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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Vasiliauskienė, Aušra;

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

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Soter: Religijos Mok...arrow_drop_down
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    Soter: Religijos Mokslo Žurnalas
    Article . 2013 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Soter: Religijos Mok...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Soter: Religijos Mokslo Žurnalas
      Article . 2013 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Balandžiūnienė, Ramunė; Vilkinytė, Erika; Žukauskaitė, Raimonda;

    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. Reikšminiai žodžiai: žvakidės, barokas, Kauno Šv. Jurgio Kankinio bažnyčia, Debniko kalkakmenis (klintis), akmens konservavimas ir restauravimas. The 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. Keywords: candleholders, Baroque, Kaunas Church of St. George the Martyr, Debnik limestone, stone conservation and restoration.

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    Acta Academiae Artium Vilnensis
    Article . 2023 . Peer-reviewed
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      Acta Academiae Artium Vilnensis
      Article . 2023 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Šinkūnaitė, Laima;

    Pažaislio kamaldulių vienuolyno puošybos programoje plėtojama šventojo Benedikto tema sutampa su Tridento visuotinio Bažnyčios Susirinkimo patvirtintu šventųjų garbinimu, tačiau čia jos pasirinkimą ir pobūdį pirmiausia lėmė Monte Pacis (Ramybės Kalno) kamaldulių vienuolyno bei asmeninės fundatoriaus Kristupo Paco intencijos. Šio straipsnio tikslas - ištirti tik paties šv. Benedikto gyvenimo freskas, kurios, išskyrus vieną, anksčiau nebuvo net aprašytos. Daugiausia jų yra rytinėje Šventųjų Vartų patalpoje, po vieną - bažnyčios prieangyje ir refektoriuje. Šis, apie šv. Benediktą įvairiapusiškai pasakojantis monumentaliosios dailės ciklas, netgi nepaisant nebeatkuriamų ženklių medžiaginių netekčių dabartinėje Lietuvos teritorijoje yra pats išsamiausias. Pagrindinėje ciklo dalyje - Šventuosiuose Vartuose, per nepaprastus įvykius vaizdžia ir įtikinama menine forma atskleidžiamas šv. Benedikto kelias į šventumą. Tose freskose, kurios po vieną atskirose patalpose įsilieja į bendrą vienuolyno idėjinę programą, išryškinamas didžiajai idėjinei programai svarbus aspektas. Pagrindiniai šaltiniai, kuriais remtasi aiškinantis freskų siužetus, yra du: Grigaliaus Didžiojo knyga Apie garbingojo abato Benedikto gyvenimą ir stebuklus ir Jokūbo Voraginiečio Aukso legenda. The subject of St. Benedict explicated in the decoration programme of the Camaldulese Monastery in Pažaislis is congruous with the veneration of Saints, which has been validated in the Ecumenical Council of Trent. However, the intentions of the Camaldulese Monastery of Monte Pacis (Mount Peace) and personal intentions of the founder and patron Christopher Pacas determined the ideas and character of the decoration programme in the first instance. This article aims to explore the frescoes of the life of St. Benedict. The greatest number of them are located in the eastern room of the Holy Gates. One fresco is in the church porch, and one is in the refectory. Also, the stone statue of this Saint, which formerly decorated the Great Gate, is included. The method of icon-theology is used for the study of the frescoes. Therefore, the iconographical subjects of the frescoes is first educed, and the dominating aspect of each fresco is highlighted during the research; moreover, the notional interrelationship among separate subjects is established. As a result, the spiritual matter of St. Benedict's theme is revealed. Two helpful sources were: the book by Gregory the Great "About the Life and Miracles of the Venerable Abbot Benedict" and "Golden Legend" by Jacobus de Voragine.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ “Lituanistika”, Inte...arrow_drop_down
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  • Authors: Norkutė, Raimonda;

    The aim of this article is to present several wooden sculptures from the 17th and 18th centuries from St Anne's Church in Šiaulėnai. Three sculptures (St Barbara, St John the Evangelist and St Catherine of Alexandria) were moved to the new church, which was built in 1869 by the architect Fulgentas Rimgaila. The sculptures of St John the Evangelist and St Catherine of Alexandria have been recognised as items of the art heritage of national importance. Nevertheless, they have never been analysed and published. Other sculptures, St Barbara and St John Nepomucen, are closer to Lithuanian folk art. The wooden sculptures in St Anne's Church in Šiaulėnai reflect one of the earlier historical stages of this church, its artistic value. In the paper, the valuable wooden sculptures of Šiaulėnai church are presented, and corrections in their attribution are made on the basis of archives and analysis. The article is illustrated with photographs which are published here for the first time. It is based on the master's thesis under the title "Recording and Estimation of the Sacral Art Heritage of St Anne's Church in Šiaulėnai".

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Žukienė, Rasutė;

    The article analyses the painter Vytautas Kazimieras Jonynas’ creation of 1955–1962 in the range of church art. The painter decorated churches’ interior while living in the United States of America, created “Lithuanian style”, that USA Lithuanian Community wanted to reach. Jonynas contributed a lot to the distinctive “Lithuanian style” creation when he collaborated with Jonas Mulokas. It is obvious in his stained glass and altar projects, furniture and liturgical tackle’s shape. The article is concentrated on “Lithuanian style” appearance genesis in USA church architecture; the separate objects of sacramental architecture that were created while two Lithuanian artists were closely communicating with the USA Lithuanian communities are discussed. Straipsnyje nagrinėjamas dailininko Vytauto Kazimiero Jonyno 1955–1962 metais sukurtas bažnytinis menas. Gyvendamas Jungtinėse Amerikos Valstijose, dailininkas dekoravo bažnyčių interjerus, kūrė JAV lietuvių bendruomenės siektą „lietuvišką stilių“. Bendradarbiaudamas su architektu Jonu Muloku, Jonynas daug prisidėjo prie savito „lietuviško stiliaus“ sukūrimo, jis atsispindi jo vitražuose, altorių projektuose, baldų, liturginių reikmenų pavidaluose. Straipsnyje gilinamasi į „lietuviško stiliaus“ radimosi JAV bažnytinėje architektūroje genezę, aptariami atskiri sakralinės architektūros objektai, sukurti dviem lietuvių menininkams artimai bendradarbiaujant su lietuvių bendruomenėmis JAV.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Vytautas Magnus Univ...arrow_drop_down
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lukšionytė, Nijolė;

    The beginning of the creative activity of the architect Vaclovas Michnevičius (1866-1947), originating from the Middle Lithuanian, coincided with in the abolition of prohibition introduced by the Russian Empire to build Catholic churches (1897). With the beginning of construction of new temples, the architects were invited from Liepaja (K. E. Strandmann), Riga (F. Wyganowski), and Warsaw (J. P. Dziekonski). Shortly after the local ones joined them, Vaclovas Michnevičius was one of the most productive ones. This article is intended to analyse a neo-Gothic and neo-Romanesque church architecture forms designed by Michnevičius. In European countries following Gothic (Gothic revival trend) began in England in the first half of the 19th century. The theoreticians of romanticism were convinced that Gothic perfectly embodied the Christian ideal. In the region of Central and Eastern Europe German brick Gothic was followed (Backsteingotik). At the end of the 19th century in Poland so-called the Vistula Gothic style (styl Nadwiślański) based on the local Gothic motifs emerged. This trend was represented by works of Józef Pius Dziekoński and Jan Sas-Zubrzycki that influenced Michnevičius’ creation. In 1893 V. Michnevičius graduated from St. Petersburg Institute of Civil Engineers. Having returned to Vilnius, he worked as the city architect and designed the market hall, theatre, hospital, residential houses. After the First World War, he moved to Kaunas that served as a temporary capital of Lithuania. From 1897 to 1936, he designed 30 Catholic churches, 20 of which were built. There were 18 churches created in neo-Gothic and neo-Romanesque forms where 8 of them with two towers, 10 with one tower. Churches with two towers had three naves, usually 5 bays long, a presbytery that is pentahedral surrounded by sacristy extensions (Žeimiai, Ratnyčia, Vidžiai, Saltoniškės in Vilnius, Belogruda). The one tower churches are smaller with three naves, 4 bays long, sacristies are integrated into a single volume on both sides of the presbytery and apse is lower. A few one tower churches have interior space as whole (without supports) (Chažava, Perloja, Barzdai). Basilica volume and Latin cross design were used by Michnevičius in Vidžiai, Belogruda and Saltoniškiai in Vilnius’ churches. All other temples were of hall-volume, similar to rectangle design. Spatially Žeimiai’ church is distinct with side galleries. Uniform neo-Gothic buildings (Žeimiai, Vidžiai, Derečinas’ churches) are to be linked to the Polish Vistula Gothic style. Elsewhere neo-Gotic forms are simplified (Birštonas, Nemunaitis). Designs of Daugai, Derečinas, Chažava churches are considered to be the most original examples (1906-1908), where Michnevičius used motif of intertwining arches characteristic in Lithuanian Gothic (Vilnius St. Anne and Bernardine churches, House of Perkūnas in Kaunas).

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    Authors: Buivydas, Rimantas; Jurevičienė, Jūratė;

    Apibendrintas 2005 m. atlikto Lietuvos paribio su Baltarusija ir Lenkija regiono sakralinės architektūros mokslo tiriamasis darbas, apibūdinta jo metodika, pasiekti rezultatai ir planuojamų šio objekto tyrimų gairės. Vykdant šį tyrimų etapą paramą suteikė Lietuvos valstybinis mokslo ir studijų fondas. Nustatyti pasirinkto regiono architektūrinio vertinimo kriterijai ir parengta svarbiausių jo sakralinių statinių skaitmeninė duomenų bazė. Taikant naują klasifikavimo sistemą siekta atskleisti Pietryčių Lietuvos paribio regiono sakralinių statinių architektūros bruožus, konfesinių statybos tradicijų sąveiką, profesionaliosios stilinės architektūros poveikį vietos statybos tradicijai, objektų teritorinės sklaidos ypatumus. Įvertinta 106 atrinktų objektų erdvinė tūrinė kompozicija, medžiaginė sandara, architektūrinės estetikos ypatumai, sąveika su aplinka, erdvinis ryšys su kitais sakraliniais objektais, architektūros simbolizmas ir autentiškumas. Tyrimo rezultatai gali būti taikomi nekilnojamųjų kultūros vertybių apskaitoje, rengiant teritorijos planavimo kultūros paveldo objektų tvarkybos projektus. Reikšminiai žodžiai: Klasifikacija; Konfesijos; Konfesijų sąveika; Kultūrinė vertė; Kultūros paveldas; Kultūros vertybė; Paribio regionas; Pietryčių Lietuva; Sakralinė architektūra; Sakralinės architektūros klasifikacija; Classification; Classification of sacred architecture; Confessional interaction; Confessions; Cultural heritage; Cultural value; Frontier region; Sacral architecture; Southeast Lithuania The paper presents the method of scientific investigation of sacral architecture in the frontier region of Lithuania with Byelorussia and Poland. It also reveals the achieved results and highlights guidelines for future research. The investigation was supported by Lithuanian Science and Studies Foundation and completed in 2005. The paper describes the established criteria of architectural evaluation and prepared digital database of the main sacral structures, l h e present work covers the analysed features: the interaction of confessional building traditions, the influence of professional architecture on local architecture, the peculiarities of territorial dispersion of sacral buildings. Architectural and material composition, interaction of buildings with their environment and other sacral structures, symbolism and authenticity of 106 objects were investigated. The results of the investigation could be applied in recording of cultural properties and preparing of cultural heritage preservation projects.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of Architect...arrow_drop_down
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    Journal of Architecture and Urbanism
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    Journal of Architecture and Urbanism
    Article . 2006 . Peer-reviewed
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      Journal of Architecture and Urbanism
      Article . 2006 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Gytis Oržikauskas;

    The paper examines Christian architecture from the perspective of “meta-codal function”, i.e. through examination of architectural symbolism expressed solely by architectural means. Emphasizing symbolic and semantic content of architecture, the paper offers a broader research field of architectural artistry by using a wider iconographic comparison. As a representative of baroque architecture and the most prominent example of architectural symbolism, St. Peter and St. Paul’s Church in Vilnius (1668–1702) has been selected for the research. The iconographic programme of this church is compared to most distinct iconographic themes identified through the analysis of some examples of historic Christian architecture. By this method, the research detaches from the usual stylistic analysis and poses the most basic question in architectural artistry: is architecture capable of expressing the independent artistic content which can translate more than architecture’s general appearance. Reikšminiai žodžiai: Architektūrinis simbolizmas; Baroko Architektūra; Ikonografija; Istorinė krikščioniška architektūra; Meta kodų funkcija; Metakodas; Šv. Apaštalų Petro Ir Povilo Bažnyčia; Architectural symbolism; Baroque Architecture; Historic Christian architecture; Ikonography; Meta-codal function; Meta-code; St. Peter And St. Paul's Church

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of Architect...arrow_drop_down
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    Journal of Architecture and Urbanism
    Article . 2014 . Peer-reviewed
    License: CC BY
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Journal of Architecture and Urbanism
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Journal of Architecture and Urbanism
    Article . 2014 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of Architect...arrow_drop_down
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      Journal of Architecture and Urbanism
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Journal of Architecture and Urbanism
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      Journal of Architecture and Urbanism
      Article . 2014 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Vasiliauskienė, Aušra;

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

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Soter: Religijos Mok...arrow_drop_down
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    Soter: Religijos Mokslo Žurnalas
    Article . 2013 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Soter: Religijos Mok...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Soter: Religijos Mokslo Žurnalas
      Article . 2013 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Balandžiūnienė, Ramunė; Vilkinytė, Erika; Žukauskaitė, Raimonda;

    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. Reikšminiai žodžiai: žvakidės, barokas, Kauno Šv. Jurgio Kankinio bažnyčia, Debniko kalkakmenis (klintis), akmens konservavimas ir restauravimas. The 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. Keywords: candleholders, Baroque, Kaunas Church of St. George the Martyr, Debnik limestone, stone conservation and restoration.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ “Lituanistika”, Inte...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Acta Academiae Artium Vilnensis
    Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ “Lituanistika”, Inte...arrow_drop_down
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      Acta Academiae Artium Vilnensis
      Article . 2023 . Peer-reviewed
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    Authors: Šinkūnaitė, Laima;

    Pažaislio kamaldulių vienuolyno puošybos programoje plėtojama šventojo Benedikto tema sutampa su Tridento visuotinio Bažnyčios Susirinkimo patvirtintu šventųjų garbinimu, tačiau čia jos pasirinkimą ir pobūdį pirmiausia lėmė Monte Pacis (Ramybės Kalno) kamaldulių vienuolyno bei asmeninės fundatoriaus Kristupo Paco intencijos. Šio straipsnio tikslas - ištirti tik paties šv. Benedikto gyvenimo freskas, kurios, išskyrus vieną, anksčiau nebuvo net aprašytos. Daugiausia jų yra rytinėje Šventųjų Vartų patalpoje, po vieną - bažnyčios prieangyje ir refektoriuje. Šis, apie šv. Benediktą įvairiapusiškai pasakojantis monumentaliosios dailės ciklas, netgi nepaisant nebeatkuriamų ženklių medžiaginių netekčių dabartinėje Lietuvos teritorijoje yra pats išsamiausias. Pagrindinėje ciklo dalyje - Šventuosiuose Vartuose, per nepaprastus įvykius vaizdžia ir įtikinama menine forma atskleidžiamas šv. Benedikto kelias į šventumą. Tose freskose, kurios po vieną atskirose patalpose įsilieja į bendrą vienuolyno idėjinę programą, išryškinamas didžiajai idėjinei programai svarbus aspektas. Pagrindiniai šaltiniai, kuriais remtasi aiškinantis freskų siužetus, yra du: Grigaliaus Didžiojo knyga Apie garbingojo abato Benedikto gyvenimą ir stebuklus ir Jokūbo Voraginiečio Aukso legenda. The subject of St. Benedict explicated in the decoration programme of the Camaldulese Monastery in Pažaislis is congruous with the veneration of Saints, which has been validated in the Ecumenical Council of Trent. However, the intentions of the Camaldulese Monastery of Monte Pacis (Mount Peace) and personal intentions of the founder and patron Christopher Pacas determined the ideas and character of the decoration programme in the first instance. This article aims to explore the frescoes of the life of St. Benedict. The greatest number of them are located in the eastern room of the Holy Gates. One fresco is in the church porch, and one is in the refectory. Also, the stone statue of this Saint, which formerly decorated the Great Gate, is included. The method of icon-theology is used for the study of the frescoes. Therefore, the iconographical subjects of the frescoes is first educed, and the dominating aspect of each fresco is highlighted during the research; moreover, the notional interrelationship among separate subjects is established. As a result, the spiritual matter of St. Benedict's theme is revealed. Two helpful sources were: the book by Gregory the Great "About the Life and Miracles of the Venerable Abbot Benedict" and "Golden Legend" by Jacobus de Voragine.

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  • Authors: Norkutė, Raimonda;

    The aim of this article is to present several wooden sculptures from the 17th and 18th centuries from St Anne's Church in Šiaulėnai. Three sculptures (St Barbara, St John the Evangelist and St Catherine of Alexandria) were moved to the new church, which was built in 1869 by the architect Fulgentas Rimgaila. The sculptures of St John the Evangelist and St Catherine of Alexandria have been recognised as items of the art heritage of national importance. Nevertheless, they have never been analysed and published. Other sculptures, St Barbara and St John Nepomucen, are closer to Lithuanian folk art. The wooden sculptures in St Anne's Church in Šiaulėnai reflect one of the earlier historical stages of this church, its artistic value. In the paper, the valuable wooden sculptures of Šiaulėnai church are presented, and corrections in their attribution are made on the basis of archives and analysis. The article is illustrated with photographs which are published here for the first time. It is based on the master's thesis under the title "Recording and Estimation of the Sacral Art Heritage of St Anne's Church in Šiaulėnai".

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    Authors: Žukienė, Rasutė;

    The article analyses the painter Vytautas Kazimieras Jonynas’ creation of 1955–1962 in the range of church art. The painter decorated churches’ interior while living in the United States of America, created “Lithuanian style”, that USA Lithuanian Community wanted to reach. Jonynas contributed a lot to the distinctive “Lithuanian style” creation when he collaborated with Jonas Mulokas. It is obvious in his stained glass and altar projects, furniture and liturgical tackle’s shape. The article is concentrated on “Lithuanian style” appearance genesis in USA church architecture; the separate objects of sacramental architecture that were created while two Lithuanian artists were closely communicating with the USA Lithuanian communities are discussed. Straipsnyje nagrinėjamas dailininko Vytauto Kazimiero Jonyno 1955–1962 metais sukurtas bažnytinis menas. Gyvendamas Jungtinėse Amerikos Valstijose, dailininkas dekoravo bažnyčių interjerus, kūrė JAV lietuvių bendruomenės siektą „lietuvišką stilių“. Bendradarbiaudamas su architektu Jonu Muloku, Jonynas daug prisidėjo prie savito „lietuviško stiliaus“ sukūrimo, jis atsispindi jo vitražuose, altorių projektuose, baldų, liturginių reikmenų pavidaluose. Straipsnyje gilinamasi į „lietuviško stiliaus“ radimosi JAV bažnytinėje architektūroje genezę, aptariami atskiri sakralinės architektūros objektai, sukurti dviem lietuvių menininkams artimai bendradarbiaujant su lietuvių bendruomenėmis JAV.

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    Authors: Lukšionytė, Nijolė;

    The beginning of the creative activity of the architect Vaclovas Michnevičius (1866-1947), originating from the Middle Lithuanian, coincided with in the abolition of prohibition introduced by the Russian Empire to build Catholic churches (1897). With the beginning of construction of new temples, the architects were invited from Liepaja (K. E. Strandmann), Riga (F. Wyganowski), and Warsaw (J. P. Dziekonski). Shortly after the local ones joined them, Vaclovas Michnevičius was one of the most productive ones. This article is intended to analyse a neo-Gothic and neo-Romanesque church architecture forms designed by Michnevičius. In European countries following Gothic (Gothic revival trend) began in England in the first half of the 19th century. The theoreticians of romanticism were convinced that Gothic perfectly embodied the Christian ideal. In the region of Central and Eastern Europe German brick Gothic was followed (Backsteingotik). At the end of the 19th century in Poland so-called the Vistula Gothic style (styl Nadwiślański) based on the local Gothic motifs emerged. This trend was represented by works of Józef Pius Dziekoński and Jan Sas-Zubrzycki that influenced Michnevičius’ creation. In 1893 V. Michnevičius graduated from St. Petersburg Institute of Civil Engineers. Having returned to Vilnius, he worked as the city architect and designed the market hall, theatre, hospital, residential houses. After the First World War, he moved to Kaunas that served as a temporary capital of Lithuania. From 1897 to 1936, he designed 30 Catholic churches, 20 of which were built. There were 18 churches created in neo-Gothic and neo-Romanesque forms where 8 of them with two towers, 10 with one tower. Churches with two towers had three naves, usually 5 bays long, a presbytery that is pentahedral surrounded by sacristy extensions (Žeimiai, Ratnyčia, Vidžiai, Saltoniškės in Vilnius, Belogruda). The one tower churches are smaller with three naves, 4 bays long, sacristies are integrated into a single volume on both sides of the presbytery and apse is lower. A few one tower churches have interior space as whole (without supports) (Chažava, Perloja, Barzdai). Basilica volume and Latin cross design were used by Michnevičius in Vidžiai, Belogruda and Saltoniškiai in Vilnius’ churches. All other temples were of hall-volume, similar to rectangle design. Spatially Žeimiai’ church is distinct with side galleries. Uniform neo-Gothic buildings (Žeimiai, Vidžiai, Derečinas’ churches) are to be linked to the Polish Vistula Gothic style. Elsewhere neo-Gotic forms are simplified (Birštonas, Nemunaitis). Designs of Daugai, Derečinas, Chažava churches are considered to be the most original examples (1906-1908), where Michnevičius used motif of intertwining arches characteristic in Lithuanian Gothic (Vilnius St. Anne and Bernardine churches, House of Perkūnas in Kaunas).

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