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72 Research products (1 rule applied)

  • Digital Humanities and Cultural Heritage
  • 2019-2023

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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: Irene, Montagnolo; Baratin, Laura; Ciardi, MARIA RITA;
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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: Melis Gomila, Lourdes;

    [cat] Tancar per renéixer: Sovint els museus han de tancar les seves portes per cometre reformes físiques però també de plantejament, per tal de continuar sent atractius per als visitants, oferint noves col·leccions o mostrant-les de manera diferent apostant per nous recorreguts temàtics o didàctics.

    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/ Biblioteca Digital d...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/ Biblioteca Digital d...arrow_drop_down
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  • Authors: Leal, Lécio;

    (...)

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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: Artem Reshetnikov; Sergio Mendoza; Maria-Cristina Marinescu;

    DEArt is an object detection and pose classification dataset meant to be a reference for paintings between the XIIth and the XVIIIth centuries. It contains more than 15000 images, about 80% non-iconic, aligned with manual annotations for the bounding boxes identifying all instances of 69 classes as well as 12 possible poses for boxes identifying human-like objects. Of these, more than 50 classes are cultural heritage specific and thus do not appear in other datasets; these reflect imaginary beings, symbolic entities and other categories related to art. This research has been supported by the Saint George on a Bike project 2018-EU-IA-0104, co-financed by the Connecting Europe Facility of the European Union.

    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/ EUDATarrow_drop_down
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    EUDAT
    Dataset . 2022
    Data sources: B2FIND
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    ZENODO
    Dataset . 2022
    License: CC BY NC SA
    Data sources: ZENODO
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    ZENODO
    Dataset . 2022
    License: CC BY NC SA
    Data sources: Datacite
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      EUDAT
      Dataset . 2022
      Data sources: B2FIND
      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/
      ZENODO
      Dataset . 2022
      License: CC BY NC SA
      Data sources: ZENODO
      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/
      ZENODO
      Dataset . 2022
      License: CC BY NC SA
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  • Authors: Leal, Lécio;

    The coffered ceiling of Nossa Senhora dos Réis de Lamalonga church is one of the largest and most important nucleus of painting in the northeastern region of Portugal. Given the ambitious programme of interceding saints it appears that the work was largelly triggered by the human tragedy in Lisbon earthquake of 1 November 1755. Joaquim Manuel da Rocha, an emerging painter from Lisbon in the mid 60's, and Domingos Teixeira Barreto, one of the most important artist from Porto until the end of the century, were the chosen to carry out the project.

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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: Račiūnaitė, Tojana;

    Vilniaus Šv. Teresės bažnyčios sienų tapyboje sutinkamas Vaikelio Jėzaus, laikančio kančios įrankius, atvaizdas. Tai vadinamasis Pasijų Vaikelis – iš esmės simbolinis motyvas, jungiantis vaikystės ir mirties realybes. Kadaise šis metaforinis, sapniškas reginys turėjo savą suvokimo ir matymo kontekstą, šiandien prarastą, o gal pamirštą. Straipsnyje aptariama jo ikonografinė genezė ir istorinis kontekstas Vilniaus Šv. Teresės bažnyčios šoninės Dievo Apvaizdos (vėliau – Švč. Mergelės Marijos Gerosios Patarėjos) koplyčioje, bandoma rekonstruoti šio motyvo reikšmę bendresniame bažnyčios prienavio abiejų koplyčių įrangos ir sienų tapybos ikonografiniame kontekste. Atskleidžiama, jog, orientuojantis į šių koplyčių vienas priešais kitą įrengtus altorius, formuota dar viena ikonografinės programos ašis – Kristaus kančių, arba pasijų, ciklas, kuris tarytum kerta pagrindinės navos išilginę pasakojimo vaizdais ašį. Straipsnyje bandoma pagrįsti prielaidą, kad XVIII a. antros pusės bažnyčios polichromija buvo glaudžiai susieta su altorių titulinių atvaizdų ikonografija. Reikšminiai žodžiai: Vilniaus Šv. Teresės bažnyčia, Pasijų Vaikelis, Prahos Kūdikėlis Jėzus, Dievo Apvaizdos koplyčia, Kristaus kančios vaizdai, Švč. Mergelės Marijos Gerosios Patarėjos paveikslas. The image of the Infant Jesus bearing the instruments of the Passion appears in the mural paintings of St Theresa’s Church in Vilnius. It is the so-called Infant Christ of the Passion – basically a symbolic, metaphorical motif connecting the realities of childhood and death. In the article, its iconographic genesis and the historical context of its appearance in the side Chapel of the Divine Providence (later, of Our Lady of Good Counsel) of St Theresa’s Church in Vilnius is discussed. The author attempts to reconstruct the meaning of this motif in a more general iconographic context of the furnishing and mural paintings of both chapels of the narthex. It is revealed that based on the altars of these chapels standing opposite each other, another axis of the church’s iconographic programme was formed – the series of the Passion of Christ, which was as if intersecting the axis of the visual narrative of the central nave running lengthwise. The author of the article tries to prove the supposition that the polychromy of the church from the second half of the 18th century was closely related to the iconography of the titular images of its altars. While discussing the development of the furnishing of the side Chapel of the Divine Providence, the author provides yet unpublished information in the historiography of Lithuanian art about the statuette of the Infant Jesus of Prague that was once held in that chapel, and the painting of Our Lady of Good Counsel that was held there since the second half of the 19th century and gave the new title to the chapel. Iconographic sources reflecting the development of the chapel’s furnishing – photographs from the first half of the 20th century – are published here for the first time. It has been established that the motif of the Infant Christ of the Passion painted on the vault of the Chapel of the Divine Providence is similar to those seen in engravings by Hieronimus Wierix and Peter Overadt. The motif of a basket and the background of a hilly dramatic landscape are borrowed from Wierix, and the visual expression and movement of the figure of Jesus – from Overadt’s engraving. Both possible sources of the segment of wall painting analysed in the article contain the same words of the psalm et in laboribus a iuventute mea – “I am in labours from my youth” (Psalm 87:16), indicating that the composition is part of the series of the Passion. The research allows us to assert that the side chapels installed in the narthex of St Theresa’s Church in Vilnius in 1764 after the fire of 1760 constituted a coherent programme of the Passion iconography. It was laid out along the axis of the altars of the opposite chapels (The Lord on the Cross and the Divine Providence (The Infant Jesus of Prague)), perpendicularly to the visual narrative about the life of the mystic St Theresa of Avila developed from the entrance to the high altar. The surviving scenes from the Passion-themed wall painting series in the narthex (Christ is stripped of his garments with a smaller composition Christ falls beneath the cross), the figures of the monochromic Blessed Virgin Mary and St John painted on the chapel’s pillars and the Infant Christ of the Passion painted in the late 18th century on the chapel’s vault on the opposite side constituted a coherent iconographical programme, which included both the sculpture of the Crucified Christ and the dressed statuette of the Infant Jesus of Prague. Thus, the sculpture of the Crucified Christ in the chapel’s altar before its reconstruction in 1783 was included in the sequence of Via Crucis stations, or the Mysteries of the Lord’s Suffering, as the Carmelites called them. On this basis we can make an assumption that the fresco on the vault of the Chapel of the Divine Providence – The Infant Christ of the Passion – had a certain programmatic link to the statuette of the Infant Jesus of Prague in the altar. Keywords: St Theresa’s Church in Vilnius, Infant Christ of the Passion, Infant Christ of Prague, Chapel of the Divine Providence, images of the Passion of Christ, painting of Our Lady of Good Counsel.

    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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      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: Peyman Alizadeh Oskuie; Ismaeel Bani Ardalan; Kamran Afshar Mohajer; Mohammad Reza Sharif Zadeh; +1 Authors

    The sublime is at the heart of Kant's aesthetic philosophy. According to Kant it refers to infinite and infinite conceptions such as time, death, space, and the spiritual world; it refers to greatness that is superior to any comparison and beyond any deduction. This marvelous greatness can be attributed to moral action, the grandeur of pure thought, or the greatness of natural lords, such as the enormous storm or ocean of infinity, and even the greatness of a work of art. The research is based on a descriptive-analytical method with inductive reasoning and data is collected via library research. The results of the study demonstrate that the theory of the sublime is best presented in the religious church art; moreover, the paintings of the Gothic period compared to the Byzantine period is a representative of this art that undoubtedly remarks Kant's theory of the sublime.

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    هنر اسلامی
    Article . 2019
    Data sources: DOAJ-Articles
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      هنر اسلامی
      Article . 2019
      Data sources: DOAJ-Articles
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    Authors: Yang, Klency Kakazu de Brito;

    Este trabalho trata do estudo das pinturas parietais na Basílica de Nossa Senhora de Assunção, no Mosteiro de São Bento, em São Paulo. A Igreja foi ornamentada após a Restauração da Congregação Beneditina Brasileira, um esforço conjunto da Congregação Beneditina Brasileira e a Congregação de Beuron. Com a chegada dos monges europeus, houve o revival do canto gregoriano e a vinda da arte monástica beuronense; modelo artístico existente na Basílica de São Paulo. O estudo foi desenvolvido através de análise bibliográfica e pesquisa de campo para elucidação das questões sobre a arte beuronense produzida na Basílica, com ênfase em documentos primários e no livro The Aesthetic of Beuron and other writings de Desiderius Lenz (2007). Este trabalho concluiu que houve a circulação de modelos beuronenses dentro e fora dos muros beneditinos, e que a produçãobeuronense paulistana possui características ímpares do artista Dom Adelbert Gresnicht, que foi discípulo de Dom Desiderius Lenz na ?Escola de Arte de Beuron?. This work aims the study of the wall paintings in the Basilica of Our Lady of the Assumption in the Monastery of St. Benedict,at São Paulo city. The church was ornamented after the movement called Restoration of the Brazilian Benedictine Congregation, a joint effort of the Brazilian Benedictine Congregation and Congregation of Beuron. With the arrival of European monks in Brazil, the Beuronese Arts were also landing and fomented therevival of the Gregorian chant, the visual art that arrived was the same model that it is in São Paulo city. This study was developed through literature analysis and field research for elucidation of the questions about beuronese art produced in the São Bento?s Basilica, with emphasis on primary documents and in The Aesthetic of Beuron and other writings by Desiderius Lenz (2007). This research concluded that there was a movement of beuronese models inside and outside the Benedictine walls, and the São Paulo beuronese work has an unique characteristics by the artist Dom Adelbert Gresnicht, who was a disciple of Dom Desiderius Lenz in the "Art School of Beuron." Dados abertos - Sucupira - Teses e dissertações (2013 a 2016)

    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/ ZENODOarrow_drop_down
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    ZENODO
    Presentation . 2023
    License: CC BY
    Data sources: Datacite
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    ZENODO
    Other literature type . 2023
    License: CC BY
    Data sources: ZENODO
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      Presentation . 2023
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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: Sara Valentina Schieppati; Cinzia Di Dio; Antonella Marchetti; Davide Massaro; +1 Authors

    In the history of the Western world, there has always been an association between good and beautiful. Starting from a brief history of beauty, two questions arise: is beauty linked to good even in art? How important are people’s religious beliefs in aesthetic and vitality judgments? The psychology of art could answer these questions by studying people’s reactions to the images of Saints as testimonials of goodness. Moreover, the study of Saints’ paintings would allow us to investigate vitality, understood as one’s perception of a living being. The research aimed to investigate the aesthetic and vitality judgments of faces representing the dead, Saints and non-Saints. More than a hundred participants were asked to evaluate the aesthetics and vitality of these paintings; moreover, two tests assessing spirituality and religiosity were administered. Overall, these data suggest Saints were judged more beautiful than non-Saints, and non-Saints were judged more vital than Saints. This might suggest a relationship between ethics and aesthetics, also in the perception of art, and offers reflections on the theme of vitality. The religion and spirituality of participants are not correlated to aesthetic or vitality judgments; this fact could support that these judgments are linked to the basic bottom-up reactions to images.

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    Behavioral Sciences
    Other literature type . Article . 2022 . Peer-reviewed
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    PubliCatt
    Article . 2022
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      Other literature type . Article . 2022 . Peer-reviewed
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  • Authors: Tešić Radovanović, Danijela;

    Jewish relation to representational art is determined mostly by the Second Commandment: "You shall not make for yourself a carved image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth; you shall not bow down to them nor serve them." As science has observed, the commandment has not always been honoured to the letter and its understanding has been changing depending on the actual circumstances a community is facing. At times of political crises and religious pressures, resistance to figural representations grew. A period from the late 1st to the 7th century CE, particularly from the 3rd to the first half of the 7th century is an exception. The thing is that in contact with Greco-Roman civilisation and under the influence of cultural and religious syncretism, quite characteristic for the period of Late Antiquity, the Jewish culture became more open to representational arts. On the walls in synagogues and catacombs there are figural images, of which the most representational ones are the scenes from the Old Testament, discovered in the Dura-Europos synagogue. However, many more non-figural objects have been preserved, mostly architectural structures and religious objects resembling the Jerusalem Temple. A repeated image of menorah stands out, occurring on grave stones, synagogue mosaic floors, catacomb walls, lamps and objects of applied art found not only in Palestine but all over the Jewish diaspora. The seven-branched lampstand is designed according to the God's instructions for the service in the Tabernacle or the Solomon's Temple. When the menorah was taken to Rome after the destruction of the Second Temple, it became an expression of an aspiration for a renewal of the Jerusalem Temple and a symbol of the Jewish identity.

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    Authors: Irene, Montagnolo; Baratin, Laura; Ciardi, MARIA RITA;
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    Authors: Melis Gomila, Lourdes;

    [cat] Tancar per renéixer: Sovint els museus han de tancar les seves portes per cometre reformes físiques però també de plantejament, per tal de continuar sent atractius per als visitants, oferint noves col·leccions o mostrant-les de manera diferent apostant per nous recorreguts temàtics o didàctics.

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  • Authors: Leal, Lécio;

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    Authors: Artem Reshetnikov; Sergio Mendoza; Maria-Cristina Marinescu;

    DEArt is an object detection and pose classification dataset meant to be a reference for paintings between the XIIth and the XVIIIth centuries. It contains more than 15000 images, about 80% non-iconic, aligned with manual annotations for the bounding boxes identifying all instances of 69 classes as well as 12 possible poses for boxes identifying human-like objects. Of these, more than 50 classes are cultural heritage specific and thus do not appear in other datasets; these reflect imaginary beings, symbolic entities and other categories related to art. This research has been supported by the Saint George on a Bike project 2018-EU-IA-0104, co-financed by the Connecting Europe Facility of the European Union.

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    EUDAT
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    ZENODO
    Dataset . 2022
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    Dataset . 2022
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      Dataset . 2022
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  • Authors: Leal, Lécio;

    The coffered ceiling of Nossa Senhora dos Réis de Lamalonga church is one of the largest and most important nucleus of painting in the northeastern region of Portugal. Given the ambitious programme of interceding saints it appears that the work was largelly triggered by the human tragedy in Lisbon earthquake of 1 November 1755. Joaquim Manuel da Rocha, an emerging painter from Lisbon in the mid 60's, and Domingos Teixeira Barreto, one of the most important artist from Porto until the end of the century, were the chosen to carry out the project.

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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: Račiūnaitė, Tojana;

    Vilniaus Šv. Teresės bažnyčios sienų tapyboje sutinkamas Vaikelio Jėzaus, laikančio kančios įrankius, atvaizdas. Tai vadinamasis Pasijų Vaikelis – iš esmės simbolinis motyvas, jungiantis vaikystės ir mirties realybes. Kadaise šis metaforinis, sapniškas reginys turėjo savą suvokimo ir matymo kontekstą, šiandien prarastą, o gal pamirštą. Straipsnyje aptariama jo ikonografinė genezė ir istorinis kontekstas Vilniaus Šv. Teresės bažnyčios šoninės Dievo Apvaizdos (vėliau – Švč. Mergelės Marijos Gerosios Patarėjos) koplyčioje, bandoma rekonstruoti šio motyvo reikšmę bendresniame bažnyčios prienavio abiejų koplyčių įrangos ir sienų tapybos ikonografiniame kontekste. Atskleidžiama, jog, orientuojantis į šių koplyčių vienas priešais kitą įrengtus altorius, formuota dar viena ikonografinės programos ašis – Kristaus kančių, arba pasijų, ciklas, kuris tarytum kerta pagrindinės navos išilginę pasakojimo vaizdais ašį. Straipsnyje bandoma pagrįsti prielaidą, kad XVIII a. antros pusės bažnyčios polichromija buvo glaudžiai susieta su altorių titulinių atvaizdų ikonografija. Reikšminiai žodžiai: Vilniaus Šv. Teresės bažnyčia, Pasijų Vaikelis, Prahos Kūdikėlis Jėzus, Dievo Apvaizdos koplyčia, Kristaus kančios vaizdai, Švč. Mergelės Marijos Gerosios Patarėjos paveikslas. The image of the Infant Jesus bearing the instruments of the Passion appears in the mural paintings of St Theresa’s Church in Vilnius. It is the so-called Infant Christ of the Passion – basically a symbolic, metaphorical motif connecting the realities of childhood and death. In the article, its iconographic genesis and the historical context of its appearance in the side Chapel of the Divine Providence (later, of Our Lady of Good Counsel) of St Theresa’s Church in Vilnius is discussed. The author attempts to reconstruct the meaning of this motif in a more general iconographic context of the furnishing and mural paintings of both chapels of the narthex. It is revealed that based on the altars of these chapels standing opposite each other, another axis of the church’s iconographic programme was formed – the series of the Passion of Christ, which was as if intersecting the axis of the visual narrative of the central nave running lengthwise. The author of the article tries to prove the supposition that the polychromy of the church from the second half of the 18th century was closely related to the iconography of the titular images of its altars. While discussing the development of the furnishing of the side Chapel of the Divine Providence, the author provides yet unpublished information in the historiography of Lithuanian art about the statuette of the Infant Jesus of Prague that was once held in that chapel, and the painting of Our Lady of Good Counsel that was held there since the second half of the 19th century and gave the new title to the chapel. Iconographic sources reflecting the development of the chapel’s furnishing – photographs from the first half of the 20th century – are published here for the first time. It has been established that the motif of the Infant Christ of the Passion painted on the vault of the Chapel of the Divine Providence is similar to those seen in engravings by Hieronimus Wierix and Peter Overadt. The motif of a basket and the background of a hilly dramatic landscape are borrowed from Wierix, and the visual expression and movement of the figure of Jesus – from Overadt’s engraving. Both possible sources of the segment of wall painting analysed in the article contain the same words of the psalm et in laboribus a iuventute mea – “I am in labours from my youth” (Psalm 87:16), indicating that the composition is part of the series of the Passion. The research allows us to assert that the side chapels installed in the narthex of St Theresa’s Church in Vilnius in 1764 after the fire of 1760 constituted a coherent programme of the Passion iconography. It was laid out along the axis of the altars of the opposite chapels (The Lord on the Cross and the Divine Providence (The Infant Jesus of Prague)), perpendicularly to the visual narrative about the life of the mystic St Theresa of Avila developed from the entrance to the high altar. The surviving scenes from the Passion-themed wall painting series in the narthex (Christ is stripped of his garments with a smaller composition Christ falls beneath the cross), the figures of the monochromic Blessed Virgin Mary and St John painted on the chapel’s pillars and the Infant Christ of the Passion painted in the late 18th century on the chapel’s vault on the opposite side constituted a coherent iconographical programme, which included both the sculpture of the Crucified Christ and the dressed statuette of the Infant Jesus of Prague. Thus, the sculpture of the Crucified Christ in the chapel’s altar before its reconstruction in 1783 was included in the sequence of Via Crucis stations, or the Mysteries of the Lord’s Suffering, as the Carmelites called them. On this basis we can make an assumption that the fresco on the vault of the Chapel of the Divine Providence – The Infant Christ of the Passion – had a certain programmatic link to the statuette of the Infant Jesus of Prague in the altar. Keywords: St Theresa’s Church in Vilnius, Infant Christ of the Passion, Infant Christ of Prague, Chapel of the Divine Providence, images of the Passion of Christ, painting of Our Lady of Good Counsel.

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