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OBTUR. MAN. / EXCELLMUS ILLMUS REVER DNUS DNUS / ANTONIUS BARANOWSKI / EPPUS SUFFR. SAMOG. / P. VIS. AN. D. MDCCCXCVII ECCL. INF. PRAEP. SZYDLOV / HOC IDEM BAPTISTER / A. M. D. G. / B. V. M. H. / RESTAUR. ADORN. PRIST. US REOO. HAB. VOLUIT / ALIBIQ. LOCOR SACR. BAPT. FONT. RECONDERE / PRO SEMP. T. PROMIBUIT. 39 The origin of the creatures symbolizing the authors of the four canonical gospels goes back to the Ezekiel’s vision in which he saw the four creatures around the throne of God: “And from the midst of it came the likeness of four living creatures. And this was their appearance: they had a human likeness, but each had four faces, and each of them had four wings. Their legs were straight, and the soles of their feet were like the sole of a calf ’s foot. And they sparkled like burnished bronze. […] As for the likeness of their faces, each had a human face. The four had the face of a lion on the right side, the four had the face of an ox on the left side, and the four had the face of an eagle” (Ezekiel 1: 5–7, 10). In this vision Christians saw symbolical personifications of the four evangelists. During the early Christianity and Middle Ages tetramorphs were winged, but later wings disappeared. Nowadays they are represented realistically, al though their symbolical content is retained. 40 Forstner, op. cit., s. 362. 41 Popiežius Benediktas XVI. Enciklika Spe salvi apie krikščioniškąją viltį. Kaunas: Katalikų interneto tarnyba, 2008, p. 10. 42 The latter is a typical creation of the late Baroque period belonging to the first half of the 18th century. It was relocated to the Basilica around 1895. Carved wings of the organ prospect belong to the beginning of the 20th century and the statues of King David playing the harp and of the two trumpeting angels – to the end of the 20th century.
Forstner, op. cit., s. 343–344. The attention should be drawn to the fact that although the theme of the Church was significant, the decoration of the Basilica nowhere includes it being represented by a common symbol of the ship (allusion to the Noah’s ark). 45 Attributing new creations of the sculptor Tomas Podgaiskis, Rima Valinčiūtė has objectively characterized the manner of his artistic language. See: Valinčiūtė, Rima. Naujai atributuoti Tomo Podgaiskio kūriniai. In. Dailė. T. 31. Istorinė tikrovė ir iliuzija: Lietuvos dvasinės kultūros šaltinių tyrimai. Vilnius: Vilniaus dailės akademijos leidykla, 2003, p. 123–134. 46 Vladas Drėma is of a completely different opinion; he sincerely resents that T. Podgaiskis did not follow the architect’s instructions and blames the sculptor for having rejected many elements typical of the Late Baroque period (for example, for having levelled wavings, refused rocailles, etc). A verdict of the art researcher is strict: „T. Podhaiskis […] jumbled everything up, made a real salad of styles – chaos. In fact, it is a macabre and deplorable architectural parody of interesting undertakings of J. K. Glaubicas, pointing to a clear decline in aesthetic culture.” See: Drėma, op. cit., p. 106. In my opinion, the author’s love for Baroque (or for Glaubicas?) precluded him from formulating impartial conclusions. 47 Changes in the interior decor made in the beginning of the 20th century and later as well as trifling coinages that sprung up have been destroying the peace of the church up till now. In the beginning of the 21st century the Basilica in Šiluva has lived to see the especial attention from Archbishop Sigitas Tamkevičius, in other words, his loving heart and careful hands. 43 44
Laima ŠINKŪNAITĖ
Vytauto Didžiojo universitetas, Kaunas
ŠILUVOS ŠVČ. MERGELĖS MARIJOS GIMIMO BAZILIKA: DAILĖS IKONOLOGIJA Reikšminiai žodžiai: Šiluva, Švč. Mergelės Marijos Gimimo bazilika, skulptūrinis dekoras, altoriaus atvaizdas, ikonologija, ikonografija, Lietuva, sakralinė dailė. Santrauka
Šiluvos Švč. Mergelės Marijos Gimimo bazilika – vienintelė Lietuvoje šventovė, kurios puošyboje taip įvairiapusiškai plėtojama Jėzaus Kristaus įsteigtos Bažnyčios tema, kadangi čia ši tema siejama su Švč. Mergelės Marijos apsireiškimu Šiluvoje 1608 metais. Švč. Mergelės Marijos Gimimo bazilika – tai įvairiais aspektais labai vertingas XVIII a. antrosios pusės vėlyvojo baroko meno kūrinys. Šios bazilikos interjero (skulptūrinio dekoro, tapybos ir įrenginių) visuma sukurta kaip potridentinės Triumfuojančiosios Bažnyčios esmių esmė, savotiška kvintesencija. Bazilikos ikonografinėje programoje plėtojamos trys pagrindinės, tarpusavyje persipinančios, temos: Dievo Motinos, pagimdžiusios pasauliui žadėtąjį Išganytoją, Jėzaus Kristaus, įsteigusio Bažnyčią, ir Bažnyčios. Šias temas papildo