology that would simplify the identification of works. 3. To discuss prerequisites that influenced the formation of portrayals of Our Lady of the Scapular.
8 4. To distinguish the dominating tendencies of portraying the plot of iconographic origin of Our Lady of the Scapular in Carmelite art of GDL in the context of art of other Catholic European countries. 5. To evaluate the influence of tradition of following Byzantine prototypes in portrayals of Our Lady of the Scapular. 6. To analyse subgroups of portrayals of Our Lady of the Scapular by revealing the multi-layered iconography, pointing out the general and unique features. 7. To present suppositions of prototypes of the researched objects and attribution.
Research methods. The research of religious art by the iconographic aspect is the most handy: works of art are classified according to commonness of motifs, plot and composition principles, the symbolism of separate elements is studied and their meaning is revealed. Iconography is also priceless for the establishment of dates of creation of art objects, their origin, interaction of types, sometimes their authenticity too. The iconology of E. Panofsky encompasses and researches works of value of different type. It was considered to be a drawback of this method at the end of the 20th century but it may be called an advantage in the field of religious art. The iconographical – iconological method of the German art historian and philosopher Erwin Panofsky is the most suitable for religious art research; it should be used in integration with other methods that enable the expansion of the research in the historical context and that assist in revealing the peculiarity of the Church art heritage better. Iconographic traditions that existed for centuries have theological background because theologians in particular established iconographic, symbolic and typological attitudes. There are no insignificant random details used in the composition for harmony only in religious works of art. Everything has a deep semantic and symbolic meaning related with the Christian tradition; themes and plots illustrate stories of the Holy Scripture and Church dogmas. The Italian art historian Eugenio Marino, who integrated the triad of iconology of Erwin Panofsky with the Christian theology, formed an iconological-theological method that is perfect for the analysis of religious art. According to the author of the method E. Marino, the context of profession is extremely important as a sacred art work discloses to the viewer theologically only when he/she participates in the process of profession. The coherence of the researched work with
9 historically related documents that testify religious and social tendencies is necessary when applying the iconological-theological method; therefore, according to E. Marino, a rather deep knowledge of the cultural context of an art historian is required. The method of an art work in context of the German art criticism representative Hans Belting repeats the main provision of the iconological-theological method that the function of an art object and the context in which it was born should be researched in order to unite form and content. The contextual functional method enables the disclosure of the fountainhead of portrayal traditions, the purpose of the work, its structure and relation with historical sources. With the help of this methodology we perceive art works in the context of period of their birth and in the face of public functions rather than from the viewpoint of today. The establishment of the iconological method and complex comparativistic methodology is related with the name of the German scientist Aby Warburg. With the help of the comparative – comparativistic method we perceive Lithuanian art works as a part of the European cultural system. We discover common parallels of art development and distinguish peculiarities of our art better when making comparisons. The descriptive analytical method was used for describing the researched objects, and the attributive method was applied for identification in the dissertation. The stylistics of works and compositions are analysed using the stylistic and object’s formal analysis method. The geographic field of spread of objects is identified with the help of reconstructive and historiographical method.
Level of exploration of the theme. Literature and sources. The number of iconographic research increased markedly after the intensive studies of the cultural – artistic heritage of the Grand Duchy of Lithuania was started after the restoration of Lithuania’ independence. There are really many works of scientists in which religious art of the 17th-19th century has been researched. Marian objects have received the most of attention of Lithuanian art critics: these are portrayals of the Mother of God renowned for grace, the best known in Lithuania and found in pilgrimage shrines the most often – images of the Blessed Virgin Mary of Trakai, Žemai i Kalvarija, the Gate of Dawn, Šiluva; nonetheless, there are no images of Our Lady of the Scapular among them. The latter appear in the field of research occasionally. The contribution to religious art research of Belarusian art historians is much more modest: there are no
10 works of larger volume, monographs; thematic articles are published in most probably the only magazine issued by Catholics , and single illustrated publications of small size dedicated to the iconography of the Mother of God were published in 2003 and 2007. Iconographic research is limited by the fact that there are very few works of Catholic art of the 17th-18th century that have survived in the land of Belarus. The beginning of purposeful research of iconography of Our Lady of the Scapular is the Master thesis of the author Marian Themes – Iconography of Our Lady of the Scapular in Lithuanian Baroque Art (Vytautas Magnus University, 2001). Tojana Ra i nait describes several most famous portrayals of the Mother of God of the Discalced Carmelites of GDL in one section of her dissertation Architecture and Art of the Discalced Carmelites in Lithuania. In the monography Visions and Images. Heritage of the Discalced Carmelites published later, T. Ra i nait presents identical material but the theme of iconography of Our Lady of the Scapular is not developed. The article of the author of this dissertation Iconographic Review of Image of the Mother of God of Carmel in the Polish-Lithuanian Commonwealth may be found in the collection of scientific articles Virgo Venerabilis: Marijos paveikslas Lietuvos kult roje (Virgo Venerabilis: Image of Mary in Lithuanian Culture, 2011) that encompasses various aspects of research of images of the Blessed Virgin Mary. A. Rusteikien discusses the reflections of vision of the Scapular, the source of origin of Our Lady of the Scapular, in the artistic heritage of Lithuanian Carmelites in the article The Prototype of St. Simon Stock’s Vision and its Reiteration in the Lithuanian Carmelite Churches’ Iconographic Tradition (LOGOS, 72, 2012). After the review of publications dedicated to the iconography of the Mother of God of Carmel in particular, it may be asserted that a minimal amount of art research works on the theme has been found in Lithuania. The most thorough iconographic research of portrayals of Our Lady of the Scapular is Maryja or downiczka wiernych of the Polish art researcher Kristina Moisan – Jablonska published in 1987. The author explores examples of art of Polish Carmelite churches, and this serves as a sufficient contextual material for the comparative analysis. In the research Obraz czyscca w sztuce polskiego baroku of 1995, this author discusses examples of the plot of St. Simon Stock’s vision. The historical review of Italian portrayals of the Mother of God of Carmel may be found in the anthology compiled by Emanuele Boaga Con Maria sulle vie di Dio (2000). In the publication La
11 Signora del Luogo (2001), chapter Madre dello Scapolare, E. Boaga analyses the Italian examples of the plot of St. Simon Stock’s vision. These illustrated publications serve as a useful material while searching for links of images of GDL with South European countries. Literature that is referred to in this work may be divided into several groups. The first one is iconographic dictionaries and publications similar to them that are dedicated to the iconography of portrayals of the Mother of God, positioning of the type of Our Lady of the Scapular in Marian art and history of cult of the Carmelite Mother of God. The iconography of the Blessed Virgin Mary is presented the most comprehensively in the dictionary Lexicon der christlichen Ikonographie. Other sources: Marienlexikon, Ikonographie der christlichen Kunst, The Madonna in Art, Krikš ioniškosios ikonografijos žodynas (Dictionary of Christian Iconography) introduce the development of Marian images in a more narrow manner or by some specific aspect. The fundamental works of iconography of N. Kondakov, V. Lazarev encompass the art of Byzantine and Christian Eastern icons. These are valuable sources while analysing the links of images of Our Lady of the Scapular with archaic prototypes of the Mother of God. Information necessary for the research of two first sections of the dissertation was also collected from historical books and articles about the prehistory of the Carmelite Order in Carmel and development of the monkhood in Europe. Theological information was gathered from Catholic encyclopaedias or directories and publications on religious studies, in which the spirituality traditions of the Carmelite monkhood, practices of piety are examined and the theological meaning of the scapular sacramental is explained. Publications that describe the history of Christianity help to form the historical – religious context. The most abundant group of literature includes publications with mentions of the researched objects that are present in Carmelite monasteries and parish churches of GDL. Single mentions about portrayals of Our Lady of the Scapular may be found in historical studies of townships, in publications prepared by separate dioceses, which are dedicated to the presentation of the most valuable art works in parish churches of that region, and in various art criticism studies of religious art. There exist several publications about separate Lithuanian Carmelite monasteries: in Linkuva, K dainiai, Kaunas and Vilnius, at the All Saints Church. The encyclopaedia i i
12 i is useful by the collected facts of history of Carmelite monasteries and the statistics itself, which is needed when forming the map of the spread of Carmelite monasteries in GDL. Vienuolijos Lietuvoje XIII-XX a. (Monkhoods in Lithuania in 13th- 20th Century) presents the statistics of monkhoods of GDL chronologically, according to congregations. Facts of patronage of the monkhood are replenished in Mecenatyst s reiškinys XVII a. LDK (Phenomenon of Patronage in GDL of the 17th Century), and information about artists who decorated Carmelite churches is provided in Lietuvos dailinink žodynas XVI-XVIII a. (Dictionary of Lithuanian Artists of the 16th-18th Century). Funds of art research institutions became sources while searching for portrayals of Our Lady of the Scapular. There is some information about images of Our Lady of the Scapular in Lithuania, which are or were present in various parish churches, in the catalogue of the archive of the Culture Heritage Centre. Such data was periodically added during special expeditions from the end of the 20th century. Analogical material is accumulated by the Art Research, Ethnography and Folklore Institute of the Belarusian Academy of Science. Still, some of the objects are not listed by these institutions, they have not been registered anywhere, and this forms a condition for extinction of historically valuable works of art. The search of the researched object was also carried out in museums of the country: in the biggest repository of Lithuanian historical cultural heritage – Lithuanian National Museum, in the Belarusian National Museum in Minsk, and National M. K. iurlionis Art Museum. Regional museums have also been included: Church Heritage, Kaunas Archdiocese, Samogitian Alka, Šiauliai Aušra, Kretinga Museums. The library and the graphic art collection of Adel and Paulius Galaun s’ Home, the card catalogue of Pranas Gudynas Restoration Centre of the Lithuanian Museum of Art was reviewed and target information for the dissertation was found there too. The biggest part of the research objects was registered by the author of this work while visiting churches within and outside of Lithuania. As the majority of portrayals of Our Lady of the Scapular in GDL are reiterations, the disclosure of their prototypes forms an important part of the research. The search was carried out in several directions: by following the influence of regional centres and monastic ties of the Carmelite Order (Krakow, Lublin, Lvov, Berdychiv) and by searching for prototypes in the “cradle” of Catholic art, Italy. A number of the most famous Carmelite monasteries and churches in
13 Spain, Italy, Austria, and Poland has been visited. The European context was supplemented by objects that belonged to various funds, museums, antique shops – auctions. Extremely valuable iconographic information is available in Culturaitalia Fund, Lombardiabeniculturali – Cultural Fund of Lombardia Region, Federiko Zeri Project of Bologna University, in the collections of Metropolitan Art Museum in New York, Silesian religious art heritage project Drogibaroku, which is prepared by the Institute of Art Criticism at Wroclaw University. Manuscript sources have also been used for the research: visitations of Carmelite monasteries and churches, inventories of parish churches. Facts of existence of portrayals of Our Lady of the Scapular were searched for in the Lithuanian State History Archive Archive of Kaunas Archdiocese Curia Archive of National History of the Republic of Belarus, archive of Krakow na Piasku Carmelite Monastery, Manuscript Departments of Vilnius University Library Heritage e-catalog and Library of the Academy of Science, Departments of Rare Publications of the Lithuanian National M. Mažvydas Library and Kaunas County Public Library. However, the mention of the object usually limits with naming of the title of Our Lady of the Scapular in old documents, there are no wider descriptions of the portrayal that would be useful in the research of iconography. The collected statistical data will be used for the evaluation of the spread of images. The prints of iconography of Our Lady of the Scapular found in manuscript sources testify about the possible existence of prototypes of images in particular monasteries or parish churches. Some of the published sources have been issued by the Lithuanian Catholic Academy – these are collections of archival documents: visitation of the Samogitian diocese in the 17th century, books of visitations of deans of Kaunas, Pabaiskas, Breslauja, Ukmerg in the 18th century. Mentions of portrayals of Our Lady of the Scapular, descriptions of images that would enable identification of the iconographic type were searched for in these documents, like in other written sources. Digitalised facsimiles of church documents from the Church Archive Information System BARIS were also used in the research.
Structure of the work. The dissertation is formed of the introduction, three parts, conclusions, bibliography, list of illustrations, illustrations and annexes. The introduction grounds the researched question, its actuality and novelty, the scientific
14 research object and its selection criteria are discussed, the objective is posed and tasks are formulated, methods are described, the review of the sources, literature and research is presented and the structure of the work itself is introduced.
I. ORIGIN OF DEVOTION TO OUR LADY OF THE SCAPULAR
The first part of the research work is dedicated to the analysis of origin of the iconographic type of Our Lady of the Scapular. In the section 1.1 Piety Traditions of Carmelites, the influence of piety traditions of Carmelites on iconography of Marian images is reviewed. The strong tradition of devotion of hermits of Mount Carmel to the prophet Elias and Blessed Virgin Mary intertwines in the spirituality of the Carmelite Order. The formed context of Carmelite piety in the Marian theme incorporates the prophets of the Old Testament St. Elias, St. Elisha with the most prominent Carmelites who were canonised at the beginning of the Order formation: St. Angelo of Sicily, St. Albert of Trapani, also with the former of the first regular, Patriarch of Jerusalem St. Albert Avogadro and other organisers of hermits who stood at the beginning of the Order. In the section 1.2 Story of Vision of the Scapular, the appearance of the Scapular as a sacramental is reconstructed from the story of apparition of the Blessed Virgin Mary to the Carmelite St. S. Stock, the road of devotion from the vision of St. S. Stock (1251) to the universal avowal of the Catholic Church is reviewed – the heavenly grace conferred through the Carmelite scapular was recognised universally in Europe and gained the liturgical status of Sabbatinum privilegium only in the 16th century. The complete vacuum of information was confronted while searching for the early documents that would correspond to the period of the vision. Researchers of the Catholic world of the 20th century put much effort to revive the history of spirituality of the Carmelites; still, today scientists do not have sufficient documentary proof to ground the historicity of the vision beyond debate. Absolute rationality is not necessary while reconstructing the history of saints worshipped by this religious community from the art research point of view. It is sufficient to evaluate the origin of vision of the Scapular by the traditional aspect of Carmelite piety and to accept this revelation as the sign of protection of Mary and the obligation to follow Jesus Christ.
15 In the third section 1.3 Concept of Iconographic Type of Our Lady of the Scapular, the concept of Our Lady of the Scapular as a term is specified by offering a new and clear definition of iconographic type of Our Lady of the Scapular. The type of Our Lady of the Scapular appeared in Marian iconography rather late. The Byzantine archetypes of the Mother of God, which intertwined with images of the Mother of God popular in the Middle Ages, formed a good ground for integration of images of the Blessed Virgin Mary that reflected the Carmelites’ piety. Many inaccuracies were noticed while identifying images of Our Lady of the Scapular: the aforementioned works of art that have a very wide iconographic range are often named erroneously or attributed to another iconographic type. Therefore, it is important to define the term of the iconographic type of Our Lady of the Scapular clearly. The clarity of the concept would enable to clearly distinguish groups of these images and would refer to the essential differences with visually close works of art. Marian images that have symbols of iconography of St. Scapular are called by different titles in art criticism of today. In some personal names the special relation with the location of Mount Carmel is highlighted, in others the belonging of the image itself to the Carmelite milieu is emphasised. Only a part of images of the Blessed Virgin Mary are titled in direct relation with the sacramental of the Scapular. The emphasis on the sacramental of the Scapular and its domination in the portrayed theme should be considered as the main difference between the images of the Mother of God of Carmel / Madonna of Carmel and Our Lady of the Scapular. On the basis of the performed research, the conclusion is made that the sacramental of the Brown Scapular is the essential element and the main attribute of identification of the Blessed Virgin Mary in iconography of Our Lady of the Scapular. The motif of the scapular may be pictured using different forms of expression: as a traditional part of garments of monks and as the small scapulars of fraternities, i.e. the sacramentalia for laity. The scapular should be the accent of the iconographic programme of an art work: its mystical origin, power of empyreal privileges and meaning should be expressed. The moment of awarding the scapular and the portrayal of the sacramental itself in the hands of Mary or Child is the essential distinctive feature in iconography of Our Lady of the Scapular. The visionary theme of awarding the scapular to St. Simon Stock is the first plot in iconography of Our Lady of the Scapular.
16 II. PREREQUISITES FOR DISSEMINATION OF ART OF
CARMELITE MONKHOOD OF GDL
In the section 2.1 Impact of Decisions of Council of Trent on Carmelite Monkhood, attempts are made to find out about the impact of the General Church Council in Trent on the structure of the Carmelite Order, iconography of Carmelite art and new piety practices spread by the monkhood. The reorganisation idea of the Carmelite Order coincided with the need for spiritual renewal expressed in the Trent Decree and, as a result, the new Order of Discalced Carmelites Fratres Discalceati Ordinis Beatae Mariae Virginis de Monte Carmelo (OCD) was established at the end of the 16th century. It effloresced in Europe in the 17th-18th century. The Doctrine of Purgatory was confirmed in the last, 25th session of Council of Trent. Language of religious art eased the duty of bishops to spread the faith of soul purification through pain everywhere and all the time; therefore, the theme of Purgatory became very popular in milieu of the Carmelites as well as in all Christian art soon. The revival of Catholicism in GDL that manifested by various piety practices stood out by very active work of religious fraternities: Dominican and Carmelite monks established fraternities of Our Lady of the Rosary and Our Lady of the Scapular intensively from the end of the 16th century. The Carmelite Fraternity of the Scapular spread in the land of Lithuania and Belarus so widely that the brown scapular became the sign of devotion of almost every Catholic. Work of fraternities manifested more actively after the Council of Trent: altars or separate chapels of Our Lady of the Scapular were furnished at their initiative in churches, paintings of the same title were ordered. This purposeful activity of fraternities was related with the cult of religious paintings spread actively by the post- Tridentine Church: old images were worshiped as relics since then, their oldness was equated with miraculous features and authenticity. Images of the Mother of God of the Carmelite iconography preserved with the help of fraternities reached the present times; thus, we may consider the Carmelite Tertiaries to be cherishers and successors of the cultural – artistic traditions of the monkhood. In the section 2.2 Dispersion of Carmelite Monasteries in GDL, the prerequisites for the spread of the Carmelite Order in the Grand Duchy of Lithuania are discussed, and the history of spread of monasteries is presented chronologically. The road of the Carmelites to the Grand Duchy of Lithuania is marked by events important to the Order; therefore, the brief historical
17 review helps to highlight with what traditions and spirituality fund the community of hermits of the Mount Carmel arrived in Europe and reached our country later. The movement of post-Tridentine reform that encompassed the entire Europe in the 16th century and reached our country slightly later became the most important impulse for the establishment of monkhoods in GDL. Nobility of GDL played the role of the church reformer, and one of the main activity fields of noblemen was establishment of new monkhoods in our lands and their patronage. Life of monkhoods came to flourish in the 17th-18th century thanks to the Catholic assiduity of the famous magnates of GDL, which manifested in foundations of churches and monasteries. Monks took care of spirituality of people, spread the cult of the Blessed Virgin Mary and encouraged various form of piety. Unfortunately, political changes determined the further fate of religious communities after the uprisings of 183l and 1863: almost all monasteries and the majority of churches were closed down at the authorities’ order. The stage of life of the Carmelite monkhood in the lands of Lithuania and Belarus finishes in this period in particular. The chronological review of the establishment of Carmelite monasteries in the Grand Duchy of Lithuania helps to reveal the possible road of migration of images of Our Lady of the Scapular, and the local concentration of monasteries will be taken into regard in the deeper iconographic analysis too. In the context of this research, it is not actual to distinguish the development of the Orders of Carmelites of Ancient Observance and Discalced Carmelites as the sacramental of St. Scapular unites both congregations. Facts that could have made an impact on the birth of the studied images, their relocation and fate should be mentioned in the review of Carmelite monasteries and their churches. Mentions of images of Our Lady of the Scapular in archival sources are significant as they help to reconstruct the spread of the researched object (images of altars, small procession altars, images on flags, illustrations of religious books).
III. SPREAD AND PECULIARITIES OF ICONOGRAPHIC TYPE OF OUR LADY OF THE SCAPULAR
The portrayal of Our Lady of the Scapular that derives from the spirituality tradition of the Carmelites manifests in the most diverse forms of Marian iconography. When researching the variety and multi-layered features of iconography of Our Lady of
18 the Scapular, objects are grouped according to the origin, plot line, followed local piety tradition and formal criteria. In the analysis of the European context of images of Our Lady of the Scapular, the dominating iconographic schemes and their spread is defined, links of archetypes of European origin with particular objects of Our Lady of the Scapular of GDL are revealed, and the tendencies of repetition, fragmentation or recreation of an image are evaluated. When objects of iconography of Our Lady of the Scapular of South and West Europe and those of GDL are compared, the general and unique features typical of our country only become distinct. Works of different artistic level are evaluated according to authenticity and direct purpose of religious images, i.e., by the aspect of religious suggestibility. Objects of the research work – derivatives of iconography of Our Lady of the Scapular – encompass the majority of art kinds. The images of the Mother of God of Carmelites that were or are located in church frescos, mosaics, stained-glass works, casings of antependiums, altar images and sculptures, in attributes of liturgical processions and in garments, in décor of sacramentalia, illustrations of religious books and church stationery articles are analysed. Objects of untypical iconography or repeating examples are not studied wider but are included into the catalogue of images. In the section 3.1 Portrayal of Vision of the Carmelite Scapular, the vision of St. S. Stock is distinguished as an independent group of images in order to highlight the unique features of this visionary plot in the European context. First, 3.1.1 Traditional Portrayal of Revelation to St. S. Stock as the source of iconography of Our Lady of the Scapular is discussed. When analysing the examples, the most important distinction of traditional iconography of the vision of St. S. Stock of GDL shows – the Mother of God is always portrayed along with the Child Jesus. While there are images of Mary alone granting the scapular to the Carmelite St. S. Stock in other European countries, in all the researched objects in GDL Mary is portrayed as holding the Son on hands. This tendency was most probably determined by the aspect of devotion to the Blessed Virgin Mary as the Mother of God as well as the understanding that the Blessed Virgin Mary performed the role of a conciliator and intercessor as for the sent heavenly privileges, for which her son Jesus Christ had suffered. Images of St. S. Stock of our country do not stand out artistically: most of them are reiterations of famous prototypes that reached GDL in illustrated theological publications. The subsection 3.1.2 Images of Multiple Iconography embraces images of multiple iconography rather than objects of
19 the archetypical plot of St. S. Stock’s vision. The purpose and privilege of the Carmelite scapular sacramental is the salvation of souls from the purgatory; therefore, the motif of this afterlife place, which corresponds to the Sabbatine privilegium doctrine directly, is integrated in the image of St. S. Stock’s vision frequently. The biggest number of such works may be found in Southern European countries, and only a few examples of this heterogeneous iconography – in our country. After researching the aforementioned objects, it may be stated that the vision of St. S. Stock is the source of origin of the iconographic type of Our Lady of the Scapular and the first plot of this iconographic derivative. The main and obligatory attribute is the scapular which is the sign symbolising the privilege of the Blessed Virgin Mary. In images of St. S. Stock’s vision of GDL the authenticity of revelation, i.e. the text of the legend, is followed emphatically, canonical portrayal forms are complied with, the form of the brown scapular garment in particular is pictured. The amplified schemes of iconography did not naturalise or did not survive in GDL. Images of St. S. Stock’s vision are not described in greater detail in historical sources, only the title of the image is mentioned; therefore, it is impossible to find out the iconographic details. No mention of St. Simon Stock’s vision was found in inventory descriptions of the 17th century, they appear only in the 18th century. This shows that the piety forms propagated by Christianity spread slower to the lands of GDL and naturalised much later than in countries located close to the centre of Catholicism, Rome. The theme of the Carmelite scapular origin integrated into the wide range of Marian images; therefore, the analysis of images of St. S. Stock’s mystical vision is an important part of research of iconography of Our Lady of the Scapular. In the section 3.2 Tradition of Following Byzantine Prototypes, the researched objects of GDL are associated with the most famous cult Marian images in Europe of that time. The vital tradition of following Byzantine icons made a marked influence on the Carmelites’ art in GDL – it formed the original subgroup of images of Our Lady of the Scapular, in which icons popular in Europe and cult images of the local region played the role of the archetype. 3.2.1 The Virgin of Tenderness La Bruna of Carmelites and other Eleusa/Glykophilousa Derivatives. La Bruna is the earliest image of the Mother of God venerated by the Carmelite hermits. Reiterations of La Bruna icon of Eleusa iconography form the most numerous group of images of Our Lady of the Scapular in South European Carmelites’ art. In the heritage of Carmelites of
20 GDL we have several images of the Mother of God that derive from this famous prototype. Peculiarities of following La Bruna prototype become vivid in the analysis of works. The image of Upyna Our Lady of the Scapular is one of the most valuable discoveries of the author of this work. According to archaic features of portrayal it is attributed to the 17th century and, in the opinion of the author of the research, it is considered to be one of the earliest images of Our Lady of the Scapular in GDL. This object is discussed in greater detail due to the aforementioned exceptionality. While imitations of La Bruna of Carmelites predominated in South Europe, another type of the Virgin of Tenderness – Maria Hilf spread in the Central Europe. On the basis of the research, it may be stated that images of Our Lady of the Scapular Eleusa of GDL have a clear and crystallised structure of iconographic origin that consists of two prototypes: Byzantine La Bruna and Maria Hilf of L. Cranach. The icon of Umilenie that could have become one more prototype for images of the Mother of God of Carmelites did not naturalize in the surroundings of GDL in the Baroque period but in the 20th century this icon with the scapular replenishing it was spread to all Catholics at the initiative of Carmelites already. 3.2.2 Hodegetria and Hodegetria S. Maria ad Nives in Iconography of Our Lady of the Scapular. The type of the Holy Virgin Directress, Hodegetria, which has spread in Christian religious art the most, occupies an important position in iconography of Our Lady of the Scapular of GDL region. Images of Our Lady of the Scapular Hodegetria should also be grouped by their origin from specific prototypes – miraculous images that were famous in the region of the Polish-Lithuanian Commonwealth. One of the mostly common images among Carmelites is the image of Cz stochówa Mother of God, less common – Krakow na Piasku Mother of God and the miraculous icon of Belynichy Mother of God. The biggest group of images of Our Lady of the Scapular is the one in which the archetype of Our Lady of the Snows is followed, and the icon of Salus Populi Romani is considered to be its prototype. It is stated after performing the research that the repetition of the iconographic scheme is evident in images of Our Lady of the Scapular of the 17th-18th century with half of figure portrayed, in which the statics of figures, gestures are emphasised and the main attributes are transferred. The tradition of reiterations of Hodegetria S. Maria ad Nives is the most pronounced in Marian images of this group: images of Our Lady of the Scapular follow the archetypical iconography of Our Lady of the Snows, and the Carmelite aura is created by coining the symbol of the scapular on the casing that
21 decorates the image. Different ways of appearance of devotion show that it was aimed to highlight the sacramental of the monkhood that granted heavenly privileges by all possible means in images of the Mother of God of Carmel. The section 3.3 Variants of Derivatives in Iconography of Our Lady of the Scapular encompasses the groups of derivatives of Hodegetria and Mater Amabilis of free interpretation, portrayal of Sacra Conversazione, and iconographic variants of Maesta, Misericordiae, Sanctae Familiae that are less spread in GDL but are very valuable by the art research aspect. The section reveals the prerequisites of prototypes of the research objects and variants of the possible reiterations outside the borders of GDL. 3.3.1 Interpretations of Mater Amabilis and Hodegetria. Differences are observed when comparing examples of this group in South Europe and region of GDL. Images of Our Lady of the Scapular of GDL are minimised in the formal meaning, usually only figures of the Mother of God and Son are pictured, some of the researched objects are fragmentary copies or reiterations of images with multiple figures. The decoration of the scapular sacramental with the symbol of blazon of the Carmelite Order is frequent in Spain and Italy – this detail reflected the importance of the order or local monkhood in some particular region most probably. Monograms of the Blessed Virgin Mary and Jesus Christ are seen on the scapular in images of Our Lady of the Scapular of Lithuania and Belarus. Such portrayal was determined by the dominating cult of the Mother of God in our region. Analogical reasons could have made an impact on the variants of garments of the Blessed Virgin Mary: the Mother of God dressed in the garment of the Carmelite Order is pictured in Baroque already in South Europe, while the traditional garment of the Blessed Virgin Mary, the red-coloured dress and blue coat, predominates in images of GDL of the 17th-18th century without any exception. Images of Our Lady of the Scapular Hodegetria of the 19th century are no longer decorated by casings of precious metals the most frequently, like it was usual in the period of GDL. 3.3.2 Granting of the Scapular to Adorers in Iconography of Sacra Conversazione forms a rather big group of images of Our Lady of the Scapular. The biggest amount is images in which we recognise the most famous representatives of two Carmelite Orders: the general St. S. Stock of Carmelites of Ancient Observance (OC) and the founder of the Reformed Carmelites Order (OCD) St. Teresa of Ávila. Works with iconography of the Sacred Conversation of Our Lady of the Scapular, in which religious laity – sovereigns and other noblemen – would be pictured as adorers, did not anchor in the Carmelite art
22 of GDL. In other European countries such Sacra Conversazione compositions with multiple figures were among the most popular. A longer period of existence of the Scapular fraternities was necessary for the spread of the aforementioned portrayals in GDL. A group of images of combined iconography, in which the Mother of God is portrayed in two ways, as Our Lady of the Scapular and as Our Lady of the Rosary, is attributed to the Carmelite Sacra Conversazione images. These works of combined iconography reflect the community of the Carmelite and Dominican monkhoods and the identical purpose of both devotions. The Doctrine of Purgatory spread very actively in the post-Tridentine period inured to the union of legitimation signs of the monastic orders: the ones who practiced the rosary prayer and carried the scapular believed they would earn grace after death easier. When the examples of the Sacred Conversation are generalised, it becomes clear that images of Our Lady of the Scapular of two types predominated in the period of GDL: when two coenobites (monk and nun) are pictured as adorers and combined images of fraternities of St. Rosary – St. Scapular. As the monkhoods that existed in GDL were closed in the 19th century, the subgroup of Sacra Conversazione images nurtured by them did not develop and no objects of the aforementioned iconography were found in later periods. 3.3.3 Rarer Variants of Portrayal of Our Lady of the Scapular enrich the iconographic range of Carmelite images of the Mother of God. It was noticed that similar tendencies prevailed in the spread of works of this segment: they were spread respectively less both in our country and the remaining part of Europe. The almost extinct Carmelite iconography of Maesta would be an exception in GDL region; still, it is popular in the sculpture of Carmelite churches of South Europe until now. Even though images of iconographic type of the Mother of God the Merciful are widely known from the 13th century, the portrayal of Our Lady of the Scapular integrated into the Mater Misericordiae scheme of the Middle Ages did not gain popularity in Europe, and only single objects are traced. The iconography of the Holy Family formed relatively late, in the 15th century, and spread as diverse variants of portrayal in Europe. In the 17th century the scheme of Sanctae Familiae with the Blessed Virgin Mary, son Jesus, child St. John the Baptist or St. Joseph set in. We have several images of the Holy Family of this kind that were marked by Carmelites of GDL with the exceptional legitimation sign of the Order – the scapular sacramental. Objects that portray only Mary exceptionally also find a place in the wide range of derivatives of Our Lady of the Scapular.
23 CONCLUSIONS
1. In order to ground the origin of iconographic derivative of Our Lady of the Scapular, the beginning of spirituality of the Carmelite monkhood and the specifics of symbol of the scapular was analysed. The scapular established in the canonical garments of religious communities from the early Middle Ages, it was worn by members of the majority of monastic orders. However, the scapular garment first became the sacramental that conferred grace of the Mother of God only after the year 1251, the apparition of the Blessed Virgin Mary to the general of the Carmelite Order St. Simon Stock. Historically it is the earliest turn of the scapular garment into the symbol of devotion; therefore, the brown scapular of the Carmelites, which grants salvation from “the eternal fire” after death, is considered to be the fundamental motif in iconography of Our Lady of the Scapular. 2. An important moment in history of the Carmelite scapular is the turn of the scapular garment into small scapulars of fraternities. The formal transformation of the sacramental from the monastic scapular garment into the sign of devotion worn by laity in the 16th century created conditions for the appearance of new kinds of the scapular. In the 19th century, the Catholic church confirmed a number of new scapulars of fraternities of analogical form that were meant for some specific piety. Thus, the iconography of Our Lady of the Scapular may be found not only in images of the Mother of God of Carmel but also in other images of the Blessed Virgin Mary in which the scapular sacramentalia of various fraternities are pictured. 3. The grace of the Carmelite scapular that derives from the vision of St. S. Stock is reasonably assimilated with the Sabbatine Privilege piety due to identical visionary beginnings. The rudiment of the Sabbatine Privilege was the apparition of the Blessed Virgin Mary to the Pope John XXII (1316), when the Mother of God persisted that the Holy Father would accept the exceptional indulgence to Carmelites and their Tertiaries immediately. Still, the Sabbatine Privilege did not become a universal theological dogma at once; such situation could have also continued due to the constant competition of dominating orders and their influence on the Holy See. Finally the Sabbatine Privilege was approved of for the Carmelite Order by the Decree of the Pope George XIII in 1577 and it was firmed in the entire Catholic Church. The Decree
24 consolidated the exceptional right of the Carmelite Order to provide help to souls suffering in the purgatory through the brown scapular. 4. The Doctrine of Purgatory approved of during the last session of the Council of Trent in 1563 gave an impulse to the wide dissemination of this theme in church art – images picturing the purgatory with the Blessed Virgin Mary as an intercessor of souls spread on the crossing of the 16th-17th century. The portrayal of the Carmelite scapular sacramental in the purgatory theme may be directly related with the reliance of the image to the Carmelite Order or fraternity of Our Lady of the Scapular. If the Carmelite sacramental is not pictured in the hands of the Mother of God or Son Jesus in the purgatory theme and it is seen only in the background (the scapular is worn by souls in the purgatory), such images should not be attributed to iconography of Our Lady of the Scapular; they should be titled as the Blessed Virgin Mary – Saver of purgatory souls or the Blessed Virgin Mary – Intercessor of souls suffering in the purgatory. The offered titles reflect the theme of the Purgatory the most clearly and remind of the Sabbatine Privilege. 5. The present-day terminology that names Our Lady of the Scapular is rather wide, it is interpreted differently, which aggravates the iconographic attribution of art works. Our Lady of the Scapular is confused with images of the Mother of God the Merciful, Intercessor of purgatory souls, and reiterations of La Bruna the most frequently. In order to unify the concept of the specific iconographic derivative of the Carmelite Mother of God by the art research aspect, the more precise definition of iconography of Our Lady of the Scapular is offered: Our Lady of the Scapular – derivative of iconography of the Mother of God born from the piety of the monkhood to the Blessed Virgin Mary. The moment of granting the Carmelite scapular garment in the plot of St. S. Stock’s vision and/or the portrayal of the scapular sacramental as the sign of fraternity in hands of Mary and/or Son Jesus is the fundamental feature of iconography of Our Lady of the Scapular. The scapular becomes the attribute of identification of Our Lady of the Scapular only when it is the accent of the iconographic programme of the art work. Possible forms of portrayal of the scapular: 1. as traditional part of monks’ garments; 2. as small scapulars – sacramentalia dedicated to religious fraternities of laity; 3. of liturgical band maniple form. 6. After the concept of Our Lady of the Scapular was defined, the place of this iconographic type in the system of Marian images was specified. Monastic orders and
25 laity fraternities spread the cult of legitimation sacramentalia the most diligently with the help of Marian images; therefore, the type of Our Lady of the Scapular should appear in the group of Marian devotional images along with Our Lady of the Rosary of the Dominicans, Our Lady of Consolation of the Augustinians (Our Lady with a Sash) in iconographic directories. The aforementioned Marian images are unified according to the criterion that symbolises piety – the sacramental conferred by the Mother of God. 7. The first plot in iconography of Our Lady of the Scapular – the granting of the scapular garment to the Carmelite St. Simon Stock – may be attributed both to the group of visionary images of saint persons and to Marian devotional images; the choice depends on the research aspect. In this work the Vision of St. S. Stock is considered to be the origin of iconographic derivative of Our Lady of the Scapular. The heritage of images of St. S. Stock is small in Carmelite art of GDL – only ten works have survived. An even smaller number of the aforementioned images is recorded in post-Carmelite period due to understandable reasons – six images of St. S. Stock created in the 19th century are discovered. No mention of these images was traced in church inventories of the 17th century, they appear only in the 18th century. In the period of GDL, the authenticity of apparition is followed emphatically in images of Vision of St. S. Stock: the form of the brown scapular garment in particular is pictured, and the portrayal of multiple iconography is not developed. The essential singularity of the Vision of St. S. Stock in GDL is the portrayal of the Mother of God along with the Child Jesus. While there are images of Mary alone granting the scapular to the Carmelite in other European countries, in objects of GDL the Blessed Virgin Mary is portrayed with her Son on hands. The only exception is the image of Žukainys created according to the prototype of a Venetian master. This tendency was predetermined by the dominating cult of the Blessed Virgin Mary as the Mother of God and the understanding that spread in post- Tridentine period that the Blessed Virgin Mary performed the role of a conciliator as for the sent heavenly privileges, for which her son Jesus Christ had suffered. 8. The icon La Bruna is considered to be the earliest prototype of Our Lady of the Scapular in Europe. Reiterations of La Bruna of Eleusa iconography form the dominating group of images of Our Lady of the Scapular in Carmelite art of Southern and Central Europe. It was established that, in the environment of Carmelites of GDL, the portrayal of Our Lady of the Scapular Eleusa developed from two prototypes gradually: Neapolitan icon La Bruna and painting of L. Cranach Maria Hilf. The
26 portrayal of Our Lady of the Scapular Hodegetria formed under the influence of regional pilgrimage: Carmelite images followed the iconography of the miraculous images of the Mother of God of Cz stochowa, Krakow na Piasku, Trakai. The most numerous tradition of reiterations of Hodegetria S. Maria ad Nives enables to state that it is the dominating iconographic type of Our Lady of the Scapular in Carmelite art of GDL that follows the Byzantine prototypes. 9. The modified variants of derivatives of Our Lady of the Scapular encompass objects of multi-layered iconography with features of free interpretation of iconographies of Hodegetria, Mater Amabilis, Pelagonitissa, Regina Coeli, Immaculata. The images of Our Lady of the Scapular of GDL and post-Carmelite period are minimised in the formal meaning – art works limit with figures of the Mother of God and Son. The biggest part of objects are fragmentary copies of compositions with multiple figures or reiterations of widely known images. Images of Our Lady of the Scapular of combined iconography of Mater Misericordiae and Sanctae Familiae are rarer in Carmelite art of both GDL and other regions. The depth and width of combined iconography reveals the multiple layers of portrayal of Our Lady of the Scapular. The identification of these images in written sources is burdened by the fact that descriptions of images in church inventories limit with the title and records of precious metals present on them. 10. An important part of portrayals of Our Lady of the Scapular is works of Sacra Conversazione iconography – there are nineteen objects of this kind. These legitimation images are among the most popular amid monkhoods, they represent monastic orders and laity religious communities. Two tantamount subgroups may be distinguished in the portrayal of the Sacred Conversation in Carmelite art of GDL: traditional portrayal (monk and nun) and works of combined iconography (Rosary and Scapular). Diffusion of that type influenced announcement of the Feast of Our Lady of Mount Carmel like global – in 1726 it was added in the Catholic calendar of holidays and is binding for the whole Catholic Church. Carmelite art of GDL did not have time to establish themselves iconography of Sacred Conversation with lay religious people adorated to Our Lady of Scapular. For spreading of such imagery in GDL, most probably, required a longer Scapulars fraternities life term. 11. The specifics of images of Our Lady of the Scapular was first of all determined by traditions of monkhood art in GDL in the 17th-18th century. Later, as the
27 influence of Carmelite Tertiaries on pastoral care grew stronger in activity of a parish, the role of fraternities of Our Lady of the Scapular as customers of art works increased too. Their intentions were likely much more ponderable than those of the artist himself. No information was found in the analysed historical sources that one private person would have been a customer of the image of Our Lady of the Scapular. Some particular monkhood or its local patron is named as the donator of an image the most frequently. It may be supposed that images of the Blessed Virgin Mary mentioned in inventories of Carmelite churches of the 17th century and titled according to names of famous places of prototypes (e.g. Mother of God of Cz stochowa, Trakai, Žemai i Kalvarija), had the iconography of Our Lady of the Scapular, as the symbol of the scapular as the legitimation sign of the order was mandatory in the milieu of Carmelite spirituality. The portrayal of the Mother of God as Our Lady of the Scapular is mentioned in papers of the 18th century already, and the iconographic type (Hodegetria, Eleusa) is named more frequently. 12. During the research the author succeeded to establish fourteen prototypes of images of Our Lady of the Scapular, weighty presumptions were presented for the identification of another eight prototypes of images. In the group images of vision of St. S. Stock five iconographic prototypes was found, history of iconographic sources from Venice, Lower Silesia, Rome were analysed narrowly and one extremely rare iconographic prototype was found the basis of which was painted vision of St. S. Stock in Vilnius All Saints church. It is offered to specify the origin of the image of Tabarišk s small procession altar from the image of the Mother of God of Bar nai in the subgroup of images of Our Lady of the Scapular that repeat Byzantine prototypes. The biggest number of prototypes – nine - was found in the group of modified derivatives of Our Lady of the Scapular: images of small procession altars of Daukšiai and Pabirž (Karl Ferdinand Mayer), Kaunas St. Cross (H. Rottenhammer) and Kernav (Rafael) Churches, images of altars of Užventis and ekišk (S. Conca), Kuktišk s (S. Ricci), Lida and Lipnišk s (S. B. Murillo) Churches. It may be stated on the basis of the collected material that the origin of the aforementioned Carmelite images of Our Lady of the Scapular is related with the Italian art school. Objects that derive from Flanders, Bavaria and Silesia confirm the former relations; however, these tendencies cannot be evaluated objectively due to the lack of amount of research objects.
28 13. Both monasteries of Carmelites of Ancient Observance and Discalced Carmelites are considered to be sources of the first spread of the images Mother of God, and by the later spread – parish church. 45 monasteries mentioned in this research (16 in Lithuania, 29 in Gudija) and 133 parish churches (100 in Lithuania, 33 in Gudija) in the territory of GDL where images of Our Lady of the Scapular existed or are present until now. More than one hundred lost works of art are mentioned in archival sources. These data are included in the map of object location. During the research are collected 130 objects of iconography of Our Lady of the Scapular, the biggest part of them is still present in parish churches today. A bigger concentration of images of Our Lady of the Scapular is noticed in Vilnius voivodeship, in territory around Kudirkos Naumiestis and Kaunas monasteries. The even spread of objects in Samogitia was mostly initiated by active fraternities of St. Scapular of the region, who continued tradition of devotion to Our Lady of the Scapular.
29 CURRICULUM VITAE
Aurelija RUSTEIKIEN STUDIES: 1986 – 1992 Studies at Vilnius Academy of Arts, Faculty of Applied Arts. 1999 – 2001 Master studies at Vytautas Magnus University, Faculty of Arts. 2009 – 2013 Doctoral studies at Vytautas Magnus University, Faculty of Arts.
Address: Olimpie i Str. 1 – 24, LT 09200, Vilnius. Contact information: tel. +370 68751020; [email protected]
OTHER ACTIVITIES From 2009 – Initiator, patron and curator of the reconstruction project of Dubingiai Church of St. George the Martyr. 2011 – Initiator of the students scientific activity promotion project of the Faculty of Arts of Vytautas Magnus University by establishing the “Lithuanian Art Research and Creation” stipend.
30 SCIENTIFIC PUBLICATIONS ON THE SUBJECT OF THE DISSERTATION:
1. Rusteikien , Aurelija. Šv . Mergel Marija Škaplierin Lietuvos XVII-XVIII a. bažnytin je dail je (Our Lady of the Scapular in Church Art of Lithuania of the 17th-18th Century). In: LOGOS, t. 26, 2001, p. 157-174. 2. Rusteikien , Aurelija. Linkuvos Šv . Mergel s Marijos Škaplierin s bažny ia ir buv s senosios regulos karmelit vienuolynas (Linkuva Church of Our Lady of the Scapular and Former Monastery of Carmelites of Ancient Observance). In: Lietuvos bažny ios, 2009, p. 138-145. 3. Rusteikien , Aurelija. Karmelio Dievo Motinos paveikslo ikonografin sklaida Abiej Taut Respublikoje (Iconographic Spreading of Images of Our Lady of Mount Carmel in the Polish-Lithuanian Commonwealth). In: Virgo venerabilis: Marijos paveikslas Lietuvos kult roje, 2011, p. 103-130. 4. Rusteikien , Aurelija. Iconographic Spreading of the Images of Our Lady of Mount Carmel in the Polish-Lithuanian Commonwealth. In: http://www.ocarm.org/citocmagazine/ 5. Rusteikien , Aurelija. Šv. Simono Stoko vizijos ikonografin tradicija Lietuvos karmelit bažny iose. Pirmavaizdis ir kartot (The Prototype of St. Simon Stock’s Vision and its Reiteration in the Lithuanian Carmelite Churches’ Iconographic Tradition). In: LOGOS, Nr. 72, p. 149 - 160. OTHER PUBLICATIONS 6. Rusteikien , Aurelija. M s atmintis – b sim j kart atmintis (Our Memory – Memory of Future Generations). In: SOTER, 38 (66), p. 133-136.
31 VADAS
Temos naujumas, problematika, aktualumas. XVII-XVIII a. Lietuvos Didžiojoje Kunigaikštijoje klest jusi vienuolij dail s tyrimai yra svarb s kaip praeities meninio, kult rinio ir dvasinio palikimo vertinimas. Nors vienuoliškoji tradicija LDK gana trumpa, ta iau vertingas ir savitas paveldas skatina žvelgti vienuolyn kult r kaip atskir kult rin s tradicijos klod . Svarus vienos didžiausi LDK vienuolij - Karmelit Ordino ind lis sakralin s dail s puosel jim tur t b ti vertintas platesniu bei gilesniu menotyriniu aspektu. M s krašte svarb vaidmen pamaldumo bei bažnytin s dail s tradicij t sime suvaidino ir religin s brolijos, po vienuolyn uždarymo tap bene vieninteliais katalikyb s židiniais. Pasirinktas marijinis tyrimo aspektas – Šv . Mergel Marija Škaplierin - atspindi vien pagrindini karmelit vienuolijos pamaldumo kult . Šiuo darbu norima atkreipti d mes Šv . M. Marijos Škaplierin s atvaizd ikonografij . Lig šiol n ra vienareikšmiškai apibr žta šio ikonografinio vedinio vieta marijin s ikonografijos sistemoje: Šv . M. Mergel s Marijos Škaplierin s atvaizdams ikonografiniai žodynai suteikia skirting status . Istoriškai v lyvas karmelitiškojo pamaldumo teisinimas l m l tesn pamaldumo šv. Škaplieriui sklaid , nei viduramžiais dominikon uoliai platintas šv. Rožinio kultas, tod l šiandien turime s lyginai nelygiavert dviej analogiškos prigimties ikonografij pozicionavim – didžiojoje menotyrini žodyn ar žinyn dalyje minima ir dominuoja b tent Rožinio Šv . M. Marija, o Šv . M. Marija Škaplierin - neminima. D l skirtingo Šv . M. Mergel s Marijos Škaplierin s ikonografijos sampratos suvokimo ar šio vedinio identifikavimo, remiantis skirtingais kriterijais, pasekmi , atsiranda netikslumai ir klaidos atpaž stant bei vertinant karmelitiškosios Dievo Motinos atvaizdus. Tokia situacija šiandien yra ne tik m s šalyje, bet ir visos Europos menotyroje, o tai neša painiavos ir apsunkina ikonografinius marijini atvaizd tyrimus. Šv . Mergel Marij Škaplierin vaizduojantys paveikslai vardijami skirtingai: apsiribojant vizijos siužeto tema, dubliuojant atvaizdo pavadinim su bažny ios suteiktu titulu, t siant liaudies pamaldume prigijus pavadinim , pabr žiant paveikslo pirmavaizd ar vietos kilm . Šie variantai gana dažnai neatitinka menotyrin s ikonografijos tipologizacijos. Tod l b tina apibr žti Šv . Mergel s Marijos Škaplierin s tip , nurodant esminius vaizdavimo požymius.
32 Tyrime strukt riškai žvelgiama objekt vidin sandar , tokiu b du atskleidžiant ikonografijos daugiasluoksniškum . Sud tin s ikonografijos Šv . M. Marijos Škaplierin s atvaizduose itin svarbu atrasti prasmin dominant , kuri ir nulemia temos vardijim . Šios problemos išk limas yra aktualus paveldo objekt identifikavimui ir sisteminimui tiek Lietuvoje, tiek kitose Europos šalyse. Objekt identifikacij taipogi apsunkina laikme io peripetij takoje kintanti ir nevientisa ši atvaizd ikonografija: vieni paveikslai nuo pat pradžios kurti tam, kad žadint karmelitišk j dvasingum , kiti - Šv . Mergel s Marijos Škaplierin s ikonografij gijo v liau puošiant atvaizdus aptaisais, treti – pertapant paveikslus ar kitaip taisant škaplieriaus devocij ant k rinio. Mobili škaplieriaus sakramentalija prie atvaizdo nors ir atspindi laikme io pamaldumo kontekst , ta iau ilgainiui dažniausiai neišlieka, taigi ikonografinius poky ius belieka fiksuoti pagal rašus bažny i inventoriuose. Svarbu pamin ti, kad ne vien tik karmelitiškosios dail s temose vaizduojamas škaplieriaus drabužio kaip sakramentalijos teikimas - analogiškas siužetas kartojamas ir Servit ordino paveiksluose. Mercedar ordino marijiniuose atvaizduose taip pat vaizduojama Šv . Mergel Marija Škaplierin su brolijos formos škaplieriaus sakramentalijomis. Remiantis prastiniu vizualiniu panašumu, min ti k riniai dažnai klaidingai priskiriami karmelit meniniam palikimui. Tokios akivaizdžios klaidos rodo menotyroje tr kstant aiški kriterij , kuriais b t galima vardinti Šv . M. Marijos Škaplierin s ikonografinio tipo specifik ir suteikti šiam vediniui legitimacin status . Bendrojo pob džio problema šiandienos menotyroje galima vardinti teologini žini ar teologinio išsilavinimo tr kum ikonografinius tyrimus vykdantiems specialistams. Dažniausiai sakralin s dail s žinovai supratim apie Katalik bažny ios istorij , strukt r , institucijas, katalikišk j pamaldum , liturgij gyja per ilgalaik patirt , individualiai gilindamiesi krikš ioniškojo tik jimo sl pinius ar konsultuojantis su Bažny ios atstovais. Aukš iau išvardinta problematika m s menotyroje sprendžiama pirm kart , tod l naujumo ir aktualumo aspektu tyrimas yra itin vertingas. Šis tyrimas unikalus ir europiniu mastu, nes n ra menotyrini darb , kuriuose b t analizuota LDK karmelit marijini atvaizd ikonografija tokiame pla iame europiniame kontekste. O Lietuvos senosios sakralin s dail s fondus praturtins naujai atrast objekt analiz bei sistemin Šv . M. Marijos Škaplierin s atvaizd ikonografin medžiaga, apimanti tris karmelit vienuolijos gyvavimo m s krašte šimtme ius.
33 Darbo objektas. Pasirinktas tyrimo objektas - Šv . M. Marijos Škaplierin s ikonografinio tipo atvaizdai – sutampa su labai reikalingu m s menotyrai žingsniu, t.y. sakralinio meno k rini sisteminimu ikonografinio tipo poži riu. tyrimo lauk traukiami Dievo Motinos atvaizdai, priklaus abiej konfesij karmelitams: tiek senosios regulos karmelit , tiek bas j karmelit vienuolijoms. Vienuolini ordin gyvavimo laikotarpis m s krašte nesutampa su istoriniais valstybingumo etapais: 1795 m. LDK neteko valstyb s statuso, ta iau vienuolijos gyvavo dar apie pus amžiaus. Neži rint politini permain , religinis gyvenimas t s si, katalikyb s židiniais liko veikiantys vienuolynai, o juos uždarius, krikš ionyb s tradicij t s jo vaidmuo teko parapin ms bažny ioms. Tod l apsibr žiant chronologines tyrimo ribas apimamas laikotarpis, susidedantis iš dviej etap : pirmasis - karmelit vienuolijos gyvavimo LDK laikotarpis 1506 m. – 1832 m., t.y. nuo pirmojo karmelit vienuolyno steigimo LDK iki visuotinio j uždarymo, antrasis – 1832 m. – XIX a. pabaiga, kuomet religini šv. Škaplieriaus brolij iniciatyva buvo inertiškai t siamos karmelit dail s tradicijos. Karmelitišk j dvasingum vardinus Šv . M. Marijos Škaplierin s ikonografinio tipo kilm s aplinka, LDK karmelit vienuolynus vertiname kaip pagrindines tiriamojo objekto lokacines vietas, o v lesn s sklaidos laikotarpiu - ir parapines bažny ias. Geografinis objekto tyrimo laukas apima Lietuvos Didžiosios Kunigaikštijos ribas, tvirtintas 1569 m. Liublino unijos iki pirmojo Lenkijos ir Lietuvos valstybi padalijimo 1772 m. Daugiau nei du amžius klest jusi LDK valstyb šioje teritorijoje jung etninius Lietuvos ir Gudijos kraštus. Dabartin s Lietuvos ir Baltarusijos respublik ribos iš esm s atitinka XVII-XVIII a. ribas, tod l darbe naudotini skirtingi teritorij pavadinimai (Baltarusija, Gudija) neprieštarauja vieni kitiems, nes žymi sudedam sias LDK valstyb s dalis. Objekto paieškos vykdytos visapusiškai: Lietuvos ir Baltarusijos karmelit vienuolynuose ir jiems priklausan iose bažny iose, parapin se bažny iose, valstybiniuose archyvuose, bibliotek ir muziej fonduose, aukcionuose bei priva iose kolekcijose. Archyvini šaltini duomenys n ra iškalb s apib dinant objekto ikonografij , ta iau pamin jimo faktas yra svarbus Šv . M. Marijos Škaplierin s atvaizd paplitimo lauko nustatymui bei konkre ios sakralin s erdv s ikonografin s programos atskleidimui. Daugiau nei šešiasdešimt Šv . M. Marijos Škaplierin s objekt ir j pamin jim pavyko aptikti Baltarusijos teritorijoje, Lietuvoje – virš 170. Kontekstin s medžiagos surinkta pakankamai tiek iš artimiausios LDK kaimyn s
34 Lenkijos (60 objekt ), tiek iš vairi Europos krašt (arti trij šimt ), kur buvo sik r vienuoliai karmelitai. tyrimo lauk traukiami vaizduojamosios ir taikomosios dail s objektai, turintys Šv . M. Marijos Škaplierin s ikonografij : molbertin s ir monumentaliosios tapybos darbai, grafikos lakštai ir spaudiniai, knyg iliustracijos, skulpt ra, liturginiai reikmenys, devociniai ženklai ir religiniai paveiksl liai. Neapribojant atlikimo technikos ir objekt paskirties gaunamas pilnesnis Šv . M. Marijos Škaplierin s ikonografijos vaizdas. Dominuojan i objekt paskirties viet užima altori ir procesij altor li paveikslai, re iau - skulpt ros ir v liav paveikslai bei bažny ios interjero dekoras. Taigi rekonstruojant Šv . M. Marijos Škaplierin s ikonografij iš vairi šaltini . traukiami visi manomi atitinkamo laikme io objektai. Tikslai ir uždaviniai. Šios disertacijos tikslai – pagr sti karmelit vienuolijos pamaldumo išdavoje susiformavusio Dievo Motinos kaip Šv . Mergel s Marijos Škaplierin s ikonografinio vedinio specifik pateikiant termino apibr žim bei atskleidžiant ši marijini atvaizd ikonografin daugiasluoksniškum LDK. Tiriamojo darbo tikslas siejamas su tokiais uždaviniais: 1. Atskleisti karmelit vienuolijos dvasingumo s sajas su Šv . Mergel s Marijos Škaplierin s ikonografinio tipo kilm s istorija. 2. Apibr žti Dievo Motinos - Šv . Mergel s Marijos Škaplierin s ikonografinio tipo samprat , si lant terminologij , palengvinan i k rini identifikacij . 3. Aptarti prielaidas, dariusias tak Šv . Mergel s Marijos Škaplierin s atvaizd formavimuisi. 4. Išskirti dominuojan ias Šv. Škaplieriaus vizijos kaip Šv . M. Marijos Škaplierin s ikonografijos kilm s siužeto vaizdavimo tendencijas LDK karmelit dail je kit katalikišk j Europos šali dail s kontekste. 5. vertinti sekimo bizantiškaisiais prototipais tradicijos tak Šv . M. Marijos Škaplierin s atvaizdams. 6. Išanalizuoti Šv . M. Marijos Škaplierin s atvaizd pogrupius, atskleidžiant ikonografijos daugiasluoksniškum , išryškinant bendruosius ir unikaliuosius požymius. 7. Pateikti tiriam j objekt pirmavaizdži bei atribucijos prielaidas.
Tyrimo metodai. Sakralin s dail s tyrin jimai ikonografiniu aspektu yra vieni strukt riškiausi : k riniai klasifikuojami pagal motyv , siužeto bei komponavimo princip bendrumus, tyrin jama atskir element simbolika, atskleidžiama j prasm .
35 Ikonografija taip pat ne kainojama nustatant meno objekt suk rimo datas, kilm , tip s veik , kartais ir autentiškum . E. Panofskio ikonologija apr pia ir tyrin ja vairiausio pob džio vert s k rinius. XX a. pab. tai buvo laikoma šio metodo tr kumu, ta iau bažnytin s dail s srityje tai galima vardinti kaip privalum . Vokie i meno istoriko ir filosofo Ervino Panofskio ikonografinis - ikonologinis metodas yra parankiausias sakralinio meno tyrimams, jis naudotinas kompleksiškai su kitais metodais, kurie galina pl sti tyrim istoriniame kontekste bei padeda geriau atskleisti Bažny ios dail s paveldo specifiškum . Šimtme ius gyvuojan ios ikonografin s tradicijos turi teologines ištakas, nes b tent teologai k r ikonografines, simbolines ir tipologines nuostatas. Religiniuose k riniuose n ra nereikšming atsitiktini detali , komponuot vien d l harmonijos. Viskas turi gili semantin ir simbolin prasm , susijusi su krikš ionišk ja tradicija, temos ir siužetai iliustruoja Šv. Rašto pasakojimus ir Bažny ios dogmas. Ital meno istorikas Eugenio Marino, apjungdamas Ervino Panofskio ikonologijos triad su krikš ionišk ja teologija, suformavo ikonoteologin metod , puikiai tinkant religin s dail s analizei. Pasak metodo autoriaus E. Marino, itin svarbu yra tik jimo kontekstas, nes sakralinio meno k rinys teologiškai atsiskleidžia steb tojui tik šiam dalyvaujant tik jimo procese. Taikant ikonoteologin metod b tinos tiriamojo k rinio s sajos su istoriškai susijusiais dokumentais, liudijan iais religines, socialines tendencijas, tod l, E. Marino teigimu, meno istorikui reikalingas pakankamai gilus kult rinio konteksto išmanymas. Vokie i menotyros atstovo Hanso Beltingo k rinio kontekste metodas antrina esminei ikonoteologinio metodo nuostatai - norint apjungti form ir turin , reikia tyrin ti meno objekto funkcij ir kontekst , kuriame jis atsirado. Kontekstinis funkcinis metodas leidžia atskleisti vaizdavimo tradicij ištakas, k rinio paskirt , strukt r , ryš su istoriniais šaltiniais. Šios metodologijos pagalba meno k rinius suvokiame ne šiandienos poži riu, bet j atsiradimo laikotarpio kontekste bei visuomenini funkcij akivaizdoje. Su vokie i mokslininko Aby Warburgo vardu siejasi ne tik ikonologinio metodo, bet ir kompleksin s komparatyvistin s metodologijos suk rimas. Lyginamojo - komparatyvistinio metodo d ka lietuviškuosius meno k rinius suvokiame kaip europin s kult ros sistemos dal . Lygindami atrandame bendr sias meno raidos paraleles ir geriau išskiriame m s dail s ypatumus.
36 Tiriamiesiems objektams aprašyti darbe naudotas aprašomasis analitinis metodas, o identifikacijai pasitelkiamas atribucinis metodas. Stilistin s bei formaliosios objekto analiz s metodu nagrin jama k rini stilistika, kompozicijos. Rekonstrukcinio ir istoriografinio metod pagalba nustatomas geografinis objekt paplitimo laukas.
Temos ištirtumas. Literat ra ir šaltiniai. Po Lietuvos Nepriklausomyb s atk rimo prad jus intensyvius Lietuvos Didžiosios Kunigaikštijos kult rinio - meninio palikimo tyrin jimus ženkliai išaugo ikonografini tyrim skai ius. Turime tikrai gaus mokslini darb krait , apimant XVII-XIX a. bažnytin s dail s tyrimus. Daugiausia Lietuvos menotyrinink d mesio sulauk marijiniai objektai – žinomiausi Lietuvoje, malon mis gars j Dievo Motinos atvaizdai, dažniausiai esantys piligrimin se šventov se - Trak , Žemai i Kalvarijos, Aušros Vart , Šiluvos Šv . Mergel s Marijos paveikslai, ta iau tarp j neturime Šv . M. Marijos Škaplierin s atvaizd . Pastarieji fragmentiškai patenka tyrim lauk . Baltarusijos meno istorik ind lis katalikiškosios sakralin s dail s tyrimus gerokai kuklesnis: n ra platesn s apimties darb , monografij , teminiai straipsniai publikuojami bene vieninteliame katalik leidžiamame žurnale , Dievo Motinos ikonografijai 2003 ir 2007 m. buvo išleista po nedidel s apimties iliustruot leidin . Ikonografinius tyrimus riboja tai, kad Gudijos krašte itin mažai išlikusi XVII-XVIII a. katalikiškosios dail s k rini . Kryptingo Šv . M. Marijos Škaplierin s ikonografijos tyrimo užuomazga – autor s magistro darbas Mariologin s temos - Šv . M. Marijos Škaplierin s ikonografija Lietuvos Baroko dail je (VDU 2001) Kelet žinomiausi LDK bas j karmelit Dievo Motinos atvaizd Tojana Ra i nait aprašo viename savo disertacijos Bas j karmelit architekt ra ir dail Lietuvoje poskyryje. V liau išleistoje monografijoje Vizijos ir atvaizdai. Bas j karmelit palikimas T. Ra i nait pateikia tapa i medžiag , ta iau Šv . Mergel s Marijos Škaplierin s ikonografijos tema nepl tojama. Mokslo straipsni rinkinyje Virgo Venerabilis: Marijos paveikslas Lietuvos kult roje (2011), apiman iame vairius Šv . M. Marijos atvaizd tyrim aspektus, rasime šios disertacijos autor s straipsn Karmelio Dievo Motinos paveikslo ikonografin apžvalga Abiej Taut Respublikoje. Šv . M. Marijos Škaplierin s kilm s šaltinio - Šv. Škaplieriaus vizijos - atspindžius Lietuvos karmelit dail s palikime A. Rusteikien aptaria straipsnyje Šv. Simono Stoko vizijos ikonografin tradicija Lietuvos karmelit bažny iose. Pirmavaizdis ir kartot . (LOGOS, 72, 2012) Apžvelgus publikacijas, skirtas b tent
37 Karmelio Dievo Motinos ikonografijai, galime konstatuoti, kad menotyrini darb Lietuvoje šia tema rasta minimaliai. Išsamiausias Šv . M. Marijos Škaplierin s atvaizd ikonografinis tyrimas - lenk menotyrinink s Kristinos Moisan – Jablonska Maryja or downiczka wiernych, publikuotas 1987 m. Autor analizuoja Lenkijos karmelit bažny i dail s pavyzdžius, ir tai yra pakankama kontekstin medžiaga lyginamajai analizei. 1995 m. šios autor s tyrime Obraz czyscca w sztuce polskiego baroku aptariami šv. S. Stoko vizijos siužeto pavyzdžiai. Italijos Karmelio Dievo Motinos atvaizd istorin apžvalg rasime Emanuele Boaga surinktoje antologijoje Con Maria sulle vie di Dio (2000). E. Boaga leidinyje La Signora del Luogo (2001), Madre dello Scapolare skyriuje analizuoja itališkuosius šv. S. Stoko vizijos siužeto pavyzdžius. Šios iliustruotos publikacijos – naudinga medžiaga, ieškant LDK atvaizd sasaj su piet Europos šalimis. Literat r , kuria remtasi šiame darbe, galima išskirstyti kelias grupes. Pirmoji - ikonografiniai žodynai ir artimi jiems leidiniai, skirti Dievo Motinos atvaizd ikonografijai, Šv . M. Marijos Škaplierin s tipo pozicionavimui marijin je dail je bei karmelitiškosios Dievo Motinos kulto istorijoje. Išsamiausiai Šv . M. Marijos ikonografija pateikiama Lexicon der christlichen Ikonographie žodyne. Kiti šaltiniai - Marienlexikon, Ikonographie der christlichen Kunst, The Madonna in Art, Krikš ioniškosios ikonografijos žodynas – marijini atvaizd raid pateikia siauriau arba specifiniu aspektu. Fundamental s N. Kondakovo, V. Lazarevo ikonografijos veikalai apima Bizantijos ir Krikš ionišk j Ryt ikon men . Tai vertingi šaltiniai analizuojant Šv . M. Marijos Škaplierin s atvaizd s sajas su archajiniais Dievo Motinos prototipais. Dviej pirm j disertacijos skyri tyrimui reikalinga informacija buvo renkama ir iš istorini knyg bei straipsni apie Karmelit ordino priešistor Karmelyje, vienuolijos raid Europoje. Teologin s žinios surinktos iš Katalik enciklopedij ar žinyn bei religijotyrini publikacij , kur gvildenamos karmelit vienuolijos dvasingumo tradicijos, pamaldumo praktikos, aiškinama teologin škaplieriaus sakramentalijos prasm . Istorin – religin kontekst padeda formuoti krikš ionyb s istorij aprašantys leidiniai. Gausiausia literat ros grup apima leidinius, kuriuose minimi tiriamieji objektai, esantys LDK karmelit vienuolynuose ir parapin se bažny iose. Pavieni Šv . Mergel s Marijos Škaplierin s atvaizd pamin jim galima rasti istorin se miesteli
38 apybraižose, atskir vyskupij parengtuose leidiniuose, skirtuose pažinti vertingiausius meno k rinius to regiono parapin se bažny iose bei vairiose dail tyrin se sakralinio meno studijose. Turime kelet publikacij apie atskirus Lietuvos karmelit vienuolynus: Linkuvos, K daini , Kauno ir Vilniaus prie Vis Švent j bažny ios. Enciklopedija i i i naudinga surinktais karmelit vienuolyn istorijos faktais bei pa ia statistika, kuri reikalinga sudarant karmelit vienuolyn paplitimo LDK žem lap . Vienuolijos Lietuvoje XIII-XX a. LDK vienuolij statistik pateikia chronologiškai, pagal kongregacijas. Vienuolijos mecenavimo faktus papildo Mecenatyst s reiškinys XVII a. LDK, o žini apie karmelit bažny ias dekoravusius menininkus suteikia Lietuvos dailinink žodynas XVI-XVIII a. Šv . M. Marijos Škaplierin s atvaizd paieškos šaltiniais tapo menotyrini institucij fondai. Kult ros paveldo centro archyvo kataloge yra informacijos apie Šv . M. Marijos Škaplierin s paveikslus Lietuvoje, esamus ar buvusius vairiose parapin se bažny iose. Nuo XX a. pabaigos tokie duomenys periodiškai pildomi speciali ekspedicij metu. Analogin medžiag kaupia Baltarusijos Moksl akademijos Menotyros, etnografijos ir folkloro institutas. Vis tik dalis objekt nepatenka ši staig s rašus, jie niekur neužfiksuoti, o tai sudaro prielaidas istoriškai verting meno k rini išnykimui. Tiriamojo objekto paieškos buvo vykdomos ir šalies muziejuose: didžiausioje Lietuvos istorinio kult ros paveldo saugykloje - Lietuvos nacionaliniame muziejuje, Baltarusijos Nacionaliniame muziejuje Minske, Nacionaliniame M. K. iurlionio dail s muziejuje. traukti ir regioniniai muziejai: Bažnytinio paveldo, Kauno arkivyskupijos, Žemai i Alkos, Šiauli Aušros, Kretingos muziejai. Perži r ta Adel s ir Pauliaus Galauni nam biblioteka ir grafikos darb kolekcija, Lietuvos Dail s muziejaus Prano Gudyno restaturavimo centro kartoteka, kur taip pat pavyko rasti tikslin s informacijos šiam darbui. Didžioji dalis tyriam j objekt užfiksuoti šio darbo autor s, aplankant bažny ias Lietuvoje ir už jos rib . Kadangi dauguma Šv . M. Marijos Škaplierin s atvaizd LDK yra kartot s, tod l j pirmavaizdži atskleidimas yra svarbi tyrimo dalis. Paieškos buvo vykdomos keliomis kryptimis: sekant karmelit ordino regionini centr taka bei vienuoliniais ryšiais (Krokuva, Liublinas, Lvovas, Berdy iovas) ir ieškant prototip katalikiškojo meno ,,lopšyje” – Italijoje. Aplankyta eil garsiausi karmelit vienuolyn ir bažny i Ispanijoje, Italijoje, Austrijoje, Lenkijoje. Europin kontekst papild objektai, priklausantys vairiems fondams, muziejams, antikvariatams -
39 aukcionams. Ypa vertinga ikonografin medžiaga prieinama Culturaitalia fonde, Lombarbiabeniculturali - Lombardijos regiono kult ros fonde, Bolonijos universiteto Federiko Zeri projekte, Metropoliteno Meno muziejaus Niujorke rinkiniuose, Silezijos regiono sakralin s dail s paveldo projekte Drogibaroku, kur rengia menotyros institutas prie Vroclavo universiteto. Tyrimui naudoti rankraštiniai šaltiniai - karmelit vienuolyn ir bažny i vizitacijos, parapini bažny i inventoriai. Šv . M. Marijos Škaplierin s atvaizd buvimo fakt ieškota Lietuvos valstyb s istorijos archyve, Kauno Arkivyskupijos kurijos archyve, Baltrusijos Respublikos nacionaliniame istorijos archyve, Krokuvos na Piasku karmelit vienuolyno archyve, Vilniaus universiteto bibliotekos e-paveldo kataloge ir Moksl akademijos bibliotekos Rankraš i skyriuose, Lietuvos nacionalin s M. Mažvydo bibliotekos ir Kauno apskrities viešosios bibliotekos ret spaudini skyriuose. Deja, objekto pamin jimas senuosiuose dokumentuose dažniausiai apsiriboja tik Šv . M. Marijos Škaplierin s titulo vardijimu, tr ksta platesni atvaizdo aprašym , kurie b t naudingi ikonografijos tyrimui. Surinkti statistiniai duomenys bus panaudoti atvaizd paplitimui vertinti. Rankraštiniuose šaltiniuose rasti Šv . M. Marijos Škaplierin s ikonografijos atspaudai liudija galimai buvusius paveiksl prototipus konkre iuose vienuolynuose ar parapin se bažny iose. Dalis publikuot šaltini išleisti Lietuvos Katalik Akademijos, tai - archyvini dokument rinkiniai: XVII a. Žemai i vyskupijos vizitacija, XVIII a. Kauno, Pabaisko, Breslaujos, Ukmerg s dekanat vizitacij knygos. Šiuose dokumentuose, kaip ir kituose rašytiniuose šaltiniuose ieškota Šv . M. Marijos Škaplierin s atvaizd pamin jimo, paveiksl aprašymo, pagal kur galima b t identifikuoti ikonografin tip . Tyrime naudotos ir suskaitmenintos bažny i dokument faksimil s iš Bažny i archyv informacin s sistemos BARIS. Darbo strukt ra. Disertacij sudaro vadas, trys dalys, išvados, bibliografija, iliustracij s rašas, iliustracijos, priedai. vade pagrindžiama tiriamoji problema ir jos aktualumas bei naujumas, aptariamas mokslinio tyrimo objektas ir jo atrankos kriterijai, iškeliamas tikslas, suformuluojami uždaviniai, apib dinami metodai, pateikta šaltini , literat ros ir tyrim apžvalga bei pati darbo strukt ra.
40 I. PAMALDUMO ŠV . M. MARIJAI ŠKAPLIERINEI KILM
Pirmoji tiriamojo darbo dalis skirta Šv . M. Marijos Škaplierin s ikonografinio tipo kilm s analizei. Poskyryje 1.1 Karmelit pamaldumo tradicijos apžvelgiama karmelit pamaldumo tradicij taka marijini paveiksl ikonografijai. Karmelit ordino dvasingume persipina stpriausios Karmelio kalno atsiskyr li pamaldumo tradicijos šv. Elijui ir Šv . Mergelei Marijai. Susiformav s karmelitiškojo pamaldumo kontekstas marijin je temoje apjungia Senojo Testamento pranašus šv. Elij , šv. Eliziej su iškiliausiais karmelitais, kanonizuotais Ordino k rimosi pradžioje: šv. Angelu Sicilie iu, šv. Albertu iš Trapani, taip pat su pirmosios regulos sudarytoju Jeruzal s patriarchu šv. Albertu Avogadro bei kitais atsiskyr li sub r jais, buvusiais prie Ordino ištak . Poskyryje 1.2 Škaplieriaus vizijos istorija rekonstruojamas Škaplieriaus kaip sakramentalijos atsiradimas iš Šv . M. Marijos apsireiškimo karmelitui šv. S. Stokui istorijos, apžvelgiamas devocijos kelias nuo šv. S. Stoko vizijos (1251 m.) iki visuotinio katalik Bažny ios pripažinimo – tik XVI a. per karmelitišk j škaplieri teikiama dangiškoji malon buvo visuotinai pripažinta Europoje ir gavo liturgin Sabbatinum privilegium status . Ieškant ankstyv j , vizijos laikmet atitinkan i dokument susidurta su absoliu iu informacijos vakumu. XX amžiaus katalikiškojo pasaulio tyrin tojai deda daug pastang , kad b t atgaivinta karmelit dvasingumo istorija, ta iau šiandien mokslininkams vis tik nepakanka dokumentini rodym , kad gal t negin ijamai pagr sti vizijos istoriškum . Menotyriniu poži riu rekonstruojant šios religin s bendruomen s garbinam švent j istorij neb tinas absoliutus racionalumas. Škaplieriaus vizijos kilm pakanka vertinti tradiciniu karmelitiškojo pamaldumo aspektu ir š apreiškim priimti kaip Marijos apsaugos ženkl bei sipareigojim sekti J z Krist . Tre iajame poskyryje 1.3 Ikonografinio tipo Šv . Mergel Marija Škaplierin samprata tikslinama Šv . M. Marijos Škaplierin s kaip termino samprata si lant aišk , nauj Šv . M. Marijos Škaplierin s ikonografinio tipo apibr žim . Šv . Mergel s Marijos Škaplierin s tipas marijin ikonografij siliejo s lyginai v lai. Bizantiškieji Dievo Motinos archetipai, persipyn su viduramžiais klest jusiais Dievo Motinos atvaizdais, buvo tinkama terp karmelitišk j pamaldum atspindin i Šv . M. Marijos atvaizd integracijai. Pasteb ta, kad identifikuojant Šv . Mergel s Marijos Škaplierin s paveikslus esama daug netikslum : itin pla i ikonografin skal turintys min ti dail s
41 k riniai dažnai klaidingai vardijami ar priskiriami kitam ikonografiniam tipui. Tod l svarbu aiškiai apsibr žti ikonografinio tipo Šv . Mergel Marija Škaplierin termin . S vokos aiškumas leist išgryninti ši atvaizd grupes bei nurodyt esminius skirtumus su vizualiai artimais k riniais. Šiandienin je menotyroje Šv. Škaplieriaus ikonografijos simbolik turinys mariologiniai paveikslai vadinami skirtingais vardais. Vienuose asmenvardžiuose akcentuojamas ypatingas ryšys su Karmelio kalno vietove, kituose pabr žiama paties atvaizdo priklausomyb karmelitiškajai aplinkai. Tik dalis Šv . M. Marijos atvaizd tituluojami tiesiogiai siejant su Škaplieriaus sakramentalija. Esminiu skirtumu tarp Karmelio Dievo Motinos/Karmelio Madonos ir Šv . M. Marijos Škaplierin s atvaizd laikytinas Škaplieriaus sakramentalijos akcentavimas bei dominavimas vaizduojamojoje temoje. Remiantis atliktu tyrimu teikiama išvada, kad Šv . M. Marijos Škaplierin s ikonografijoje rudojo škaplieriaus sakramentalija yra esminis elementas bei pagrindinis Šv . M. Marijos identifikacinis atributas. Škaplieriaus motyvas gali b ti vaizduojamas skirtingomis išraiškos formomis: kaip tradicin vienuoli aprangos dalis ir kaip mažieji brolij škaplieriai, t.y. pasaulie iams skirta sakramentalija. Škaplierius turi b ti k rinio ikonografin s programos akcentu: išreikšta jo mistin kilm , nežemišk j privilegij galia ir prasm . Škaplieriaus teikimo momentas ir pa ios sakramentalijos vaizdavimas Marijos ar K dikio rankose yra esminis Šv . M. Marijos Škaplierin s ikonografijos skiriamasis bruožas. Vizijin škaplieriaus teikimo šv. Simonui Stokui tema - pirmasis Šv . M. Marijos Škaplierin s ikonografijos siužetas.
II. PRIELAIDOS LDK KARMELIT VIENUOLIJOS MENO SKLAIDAI
2.1 Tridento nutarim taka karmelit vienuolijai dalyje siekiama išsiaiškinti Visuotinio Bažny ios susirinkimo Tridente tak karmelit Ordino strukt rai, karmelitiškosios dail s ikonografijai bei naujoms vienuolijos skleidžiamoms pamaldumo praktikoms. Karmelit ordino reorganizacijos id ja sutapo su Tridento dekrete išreikštu dvasinio atsinaujinimo poreikiu ir to pasekoje XVI a. pabaigoje buvo kurtas naujas Bas j karmelit ordinas Fratres Discalceati Ordinis Beatae Mariae Virginis de Monte Carmelo (OCD), suklest j s XVII – XVIII a. Europoje. Paskutin je, 25-oje Tridento susirinkimo sesijoje, buvo patvirtinta Skaistyklos doktrina. Vyskup
42 pareig visur ir visada skleisti siel apsivalymo per kan i tik jim lengvino bažnytinio meno kalba, tod l Skaistyklos tema greitai tapo ypa populiari tiek karmelit aplinkoje, tiek visame krikš ioniškajame mene. Katalikyb s atgijimas LDK, pasireišk s vairiomis pamaldumo praktikomis, ypa išsiskyr itin aktyvia religini brolij veikla: nuo XVI a. pabaigos Rožinio Šv . M. Marijos ir Šv . M. Marijos Škaplierin s brolijas intensyviai steig dominikon ir karmelit vienuoliai. Karmelit Škapliernos/Škaplieriaus brolija taip pla iai paplito po Lietuvos ir Gudijos krašt , kad rudasis škaplierius tapo kone kiekvieno kataliko pamaldumo ženklu. Po Tridento susirinkimo aktyviau pasireišk Brolij veikla: j iniciatyva bažny iose buvo rengiami Šv . M. Marijos Škaplierin s altoriai ar atskiros koply ios, užsakomi to paties titulo paveikslai. Ši kryptinga brolij veikla siejosi su potridentin s Bažny ios aktyviai skleidžiamu religini paveiksl kultu: senieji paveikslai buvo prad ti garbinti kaip relikvijos, j senumas prilyginamas stebuklingumui ir autentiškumui. Brolij d ka išsaugoti karmelitiškosios ikonografijos Dievo Motinos atvaizdai pasiek m s dienas, tod l karmelit tretininkus galime laikyti vienuolijos kult rini - menini tradicij puosel tojais ir t s jais. Poskyryje 2.2 Karmelit vienuolyn pl tra LDK aptariamos prielaidos karmelit ordino paplitimui Lietuvos Didžiojoje Kunigaikštijoje, chronologiškai pateikiama vienuolyn sklaidos istorija. Karmelit kelias iki Lietuvos Didžiosios Kunigaikštijos pažym tas svarbiais Ordinui vykiais, taigi glausta istorin apžvalga padeda išryškinti, su kokiomis tradicijomis ir dvasingumo bagažu Karmelio kalno atsiskyr li bendruomen atvyko Europos žemyn . Svarbiausiu post miu vienuolij k rimuisi LDK tapo potridentin s reformos jud jimas, XVI a. ap m s vis Europ ir kiek v liau pasiek s m s krašt . Bažny ios reformatoriaus vaidmuo atiteko LDK bajorijai, o viena iš pagrindini bajor veiklos sri i ir buvo nauj m s žem ms vienuolij steigimas bei j globa. D l žymi j LDK magnat katalikiškojo uolumo, pasireiškusio bažny i bei vienuolyn fundacijomis, XVII - XVIII a. vienuolij gyvenimas suklest jo. Vienuoliai r pinosi liaudies dvasingumu, skleid Šv . M. Marijos kult , skatino vairias pamaldumo formas. Deja, politin s permainos po 183l m. ir 1863 m. sukilim nul m tolesn religini bendruomeni likim : valdžios sakymu uždaryti beveik visi vienuolynai ir daugelis bažny i . Tuo laikotarpiu ir baigiasi karmelit vienuolijos gyvavimo Lietuvos ir Gudijos krašte etapas. Chronologin karmelit vienuolyn sik rimo Lietuvos Didžiojoje Kunigaikštijoje apžvalga padeda atskleisti galim Šv . M. Marijos Škaplierin s atvaizd migracijos keli , o gilesn je ikonografin je analiz je bus
43 atsižvelgiama ir lokali vienuolyn koncentracij . Šio tyrimo kontekste n ra aktualu išskirti senosios regulos karmelit ir bas j karmelit ordin pl tr , nes Šv. Škaplieriaus sakramentalija apjungia abi kongregacijas. Karmelit vienuolyn ir j bažny i apžvalgoje min tini faktai, gal j daryti tak tiriam j atvaizd atsiradimui, perk limui ir likimui. Svarb s yra Šv . M. Marijos Škaplierin s atvaizd pamin jimai archyviniuose šaltiniuose, nes jie padeda atkurti tiriamojo objekto (altori paveiksl , procesij altor li , v liav paveiksl , religini knyg iliustracij ) paplitim .
III. ŠV . M. MARIJOS ŠKAPLIERIN S IKONOGRAFINIO TIPO SKLAIDA IR YPATYB S
Iš karmelit dvasingumo tradicijos kilusi Šv . M. Marijos Škaplierin s vaizduosena atsiskleidžia vairiausiomis marijin s ikonografijos formomis. Tiriant Šv . M. Marijos Škaplierin s ikonografijos vairov bei daugiasluoksniškum objektai grupuojami pagal kilm , siužetin linij , sekim lokalia pamaldumo tradicija ir formaliuosius kriterijus. Analizuojant Europos Šv . M. Marijos Škaplierin s atvaizd kontekst apibr žiamos dominuojan ios ikonografin s schemos bei j sklaida, atskleidžiamos europin s kilm s archetip s sajos su konkre iais LDK Šv . M. Marijos Škaplierin s objektais bei vertinamos atvaizdo kartojimo, fragmentavimo ar perk rimo tendencijos. Lyginant piet ir vakar Europos Šv . M. Marijos Škaplierin s ikonografijos objektus su LDK išryšk ja bendrieji ir unikal s, tik m s kraštui b dingi požymiai. Skirtingo meninio lygio k riniai vertinami pagal autentiškum bei tiesiogin sakralini atvaizd paskirt , t.y. religinio taigumo aspektu. Tiriamojo darbo objektai – Šv . M. Marijos Škaplierin s ikonografijos vediniai – apima daugum dail s r ši . Analizuojami karmelit Dievo Motinos atvaizdai buv ar esantys bažny i freskose, mozaikose, vitražuose, antepedium aptaisuose, altoriniuose paveiksluose bei skulpt rose, liturgini procesij atributikoje bei drabužiuose, sakramentalij dekore, religini knyg iliustracijose ir bažnytin s kanceliarijos reikmenyse. Netipin s ikonografijos objektai ar pasikartojantys pavyzdžiai pla iau nenagrin jami, o traukiami atvaizd katalog . Poskyryje 3.1 Karmelitiškojo škaplieriaus vizijos vaizdavimas šv. S. Stoko vizija išskiriama kaip savarankiška atvaizd grup , siekiant labiau išryškinti unikalius šio vizijinio siužeto požymius europiniame kontekste. Pirmiausia aptariama 3.1.1
44 Tradicin Apreiškimo šv. S. Stokui vaizduosena kaip Šv . M. Marijos Škaplierin s ikonografijos ištakos. Analizuojant pavyzdžius išryšk ja svarbiausias LDK tradicin s šv. S. Stoko vizijos ikonografijos išskirtinumas - Dievo Motina visuomet vaizduojama drauge su K dikiu J zumi. Jei kitose Europos šalyse esama atvaizd , kuomet Marija viena teikia karmelitui šv. S. Stokui škaplieri , tai visuose tiriamuosiuose objektuose LDK Marija vaizduojama laikanti S n ant rank . Toki tendencij grei iausiai l m pamaldumo Šv . M. Marijai kaip Dievo Motinai aspektas bei supratimas, kad Šv . M. Marija atlieka tarpinink s ir užtar jos vaidmen siun iamoms dangiškosioms privilegijoms, d l kuri kent jo jos s nus J zus Kristus. Meniniu išskirtinumu m s krašto šv. S. Stoko atvaizdai nepasižymi: didžioji dalis yra žymi prototip , pasiekusi LDK per iliustruotus teologinius leidinius, kartot s. Poskyris 3.1.2 Sud tin s ikonografijos atvaizdai apima ne archetipinio šv. S. Stoko vizijos siužeto objektus, o sud tin s ikonografijos paveikslus. Karmelitiškojo škaplieriaus sakramentalijos paskirtis ir privilegija – siel gelb jimas iš skaistyklos, tod l dažname šv. S. Stoko vizijos paveiksle integruojamas šios pomirtin s vietos motyvas, tiesiogiai atitinkantis Sabbatine privilegium doktrin . Daugiausia toki k rini yra piet Europos šalyse, o m s krašte šios nevienalyt s ikonografijos pavyzdži - tik keletas. Atlikus min t objekt tyrim galima tvirtinti, kad šv. S. Stoko vizija yra Šv . M. Marijos Škaplierin s ikonografinio tipo kilm s šaltinis ir pirmasis šio ikonografinio vedinio siužetas. Pagrindinis ir privalomas atributas – škaplierius, kaip Šv . M. Marijos privilegij simbolizuojantis ženklas. Šv. S. Stoko vizijos paveiksluose LDK pabr žtinai laikomasi apreiškimo autentiškumo, t.y. legendos teksto, nenutolstama nuo kanonini vaizdavimo princip , vaizduojama b tent rudojo škaplieriaus drabužio forma. Išpl totos ikonografijos schemos LDK neprigijo arba neišliko. Istoriniuose šaltiniuose n ra detaliau aprašomi šv. S. Stoko vizijos paveikslai, tik paminimas paveikslo pavadinimas, tod l n ra galimybi išsiaiškinti ikonografines detales. XVII a. inventori aprašuose nerasta šv. Simono Stoko vizijos atvaizd pamin jimo, jie atsiranda tik XVIII a. Tai rodo, kad krikš ionyb s skleidžiamos pamaldumo formos iki LDK krašt plisdavo l iau ir prigydavo gerokai v liau nei arti katalikyb s centro – Romos - esan iose šalyse. Karmelitiškojo škaplieriaus kilm s tema integravosi pla i marijini atvaizd skal , tod l šv. S. Stoko mistinio reg jimo paveiksl analiz yra svarbi Šv . M. Marijos Škaplierin s ikonografijos tyrimo dalis.
45 3.2 Sekimo bizantiškaisiais prototipais tradicija poskyryje LDK tiriamieji objektai siejami su to laikme io žinomiausiais Europoje kultiniais Marijos atvaizdais. Gaji sekimo bizantiškosiomis ikonomis tradicija dar ženkli tak LDK karmelit dailei - formavo savit Šv . M. Marijos Škaplierin s atvaizd pogrup , kuriame archetipo vaidmuo teko tiek Europoje pagars jusioms ikonoms, tiek vietos regiono kultiniams paveikslams. 3.2.1 Karmelit Meilingoji Dievo Motina La Bruna ir kiti Eleusa/Glykophilousa vediniai. La Bruna - ankstyviausias Karmelio atsiskyr li garbintas Dievo Motinos atvaizdas. Eleusa ikonografijos La Bruna ikonos kartot s sudaro skaitlingiausi Šv . M. Marijos Škaplierin s atvaizd grup piet Europos karmelit dail je. LDK karmelit palikime turime kelet Dievo Motinos paveiksl , kilusi iš šio garsaus pirmavaizdžio. K rini analiz je išryšk ja sekimo La Bruna prototipu ypatumai. Upynos Šv . M. Marijos Škaplierin s paveikslas - vienas vertingiausi šio darbo autor s atradim . Pagal vaizduosenos archaiškum jis priskiriamas XVII amžiui ir, tyrimo autor s nuomone, laikomas vienu ankstyviausi Šv . M. Marijos Škaplierin s atvaizdu LDK. D l min to išskirtinumo šis objektas aptariamas pla iau. Pietin s Europos dalyje dominuojant karmelitiškiesiems La Bruna sekiniams, Vidurio Europoje plito kitas Meilingosios Dievo Motinos tipas - Maria Hilf. Remiantis tyrimu galima teigti, kad LDK Šv . M. Marijos Škaplierin s Eleusa atvaizdai turi aiški , išsikristalizavusi ikonografin s kilm s strukt r , susidedan i iš dviej pirmavaizdži : bizantinio La Bruna bei L. Cranach Maria Hilf prototip . Dar vienu pirmavaizdžiu karmelitiškosios Dievo Motinos atvaizdams gal jusi tapti Umilenie ikona, baroko laikotarpiu LDK aplinkoje neprigijo, ta iau XX a. ši ikona su j papildan iu škaplieriumi karmelit iniciatyva jau platinama visiems katalikams. 3.2.2 Hodegetria ir Hodegetria S. Maria ad Nives Šv . M. Marijos Škaplierin s ikonografijoje. Šv . M. Marijos Škaplierin s ikonografijoje LDK regione svarbi viet užima labiausiai paplit s krikš ioniškoje religin je dail je Šv . M. Marijos Kelrod s - Hodegetria tipas. Šv . M. Marijos Škaplierin s Hodegetria atvaizdai grupuotini ir pagal j kilm iš konkre i prototip - stebukling j paveiksl , gars jusi Abiej Taut Respublikos regione. Vienas labiausiai paplitusi tarp karmelit yra enstakavos Dievo Motinos paveikslas, kiek mažiau - Krokuvos na Piasku Dievo Motina ir stebuklingoji Bialyni i Dievo Motinos ikona. Gausiausia grup Šv . M. Marijos Škaplierin s atvaizd seka Šv . M. Marijos Sniegin s archetipu, kurio pirmavaizdžiu laikoma Salus Populi Romani ikona. Atlikus tyrim konstatuota, kad XVII - XVIII a. pusfig riuose
46 Šv . M. Marijos Škaplierin s paveiksluose yra akivaizdus ikonografin s schemos kartojimas, pabr žiant fig r statiškum , gestus, perkeliant pagrindinius atributus. Šios grup s marijiniuose atvaizduose ryškiausia yra Hodegetria S. Maria ad Nives kartojim tradicija: Šv . M. Marijos Škaplierin s atvaizdai seka archetipine Marijos Sniegin s ikonografija, o karmelitiškumo aur suteikia škaplieriaus simbolio nukaldinimas paveiksl puošian iuose aptaisuose. Skirtingi devocijos atsiradimo b dai rodo, kad visomis manomomis priemon mis Karmelio Dievo Motinos paveiksluose buvo siekiama išryškinti dangišk sias privilegijas teikian i vienuolijos sakramentalij . 3.3 Šv . M. Marijos Škaplierin s ikonografijos vedini variantai apima laisvos interpretacijos Hodegetria ir Mater Amabilis vedini grupes, Sacra Conversazione vaizduosen , bei mažiau paplitusius LDK, ta iau menotyriniu aspektu itin vertingus Maesta, Misericordiae, Sanctae Familiae ikonografij variantus. Šiame poskyryje atskleidžiami tyrimo objekt pirmavaizdžiai bei galim karto i variantai už LDK rib . 3.3.1 Mater Amabilis ir Hodegetria interpretacijos. Lyginant šios grup s pavyzdžius piet Europoje ir LDK krašte matomi skirtumai. LDK Šv . M. Marijos Škaplierin s atvaizdai formali ja prasme minimalizuoti, dažniausiai apsiribojama Dievo Motinos ir S naus fig romis, dalis tiriam j objekt – fragmentin s daugiafig ri paveiksl kopijos ar kartot s. Škaplieriaus sakramentalijos dekoravimas karmelit ordino herbo simboliu yra prastas Ispanijoje ir Italijoje - ši detal , veikiausiai, atspind jo ordino reikšm ar vietin s vienuolijos svarb konkre ioje vietov je. Lietuvos ir Gudijos Šv . M. Marijos Škaplierin s atvaizduose ant škaplieriaus dažniausiai matomos Šv . M. Marijos ir J zaus Kristaus monogramos. Tok vaizdavim m s krašte l m Dievo Motinos kulto dominavimas. Analogiškos priežastys gal jo daryti tak ir Šv . M. Marijos aprangos variantams: piet Europoje Karmelit ordino drabužiu vilkinti Dievo Motina vaizduojama jau baroke, o LDK XVII-XVIII a. paveiksluose be išimties dominuoja Šv . M. Marijos tradicinis drabužis – raudonos spalvos suknel ir m lynas apsiaustas. XIX a. Šv . M. Marijos Škaplierin s Hodegetria atvaizdai masiškai nebepuošiami brangi metal aptaisais kaip kad buv prasta LDK laikme iu. 3.3.2 Škaplieriaus teikimas adorantams Sacra Conversazione ikonografijoje sudaro ženkli Šv . M. Marijos Škaplierin s atvaizd grup . Daugiausia turime toki paveiksl , kuriuose atpaž stame žymiausius dviej karmelit ordin atstovus: senosios regulos karmelit (OC) generol šv. S. Stok ir reformuot j karmelit (OCD) ordino k r j šv. Teres Aviliet . LDK karmelit dail je nesp jo sitvirtinti Šv . M. Marijos
47 Škaplierin s Šventojo pokalbio ikonografijos k riniai, kuriuose adorantais b t vaizduojami religingieji pasaulie iai - valdovai ir kiti didikai. Kitose Europos šalyse tokios daugiafig r s Sacra Conversazione kompozicijos buvo vienos populiariausi . Min tai vaizduosenai paplisti LDK reik jo ilgesnio Škaplieriaus brolij gyvavimo laikotarpio. Karmelitiškiesiems Sacra Conversazione paveikslams priskiriama grup jungtin s ikonografijos atvaizd , kuriuose Dievo Motina vaizduojama dvejopai – kaip Šv . M. Marija Škaplierin ir kaip Rožinio Šv . M. Marija. Šie jungtin s ikonografijos k riniai atspindi karmelit ir dominikon vienuolij bendryst bei tapa i abiej devocij paskirt . Potridentiniu laikotarpiu itin aktyviai skleidžiama Skaistyklos doktrina pasitarnavo vienuolini ordin legitimacijos ženkl s jungai: praktikuojantieji rožinio mald ir nešiojantys škaplieri tik jo lengviau pelnysiantys pomirtin malon . Apibendrinant karmelitiškuosius Šventojo pokalbio pavyzdžius aišk ja, kad LDK gyvavimo laikotarpiu dominavo dviej tip Šv . M. Marijos Škaplierin s atvaizdai: kuomet adorantais vaizduojami du vienuoliai (vyras ir moteris) bei jungtiniai šv. Rožinio - šv. Škaplieriaus brolij atvaizdai. XIX a. panaikinus LDK gyvavusias vienuolijas, j puosel t Sacra Conversazione paveiksl pogrupis nesivyst , tod l v lesniais laikais min tos ikonografijos objekt nerasta. 3.3.3 Retesni Šv . M. Marijos Škaplierin s vaizdavimo variantai praturtina karmelit Dievo Motinos atvaizd ikonografin skal . Pasteb ta, kad šio segmento k rini sklaidoje vyrauja panašios tendencijos: jie atitinkamai mažiau paplit tiek m s krašte, tiek likusioje Europos dalyje. Išimtimi b t LDK regione praktiškai sunykusi karmelitiškoji Maesta ikonografija, ta iau ji iki šiol yra populiari piet Europos karmelit bažny i skulpt roje. Nors Gailestingosios Dievo Motinos ikonografinio tipo atvaizdai pla iai žinomi nuo XIII amžiaus, ta iau viduramžišk j Mater Misericordiae schem integruota Šv . Mergel s Marijos Škaplierin s vaizduosena Europoje netapo populiari, aptinkami tik pavieniai objektai. Šventosios Šeimos ikonografija susiformavo s lyginai v lai, nuo XV a. ir paplito Europoje vairiais vaizdavimo variantais. XVII a. sigal jo Sanctae Familiae schema su Šv . M. Marija, s numi J zumi, vaikeliu šv. Jonu Krikštytoju arba šv. Juozapu. Turime kelet toki Šventosios Šeimos atvaizd , kuriuos LDK karmelitai pažym jo išskirtiniu savo Ordino legitimacijos ženklu - škaplieriaus sakramentalija. Pla iame Šv . M. Marijos Škaplierin s vedini spektre viet atranda ir išskirtinai vien Marij vaizduojantys objektai.
48 IŠVADOS
1. Siekiant pagr sti Šv . M. Marijos Škaplierin s ikonografinio vedinio kilm , gilintasi karmelit vienuolijos dvasingumo ištakas bei škaplieriaus simbolio specifik . Nuo ankstyv j viduramži škaplierius prigijo religini bendruomeni kanonin je aprangoje, j d v jo daugumos vienuolini ordin nariai. Ta iau Dievo Motinos malon teikian ia sakramentalija škaplieriaus drabužis pirm kart tapo tik po 1251 m. Šv . M. Marijos apsireiškimo karmelit ordino generolui šv. Simonui Stokui. Tai – istoriškai ankstyviausias škaplieriaus drabužio tapsmas devociniu simboliu, tod l rudasis karmelit škaplierius, teikiantis pomirtin išsigelb jim nuo ,,amžinosios ugnies”, laikomas pamatiniu Šv . M. Marijos Škaplierin s ikonografijos motyvu. 2. Reikšmingas momentas karmelitiškojo škaplieriaus istorijoje - škaplieriaus drabužio virsmas mažaisiais brolij škaplieriais. Formalioji sakramentalijos transformacija XVI a. iš vienuoliškojo škaplieriaus drabužio pasaulie i d vim devocin ženkl atv r keli nauj škaplieriaus r ši atsiradimui. XIX a. Katalik bažny ia patvirtino eil nauj analogiškos formos brolij škaplieri , skirt specifiniam pamaldumui. Taigi Šv . M. Marijos Škaplierin s ikonografij gali tur ti ne tik Karmelio Dievo Motinos atvaizdai, bet ir kiti Šv . M. Marijos paveikslai, kuriuose vaizduojamos vairi brolij škaplieriaus sakramentalijos. 3. Iš šv. S. Stoko vizijos kilusi karmelitiškojo škaplieriaus malon d l tapa i vizijini ištak pagr stai asimiliuojama su Sabbatine Privilege pamaldumu. Šeštadienin s privilegijos užuomazga buvo Šv . M. Marijos apsireiškimas popiežiui Jonui XXII (1316 m.), kuomet Dievo Motina primygtinai reikalavusi Šventojo T vo nedelsiant pripažinti išskirtin indulgencij karmelitams bei j tretininkams. Ta iau Sabbatine Privilege iškart netapo visuotine teologine dogma; tokia situacija gal jo t stis ir d l nuolatin s dominuojan i ordin konkurencijos bei takos Šventajam Sostui. Galiausiai 1577 m. popiežiaus Jurgio XIII dekretu Šeštadienin privilegija aprobuojama Karmelit Ordinui ir tvirtinama visoje Katalik Bažny ioje. Šis dekretas užtvirtino išskirtin Karmelit Ordino teis per rud j škaplieri teikti pagalb skaistykloje ken ian ioms sieloms. 4. Paskutin je Tridento susirinkimo sesijoje 1563 m. patvirtinta Skaistyklos doktrina dav impuls pla iai šios temos sklaidai bažnytin je dail je – XVI-XVII a. sand roje plinta skaistykl vaizduojantys paveikslai su Šv . M. Marija kaip siel
49 Užtar ja. Karmelitiškojo škaplieriaus sakramentalijos vaizdavimas Skaistyklos temoje tiesiogiai sietinas su atvaizdo priklausomybe Karmelit Ordinui ar Šv . M. Marijos Škaplierin s brolijai. Jei Skaistyklos temoje karmelitiškoji sakramentalija nevaizduojama Dievo Motinos ar S naus J zaus rankose, o matoma tik antraplaniame lygmenyje (škaplieri d vi skaistyklos sielos), tokie atvaizdai netur t b ti priskiriami Šv . M. Marijos Škaplierin s ikonografijai, o vardijami Šv . M. Marija – skaistyklos siel Gelb toja arba Šv . M. Marija –– skaistykloje ken ian i siel Užtar ja. Si lomi pavadinimai aiškiausiai atspindi Skaistyklos tem ir primena Sabbatine Privilege. 5. Šiandienin terminologija, vardijanti Šv . Mergel Marij Škaplierin , yra gan tinai plati, skirtingai traktuojama, o tai apsunkina k rini ikonografin atribucij . Dažniausiai Šv . M. Marija Škaplierin painiojama su Gailestingosios Dievo Motinos, Skaistyklos siel Užtar jos atvaizdais, La Bruna kartot mis. Siekiant suvienodinti karmelitiškosios Dievo Motinos specifinio ikonografinio vedinio samprat menotyriniu aspektu, si lomas tikslesnis Šv . M. Marijos Škaplierin s ikonografijos apibr žimas: Šv . Mergel Marija Škaplierin – Dievo Motinos ikonografijos vedinys, kil s iš vienuolijos pamaldumo Šv . Mergelei Marijai. Karmelitiškojo škaplieriaus drabužio teikimo momentas šv. S. Stoko vizijos siužete arba/ir škaplieriaus sakramentalijos kaip brolijos ženklo vaizdavimas Marijos ir/arba S naus J zaus rankose yra esminis Šv . M. Marijos Škaplierin s ikonografijos požymis. Tik b damas k rinio ikonografin s programos akcentu, škaplierius tampa Šv . M. Marijos Škaplierin s identifikaciniu atributu. Galimos škaplieriaus vaizdavimo formos: 1. kaip tradicin vienuoli aprangos dalis; 2. kaip mažieji škaplieriai - pasaulie i religin ms brolijoms skirta sakramentalija; 3. liturgin s juostos manipulos formos. 6. Apibr žus Šv . Mergel s Marijos Škaplierin s s vok tikslinama šio ikonografinio tipo vieta marijini atvaizd sistemoje. Vienuoliniai ordinai bei pasaulietin s brolijos marijini paveiksl pagalba uoliausiai skleid legitimacini sakramentalij kult , tod l ikonografiniuose žinynuose Šv . Mergel s Marijos Škaplierin s tipas tur t fig ruoti marijini devocini atvaizd grup je drauge su dominikon Rožinio Šv . M. Marija, augustin Šv . M. Marija Ramintoja (Dirželio Šv . M. Marija). Min ti marijiniai atvaizdai apjungiami pagal pamaldum simbolizuojant kriterij - Dievo Motinos teikiam sakramentalij . 7. Pirmasis Šv . M. Marijos Škaplierin s ikonografijos siužetas - škaplieriaus drabužio teikimas karmelitui šv. Simonui Stokui - gali b ti priskirtas tiek švent j
50 asmen vizijini paveiksl gupei, tiek marijiniams devociniams atvaizdams; pasirinkimas priklauso nuo tyrin jimo aspekto. Šiame darbe šv. S. Stoko vizija laikoma Šv . M. Marijos Škaplierin s ikonografinio vedinio kilm s šaltiniu. Negausus šv. S. Stoko atvaizd palikimas LDK karmelit dail je – išlik dešimt k rini . Pokarmelitiniu periodu, d l suprantam priežas i , fiksuojamas dar labiau susiaur j s min t atvaizd ratas, rasti šeši šv. S. Stoko vizijos paveikslai, sukurti XIX amžiuje. XVII a. LDK bažny i inventori aprašuose neaptikta ši atvaizd pamin jimo, jie atsiranda tik XVIII a. LDK periode Šv. S. Stoko vizijos paveiksluose pabr žtinai laikomasi apsireiškimo autentiškumo: vaizduojama b tent rudojo škaplieriaus drabužio forma, sud tin s ikonografijos vaizduosena nepl tojama. Esminis šv. Simono Stoko vizijos išskirtinumas LDK – Dievo Motinos vaizdavimas drauge su K dikiu J zumi. Jei kitose Europos šalyse esama atvaizd , kuomet Marija viena teikia karmelitui škaplieri , tai LDK objektuose Šv . M. Marija vaizduojama laikanti S n ant rank . Vienintel išimtis - Žukaini paveikslas, kurtas pagal Venecijos meistro prototip . Toki tendencij l m dominuojantis Šv . M. Marijai kaip Dievo Motinai kultas bei potridentiniu laikotarpiu sigal j s supratimas, kad Šv . M. Marija atlieka tarpinink s vaidmen siun iamoms dangiškosioms privilegijoms, už kurias kent jo jos s nus J zus Kristus. 8. Ankstyviausiu Šv . M. Marijos Škaplierin s prototipu Europoje laikoma La Bruna ikona. Eleusa ikonografijos La Bruna kartot s sudaro dominuojan i Šv . M. Marijos Škaplierin s atvaizd grup piet ir vidurio Europos karmelit dail je. Nustatyta, kad LDK karmelit aplinkoje Šv . M. Marijos Škaplierin s Eleusa vaizduosena tolygiai vyst si iš dviej prototip : neapolietiškosios La Bruna ikonos ir L. Cranach Maria Hilf paveikslo. Šv . M. Marijos Škaplierin s Hodegetria vaizduosena susiformavo regionin s piligrimyst s takoje: karmelitiškieji paveikslai sek stebukling j enstakavos, Krokuvos na Piasku, Trak Dievo Motinos atvaizd ikonografija. Skaitlingiausia Hodegetria S. Maria ad Nives kartojim tradicija leidžia teigti, jog tai - dominuojantis Šv . M. Marijos Škaplierin s ikonografinis tipas LDK karmelit dail je, sekant bizantiškaisiais pirmavaizdžiais. 9. Modifikuoti Šv . M. Marijos Škaplierin s vedini variantai apima daugiasluoksn s ikonografijos objektus su laisvos interpretacijos Hodegetria, Mater Amabilis, Pelagonitissa, Regina Coeli, Immaculata ikonografij požymiais. LDK bei pokarmelitinio laikotarpio Šv . M. Marijos Škaplierin s atvaizdai formali ja prasme minimalizuoti – apsiribojama Dievo Motinos ir S naus fig romis. Didžioji dalis objekt
51 – fragmentin s daugiafig ri kompozicij kopijos ar pla iai žinom paveiksl kartot s. Jungtin s ikonografijos Mater Misericordiae ir Sanctae Familiae Šv . M. Marijos Škaplierin s atvaizdai retesni tiek LDK, tiek kit krašt karmelit dail je. Sud tin s ikonografijos gylis bei plotis atskleidžia Šv . Mergel s Marijos Škaplierin s vaizduosenos daugiasluoksniškum . Ši atvaizd identifikavim rašytiniuose šaltiniuose apsunkina tai, kad bažny i inventoriuose paveiksl aprašai apsiriboja titulu ir ant j esan i brangi j metal aprašymu. 10. Reikšming Šv . Mergel s Marijos Škaplierin s ikonografijos dal sudaro Sacra Conversazione k riniai – devyniolika objekt . Šie legitimaciniai atvaizdai tarp vienuolij yra vieni populiariausi , jie reprezentuoja vienuolinius Ordinus ir pasaulietines religines bendruomenes. LDK karmelit dail je Šventojo Pokalbio schemoje išskirtini du lygiaver iai pogrupiai: tradicin vaizduosena, kuomet Šv . M. Marijai su S numi adoruoja du vienuoliai (vyras ir moteris) bei jungtin s ikonografijos k riniai (Šv . M. Marija Škaplierin – Rožinio Šv . M. Marija). Pastarojo tipo sklaid takojo Karmelio Dievo Motinos švent s paskelbimas visuotine – 1726 m. ji traukta katalikišk j šven i kalendori ir privaloma visai Katalik Bažny iai. LDK karmelit dail je nesp jo sitvirtinti Šventojo Pokalbio ikonografijos k riniai, kuriuose Šv . M. Marijai Škaplierinei adorantais b t religingieji pasaulie iai. Veikiausiai tokiai vaizduosenai paplisti LDK reik jo ilgesnio Škaplieriaus brolij gyvavimo laikotarpio. 11. Šv . M. Marijos Škaplierin s atvaizd specifik LDK XVII–XVIII a. pirmiausia l m vienuolijos dail s tradicijos. V liau, stipr jant karmelit tretinink takai sielovadin je parapijos veikloje, išaugo ir Šv . M. Marijos Škaplierin s brolij , kaip dail s k rini užsakov , vaidmuo. J intencijos, tik tina, buvo gerokai svaresn s, nei paties dailininko. Ištirtuose istoriniuose šaltiniuose nerasta žini apie tai, kad Šv . M. Marijos Škaplierin s atvaizdo užsakovu b t buv s vienas privatus asmuo. Paveikslo donatoriumi dažniausiai vardijama konkreti vienuolija ar jos vietinis glob jas. Galima prielaida, kad XVII a. karmelit bažny i inventoriuose minimi Šv . M. Marijos paveikslai, vardinti pagars jusi prototip vietovi pavadinimais (pvz., enstakavos, Trak , Žemai i Kalvarijos Dievo Motina), tur jo Šv . M. Marijos Škaplierin s ikonografij , nes škaplieriaus simbolis kaip ordino legitimacijos ženklas buvo privalomas karmelitiškojo dvasingumo aplinkoje. XVIII a. raštuose jau minima Dievo Motinos kaip Šv . M. Marijos Škaplierin s vaizduosena, dažniau vardijamas ir ikonografinis tipas (Hodegetria, Eleusa).
52 12. Tyrimo autorei pavyko nustatyti keturiolikos Šv . M. Marijos Škaplierin s objekt pirmavaizdži , pateiktos svarios prielaidos dar aštuoni atvaizd prototipams identifikuoti. Šv. S. Stoko vizijos grup je atrasti penki k rini pirmavaizdžiai, išsamiai ištirtos ikonografini šaltini iš Venecijos, Žemosios Silezijos, Romos istorijos, bei aptiktas itin retas ikonografinis šaltinis, kuriuo sekant nutapyta šv. S. Stoko vizija Vilniaus Vis Švent j bažny ioje. Bizantiškuosius prototipus kartojan iame Šv . M. Marijos Škaplierin s atvaizd pogrupyje si loma patikslinti Tabariški procesij altor lio paveikslo kilm iš Bar n Dievo Motinos atvaizdo. Daugiausiai pirmavaizdži - devyni - atrasta modifikuot Šv . M. Marijos Škaplierin s vedini grup je: Daukši ir Pabirž s (Karl Ferdinand Mayer), Kauno Šv. Kryžiaus (H. Rottenhammer) ir Kernav s (Rafael) bažny i procesij altor li paveikslai; Užven io ir ekišk s (S. Conca), Kuktiški (S. Ricci), Lydos ir Lipniški (S. B. Murillo) altori paveikslai. Remiantis surinkta medžiaga galima konstatuoti, kad min t karmelitišk j Šv . M. Marijos Škaplierin s atvaizd kilm siejama su Italijos meno mokykla. Iš Flandrijos, Bavarijos, Silezijos kildinami objektai patvirtina buvusius ryšius, ta iau d l tyrimo objekt apimties stokos negalime objektyviai vertinti ši tendencij . 13. Karmelitiškosios Dievo Motinos atvaizd židiniais laikomi senosios regulos ir bas j karmelit vienuolynai, o v lesn s sklaidos – parapin s bažny ios. Šiame tyrime minimi 45 vienuolynai (16 Lietuvoje ir 29 Gudijoje) bei 133 parapin s bažny ios (100 Lietuvoje ir 33 Gudijoje) LDK teritorijoje, kur b ta ar lig šiol esama Šv . M. Marijos Škaplierin s atvaizd . Archyviniuose šaltiniuose rasta daugiau nei šimto neišlikusi k rini pamin jim . Šie duomenys traukti objekto lokacijos žem lap . Tyrimo metu surinkta 130 Šv . M. Marijos Škaplierin s ikonografijos k rini , didžioji j dalis teb ra parapin se bažny iose. Tankiausia tiriamojo objekto koncentracija stebima Vilniaus vaivadijoje bei teritorijoje tarp Kauno ir Kudirkos Naumies io vienuolyn . Tolygi karmelit Dievo Motinos atvaizd sklaid visoje Žemaitijoje veikiausiai palaik tenykšt s Šv. Škaplieriaus brolijos, tokiu b du t sdamos pamaldumo Šv . M. Marij Škaplierin tradicij .
53 CURRICULUM VITAE
Aurelija RUSTEIKIEN
STUDIJOS: 1986 – 1992 m. studijos Valstybin je dail s akademijos Taikomosios dail s fakultete. 1999 – 2001 m. magistrant ros studijos Vytauto Didžiojo universitete Men fakultete. 2009 – 2013 m. – doktorant ros studijos Vytauto Didžiojo universitete Men fakultete.
Adresas: Olimpie i g. 1 – 24, LT 09200, Vilnius. Kontaktai: tel. +370 68751020; [email protected]
KITA VEIKLA Nuo 2009 m. Dubingi Šv. Jurgio Kankinio bažny ios atstatymo projekto iniciatorius, mecenatas bei kuratorius. 2011 m. Vytauto Didžiojo universiteto Men fakulteto student mokslin s veiklos skatinimo projekto iniciatorius steigiant „Lietuvos meno tyrim ir k rybos“ stipendij .
54 MOKSLIN S PUBLIKACIJOS DISERTACIJOS TEMA
1. Rusteikien , Aurelija. Šv . Mergel Marija Škaplierin Lietuvos XVII-XVIII a. bažnytin je dail je. In: LOGOS, t. 26, 2001, p. 157-174. 2. Rusteikien , Aurelija. Linkuvos Šv . Mergel s Marijos Škaplierin s bažny ia ir buv s senosios regulos karmelit vienuolynas. In: Lietuvos bažny ios, 2009, p. 138-145. 3. Rusteikien , Aurelija. Karmelio Dievo Motinos paveikslo ikonografin sklaida Abiej Taut Respublikoje. In: Virgo venerabilis: Marijos paveikslas Lietuvos kult roje, 2011, p. 103-130. 4. Rusteikien , Aurelija. Iconographic spreading of the images of Our Lady of Mount Carmel in the Polish-Lithuanian Commonwealth. In: http://www.ocarm.org/citocmagazine/ 5. Rusteikien , Aurelija. Šv. Simono Stoko vizijos ikonogarafin tradicija Lietuvos karmelit bažny iose. Pirmavaizdis ir kartot . In: LOGOS, Nr. 72, p. 149 - 160. KITOS PUBLIKACIJOS 6. Rusteikien , Aurelija. M s atmintis – b sim j kart atmintis. In: SOTER, 38 (66), p. 133-136.
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Aurelija RUSTEIKIEN
ART OF THE CARMELITE MONKHOOD: ICONOGRAPHY OF OUR LADY OF THE SCAPULAR WITHIN HISTORICAL BOUNDARIES OF THE GRAND DUCHY OF LITHUANIA
Summary of Doctoral Dissertation
Išleido ir spausdino – Vytauto Didžiojo universiteto leidykla (S. Daukanto g. 27, LT-44249 Kaunas) Užsakymo Nr. K13-088. Tiražas 40 egz. 2013 11 04. Nemokamai.