Abstract
<p>W artykule zostały przybliżone niektóre fragmenty z życia osobistego księżniczki Marii (Lupu) Radziwiłł. W tym celu wykorzystano materiał ilustracyjny. Na szczególne zainteresowanie zasługują różne wizerunki Marii przedstawione w formie fresków, rycin i obrazów pochodzących z XVII–XVIII wieku, które zachowały się w muzeach i kościołach Polski, Litwy, Białorusi, Rumunii i Rosji. Po raz pierwszy w literaturze historycznej podjęto próbę chronologicznego odtworzenia historii portretów i obrazów przedstawiających Marię. Zastosowanie aspektu ilustracyjnego w metodologii badań historycznych pozwala autorowi połączyć słowo i obraz, podnosząc wartość dokumentów rzeczowych – źródeł narracyjnych i dzieł sztuki – w celu stworzenia głębokiego i wielopłaszczyznowego obrazu epoki a także odwzorowania życia codziennego, kwestii duchowości i moralności tamtego okresu.</p>
Highlights
This painting points out the following details: Maria (Lupu) Radziwiłł is depicted in a costume that was fashionable at the time, in a mixed style (presenting local traditional, and European elements) (Spanish – sic!) and was fitted – emphasizing the elegance of her graceful figure We can observe that Maria had beautifully rounded eyebrows and sensual lips, and her face shows up a charming smile The massive, embroidered cross, hanging over her clothes, draws our attention – it is a detail that speaks of her religious identity and of Maria's deep faith She wears a white frilly veil, falling on her shoulders This sort of head dress was giving women of the time a certain distinction, but was pointing out their modesty, especially when the white color was complemented by a black dress and black hair
The work was done in 1646 on the order of Janusz Radziwiłł by the baroque painter Johannes Shretter (?–1685) and was probably executed for the new castle of Vilnius17 At present, this renowned double-portrait is being preserved by the National Museum of History and Culture of Belarus18
This study is an attempt to edify the preserved images of the epoch from different points of view: as works of art, as painting techniques of the time or of the historical patrimony in general, in order to frame, in a particular way, the importance of moral values According to our own point of view, it is this sort of historical sources that allows the discovery and the study of certain research areas that have been neglected by the specialists: people's behavior and way of thinking, snippets of the private daily life of families, regarded as a whole, the spirituality and manners of the epoch and, of women
Summary
This painting points out the following details: Maria (Lupu) Radziwiłł is depicted in a costume that was fashionable at the time, in a mixed style (presenting local traditional, and European elements) (Spanish – sic!) and was fitted – emphasizing the elegance of her graceful figure We can observe that Maria had beautifully rounded eyebrows and sensual lips, and her face shows up a charming smile The massive, embroidered cross, hanging over her clothes, draws our attention – it is a detail that speaks of her religious identity and of Maria's deep faith She wears a white frilly veil, falling on her shoulders This sort of head dress was giving women of the time a certain distinction, but was pointing out their modesty, especially when the white color was complemented by a black dress and black hair
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