Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecture

Q3 Arts and Humanities
Žygimantas Buržinskas
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Abstract

Summary The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18th century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18th century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19th century.
立陶宛大公国的统一宗教建筑:忏悔建筑的综合
前立陶宛大公国的一神派建筑遗产至今很少受到研究人员的关注。这篇文章展示了一个综合的巴西人的统一和秩序,反映了东正教建筑遗产的旧继承,但同时也越来越多地受到天主教教堂形成的建筑传统的影响。本文介绍了统一建筑的发展趋势,重点关注立陶宛大公国领土上属于统一和巴西人秩序的砖和木制神圣建筑。早期的联合神庙的例子反映了综合的显著特征,特别是在希腊十字平面的形成和建筑不同轴线上的apses中。所有这些都标志着乌克兰、摩尔多瓦和其他中欧和东南欧地区的建筑影响,这些影响在东正教建筑中也很明显。木制的统一建筑,就像砖石建筑一样,明显继承了东正教建筑的特点,在后期,早在18世纪,就有一种采用天主教教堂建筑原则的趋势,这导致了大多数统一建筑与天主教教堂建筑的完全融合。维尔纽斯巴洛克学派形成于巴洛克时代晚期,形成了统一和天主教教堂建筑的总体趋势,其中在18世纪下半叶,更大的结构和艺术原则的明确划分不再明显。文章还介绍了维尔纽斯市唯一的联合教区教堂——巴洛克风格的圣尼古拉斯教堂的形象,该教堂在19世纪下半叶重建后丢失。
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来源期刊
Art History and Criticism
Art History and Criticism Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.30
自引率
0.00%
发文量
7
审稿时长
24 weeks
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