Šilkas ir auksas: XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje
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Vilnius
Bažnytinio Paveldo Muziejus
2014
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| Online-Zugang: | Inhaltsverzeichnis Abstract Register // Personen- und Ortsregister |
| Beschreibung: | 185 Seiten 26 cm |
| ISBN: | 9786099514888 |
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Datensatz im Suchindex
| _version_ | 1804182730760519680 |
|---|---|
| adam_text | η Įvadas I DALIS ii Rūmų ir katedrų audiniai xv—xvii amžiai II DALIS 49 Prancūziškas stilius xviii amžius III DALIS 123 Kontušo juostos xviii a. π pusės ldk bajoriško kostiumo puošmena 167 Katalogas 177 Priedai Summary Žodynėlis Rodyklė
Summary by political circumstances - the begin Lithuania Stanislaw Koniecpolski ning of dominance of Russian half-silk established a silk weaving workshop gical textiles of the Church Heritage brocade often interwoven with copper on his estate in Brody (today, Poland), Museum consists of vestments made metal threads instead of gold or silver and built a plantation of mulberry trees from luxurious silk fabrics, often inter in Lithuania, and the technological and and silkworms, so that threads would woven with threads of precious met industrial revolution, which prompted not have to be imported from abroad. als - silver and gold. While compiling the invention of the jacquard loom and Persian-style fabrics were woven in the museum catalogues and presenting artificial silk. Brody workshop. In the second half of Foreword A large part of the collection of litur the clothing held in museums, these Three parts of the book present the 18th century several silk weaving excellent works of applied art are often three different topics, which form quite workshops established by noblemen in given a secondary place. In this publi a consistent narrative about the main their domains operated in the Grand cation, most attention is dedicated not stages of the history of silk weaving in Duchy of Lithuania. Unfortunately, so much to the artefacts themselves Europe. The catalogue part excellently it is difficult to identify which textiles as to the fabrics, which were used to illustrates these topics with photo were woven there. A small part of the make liturgical vestments and sump graphs
of early textiles, even though catalogue covering the textile collec tuous secular and even royal clothes, they are quite scarce in Lithuania. tion of the churches of the Vilnius and to decorate court interiors and The first part is dedicated to the ear diocese held at the Church Heritage noblemen’s houses. The defined pe liest surviving textiles of liturgical vest Museum presents a unique phenom riod from the 15th to the 18th centu ments in Lithuania. These are various enon of textile of the Grand Duchy of ries includes various artefacts from types of luxurious Italian velvet and Lithuania - kontusz sashes, as well as the earliest fabric in the collection of brocade from the I5th-i7th centuries. several textiles attributed to the royal the Church Heritage Museum dated The art of silk weaving first reached factory of silk textiles in Grodno. to the late 15th c. - early 16th c., from Italian cities from the East through the which a cope from the Sudervė church ports of the Mediterranean Sea, and Court and cathedral textiles. is made, to clothes made from late 18th eventually flourished there. The 18th 15th-J7th centuries century silk fabrics produced in Lyons century was the period of dominance Liturgical vestments of the Vilnius before the decline of this industry of French silk, particularly Lyons silk, Cathedral from the i6th-i7th centuries caused by the French revolution. The which is the subject of the second part is the only collection in Lithuania to last small chapter of the catalogue on of the catalogue. This part could not contain early Renaissance and
Baroque kontusz sashes and their history sym embrace the great number of liturgical textiles woven in the most famous bolically coincides with the period of vestments made from French textiles, silk weaving centres in Italy and rarely disintegration of the Polish-Lithuanian which are held in the museum. The found in this country. These are luxu Commonwealth. The time frame does third part of the catalogue deals with rious textiles from royal courts and not include the 19th century, which local fabrics. It is known that already in cathedrals, which allow us to imagine also brought some changes determined 1643 the hetman of the Grand Duchy of what kinds of clothes were worn at 179
the ruler s court, and how sumptuous lighter and more flexible materials. In luxurious fabrics, abundance of gold interiors looked. the 17th century designs with a large and silver, and rich colours, and which pattern repeat still continued the tradi had been important until then, gave The Italian ports of Venice, Pizza, and Genoa were the oldest cities of silk tion of the well-familiar Renaissance way to a cheerful and playful intention merchants who transported their goods pomegranate, but the floral motifs ar to charm. from Byzantium and Asia Minor to the ranged around the central vertical axis West. In the course of time these cities lost their Renaissance monumentality In 1466 King Louis XI (1423-1483) made the first attempt to establish became silk weaving centres. As early and laconicism, and the patterns be a manufacture of silk and gold thread as the 13th century silk fabrics of Italian came more complex, finer, and more weaving in Lyons, as the import of origin were mentioned in the inven detailed. Another type of ornament these materials to France weakened the tories of papal and kings’ courts. The popular at that time was small dense treasury of the kingdom. However, the cities of Venice, Genoa, and Florence ly arranged motifs of plant twigs or attempt did not succeed, as the mer supplied luxury fabrics to a great many sprouts, which were slanted to the left chants and tradesmen who lived in European royal courts. and to the right in alternate rows. Lyons had more profit from regularly In the middle of the 15th century In the second half of the 17th centu
held trade fairs, during which Italian Venice became the main centre of vel ry Italian cities still continued to export and Spanish fabrics were imported vet weaving. Fabrics bear a typical sim quite a lot of silk fabrics to France and without any duties and taxes. ple Renaissance ornament with a large all Europe, but even the indigenous no In 1531 King Francis I (1494-1547) pattern consisting of a horizontal un bility more often tended to choose new granted Lyons a privilege to become dulating stripe with large pomegranate elegant French fabrics for their clothes. the country’s main warehouse of silk motifs, forking stems and sprouts with Italian weavers moved to the grow import. In 1536 two Italian merchants Etienne Turquet and Bartholomme small blossoms. The most popular col ing silk weaving centres in France, and ours were royal crimson, green, violet, their experience and mastery became Naris obtained permission to found or blue, which helped to increase the the basis for the French silk industry, to the first silk weaving workshop in special shine of gold and silver threads. which the second part of the exhibition Lyons and started the history of silk in is dedicated. the city. By combining velvet pile of dif ferent height, various gold and silver threads, metal loops and their larger patches, Italian velvet weavers created At the beginning silk was woven in The French style. 18th century In the 18th century, France was the a great many small independent work shops. Up until the early 17th century textiles of rich texture, whose relatively obvious leader in
silk weaving, and these workshops wove plain, unpat simple ornaments gave an impression Lyons became the capital of silk. It is terned silk fabrics, such as satin, taf of most intricate compositions. testified by a great number of liturgi feta, velvet, and gold-coated and silver- In the second half of the 16th cen cal vestments made from French pat coated fabrics interwoven with threads tury a crucial shift took place in textile terned multi-coloured fabrics of the of precious metals. It was not until ca. fashions - heavy pile-on-pile velvet Baroque and Rococo styles, which are 1605 that Claude Dangon installed the (alto e basso), and other stiff and ex held in the churches and museums of first loom, called d la grande tire, for tremely expensive fabrics containing Lithuania. The aim to dazzle, which was weaving patterned fabrics and evident metal threads gradually gave way to performed by the décor, ornaments, ly brought from Italy. 1667 saw the birth 180
of the organized textile industry, regu different colours overlap forming a half the liturgical textiles of the Buivydžiai, lated by the law and called La Grande tone and not leaving any contour be Eišiškės, Paberžė, Palūšė, Sudervė, Fabrique ֊ the Grand Factory, which in tween the colours. Vivid, soft, and lush Tabariškės, Turgeliai, and Vidiškės cluded everyone involved in silk weav floral ornaments creating an impression churches. ing or processing in Lyons. of space, light, shadow, and movement Finally, in the 18th century the so- called genuine French style was born. became predominant in textile. Ca. 1740 departure from the natu Kontusz sashes. Silk fabrics from local weaving In 1726-1730 significant changes took ralistic style became distinct. At the workshops in the second half place in Lyons - large orders for the beginning of the 1740s the earlier mas of the í8th century interior decoration of the royal palace sive picturesque plants were still popu Having emerged in the territory of in Versailles began to come in. They lar, but they were no longer scattered the Polish-Lithuanian Commonwealth, stimulated active development of silk in separate compositions but grouped kontusz sashes are a unique textile industry, which lasted until the French into slanting undulating rows. The mo artefact representing а combination Revolution. In 1789-1797 this thriving tifs of the ornaments grew considerably of the Eastern and the Western artistic industry almost totally collapsed. In smaller and again became more styl cultures. They are derived from similar 1786,15,000
looms operated in the city, ized and decorative, while the abun textiles woven in Persia, India, and after the revolution hardly more dance of realistic fruits and flowers was and Turkey. However, kontusz sashes than 3,000 were left. replaced with light bouquets arranged did not become a mere imitation in oblique loops and creating a light of Persian sashes - an authentic local change in the ornamentation of silk dance-like style. The spirit of Rococo ֊ style was formed in Lithuania and fabrics in the 18th century was brought light, playfulness, and charm - is partic Poland. by the birth of a new naturalist style in ularly distinct in these textiles. The largest and most impressive the 1730s. Its originator was the famous The part of the catalogue present Produced by the collision of the West and the East, and referred to as Lyons-based textile designer of that ing the heritage of 18th century textiles Sarmatian, national, Polish, and kon time Jean Revel (1684-1751), who was revealed in the liturgical vestments tusz, a unique nobleman s costume called the Raphael of Silk”. A tendency of the churches of the Vilnius Diocese became one of the most important to naturalism was felt already since the shows the scale of import of the most symbols of the worldview of Sarmatism end of the 17th century, when textile cre fashionable and luxurious textiles to prevailing in the Kingdom of Poland ators began to look for the ways to make the Grand Duchy of Lithuania. It is not and also characteristic of the Grand the motifs of textile patterns as realistic only the Vilnius Cathedral
or other Duchy of Lithuania. as possible. Floral ornaments grew more churches of the capital that boast ex asymmetric, and motifs became larger, cellent liturgical vestments made from number of components including foot which allowed more space for the play of 18th century French fabrics - even wear, weapons, headwear, and even light and shadow and for conveying the small village churches have retained hairstyle or moustache. A kontusz - spatial form of most popular fruits and rich collections of clothes from that pe a long outer garment, wider at the bot lush flowers. Ca. 1730 a real revolution riod. Worthy of mention is the highly tom, with a set of buttons down the took place. Jean Revel discovered the valuable collection of liturgical vest front and long, freely hanging sleeves bercie technique, when threads of two ments of the Rykantai church, as well as open from the armpit - gave the name 181 This costume consisted of a large
to the entire costume, and alongside Slutsk; around a dozen masters and as manufactures in Lyons. The album to a sash worn over it. The sash did not sistants worked there. Madžarski’s son, confirmed that the large weaving serve a practical purpose. The most also a master, Leon Madžarski became workshops of kontusz sashes of the important was its decorative and iden the administrator of the Slutsk manu Grand Duchy of Lithuania, unable to tifying function. This costume detail facture ca. 1780. meet high demand, would order them characterized by silk, silver and gilded The events which followed each oth abroad. Part of these sashes repeated silver threads, as well as the complex er in rapid succession at the end of the the patterns typical of the workshops ity and quality of weaving, showed not 18th century - the uprising of Tadeusz of Slutsk and other famous work only the material wealth of its owner, Kościuszko, the Third Partition of the shops, while others were obviously but also his social status and duties, re Polish-Lithuanian Commonwealth, the distinguished by the French style of flected his worldview, and was an object loss of state independence, and the col ornamentation. of pride. lapse of economy - weakened and ru When the Polish-Lithuanian The most famous weaving work ined the Slutsk manufacture, and the Commonwealth lost its statehood, in shop of kontusz sashes in the Grand war of 1812 put an end to its efforts to 1831 the tsarist administration prohibit Duchy of Lithuania was the Madžarski recover, although officially it was not ed wearing a kontusz,
which expressed manufacture that operated in Slutsk. until 1848 that the Slutsk manufacture a nobleman’s national identity, as well It was founded by the Radziwiłł fam stopped operation. as kontusz sashes. A great number of ily: the hetman of the Grand Duchy, A complex of manufactures that sashes were destroyed, while others sur the voivode of Vilnius and the ordynat produced leather artefacts, stockings, vived as exhibits of estate collections. (a heir of a fee tail estate) of Nesvizh hats, carriages, etc., built in the do Probably the largest part of kontusz Michal Kazimierz Rybeńko Radziwiłł mains of Count Antoni Tyzenhaus in sashes was donated to churches as lux (1702-1762), and his son Karol II Grodno, also included a factory of silk urious fabrics or sentimental family rel Stanislaw Radziwiłł (1734-1790). The fabrics and sashes. The count sought to ics, possibly as votives, and were used year 1767 is considered to mark the turn his silk factory into a large weav to make liturgical vestments. To make beginning of operation of the manu ing workshop modelled after the French a chasuble or a dalmatic, sashes were facture. A master of Armenian and workshops, for weaving sashes that cut into half, and their decorative ends Hungarian origin, Jan Madžarski, would be more similar in stylistics and were fitted into the backside of the gar moved to the Polish-Lithuanian weaving techniques to 18th century ment, which was more visible during Commonwealth from Istanbul along French textiles produced in Lyons rath the service. Several copes with a kon with other
Armenians looking for a pos er than their Eastern predecessors. tusz sash sown in the place of an or- sibility to make a living from their craft, Quite many weaving workshops of phrey have survived in Lithuania. Quite in 1750. He was the main artistic and kontusz sashes operated in the territory often the entire end of a sash would technical director of the manufacture of Poland. The most prominent of them be transformed into a chalice veil or and the creator of textile ornaments. In were located in Kobyłka and Warsaw a pillow for the Missal, and the scraps the 1770s he rented the weaving work (Lipków). remaining after making the main li shop from the Radziwills. From 1767 In 1972 a small album contain turgical vestments would be sown to to 1776, at least 758 sashes mentioned ing examples of sashes woven from gether to make stoles, maniples, burses in various documents were woven in 1785 to 1792 was found in one of the or palls.
Rodyklė Safavidai 9,10 Indas 9 Achemenidai 9 Sasanidai 9 Iranas 9 Čiurlionis Mikalojus Konstantinas 127 Tyzenhauzas Antanas 129 Ispanija 10, 53 Dangonas Klodas 53 Turke Etjenas 53 Italija 7,10,15,17,19,20,23,25,28,31,34,37, Filsjeanas Steponas 164,176 Vaina Benediktas 170 Asmenvardžiai 38,43,46,48,53,54,60,169,170,171 Karvys 131,175 Geltonasis imperatorius 8 Hanai 8 Vietovardžiai Kašgaras 9 Jakubovičius Paschalis 129 Abiejų Tautų Respublika 7,127,128, Kaukazo kalnai 9 Įogailaičiai 127 Kinija 8,9 129,160 Justinianas 9 Airija 10 Kobylka 129,164,176 Konecpolskls Stanislovas 7 Altajaus kalnai 8 Konstantinopolis 9 Konfucijus 8 Amalfis 15 Krefeldas 54 Korvinas Gosievskis Aleksandras Anglija 10 Krokuva 129 Antiochija 9 Kunluno kalnai 8 Kosciuška Tadas 129 Baltarusija 128 Lavoriškės 143,163,175,176 Liudvikas XI53 Bizantija 9,15 Lenkija, LK 7,127,128,129,130,164,176 Liudvikas XIV 54 Brodai 7,128 Lietuva 7,15,20,23,28,53, 55,72,127,129, Luo Dzu 8 Bučačas 128 Madžarskiai 128 Buivydžiai 46,55, 96,170,173 Madžarskis Jonas 128,131,134,137,175 Ciurichas 54 7, 8,10 55,123,128,129,130,134,139, Madžarskis Leonas 129,140,143,145, Čanganas 8 140,143,145,146,151,154.157.158,169, Danija 10 170,175,176 169,170 146,148,175,176 157,169,171,172,173,174,175,176 Lietuvos Didžioji Kunigaikštystė, LDK Lionas 7,10,53,54,55, 60, 65, 66, 69, Martinaitienė Gražina Marija 127 Dunojus 9 Nari Bartolomėjus 53 Egiptas 9 72,75, 80, 87, 93, 96,99,102,109,113, Pacaitė-Gosievskienė Ieva 169,170 Eišiškės 55, 89,172 119,120,129,151,160,161,163,171,172, Pacas Mikalojus Steponas 170 Europa 7, 9,10,15,17,46, 54,55,87,
89, 173,174,176 164,176 Lipkuvas 129 Pranciškus 153 Florencija 10,15 Londonas 54 Prokopijus 9 Gardinas 8,129,150,151,154,157,158, Luka 15 Partal 9 Radvila Karolis II Stanislovas 128,129 Mažoji Azija 15 164,176 Radvila Mykolas V Kazimieras 128 Genuja 10,15 Mervas 9 Radvilos 128,129 Gobio dykuma 9 Nantas 54 Rafaelis 54 Haranas 9 Naujasis Strūnaitis 146,176 Revelis Žanas 54,55 Heši 8 Nesvyžius 128 Richthofenas Ferdinandas 8 Indija 127 Nimas 54 185
Paberžė 55,77,172 Palmyra 9 Sluckas 128,129,131,134,137,138,139, Turkija 127 140,143,145,146,148,175,176 Tūras 53,54 Palūšė 55,158,176 Smolenskas 169,170 Ukraina 128 Paryžius 54 Spitalfildas 54 Varšuva 129 Persija 9,23,127,169 Stambulas 128 Venecija 9,10,15,23,25,169,170 Piza 15 Stanislavas 128 Vengrija 127 Prancūzija 7,10,17,53,54,56,59,62, Sudervė 7,19,55,113,119,169,174 Versalis 54 75, 84,90,93,100,102,110,122,161, Šansi 8 Vidiškės 55, 60,171 163,171,172,173,174,176 Šiauliai 127 Vidurinė Azija 9 Provansas 53 Šilko kelias 8,9 Viduržemio jūra 7,8,9,128 Riešė 48,170 Šveicarija 10,54 Vilkaviškis 127 Rykantai 55,111,105,148,173,176 Tabariškės 55 Vilnius 7,15,20,23,25,28,31,34,37,38,43, Roma 8 Taklamakano dykuma 9 55,56,59,62, 65,66, 69,72,80,84,87, Rusija 173 Tian Šanio kalnai 9 99,102,109,110,115,120,122,127,128, Sianas 8 Tyras 9 130,134,137,139,140,145,154,157,161, Sirija 9 Trakai 90,100,129,151,164,173,173,176 Syrdarja 9 Turgeliai 55,75,172 169,170,171,172,173,174,175,176 Vokietija 10,20,54,169
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η Įvadas I DALIS ii Rūmų ir katedrų audiniai xv—xvii amžiai II DALIS 49 Prancūziškas stilius xviii amžius III DALIS 123 Kontušo juostos xviii a. π pusės ldk bajoriško kostiumo puošmena 167 Katalogas 177 Priedai Summary Žodynėlis Rodyklė
Summary by political circumstances - the begin Lithuania Stanislaw Koniecpolski ning of dominance of Russian half-silk established a silk weaving workshop gical textiles of the Church Heritage brocade often interwoven with copper on his estate in Brody (today, Poland), Museum consists of vestments made metal threads instead of gold or silver and built a plantation of mulberry trees from luxurious silk fabrics, often inter in Lithuania, and the technological and and silkworms, so that threads would woven with threads of precious met industrial revolution, which prompted not have to be imported from abroad. als - silver and gold. While compiling the invention of the jacquard loom and Persian-style fabrics were woven in the museum catalogues and presenting artificial silk. Brody workshop. In the second half of Foreword A large part of the collection of litur the clothing held in museums, these Three parts of the book present the 18th century several silk weaving excellent works of applied art are often three different topics, which form quite workshops established by noblemen in given a secondary place. In this publi a consistent narrative about the main their domains operated in the Grand cation, most attention is dedicated not stages of the history of silk weaving in Duchy of Lithuania. Unfortunately, so much to the artefacts themselves Europe. The catalogue part excellently it is difficult to identify which textiles as to the fabrics, which were used to illustrates these topics with photo were woven there. A small part of the make liturgical vestments and sump graphs
of early textiles, even though catalogue covering the textile collec tuous secular and even royal clothes, they are quite scarce in Lithuania. tion of the churches of the Vilnius and to decorate court interiors and The first part is dedicated to the ear diocese held at the Church Heritage noblemen’s houses. The defined pe liest surviving textiles of liturgical vest Museum presents a unique phenom riod from the 15th to the 18th centu ments in Lithuania. These are various enon of textile of the Grand Duchy of ries includes various artefacts from types of luxurious Italian velvet and Lithuania - kontusz sashes, as well as the earliest fabric in the collection of brocade from the I5th-i7th centuries. several textiles attributed to the royal the Church Heritage Museum dated The art of silk weaving first reached factory of silk textiles in Grodno. to the late 15th c. - early 16th c., from Italian cities from the East through the which a cope from the Sudervė church ports of the Mediterranean Sea, and Court and cathedral textiles. is made, to clothes made from late 18th eventually flourished there. The 18th 15th-J7th centuries century silk fabrics produced in Lyons century was the period of dominance Liturgical vestments of the Vilnius before the decline of this industry of French silk, particularly Lyons silk, Cathedral from the i6th-i7th centuries caused by the French revolution. The which is the subject of the second part is the only collection in Lithuania to last small chapter of the catalogue on of the catalogue. This part could not contain early Renaissance and
Baroque kontusz sashes and their history sym embrace the great number of liturgical textiles woven in the most famous bolically coincides with the period of vestments made from French textiles, silk weaving centres in Italy and rarely disintegration of the Polish-Lithuanian which are held in the museum. The found in this country. These are luxu Commonwealth. The time frame does third part of the catalogue deals with rious textiles from royal courts and not include the 19th century, which local fabrics. It is known that already in cathedrals, which allow us to imagine also brought some changes determined 1643 the hetman of the Grand Duchy of what kinds of clothes were worn at 179
the ruler's court, and how sumptuous lighter and more flexible materials. In luxurious fabrics, abundance of gold interiors looked. the 17th century designs with a large and silver, and rich colours, and which pattern repeat still continued the tradi had been important until then, gave The Italian ports of Venice, Pizza, and Genoa were the oldest cities of silk tion of the well-familiar Renaissance way to a cheerful and playful intention merchants who transported their goods pomegranate, but the floral motifs ar to charm. from Byzantium and Asia Minor to the ranged around the central vertical axis West. In the course of time these cities lost their Renaissance monumentality In 1466 King Louis XI (1423-1483) made the first attempt to establish became silk weaving centres. As early and laconicism, and the patterns be a manufacture of silk and gold thread as the 13th century silk fabrics of Italian came more complex, finer, and more weaving in Lyons, as the import of origin were mentioned in the inven detailed. Another type of ornament these materials to France weakened the tories of papal and kings’ courts. The popular at that time was small dense treasury of the kingdom. However, the cities of Venice, Genoa, and Florence ly arranged motifs of plant twigs or attempt did not succeed, as the mer supplied luxury fabrics to a great many sprouts, which were slanted to the left chants and tradesmen who lived in European royal courts. and to the right in alternate rows. Lyons had more profit from regularly In the middle of the 15th century In the second half of the 17th centu
held trade fairs, during which Italian Venice became the main centre of vel ry Italian cities still continued to export and Spanish fabrics were imported vet weaving. Fabrics bear a typical sim quite a lot of silk fabrics to France and without any duties and taxes. ple Renaissance ornament with a large all Europe, but even the indigenous no In 1531 King Francis I (1494-1547) pattern consisting of a horizontal un bility more often tended to choose new granted Lyons a privilege to become dulating stripe with large pomegranate elegant French fabrics for their clothes. the country’s main warehouse of silk motifs, forking stems and sprouts with Italian weavers moved to the grow import. In 1536 two Italian merchants Etienne Turquet and Bartholomme small blossoms. The most popular col ing silk weaving centres in France, and ours were royal crimson, green, violet, their experience and mastery became Naris obtained permission to found or blue, which helped to increase the the basis for the French silk industry, to the first silk weaving workshop in special shine of gold and silver threads. which the second part of the exhibition Lyons and started the history of silk in is dedicated. the city. By combining velvet pile of dif ferent height, various gold and silver threads, metal loops and their larger patches, Italian velvet weavers created At the beginning silk was woven in The French style. 18th century In the 18th century, France was the a great many small independent work shops. Up until the early 17th century textiles of rich texture, whose relatively obvious leader in
silk weaving, and these workshops wove plain, unpat simple ornaments gave an impression Lyons became the capital of silk. It is terned silk fabrics, such as satin, taf of most intricate compositions. testified by a great number of liturgi feta, velvet, and gold-coated and silver- In the second half of the 16th cen cal vestments made from French pat coated fabrics interwoven with threads tury a crucial shift took place in textile terned multi-coloured fabrics of the of precious metals. It was not until ca. fashions - heavy pile-on-pile velvet Baroque and Rococo styles, which are 1605 that Claude Dangon installed the (alto e basso), and other stiff and ex held in the churches and museums of first loom, called d la grande tire, for tremely expensive fabrics containing Lithuania. The aim to dazzle, which was weaving patterned fabrics and evident metal threads gradually gave way to performed by the décor, ornaments, ly brought from Italy. 1667 saw the birth 180
of the organized textile industry, regu different colours overlap forming a half the liturgical textiles of the Buivydžiai, lated by the law and called La Grande tone and not leaving any contour be Eišiškės, Paberžė, Palūšė, Sudervė, Fabrique ֊ the Grand Factory, which in tween the colours. Vivid, soft, and lush Tabariškės, Turgeliai, and Vidiškės cluded everyone involved in silk weav floral ornaments creating an impression churches. ing or processing in Lyons. of space, light, shadow, and movement Finally, in the 18th century the so- called genuine French style was born. became predominant in textile. Ca. 1740 departure from the natu Kontusz sashes. Silk fabrics from local weaving In 1726-1730 significant changes took ralistic style became distinct. At the workshops in the second half place in Lyons - large orders for the beginning of the 1740s the earlier mas of the í8th century interior decoration of the royal palace sive picturesque plants were still popu Having emerged in the territory of in Versailles began to come in. They lar, but they were no longer scattered the Polish-Lithuanian Commonwealth, stimulated active development of silk in separate compositions but grouped kontusz sashes are a unique textile industry, which lasted until the French into slanting undulating rows. The mo artefact representing а combination Revolution. In 1789-1797 this thriving tifs of the ornaments grew considerably of the Eastern and the Western artistic industry almost totally collapsed. In smaller and again became more styl cultures. They are derived from similar 1786,15,000
looms operated in the city, ized and decorative, while the abun textiles woven in Persia, India, and after the revolution hardly more dance of realistic fruits and flowers was and Turkey. However, kontusz sashes than 3,000 were left. replaced with light bouquets arranged did not become a mere imitation in oblique loops and creating a light of Persian sashes - an authentic local change in the ornamentation of silk dance-like style. The spirit of Rococo ֊ style was formed in Lithuania and fabrics in the 18th century was brought light, playfulness, and charm - is partic Poland. by the birth of a new naturalist style in ularly distinct in these textiles. The largest and most impressive the 1730s. Its originator was the famous The part of the catalogue present Produced by the collision of the West and the East, and referred to as Lyons-based textile designer of that ing the heritage of 18th century textiles Sarmatian, national, Polish, and kon time Jean Revel (1684-1751), who was revealed in the liturgical vestments tusz, a unique nobleman's costume called "the Raphael of Silk”. A tendency of the churches of the Vilnius Diocese became one of the most important to naturalism was felt already since the shows the scale of import of the most symbols of the worldview of Sarmatism end of the 17th century, when textile cre fashionable and luxurious textiles to prevailing in the Kingdom of Poland ators began to look for the ways to make the Grand Duchy of Lithuania. It is not and also characteristic of the Grand the motifs of textile patterns as realistic only the Vilnius Cathedral
or other Duchy of Lithuania. as possible. Floral ornaments grew more churches of the capital that boast ex asymmetric, and motifs became larger, cellent liturgical vestments made from number of components including foot which allowed more space for the play of 18th century French fabrics - even wear, weapons, headwear, and even light and shadow and for conveying the small village churches have retained hairstyle or moustache. A kontusz - spatial form of most popular fruits and rich collections of clothes from that pe a long outer garment, wider at the bot lush flowers. Ca. 1730 a real revolution riod. Worthy of mention is the highly tom, with a set of buttons down the took place. Jean Revel discovered the valuable collection of liturgical vest front and long, freely hanging sleeves bercie technique, when threads of two ments of the Rykantai church, as well as open from the armpit - gave the name 181 This costume consisted of a large
to the entire costume, and alongside Slutsk; around a dozen masters and as manufactures in Lyons. The album to a sash worn over it. The sash did not sistants worked there. Madžarski’s son, confirmed that the large weaving serve a practical purpose. The most also a master, Leon Madžarski became workshops of kontusz sashes of the important was its decorative and iden the administrator of the Slutsk manu Grand Duchy of Lithuania, unable to tifying function. This costume detail facture ca. 1780. meet high demand, would order them characterized by silk, silver and gilded The events which followed each oth abroad. Part of these sashes repeated silver threads, as well as the complex er in rapid succession at the end of the the patterns typical of the workshops ity and quality of weaving, showed not 18th century - the uprising of Tadeusz of Slutsk and other famous work only the material wealth of its owner, Kościuszko, the Third Partition of the shops, while others were obviously but also his social status and duties, re Polish-Lithuanian Commonwealth, the distinguished by the French style of flected his worldview, and was an object loss of state independence, and the col ornamentation. of pride. lapse of economy - weakened and ru When the Polish-Lithuanian The most famous weaving work ined the Slutsk manufacture, and the Commonwealth lost its statehood, in shop of kontusz sashes in the Grand war of 1812 put an end to its efforts to 1831 the tsarist administration prohibit Duchy of Lithuania was the Madžarski recover, although officially it was not ed wearing a kontusz,
which expressed manufacture that operated in Slutsk. until 1848 that the Slutsk manufacture a nobleman’s national identity, as well It was founded by the Radziwiłł fam stopped operation. as kontusz sashes. A great number of ily: the hetman of the Grand Duchy, A complex of manufactures that sashes were destroyed, while others sur the voivode of Vilnius and the ordynat produced leather artefacts, stockings, vived as exhibits of estate collections. (a heir of a fee tail estate) of Nesvizh hats, carriages, etc., built in the do Probably the largest part of kontusz Michal Kazimierz "Rybeńko" Radziwiłł mains of Count Antoni Tyzenhaus in sashes was donated to churches as lux (1702-1762), and his son Karol II Grodno, also included a factory of silk urious fabrics or sentimental family rel Stanislaw Radziwiłł (1734-1790). The fabrics and sashes. The count sought to ics, possibly as votives, and were used year 1767 is considered to mark the turn his silk factory into a large weav to make liturgical vestments. To make beginning of operation of the manu ing workshop modelled after the French a chasuble or a dalmatic, sashes were facture. A master of Armenian and workshops, for weaving sashes that cut into half, and their decorative ends Hungarian origin, Jan Madžarski, would be more similar in stylistics and were fitted into the backside of the gar moved to the Polish-Lithuanian weaving techniques to 18th century ment, which was more visible during Commonwealth from Istanbul along French textiles produced in Lyons rath the service. Several copes with a kon with other
Armenians looking for a pos er than their Eastern predecessors. tusz sash sown in the place of an or- sibility to make a living from their craft, Quite many weaving workshops of phrey have survived in Lithuania. Quite in 1750. He was the main artistic and kontusz sashes operated in the territory often the entire end of a sash would technical director of the manufacture of Poland. The most prominent of them be transformed into a chalice veil or and the creator of textile ornaments. In were located in Kobyłka and Warsaw a pillow for the Missal, and the scraps the 1770s he rented the weaving work (Lipków). remaining after making the main li shop from the Radziwills. From 1767 In 1972 a small album contain turgical vestments would be sown to to 1776, at least 758 sashes mentioned ing examples of sashes woven from gether to make stoles, maniples, burses in various documents were woven in 1785 to 1792 was found in one of the or palls.
Rodyklė Safavidai 9,10 Indas 9 Achemenidai 9 Sasanidai 9 Iranas 9 Čiurlionis Mikalojus Konstantinas 127 Tyzenhauzas Antanas 129 Ispanija 10, 53 Dangonas Klodas 53 Turke Etjenas 53 Italija 7,10,15,17,19,20,23,25,28,31,34,37, Filsjeanas Steponas 164,176 Vaina Benediktas 170 Asmenvardžiai 38,43,46,48,53,54,60,169,170,171 Karvys 131,175 Geltonasis imperatorius 8 Hanai 8 Vietovardžiai Kašgaras 9 Jakubovičius Paschalis 129 Abiejų Tautų Respublika 7,127,128, Kaukazo kalnai 9 Įogailaičiai 127 Kinija 8,9 129,160 Justinianas 9 Airija 10 Kobylka 129,164,176 Konecpolskls Stanislovas 7 Altajaus kalnai 8 Konstantinopolis 9 Konfucijus 8 Amalfis 15 Krefeldas 54 Korvinas Gosievskis Aleksandras Anglija 10 Krokuva 129 Antiochija 9 Kunluno kalnai 8 Kosciuška Tadas 129 Baltarusija 128 Lavoriškės 143,163,175,176 Liudvikas XI53 Bizantija 9,15 Lenkija, LK 7,127,128,129,130,164,176 Liudvikas XIV 54 Brodai 7,128 Lietuva 7,15,20,23,28,53, 55,72,127,129, Luo Dzu 8 Bučačas 128 Madžarskiai 128 Buivydžiai 46,55, 96,170,173 Madžarskis Jonas 128,131,134,137,175 Ciurichas 54 7, 8,10 55,123,128,129,130,134,139, Madžarskis Leonas 129,140,143,145, Čanganas 8 140,143,145,146,151,154.157.158,169, Danija 10 170,175,176 169,170 146,148,175,176 157,169,171,172,173,174,175,176 Lietuvos Didžioji Kunigaikštystė, LDK Lionas 7,10,53,54,55, 60, 65, 66, 69, Martinaitienė Gražina Marija 127 Dunojus 9 Nari Bartolomėjus 53 Egiptas 9 72,75, 80, 87, 93, 96,99,102,109,113, Pacaitė-Gosievskienė Ieva 169,170 Eišiškės 55, 89,172 119,120,129,151,160,161,163,171,172, Pacas Mikalojus Steponas 170 Europa 7, 9,10,15,17,46, 54,55,87,
89, 173,174,176 164,176 Lipkuvas 129 Pranciškus 153 Florencija 10,15 Londonas 54 Prokopijus 9 Gardinas 8,129,150,151,154,157,158, Luka 15 Partal 9 Radvila Karolis II Stanislovas 128,129 Mažoji Azija 15 164,176 Radvila Mykolas V Kazimieras 128 Genuja 10,15 Mervas 9 Radvilos 128,129 Gobio dykuma 9 Nantas 54 Rafaelis 54 Haranas 9 Naujasis Strūnaitis 146,176 Revelis Žanas 54,55 Heši 8 Nesvyžius 128 Richthofenas Ferdinandas 8 Indija 127 Nimas 54 185
Paberžė 55,77,172 Palmyra 9 Sluckas 128,129,131,134,137,138,139, Turkija 127 140,143,145,146,148,175,176 Tūras 53,54 Palūšė 55,158,176 Smolenskas 169,170 Ukraina 128 Paryžius 54 Spitalfildas 54 Varšuva 129 Persija 9,23,127,169 Stambulas 128 Venecija 9,10,15,23,25,169,170 Piza 15 Stanislavas 128 Vengrija 127 Prancūzija 7,10,17,53,54,56,59,62, Sudervė 7,19,55,113,119,169,174 Versalis 54 75, 84,90,93,100,102,110,122,161, Šansi 8 Vidiškės 55, 60,171 163,171,172,173,174,176 Šiauliai 127 Vidurinė Azija 9 Provansas 53 Šilko kelias 8,9 Viduržemio jūra 7,8,9,128 Riešė 48,170 Šveicarija 10,54 Vilkaviškis 127 Rykantai 55,111,105,148,173,176 Tabariškės 55 Vilnius 7,15,20,23,25,28,31,34,37,38,43, Roma 8 Taklamakano dykuma 9 55,56,59,62, 65,66, 69,72,80,84,87, Rusija 173 Tian Šanio kalnai 9 99,102,109,110,115,120,122,127,128, Sianas 8 Tyras 9 130,134,137,139,140,145,154,157,161, Sirija 9 Trakai 90,100,129,151,164,173,173,176 Syrdarja 9 Turgeliai 55,75,172 169,170,171,172,173,174,175,176 Vokietija 10,20,54,169 |
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| id | DE-604.BV047439376 |
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| index_date | 2024-07-03T18:00:36Z |
| indexdate | 2024-07-10T09:12:12Z |
| institution | BVB |
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| spelling | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje sudarytoja ir tekstų autorė Rita Pauliukevičiūtė ; vertėja Aušra Simanavičiūtė Vilnius Bažnytinio Paveldo Muziejus 2014 185 Seiten 26 cm sti rdacontent txt rdacontent n rdamedia nc rdacarrier Englische Zusammenfassung Liturgisches Gewand (DE-588)4167977-5 gnd rswk-swf (DE-588)4145395-5 Bildband gnd-content Liturgisches Gewand (DE-588)4167977-5 s DE-604 Pauliukevičiūtė, Rita edt wat Bažnytinio Paveldo Muziejus (Vilnius) (DE-588)16167404-5 isb Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032841578&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032841578&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032841578&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Personen- und Ortsregister |
| spellingShingle | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje Englische Zusammenfassung Liturgisches Gewand (DE-588)4167977-5 gnd |
| subject_GND | (DE-588)4167977-5 (DE-588)4145395-5 |
| title | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje |
| title_auth | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje |
| title_exact_search | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje |
| title_exact_search_txtP | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje |
| title_full | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje sudarytoja ir tekstų autorė Rita Pauliukevičiūtė ; vertėja Aušra Simanavičiūtė |
| title_fullStr | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje sudarytoja ir tekstų autorė Rita Pauliukevičiūtė ; vertėja Aušra Simanavičiūtė |
| title_full_unstemmed | Šilkas ir auksas XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje sudarytoja ir tekstų autorė Rita Pauliukevičiūtė ; vertėja Aušra Simanavičiūtė |
| title_short | Šilkas ir auksas |
| title_sort | silkas ir auksas xv xviii a silkiniai audiniai baznytinio paveldo muziejaus liturginiu drabuziu rinkinyje |
| title_sub | XV-XVIII a. šilkiniai audiniai Bažnytinio paveldo muziejaus liturginių drabužių rinkinyje |
| topic | Liturgisches Gewand (DE-588)4167977-5 gnd |
| topic_facet | Liturgisches Gewand Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032841578&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032841578&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032841578&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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