Acta Academiae Artium Vilnensis
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Žvakidžių poros iš Kauno Šv. Jurgio Kankinio bažnyčios konservavimas ir restauravimas, rekonstrukcijos projektai-pasiūlymai
No full textThe paper is concerned with the process of developing the concept for the conservation, restoration, and reconstruction of the missing parts of the seventeenth-century candleholders from the Church of St. George the Martyr in Kaunas. The paper will review the issues encountered in the effort to find and select materials for the conservation and restoration of stone fragments. It will also describe the tests carried out during the process and highlight the role of chemical and non-interventional analysis as an auxiliary tool in the process of conservation and restoration.Straipsnyje pristatytos XVII a. akmeninių žvakidžių poros iš Kauno Šv. Jurgio Kankinio bažnyčios konservavimo, restauravimo ir trūkstamų dalių atkūrimo koncepcijos paieškos. Pateikta istorinės ir ikonografinės medžiagos analizė, atlikta siekiant pasiūlyti žvakidžių trūkstamų dalių rekonstrukciją. Remiantis surinkta istorine medžiaga ir analogais pateikti trys žvakidžių trūkstamų dalių rekonstrukcijos pasiūlymai. Išanalizuotos literatūroje aprašytos akmeniui konservuoti ir restauruoti taikomos metodikos. Straipsnių pagrindu atlikti įvairių sudėčių mišinių bandymai, skirti paviršiaus išdaužoms užpildyti. Atrinktas vienas tinkamas mišinys. Taip pat pasiūlyti du nuskilusio fragmento priklijavimo metodai. Tinkamiausiam metodui išrinkti reikia atlikti papildomus bandymus. Detaliai aprašyti atlikti cheminiai ir natūros tyrimai. Vadovaujantis atliktais tyrimais ir bandymais pasiūlyta žvakidžių konservavimo ir restauravimo darbų metodika
XIX amžiaus pramoninis rajonas Kauno Naujamiestyje: raidos analizė ir regeneracijos koncepcija
No full textIn the nineteenth century, the current suburb of Kaunas formerly known as the Carmelite district (Kaunakiemis village before that) became an industrial district of the city of Kaunas. The district started developing at the foot of Žaliakalnis from homesteads along the Girstupis stream, followed by a church and a monastery near the Nemunas River, and soon became home to a railway station and industrial complexes. In attempts to give the district a more representative appearance and further consolidate the function of transportation, a bus station was built during the period of the First Republic of Lithuania. Unfortunately, the prevailing social situation in the district did not allow these aims to be fully achieved. The construction activity of the second half of the twentieth century, coupled with the closing of industrial facilities and the shrinking of the builtup area, further threatened the existence of the district. When the Karmelitai (Carmelites) district was annexed to the historical part of Kaunas known as Naujamiestis (New Town) in 2012, a decision had to be made about which phases of historical development were to be preserved and on what basis the area was to be further developed.Straipsnis parengtas remiantis Vilniaus dailės akademijos Restauravimo katedros studentės Rasos Saltonaitės magistro darbu „Pietrytinė Kauno Naujamiesčio dalis, vadinama Karmelitais: raidos analizė“. Darbe nagrinėjama teritorija yra centrinėje Kauno miesto dalyje, kurioje yra geležinkelio ir autobusų stotys bei keletas svarbių pramonės objektų; kai kurios teritorijos dalys apleistos. Tolesnės teritorijos plėtros ir jos krypties klausimas tapo itin aktualus 2012 m., teritoriją prijungus prie Kauno istorinės dalies, vadinamos Naujamiesčiu, saugomos teritorijos. Šio darbo tikslas – išanalizuoti Karmelitų rajoną, pramoninę Naujamiesčio teritoriją, pateikti jo plėtros analizę ir regeneravimo koncepciją.
Istoriniais ir in situ tyrimais nustatyti pagrindiniai Karmelitų rajono raidos laikotarpiai. Buvo atrinkti kiekvieno laikotarpio būdingiausi pastatai ir nustatytos jiems būdingos savybės, įskaitant pastatų tūrį ir mastelį, taip pat architektūrines ir dekoro ypatybes. Tyrime analizuojama vietovės funkcija ir kaip ji keitėsi laikui bėgant. Nagrinėjant archyvines bylas apie vietovės raidą tarpukariu, paaiškėjo tam tikri socialiniai veiksniai, turėję įtakos rajono raidai. Siekiant nustatyti tinkamą pastatų mastelį ir aukštį regeneravimo pasiūlymams, atlikta esamų užstatymo morfologinių tipų ir pastatų konstrukcijų analizė pagrindinėje gatvėje. Aptartos galimos regeneracijos galimybės.
Straipsnis baigiamas išvadomis ir glausta regeneravimo samprata. Karmelitų rajonas yra daugiasluoksnė teritorija, kurią bandant atgaivinti, drauge užtikrinant darną su likusia Naujamiesčio dalimi, reikės atskleisti kuo daugiau autentiškų elementų. Karmelitų rajono regeneravimo koncepcijoje siūloma istorinę pramoninę funkciją pritaikyti šiuolaikiniams poreikiams, atkurti nebenaudojamus gatvių maršrutus, taikant modernias išraiškos priemones rajono lankytojams priminti apie išnykusius istorinius elementus
Praktika kaip tyrimo simptomas
No full textWhat is the distinction between “pure practice” and “research-focused practice?” It is typical to undertake background research in order to produce most forms of creative practice. This kind of research activity may involve finding out how to use a particular medium, how to refine a technique, or simply reviewing what similar work already exists. Many creative practitioners would claim to undertake research in this way. But any creative practice coming from this process cannot necessarily be described as research. It would be better to describe it as an output of a reasoned research activity. So how can research as described here be distinguished from research that comes from practice itself? Often in creative contexts, research is understood as a discrete activity and the making of practice is seen as another. The key to addressing how practice can be defined as research is in how both practice and research are brought into relation with one another. Importantly, for practice to be research, it must contain a certain knowledge-building capacity. This paper will consider what defines practice as research. It will claim that practice can only reveal new knowledge when it is understood as a symptom of research. My goal is to attempt to bring about a homology between research and practice through the notion of the symptom.Šiame straipsnyje gvildenami įvairiose kūrybinėse sferose ir disciplinose iškylantys sunkumai nusakant skirtumą tarp „grynosios praktikos“ ir to, ką galima būtų vadinti „į tyrimą orientuota praktika“. Jei praktikos kaip tyrimo formos samprata yra visuotinai priimta, ypač gamtos moksluose, tai meno srityje ją suvokiant kyla nemažai painiavos. Straipsnyje bandoma aiškiai apibrėžti praktiką kaip tyrimą, nusakyti bet kurios tyrimu laikomos praktikos savybes ir atsakyti į klausimą, kaip šios savybės skiriasi nuo grynosios praktikos bruožų. Esminis klausimas apibrėžiant praktiką kaip tyrimą yra tai, kaip praktika sąveikauja su tyrimu. Teigiama, jog šio klausimo negvildenanti praktika negali būti naudinga tyrimo procesui. Trumpai tariant, tam, kad praktika taptų tyrimu, reikalingas tam tikras gebėjimas kurti žinias. Straipsnio išeitinė probleminė pozicija yra antagonizmas tarp praktikos ir tyrimo. Jie atskiriami vienas nuo kito siekiant aiškiau suprasti jų unikalius bruožus ir juos apibrėžti. Praktikoje tikimės apčiuopti užslėptą episteminį atsaką. Šia prasme tyrimas reiškiasi praktikos pavidalu tik tais atvejais, kai jis akademiniais kriterijais besivadovaujantiems tyrėjams neprieinamas tiesiogiai. Tik pripažinę šį iš pažiūros neįmanomą praktikos sąryšį su tyrimu, galėsime sėkmingai už- siiminėti jais abiem
Two Apostles and an Architect’s Square. Questions of the Genesis of the Iconography of St. Jude Thaddeus and St. Thomas: Acta Academiae Artium Vilnensis
No full textŠiuo tekstu siekiama atsakyti į klausimą, dėl kokios priežasties su šv. apaštalo Tomo hagiografine tradicija susijęs architekto instrumentas kampainis taip pat vaizduojamas ir šv. apaštalo Judo Tado ikonografijoje. Norint šį tikslą pasiekti, pristatomi apokrifiniai ir hagiografiniai tekstai, akcentuoja- ma apaštalų vardų kilmė, atpasakojamas ikonografijai įtaką dariusių istorijų turinys. Apaštališkos bendrystės išryškinimas paliečia „brolio dvynio“ sąvokos interpretaciją bei šv. Judo Tomo ir šv. Judo Tado sutapatinimą lėmusio I–III a. gnosticizmo kontekstą. Tekstai atskleidžia, kad šv. Tomo ir šv. Judo Tado misija geografiškai yra susaistyta su Indijos, Sirijos, Mažosios Azijos evangelizacija.The research seeks to find an answer to the question of why an architect’s instrument – a square – which is related to the hagiographical tradition of St. Thomas the Apostle, also appears in the iconography of St. Jude Thaddeus. For this purpose, apocryphal and hagiographic texts are presented, the origin and meaning of the names of the apostles are emphasised, and the contents of the narratives that had an impact on the iconography are recounted.
The discussed apocryphal and hagiographical texts allow us to assert that an architect’s tool – a square – belongs to St. Thomas and refers to the palace built by the apostle in Paradise and his mission in India. Meanwhile, the appearance of a square in the hands of St. Jude Thaddeus should be regarded as a misunderstanding originating from apocryphal texts, an error that is evident in the iconography of the late Middle Ages and in Lithuanian church art. This confusion is associated with the personal name of Jude: St. Jude Thaddeus and St. Jude Thomas. Jude was one of the most popular names in Israel, while Thomas is not a personal name – Thomas (Greek Δίδυμος, Didimos) means ‘a twin’ and is a person’s description or nickname. It can be seen that the duplication of St. Jude Thomas and St. Jude Thaddeus derives from the gnostic and apocryphal traditions of the 1st–3rd century that not only speak about these namesake heroes, but also testify to their common mission: the apostles St. Thomas and St. Judas Thaddeus were geographically and conceptually related to the evangelisation of India, Syria, and Asia Minor.
In the Middle Ages, the cult of St. Jude Thaddeus deteriorated because of the story of his namesake, Judas Iscariot, who betrayed Jesus. Nevertheless, St. Bridget of Sweden in her Heavenly Revelations (Old Swedish Himmelska uppenbarelser, Latin Revelationes, 1492) says that the Lord instructed her to pray to this saint with confidence, because he can save one from hopeless situations in life. After the appearance of Heavenly Revelations, the cult of St. Jude Thaddeus began to spread in Western Europe. An abundance of images of St. Jude Thaddeus is clearly seen in sixteenth-century Western European art, and in the 17th century, the cult of St. Jude Thaddeus spread in Central Eastern Europe: Austria, Czech Republic, and Poland. Encyclopaedias assert that in the 18th century, the personal name Thaddeus became very popular in these countries, and mention Adam Mickiewicz’s poem Pan Tadeusz (1834). In Lithuania, devotion to he patron of hopeless cases, St. Jude Thaddeus, appeared in the eighteenth century: he is depicted both with Jesus and a square, but a square appears statistically more often
The Prototype and an Artefact: The Case of Tile Stoves and Fireplaces from the Nineteenth to the First Half of the Twentieth Century: Acta Academiae Artium Vilnensis
No full textStraipsnyje analizuojama XIX a. – XX a. pirmos pusės fabrikuose gamintų koklinių krosnių ir židinių, dekoro elementų pavyzdinio modelio kūrėjo ir tiražuotos produkcijos gamintojo atribucijos problema. Keliami klausimai, kas yra pramoninio gaminio pirmavaizdžio autorius ir kas padeda ar trukdo identifikuoti tiek gaminio modelio kūrėją, tiek ir konkretų fabriką, kuriame pagal pavyzdį tiražuotas gaminys. Analizė grindžiama Vokietijos, Suomijos, Rusijos tyrėjų įžvalgomis, XIX a. antros pusės Rusijos imperijos fabrikų įstatymų nuostatomis, Lietuvos koklių fabrikų katalogų pavyzdžiais ir konkrečių gaminių atribucijos atvejais.The article analyses the problem of attribution between the creator of models of factory-made tile stoves and fireplaces and the prototypes of decorative elements, and the manufacturer of mass-produced artefacts in the nineteenth – first half of the twentieth century. Questions are raised as to who is the author of the prototype of an industrial product and what helps or impedes the identification of both the author of the model and the specific factory where the product was mass produced according to that model. The analysis is based on the insights of researchers from Germany, Finland and Russia, the provisions of the factory laws of the Russian Empire of the second half of the nineteenth century, examples of factory catalogues, and cases of attribution of specific products.
The research showed that in Germany, which set the trends in the production of tile stoves in the nineteenth and the first half of the twentieth century, the prototypes of industrially produced tile stoves were mostly created by well-known architects and sculptors, whose names are recorded in factory documents, and quite many of them are known today. It is known that in Germany, where the industrial revolution started in the early nineteenth century, state institutions were concerned about the quality of the prototype, and in the first half of the nineteenth century, they published various albums of prototypes of industrial production and invited renowned artists of the time to illustrate them. Master classes and exhibitions organised by various cultural figures in the late nineteenth and early twentieth century, when the exhibited products were put into production in factories not only in Germany, but also in other countries, also played an important role in improving the quality of industrial products.
In the countries with less developed industry, the problem of the prototype of mass-produced artefacts was solved in a slightly different way. Such countries include the Russian Empire, part of which Lithuania was in the nineteenth century and the early twentieth century. There, it was required by law that the models of new products, including tile stoves, be registered as inventions with the state institutions that regulated trade and industry, but the authors of the prototypes retained their exclusive rights to them only for a very short period from one to three years. In addition, according to the Russian law, the owner of the factory rather than the artisan who created the model of the artefact was considered to be the owner of the prototype. For that reason, we practically do not know the names of the authors of models in this region. On the other hand, as research shows, at least the factories operating in the territory of Lithuania did not try to create new models, but prided themselves on producing artefacts according to the newest examples from abroad, although that “newness” could mean a period of several to several dozen years since the creation of the prototype
Manifestations of National Style and Art Deco in the Work of the 1930s Ceramics Alumni of the Kaunas School of Arts: Acta Academiae Artium Vilnensis
No full textStraipsnyje tyrinėjamas Lietuvos keramikos vystymuisi svarbus XX a. 4 deš. etapas, siejamas su profesionaliosios lietuvių keramikos užgimimu. 1931 m. Kauno meno mokykloje buvo įsteigta, o nuo 1934 m. intensyviai veikė Keramikos studija. Jos vadovas Liudvikas Strolis mokymo programą orientavo į tautinio stiliaus, taip pat į naujos iš Europos ateinančios art deco krypties estetiką, skatino modernizmo pažinimą. 4 deš. Kauno meno mokyklos absolventai pamažu suformavo pirmąją ryškią Lietuvos profesionalių keramikų kartą, kurią sudarė Vaclovas Miknevičius, Valdemaras Manomaitis, Emilija Vaškevičiūtė, Ona Šuminaitė-Jurkienė, Bronė Bakutytė-Vosylienė, Eleonora Lukštaitė-Marčiulionienė, Povilas Krivaitis ir dar keli jaunieji menininkai. Išanalizavus šių dailininkų darbus, tapo akivaizdu, kad jie labiausiai pasižymėjo tautiškumo ir art deco bruožais. Ir nors Lietuvos keramikoje art deco stilistika reiškėsi kur kas nuosaikiau nei kitose Europos šalyse, vis dėlto jaunosios kartos keramikų kūriniuose neabejotinai atsiskleidė pastarosios krypties specifiniai ypatumai: įdomesnių indų ar skulptūrėlių formų paieška, išraiškingos smulkios dirbinių detalės, geometriniai elementai, stilizuoto dekoro pomėgis.The article seeks to analyze the work of the inaugural generation of professional Lithuanian ceramicists trained at the Kaunas School of Art (KMM) Ceramics Studio, aiming to unveil the distinctive features of art deco and the national style that manifested within it. The evolution of European applied art in the first half of the 20th century advanced significantly in the realm of design, shaped by scientific and technical breakthroughs, as well as mass-machine production. Against this backdrop, Lithuania trailed behind not only Western Europe but also its neighbouring countries such as Poland, Latvia, and Estonia. In the 1940s, the nation lacked nearly any professionals in applied art, prompting the recognition of the necessity for training decorative art specialists, which was acknowledged by artists and various cultural figures, sparking considerable discussion on the matter at the Kaunas School of Art. It was only in 1931 that the first studio of applied art, specifically the Ceramics Studio, was established at the Kaunas School of Art. Its inception posed numerous organizational and technical challenges, compounded by the difficulty in assembling a cohesive team of teachers.
The primary instructor, ceramic technologist Pranas Brazdžius, a graduate of the School of Applied Arts in Myrhorod (Ukraine) and with an internship at the Bechyne School of Ceramics (Czechoslovakia), played a pivotal role in shaping the Ceramics Studio. Despite an initial intake of nineteen students, the numbers dwindled significantly over the course of the school year for various reasons. Firstly, mastering ceramics proved to be a challenging endeavour, requiring substantial physical effort and a grasp of both chemistry and technical intricacies. Secondly, while Brazdžius had commendable technological skills, his artistic competence fell short, hindering the development of a clear curriculum for ceramics. In the subsequent years of its existence, the Ceramics Studio underwent a rejuvenation with the enrolment of new students from the Kaunas School of Art. Individuals like Vaclovas Miknevičius, Voldemaras Manomaitis, Emilija Vaškevičiūtė, Povilas Krivaitis, Ona Šuminaitė-Jurkienė, Eleonora Lukštaitė-Marčiulionienė, Teodora Slyvauskaitė-Miknevičienė, among others, chose to specialize in ceramics. Already demonstrating a serious interest in ceramics and a natural curiosity, most of these students, upon graduating from the Kaunas School of Art, became the founding members of the first generation that laid the groundwork for Lithuanian professional ceramics. They went on to collaborate in various educational and production institutions.
In 1934, Liudvikas Strolis became the head of the Ceramics Studio at the Kaunas School of Art. This artist, who initially studied painting at Kaunas School of Art, later pursued ceramics at the Paris National Conservatory of Arts and Crafts from 1929 to 1933. Strolis’s works seamlessly blended the professionalism acquired abroad with a keen understanding of modernity, influenced by art deco, and a creative interpretation of folk-art traditions. His early creations reflected the so-called national style, where, alongside modernist features, the incorporation of Lithuanian folk décor elements and forms held significant importance. Strolis emerged as a practitioner of frugal minimalism, showcasing a penchant for moderate forms and a distinctive styler of national patterns. This artistic vision laid the foundation for the pedagogical approach to teaching ceramics at the Kaunas School of Art under Strolis’s guidance. Upon assuming his role, he swiftly devised a comprehensive curriculum encompassing artistic design, decoration, and the technical realization of works using diverse ceramic materials. The introduction of specific and clearly formulated learning objectives, coupled with discussions on the nature of ceramic works and exploration of decoration and materiality issues, catalyzed positive transformations in the students’ work.
As the quality of ceramics studies advanced, the works of young artists began to garner recognition and favourable evaluations at exhibitions featuring students’ and graduates’ creations. Attention was captivated by the harmonious interplay between form and decor, the discerningly chosen glazes employed in the works, and the decoration inspired by motifs from Lithuanian ornaments. Some products exhibited artistic characteristics emblematic of the art deco style, with diagonal or undulating elements evident in handles and covers, as well as a more structured approach to decoration. Furthermore, these art deco stylistic elements persisted in the post-war cutlery of certain artists. Angular, bevelled handles, and constructive design or shape elements continued to appear in their works
Tracing the Deluge: Visualizing a Prehistoric Catastrophe: Acta Academiae Artium Vilnensis
No full textŽemės planetos ankstyvojoje stadijoje „ekstremalių“ pokyčių buvo kur kas daugiau nei tuomet, kai radosi gyvybė. Vis dėlto ekstremumai, arba „gamtos kataklizmai“, mums reikšmingi tampa tik dėl katastrofiškų pasekmių žmogui. XIX a. priešistorinių katastrofų tyrimai siejosi su vis naujesniais archeologijos, geologijos bei paleontologijos atradimais, taip pat su eschatologiniais bibliniais vaizdiniais, mitų siužetais. Šie siužetai nedingo ir vėlesniais šimtmečiais; dabar jie ryškiausiai matomi populiariojoje kultūroje. Savo ruožtu mokslinio pažinimo kanalai tapo neatsiejami nuo platesnei visuomenei prieinamų medijų. Šiame tekste aptariamas gamtos katastrofų įvaizdžiuose egzistuojantis probleminis gamtos, žmogaus ir kultūros santykis. Remiamasi Bruno Latour’o analizuotu moderniuoju gamtos atskyrimu nuo socialinio žmogaus pasaulio, taip pat geologijos ir paleontologijos istorija. Keliama prielaida, kad egzistencinis siaubas, kurį sukelia beveik visuotinio ir negrįžtamo gyvybės sunaikinimo grėsmė, gana ryškiai gali būti suvokiamas per sapno ir meninės vaizduotės prieigą. Tuo remiantis aptariami pasaulio tvano vaizdiniai ankstyvojoje M. K. Čiurlionio kūryboje (tapyboje ir tekstuose).Planet Earth formed approximately 4.5 billion years ago, undergoing numerous “extreme” changes in its early stages before life appeared and large organisms settled here around 600 million years ago. Despite the prevalence of extreme events and natural cataclysms throughout Earth’s history, their significance to us lies in their catastrophic consequences for life. The scientific exploration of these time perspectives began relatively recently, in the 19th century, spurred by discoveries in archaeology, geology, palaeontology, and influenced by eschatological biblical imagery and mythological narratives. While such narratives persist in popular culture, their portrayal has shifted over time. Today, scientific knowledge channels are intertwined with fragmented media and complex interdisciplinary studies simplified for broader audiences. This text explores the intricate relationship between nature, humans, and culture in depictions of natural disasters. Drawing on Bruno Latour’s analysis of the modern separation of nature from the human social world and the history of geology and palaeontology, it suggests that the existential horror evoked by existential catastrophes – the threat of near universal and irreversible destruction of life – can be most vividly perceived not through natural and exact sciences alone, but also through approaches such as dreams and artistic imagination.
This text explores the imagery of the global flood catastrophe, not primarily from the perspective of collective politics, but through the lens of geological, cultural, and artistic imagination. By examining nightmare descriptions by various artists, an effort is made to comprehend the functions of subconscious visionary images within systems of knowledge. For instance, the works of Lithuanian painter Mikalojus Konstantinas Čiurlionis (1875–1911), a Neo-Romanticism and Symbolism representative, and Howard Phillips Lovecraft, or HPL (1890–1937), a prominent figure in weird fiction, feature motifs of horror associated with global cataclysms. These motifs indirectly reflect fragmentary scientific knowledge, palaeontological evidence, parallel pseudo-scientific narratives, myths, and fairy tales. The missing painting series “Storm” from 1904 is cited as a specific example. In the works of Čiurlionis and his contemporaries, akin to early modern horror fiction, the threats of (anti)modernity manifest through global catastrophes and scenarios of the pre-human past and post-human future.
In a broader sense, experiencing the global Flood as both a catastrophe and a significant event in a dream may directly resonate with a traumatic psychological state. This psychological state serves to awaken the rational mind in the face of global calamities, prompting it to “come to its senses.” The daily influx of scientific, political, and other knowledge through today’s media tends to overshadow – or submerge us deeper into – an existential reflection on rare events of immense scale, which have the potential to fundamentally transform the Earth, leaving almost no conditions for survival. The text concludes that the dreams of the mentioned artists can serve as a “mediating” psychological medium – a specific state aiding the modern individual in understanding the nightmare induced by (super)natural cataclysms. In today’s world, traumas caused by humanity itself, along with an increasing number of wars, suggest that relying solely on the narrative of technical progress to “solve everything” may be misguided. Terrible events of great magnitude may indeed be experienced in an irrational and non-temporal manner – as traumatic archetypes that shake one’s psyche in dreams, captured by a subject mediating between various modes of literary or artistic thought
Revelations of the Polychromy Research in the Church of Our Lady of Consolation and the Vilnius Augustinian Monastery Complex: Acta Academiae Artium Vilnensis
No full textStraipsnyje pristatoma Švč. Mergelės Marijos Ramintojos bažnyčios (unikalus objekto kodas 1093, Savičiaus g. 15, Vilnius) polichrominių tyrimų medžiaga. Pasakojama, kaip buvo atliekami tyrimai ir kas jų metu buvo užfiksuota. Atskleidžiama, su kokiomis problemomis susidūrė tyrėjai, atlikdami dekoro paieškas, ir ką pavyko atrasti per gana trumpą tyrimams skirtą terminą. Pateikiama tyrimų metu rasto fasadų ir interjero dekoro fotofiksacija, kopijos, pagrindinių polichromijos raidos etapų spalvinės retrospekcijos. Svarstoma, kokie galėtų būti taikomi konservavimo būdai, priemonės, siekiant išsaugoti vertingus dekoro radinius. Pateikiamos tyrėjų, restauratorių vizijos ir rekomendacijos, kurios padėtų atkurti bažnyčios pirmojo (I) polichromijos etapo spalvinį sprendimą. Daugiau medžiagos – apie išlikusią Viešpaties Jėzaus koplyčios sienų ir skliautų vertingą iliuzinę tapybą ir altorių. Svarstoma, kokie konservavimo ir restauravimo būdai turėtų būti taikomi norint eksponuoti koplyčios vientisą erdvę.Polychromy research conducted in 2021 at the Church of Our Lady of Consolation (unique object identification code 1093, Savičiaus St. 15, Vilnius) serves as a valuable supplement to historiographic material, particularly in light of limited information available on church interiors. The visitation document of 1830 noted elaborate decorations, including artificial marble and gilded mouldings on altars, painted vaults, and marble floors. However, in 1858, during the conversion of the building into an Eastern Orthodox church, significant alterations took place – monks’ choir removal, pulpit demolition, altar dismantling, and destruction of décor. A fire in 1944 further damaged the church, leading to its conversion into a storage facility in 1962, followed by reconstruction in 1967. The building endured neglect for an extended period, and subsequent reconstructions and repairs inflicted considerable harm on the church’s interior and its polychrome décor.
Prior to 2021, the church’s polychromy had never been subject to study. The recent research, however, unveiled the evolution of both façades and interior polychromy. The church tower façade revealed fragments of painted décor, showcasing polychrome painting of architectural elements from the initial stage in the 18th century.
Exploring the interior polychromy, the study identified individual Baroque-era décor fragments. This discovery suggests that post-construction, the vaults were adorned, and trompe l’oeil altars were painted on the walls of the side naves.
In the course of Soviet-era reconstruction, the church’s interior underwent complete destruction, with the exception of the adornments in the chapel of the Lord Jesus, albeit obscured by paint layers. A meticulous examination of the chapel brought to light the evolution of its polychromy, revealing hidden trompe l’oeil paintings on the walls and vaults. There are now plans to dismantle the 20th-century partitions, aiming to restore and showcase this artwork in the future.
Detailed research was conducted to assess the preservation status of the church’s polychromy, identifying valuable features and providing recommendations for ongoing maintenance efforts. Photofixation of façades and interior décor, along with the creation of copies, played a crucial role. Additionally, colour retrospections capturing key stages in the development of polychromy were established, aiding in the restoration and reproduction of the original colour scheme from the church’s initial polychrome phase. The research furnishes comprehensive insights into suitable conservation techniques for preserving and exhibiting these valuable décor discoveries
Renaissance Routes, Signs, and Looks in the "Adoration of the Magi" Altarpiece from Drysviaty: Acta Academiae Artium Vilnensis
No full textDrūkšių ežero Pilies salos bažnyčios altoriui skirtas Išminčių pagarbinimas kelia ikonografijos, stilistikos, mecenatystės, reprezentacijos klausimus, atsakymų į kuriuos paieška veda link Šiaurės renesanso sklaidos ir recepcijos Lietuvos Didžiojoje Kunigaikštystėje aptarimo. Straipsniu siekiama aktualizuoti paveikslą lituanistikos lauke, atskleisti jo interpretacinį potencialą kultūros istorijos kontekste bei formuluoti tolesnių tyrimų gaires.Huge losses of material heritage in the mid-seventeenth-century wars and later calamities do not allow conducting a more thorough research into the transmission and reception of Renaissance art in the Grand Duchy of Lithuania. However, case studies focusing on individual pieces might offer a glimpse into the provenance, function, and reception of images. Concentrating on the Adoration of the Magi altarpiece that once belonged to the Church of the Nativity of the Virgin founded by the Grand Duke of Lithuania and King of Poland Sigismund Jagiellon (r. 1506–1548) in 1514 on the island of Lake Drūkšiai / Drysviaty (today’s Belarus), this essay traces the painting’s history, discusses its possible provenance, and examines the figures of the magi for their potential as identification portraits. Although the first reference to the altarpiece comes from the 1650s, its Northern Renaissance style suggests that the painting was executed much earlier, in a workshop active in a German-speaking town of Central Europe, whose practice was influenced by the Nuremberg patterns. The inquiry into the composition and stylistic features concludes that the altarpiece was painted by several masters, who were skilled copyists not yet familiar with drawing from life, and therefore relied on a number of graphic examples to produce the Drysviaty altarpiece.
The deep tradition of identification portrait and the potential of the three magi to be associated with Christian rulers have prompted to search for a historical personality disguised under the representations of a magus. The figure of Melchior, whose posture stands out in the composition, appears to be the aptest candidate: shown as a bearded middle-aged man wearing the Order of the Golden Fleece, Melchior gazes at the Virgin. However, identification is confused by the fact that Melchior’s facial features lack individuality specific to Renaissance identification portraits. Moreover, the contrast between the accuracy of representation of the chain of the Order of the Golden Fleece (the sheepskin being transformed into portrait medallions during later repaintings) and the typicality of Melchior’s face directs the inquiry towards a broader historical context and the activities of Nicholas Radziwill (1468–1521), who was entitled to build the church in Drysviaty and most likely commissioned the altarpiece. Two members of the Order of the Golden Fleece were important to Radziwill’s career: Emperor Maximilian I (r. 1508–1519), who granted him the ducal title in 1518, and Sigismund Jagiellon, the founder of the church in Drysviaty. Although the lack of data prevents reaching final conclusions, the essay hypothesizes that the figure of Melchior is more likely to be associated with Sigismund. Paradoxically, this assumption is derived from the absence of Sigismund’s portraits before 1521, which means that the masters of the altarpiece did not have an image to copy in contrast to numerous woodcuts featuring the Order of the Golden Fleece they could follow. The research concludes that the Northern Renaissance style of the Drysviaty altarpiece provided medieval notions of likeness with visible form. Grounded in typological thinking, the figure of a magus functioned as a spacious antitype which might be associated to an individual type according to the status and deeds, rather than lifelike similarity