Mikalojus Kristupas Radvila Našlaitėlis ir 'Arbor Humanae Vitae': apmąstant žmogaus gyvenimą

Autor: Liškevičienė, Jolita
Rok vydání: 2022
Předmět:
Zdroj: Acta Academiae Artium Vilnensis [AAAV]. Vizijos, legendos ir sapnai mene = Visions, legends and dreams in art. 2022, t. 106, p. 78-106.
ISSN: 2783-6843
1392-0316
Popis: Tekste plačiau pristatoma ir nagrinėjama vieno Lietuvos menotyros apyvartoje nežinoto grafikos lakšto ikonografija. Tai nyderlandų graverio Theodooro Galle pagal LDK didiko Mikalojaus Kristupo Radvilos Našlaitėlio sumanymą išraižytas grafikos kūrinys, kuris gimė didikui bendradarbiaujant su Plantino-Moretus spaustuvininkais ir nyderlandų graveriais, kai spaudai buvo rengiamas garsios Radvilos Našlaitėlio knygos "Kelionė po Jeruzalę" aprašymas. Raižinyje persipina kelios temos – žmogaus gimties, gyvenimo, mirties ir amžinojo gyvenimo tema, taip pat galime įžvelgti Radvilos Našlaitėlio gyvenimo istoriją, atsispindi to laiko žmogaus gyvenimo vertybės, santykis su Šv. Raštu ir mąstymas apie amžinybę. Reikšminiai žodžiai: ikonografija, žmogaus gyvenimo teatras, XVII a. pirmos pusės grafika, Mikalojus Kristupas Radvila Našlaitėlis, Theodooras Galle, Tomas Makovskis. The print The Tree of Human Life (Arbor Humanae Vitae) is distinguished by its size and rich textual and iconographic material. It combines several iconographic themes – the tree of life, a comparison of a rich man’s and a poor man’s life based on the text of the New Testament (Lk 16, 19-31), and the themes of death and eternal life. These themes are intertwined and related to separate periods of human life (birth, life, death and eternal life), and the engraving itself is embellished with numerous quotes from the Holy Scripture. In total, the copper engraving has a hundred (100) inscriptions-quotes, which expand its visual part and are grouped semantically, while the right and the left sides of the engraving are connected according to the principle of opposites. Though the number of quotes is incredibly large, the artist successfully “dealt” with this task, creating a relatively harmonious composition, even though in some places the inscriptions infringe on the visual part of the illustration or overshadow it. On the other hand, the amount of the inscriptions shows that the author of the engraving, Mikołaj Krzysztof “the Orphan” Radziwiłł, was well versed in the Holy Scripture and arranged them consistently, bringing out the theme of earthly life relevant for that time, and introducing a vision of eternal life. The iconographic analysis of the artwork that has barely caught the attention of Lithuanian art researchers shows its relation to the poetic work The Rise of the Radziwiłłs (Aulaeum Radzivilaeum, 1604) by Mathias Nevius. It is one of the very few examples in the history of Lithuanian art when the main idea of the artwork and the name of the author of its drawing/engraving? (Tomasz Makowski (1575–1630)) is conveyed through the poetic word. This engraving created in Antwerp illustrates the cooperation between the author of the idea, magnate Mikołaj Krzysztof “the Orphan” Radziwiłł, and his engraver Theodoor Galle who embodied his client’s vision. Keywords: iconography, theatre of human life, graphic art of the first half of the 17th century, Mikołaj Krzysztof “the Orphan” Radziwiłł, Theodoor Galle, Tomasz Makowski.
Databáze: OpenAIRE
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