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\ud83d\udcd0 IZM\u0112RI<\/strong><\/p>\n

Augstums 101 cm \u00d7 platums 29 cm. Svars \u2014 \u013coti iev\u0113rojams, mas\u012bvs m\u0101kslas \u0123ipsis (pl\u00e2tre d’art<\/em>) ar iek\u0161\u0113jo met\u0101la arm\u0113jumu. Bazn\u012bcas alt\u0101ra izm\u0113ra fig\u016bra.<\/p>\n<\/div>\n

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Madonna ar B\u0113rnu J\u0113zu un Vissv\u0113t\u0101ko Sirdi \u2014 Neogotika \/ Katolisk\u0101 atdzim\u0161ana, Lj\u0113\u017ea (Be\u013c\u0123ija), ap 1870.\u20131910. \u00b7 Autors: L\u00e9on Beaujean, Li\u00e8ge<\/h2>\n
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\ud83c\udfdb\ufe0f IZGATAVO\u0160ANAS PERIODS, M\u0100KSLAS STILS, LAIKMETS<\/strong><\/p>\n
\u0160\u012b fig\u016bra pieder tam \u012bpa\u0161ajam 19. gadsimta otr\u0101s puses periodam Eiropas kato\u013cu m\u0101ksl\u0101, ko v\u0113sturnieki d\u0113v\u0113 par restauration catholique<\/em><\/strong> \u2014 kato\u013ctic\u012bg\u0101s atdzim\u0161anas laikmetu, kur\u0101 p\u0113c Francijas revol\u016bcijas posto\u0161ajiem gadiem un sekulariz\u0101cijas vi\u013c\u0146a Eiropa no jauna piepild\u012bja savas bazn\u012bcas ar sakr\u0101liem t\u0113liem. Neo\u0123otisk\u0101 kust\u012bba \u0161aj\u0101 period\u0101 nebija vairs tikai arhitekt\u016bras est\u0113tika \u2014 t\u0101 bija gar\u012bgas programmas izpausme, kas cent\u0101s atgriezties pie viduslaiku bazn\u012bcas t\u0113lniec\u012bbas t\u012br\u012bbas, vienk\u0101r\u0161\u012bbas un dievbij\u012bg\u0101s cie\u0146as. Madonnai rakstur\u012bgais sejas tips \u2014 augsti apliekti vaigi, platas acis ar kluso, neatraujamo skatienu, smalki iez\u012bm\u0113tas uzacis bez ekspresijai \u2014 ir tie\u0161a Neogotisk\u0101s ikonogr\u0101fijas paz\u012bme. Tom\u0113r t\u0113rpa krokojuma natur\u0101lisms un B\u0113rna sejas silt\u0101 re\u0101listisk\u0101 model\u0113\u0161ana liecina, ka L\u00e9on Beaujean<\/strong> nebija akls viduslaiku atdarin\u0101t\u0101js \u2014 vi\u0146\u0161 bija akad\u0113miski izgl\u012btots t\u0113lnieks, kur\u0161 apvienoja viduslaiku gar\u012bgo st\u0101ju ar 19. gadsimta akad\u0113misk\u0101 re\u0101lisma amatniecisko precizit\u0101ti. Fig\u016bra att\u0113lo klasisko Immaculata<\/em> \u2014 Bezvain\u012bg\u0101s Ie\u0146em\u0161anas \u2014 ikonogr\u0101fiju: Marija zil\u0101 apmetn\u012b tur mazo J\u0113zu, kur\u0161 ar pirkstu r\u0101da uz Savu Vissv\u0113t\u0101ko Sirdi (Sacr\u00e9-C\u0153ur<\/em>)<\/strong> \u2014 sirdi ar \u0113rk\u0161\u0137u vainagu, liesm\u0101m un gaismas stariem, kas ir 19. gadsimta kato\u013ctic\u012bg\u0101s devocion\u0101l\u0101s m\u0101kslas ikonisk\u0101kais simbols. Zem Marijas k\u0101j\u0101m \u2014 \u010d\u016bska ar atv\u0113rtu muti, kura tiek m\u012bta \u2014 tas ir sen\u0101kais Jaunavas Marijas ikonogr\u0101fiskais mot\u012bvs, kas atsaucas uz Rad\u012b\u0161anas gr\u0101matas 3:15 (“Es lik\u0161u ienaidu starp tevi un sievieti”) un simboliz\u0113 uzvaru p\u0101r gr\u0113ku un \u013cauno.<\/p>\n
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\u269c\ufe0f RA\u017dOT\u0100JS UN AUTORS<\/strong><\/p>\n
Uz pamatnes nolas\u0101ms paraksts: L\u00e9on Beaujean \u2014 Li\u00e8ge<\/strong> (uz skulpt\u016br\u0101m bie\u017ei rakst\u012bts ar rokraksta burtu “M” pirms uzv\u0101rda \u2014 iesp\u0113jams, Monsieur Beaujean<\/em>, k\u0101 bija pie\u0146emts 19. gadsimta Be\u013c\u0123ij\u0101 apz\u012bm\u0113t cien\u012bjamu amata meistaru). L\u00e9on Beaujean bija Lj\u0113\u017eas sakr\u0101l\u0101s m\u0101kslas meistars un akad\u0113miski izgl\u012btots t\u0113lnieks, kur\u0161 vad\u012bja savu specializ\u0113tu darbn\u012bcu \u2014 Atelier de sculpture religieuse<\/em><\/strong> \u2014 reli\u0123isko t\u0113lu darbn\u012bcu, kas apkalpoja bazn\u012bcas, klosterus un priv\u0101t\u0101s kapelas vis\u0101 Valonijas re\u0123ion\u0101 un t\u0101l\u0101k. Lj\u0113\u017ea (Li\u00e8ge<\/em>, v\u0101ciski L\u00fcttich<\/em>) 19. gadsimt\u0101 bija ne tikai Be\u013c\u0123ijas liel\u0101k\u0101 r\u016bpniec\u012bbas pils\u0113ta un senas universit\u0101tes pils\u0113ta, bet ar\u012b noz\u012bm\u012bgs reli\u0123ioz\u0101s t\u0113lniec\u012bbas centrs \u2014 pils\u0113ta ar dzi\u013cu kato\u013ctic\u012bgo identit\u0101ti, kur\u0101 sakr\u0101l\u0101 m\u0101ksla bija gan gar\u012bg\u0101s dz\u012bves izpausme, gan presti\u017es amatniecisks eksporta produkts. Beaujean darbn\u012bcas produkcija \u2014 liela izm\u0113ra \u0123ip\u0161a fig\u016bras ar augstv\u0113rt\u012bgu polihrom\u0101s apglezno\u0161anas apdari \u2014 atbilda tie\u0161i tam, ko 19. gadsimta kato\u013cu bazn\u012bcu celtniec\u012bbas un restaur\u0101cijas bums (boom de construction religieuse<\/em>) piepras\u012bja vis\u0101 Be\u013c\u0123ij\u0101, Francij\u0101, V\u0101cijas Reinzem\u0113 un eksport\u0101 uz Lat\u012b\u0146ameriku. Izgatavo\u0161anas materi\u0101ls \u2014 augstv\u0113rt\u012bgais m\u0101kslas \u0123ipsis (pl\u00e2tre d’art<\/em>)<\/strong> ar iek\u0161\u0113jo met\u0101la arm\u0113jumu \u2014 bija 19. gadsimta otr\u0101s puses standarts augstas klases sakr\u0101l\u0101s t\u0113lniec\u012bbas darbn\u012bc\u0101s, kas nodro\u0161in\u0101ja gan smalku deta\u013cu precizit\u0101ti, gan fig\u016bras ilgiztur\u012bbu alt\u0101ra ekspoz\u012bcij\u0101 gadu desmitiem.<\/p>\n
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\ud83d\udc8e RETUMS UN NOZ\u012aME<\/strong><\/p>\n
Parakst\u012btas, identific\u0113tas autor\u012bbas bazn\u012bcas alt\u0101ra fig\u016bras ar piln\u012bgu un ikonogr\u0101fiski bag\u0101tu programmu \u2014 Immaculata<\/em> ar Vissv\u0113t\u0101ko Sirdi un \u010d\u016bsku \u2014 ir iev\u0113rojami ret\u0101ks atradums nek\u0101 anon\u012bmas s\u0113rijveida produkcijas fig\u016bras. \u0160\u012b darba augstums (101 cm) ir alt\u0101ra, nevis m\u0101jas dievbij\u012bbas (pi\u00e9t\u00e9 priv\u00e9e<\/em>) kategorija \u2014 fig\u016bra gandr\u012bz noteikti st\u0101v\u0101ja k\u0101d\u0101 bazn\u012bc\u0101 vai kloster\u012b un ir saklaus\u012bjusi simtiem t\u016bksto\u0161u l\u016bg\u0161anu, piedaloties sv\u0113tce\u013cniec\u012bbas vai draudzes dz\u012bv\u0113. Sv\u0113t\u0101s Sirds devocion\u0101l\u0101s ikonogr\u0101fijas kulmin\u0101cija sakrita tie\u0161i ar \u0161\u012b darba varb\u016bt\u0113jo rad\u012b\u0161anas laiku \u2014 p\u0113c 1875. gada, kad Par\u012bz\u0113 tika s\u0101kta Sacr\u00e9-C\u0153ur bazilikas celtniec\u012bba un Vissv\u0113t\u0101k\u0101s Sirds kults ieguva Vatik\u0101na augst\u0101ko sv\u0113t\u012bbu, radot milz\u012bgu piepras\u012bjumu p\u0113c \u0161\u012b ikonogr\u0101fisk\u0101 tipa fig\u016br\u0101m vis\u0101 kato\u013cu pasaul\u0113. L\u00e9on Beaujean paraksts uz \u0161\u012bs fig\u016bras ir ne tikai autor\u012bbas dokuments \u2014 tas ir pieder\u012bbas apliecin\u0101jums konkr\u0113tai Eiropas sakr\u0101l\u0101s m\u0101kslas trad\u012bcijai, kas \u0161odien arvien vair\u0101k tiek nov\u0113rt\u0113ta kolekcion\u0101ru un muzeju aprind\u0101s.<\/p>\n
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\ud83d\udd6f\ufe0f PIELIETOJUMS INTERJER\u0100, DIZAIN\u0100 UN FOTOGR\u0100FIJ\u0100<\/strong><\/p>\n
\u0160\u012b fig\u016bra ir telpisks pazi\u0146ojums \u2014 t\u0101 nevar atrasties st\u016br\u012b. T\u0101s augstums (101 cm) prasa atbilsto\u0161u pjedest\u0101lu, ni\u0161u vai konsoli \u2014 ide\u0101li uz m\u016bra, akmens vai tum\u0161\u0101 koka pamatnes, kur zil\u0101 apmet\u0146a debesszilajai gammai ir ko atsaukties. M\u016bsdienu interjeros t\u0101 funkcion\u0113 k\u0101 apzin\u0101ts kontrasts \u2014 gadsimtu pies\u0101tin\u0101ts gar\u012bgums modern\u0101 vai minim\u0101listisk\u0101 telp\u0101 rada dzi\u013cu, neatrisin\u0101mu dialogu. Sacred art collectors<\/em> un reli\u0123ioz\u0101s m\u0101kslas entuziastu aprind\u0101s \u0161\u0101da fig\u016bra ir mekl\u0113ta. Fotogr\u0101fiem t\u0101 ir sapnis \u2014 vi\u0146as skatiens, kas ir vienlaikus kl\u0101teso\u0161s un absol\u016bti cit\u0101s sf\u0113r\u0101s, rada kadros no\u0137eramu klusumu, ko m\u0101ksl\u012bgi rad\u012bt nav iesp\u0113jams.<\/p>\n
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\ud83d\udd0d ST\u0100VOKLIS<\/strong><\/p>\n
Fig\u016bra ir izcil\u0101 ant\u012bk\u0101 st\u0101vokl\u012b, \u0146emot v\u0113r\u0101 t\u0101s vecumu un bazn\u012bcas dz\u012bvi. M\u0101kslas \u0123ip\u0161a korpuss struktur\u0101li vesels. Polihromais kr\u0101sojums ar maigu, dabisku novecojumu \u2014 kr\u0101sa nav nolupusi, bet laika gait\u0101 ieguvusi dzi\u013cumu un patinu, kas tikai pastiprina fig\u016bras autentisko, dz\u012bvoto raksturu. Marijas rokas pirksti ir piln\u012bgi veseli \u2014 sare\u017e\u0123\u012btais l\u0113juma raksts, ko var \u0161\u0137ist par boj\u0101jumu, ir ori\u0123in\u0101l\u0101s skulpt\u016bras dab\u012bg\u0101 virsmas strukt\u016bra un nolietojums. B\u0113rna J\u0113zus fig\u016bra vesela. \u010c\u016bskas galva ar sarkano atv\u0113rto muti labi saglab\u0101jusies. Pamatne ar nelielu apka\u013c\u0137ojumu \u2014 dabisks laika nospiedums. Iek\u0161pus\u0113 redzams met\u0101la arm\u0113jums \u2014 ori\u0123in\u0101lais konstrukcijas elements. Lietas st\u0101voklis piln\u012bb\u0101 atspogu\u013cots fotogr\u0101fij\u0101s.<\/p>\n
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\ud83c\uddec\ud83c\udde7 DESCRIPTION IN ENGLISH<\/strong><\/p>\n
Madonna with the Child Jesus and the Most Sacred Heart \u2014 Neo-Gothic \/ Catholic Revival, Li\u00e8ge (Belgium), circa 1870\u20131910 \u00b7 Artist: L\u00e9on Beaujean, Li\u00e8ge<\/h2>\n
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\ud83d\udcd0 DIMENSIONS<\/strong><\/p>\n
Height 101 cm \u00d7 width 29 cm. Weight \u2014 very substantial, solid art plaster (pl\u00e2tre d’art<\/em>) with internal metal armature. An altar-scale figure.<\/p>\n
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\ud83c\udfdb\ufe0f PERIOD, ART STYLE, HISTORICAL CONTEXT<\/strong><\/p>\n
This figure belongs to the singular period of the restauration catholique<\/em><\/strong> \u2014 the Catholic revival of the second half of the 19th century \u2014 in which Europe, following the devastation of the French Revolution and the secularisation movements that swept the continent, refilled its churches with sacred images. The Neo-Gothic movement in this period was no longer merely an architectural aesthetic: it was the expression of a spiritual programme seeking to return to the purity, simplicity, and devotional gravity of medieval church sculpture. The Madonna’s facial type \u2014 high cheekbones, wide eyes with a still and undistractable gaze, delicately arched brows free of expressionist distortion \u2014 is a direct marker of Neo-Gothic iconography. Yet the naturalism of the drapery folds and the warmly realistic modelling of the Child’s face reveal that L\u00e9on Beaujean<\/strong> was no blind imitator of the Middle Ages: he was an academically trained sculptor who married medieval spiritual posture with the craft precision of 19th-century academic realism. The figure presents the classical Immaculata<\/em> \u2014 the Immaculate Conception \u2014 iconographic programme: Mary in a blue mantle holds the Child Jesus, who points with his finger to His Most Sacred Heart (Sacr\u00e9-C\u0153ur<\/em><\/strong>) \u2014 the heart encircled by a crown of thorns, flames, and rays of light, the most iconic devotional symbol of 19th-century Catholic art. Beneath Mary’s feet lies the serpent with open mouth, being trodden down \u2014 the oldest iconographic motif of the Virgin Mary, referencing Genesis 3:15 (“I will put enmity between thee and the woman”) and symbolising victory over sin and evil.<\/p>\n
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\u269c\ufe0f MAKER AND ARTIST<\/strong><\/p>\n
The base bears the signature: L\u00e9on Beaujean \u2014 Li\u00e8ge<\/strong> (on sculptures frequently written with the cursive letter “M” before the surname \u2014 most likely Monsieur Beaujean<\/em>, as was customary in 19th-century Belgium when referring to a distinguished master craftsman). L\u00e9on Beaujean was a master of sacred art in Li\u00e8ge and an academically trained sculptor who directed his own specialist workshop \u2014 the Atelier de sculpture religieuse<\/em> <\/strong>\u2014 serving churches, monasteries, and private chapels throughout the Wallonia region and beyond. Li\u00e8ge in the 19th century was not only Belgium’s greatest industrial city and an ancient university town but also a significant centre for religious sculpture \u2014 a city with a profound Catholic identity in which sacred art was both a spiritual expression and a prestigious craft export product. The output of the Beaujean workshop \u2014 large-format plaster figures with high-quality polychrome painted finish \u2014 answered precisely what the great Catholic church-building and restoration boom of the 19th century demanded across Belgium, France, the German Rhineland, and in export to Latin America. The material \u2014 high-quality art plaster (pl\u00e2tre d’art<\/em>)<\/strong> with an internal metal armature \u2014 was the standard of high-class religious sculpture workshops of the period, ensuring both the precision of fine detail and the structural longevity of the figure through decades of altar exposure.<\/p>\n
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\ud83d\udc8e RARITY AND SIGNIFICANCE<\/strong><\/p>\n
Signed, authoritatively attributed church altar figures with a complete and iconographically rich programme \u2014 the Immaculata<\/em> with the Sacred Heart and the serpent \u2014 are a considerably rarer find than anonymous serial-production pieces. The height of this work (101 cm) places it firmly in the altar rather than private devotional (pi\u00e9t\u00e9 priv\u00e9e<\/em>) category: the figure almost certainly once stood in a church or convent and has absorbed the prayers of hundreds of thousands, participating in the sacramental and pilgrim life of a community. The Sacred Heart devotional iconography reached its cultural peak in precisely the probable period of this work’s creation \u2014 after 1875, when construction of the Sacr\u00e9-C\u0153ur Basilica in Paris began and the cult of the Most Sacred Heart received the highest Vatican blessing, generating an enormous demand for figures of this iconographic type throughout the Catholic world. The signature of L\u00e9on Beaujean on this figure is not merely a document of authorship \u2014 it is a certificate of belonging to a specific tradition of European sacred art that is today increasingly valued in collector and museum circles.<\/p>\n
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\ud83d\udd6f\ufe0f USE IN INTERIOR, DESIGN AND PHOTOGRAPHY<\/strong><\/p>\n
This figure is a spatial declaration \u2014 it cannot be placed in a corner. Its height (101 cm) calls for an appropriate plinth, niche, or console \u2014 ideally set against stone, brick, or dark wood, where the celestial blue of the mantle has something to resonate against. In contemporary interiors it functions as a deliberate counterpoint: a century-saturated spiritual presence within a modern or minimalist space creates a deep, unresolvable dialogue. Among sacred art<\/em> collectors and religious art enthusiasts, a figure of this calibre is actively sought. For photographers it is a dream subject \u2014 her gaze, simultaneously present and entirely elsewhere, creates within the frame a silence that cannot be artificially manufactured.<\/p>\n
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\ud83d\udd0d CONDITION<\/strong><\/p>\n
The figure is in excellent antique condition given its age and its life of ecclesiastical service. The art plaster body is structurally sound throughout. The polychrome colouring shows gentle, natural age-related mellowing \u2014 the paint has not flaked but has over time acquired depth and patina that only deepens the figure’s authentic, lived character. The fingers of the Madonna’s hand are fully intact \u2014 what may appear as damage in certain lighting is the natural surface texture and wear of the original cast, a complex moulded form. The Child Jesus figure is intact in all details. The serpent’s head with its red open mouth is well preserved. The base shows minor calcification \u2014 a natural imprint of time. The internal metal armature is visible \u2014 an original structural element. The condition of the item is fully reflected in the photographs.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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\ud83d\udcd0 IZM\u0112RI Augstums 101 cm \u00d7 platums 29 cm. Svars \u2014 \u013coti iev\u0113rojams, mas\u012bvs m\u0101kslas \u0123ipsis (pl\u00e2tre d’art) ar iek\u0161\u0113jo<\/p>\n","protected":false},"featured_media":44652,"template":"","meta":[],"product_brand":[],"product_cat":[232,204],"product_tag":[],"class_list":["post-44651","product","type-product","status-publish","has-post-thumbnail","product_cat-figuras-2","product_cat-visas-lietas","first","instock","shipping-taxable","purchasable","product-type-simple"],"_links":{"self":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product\/44651","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/media\/44652"}],"wp:attachment":[{"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/media?parent=44651"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product_brand?post=44651"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product_cat?post=44651"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/server.id.lv\/lv\/wp-json\/wp\/v2\/product_tag?post=44651"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}