Polityka rosyjskiej Cerkwi prawosławnej wobec cudownych obrazów katolickiej proweniencji na wschodnich terenach dawnej Rzeczypospolitej w XIX w. na kilku przykładach

Volha Barysenka
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Abstract

Due to the liquidation of the Union in 1839 and the transfer of Catholic churches to the Orthodox Church after the rebellions of 1830–1831 and 1863–1864 in the territories of the former Polish -Lithuanian Commonwealth which were incorporated into the Russian Empire, a great deal of sacred art pieces of western -Christian art became property of the Orthodox Church. As per directions of the Church authorities, the images of Jesus Christ, Our Lady and the Saints of the Undivided Church could remain in Orthodox churches, while those of Catholic and Greek -Catholic Saints were to be given back to Catholics. The images that were left in Orthodox churches were to be changed to meet the Orthodox rules. That usually meant addition of an inscription or repainting of the image partially or fully. The situation was different in relation to miraculous images. After being transferred to the Orthodox churches they remained unchanged, even in the cases when their iconography was unacceptable for the Orthodox Church or when they represented Catholic Saints, such as Ignatius Loyola or Anthony of Padua. This was related to the effect miraculous images had on local communities. The cult of miraculous images was above -confessional; believers of different Christian confessions went on pilgrimages to them. Leaving these images as is they were aimed at converting Catholics to Orthodoxy to strengthen the position of the Russian Empire on the land of the former Polish - -Lithuanian Commonwealth. To justify the functioning of western -Christian images in the Orthodox Church, both new legends were developed stating the images had Orthodox origins and were taken by Catholics, and attempts of theological rationale were made. These activities were successful: the images that survived through the disasters of the 20th century are still in the cult of the Orthodox Church along with the legends of their Orthodox origin developed in the 19th century.
由于1839年联邦的清算,以及1830-1831年和1863-1864年在前波兰立陶宛联邦领土上被并入俄罗斯帝国的叛乱后,天主教会转移到东正教会,大量西方基督教艺术的神圣艺术品成为东正教会的财产。按照教会当局的指示,耶稣基督、圣母和未分裂教会圣徒的肖像可以留在东正教教堂,而天主教和希腊天主教圣徒的肖像则要归还给天主教徒。为了符合东正教的规定,留在东正教教堂里的图像将被更改。这通常意味着添加铭文或部分或全部重新绘制图像。对于奇迹般的图像,情况就不同了。在被转移到东正教教堂后,他们保持不变,即使在他们的肖像不能被东正教接受的情况下,或者当他们代表天主教圣徒时,如伊格内修斯罗耀拉或帕多瓦的安东尼。这与神奇的图像对当地社区的影响有关。对奇迹形象的崇拜是超越忏悔的;不同基督教信仰的信徒前往朝拜。这些画像原封不动,目的是让天主教徒皈依东正教,以加强俄罗斯帝国在前波兰立陶宛联邦土地上的地位。为了证明西方基督教图像在东正教中的作用是正当的,两个新的传说都被发展出来,说这些图像有东正教的起源,是由天主教徒拍摄的,并尝试了神学上的理由。这些活动是成功的:在20世纪的灾难中幸存下来的图像仍然在东正教教堂的崇拜中,以及19世纪发展起来的东正教起源的传说。
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