Originalas ir rekonstrukcija Alytaus kraštotyros muziejuje. Praktika, galimybės ir perspektyva

LTAlytaus kraštotyros muziejaus veikloje pirmą kartą su originalo ir jo rekonstrukcijos panaudojimu susidurta dar 1999 m., o nuo 2008 m. tai tampa įprasta praktika. Tuomet naujai įrengtoje ekspozicijoje „Gyvenimas apibus Nemuno. Alytus archyvų, bibliotekų ir muziejų dokumentuose“ panaudojant archeologinę ir ikonografinę medžiagą buvo sukurti XIV a. LDK kario (Alytaus pilies gynėjo) bei XVI a. miestietės kostiumai. Kiekvieną kartą rengiant naujas parodas ar ekspozicijas kyla tie patys klausimai: kokia originalo bei jo rekonstrukcijos vieta kuriamame produkte ir kokią žinią norima perduoti lankytojui? Naudojant rekonstrukcijas susiduriama su eksponavimo, saugojimo, užsakymo, gamybos, kokybės ir finansinių galimybių problemomis [p. 145].

ENThe article analyses the use of originals and their reconstructions in the activities of Alytus Regional Museum since 1999. When organizing exhibitions and expositions, the issue is often addressed what is the place of the original and its reconstruction in the product under creation and what message is to be conveyed to the visitor? The use of reconstructions faces the problems of the display, storage, ordering, production, quality, and financial possibilities. These problems, which are relevant to many cultural institutions, are presented on the basis of the experience of projects implemented in Alytus Regional Museum: the exposition “Life on Both Sides of Nemunas. Alytus in Archive, Library and Museum Documents”, archaeological exposition “When there are no Trees Left for Souls” about the history of Southern Lithuania from the Stone Age to the origins of Alytus. Extensive experience was provided by exhibitions focused on the original and its reconstruction: “Archaeological Knives and their Reconstructions” and “The Findings of Kaukai and other Alytus District Mounds”. The role of reconstruction and original is also relevant in other activities of the museum: educational classes, scientific conferences, archaeological reconstruction festivals. When creating expositions, exhibitions, educational activities, the relationship between the original and the reconstruction can be multifaceted. For example, the original and the reconstruction are in one object (ceramics reconstructed from shards), the original and the reconstruction are in the same or separate spaces, the original does not exist, but iconographic material or written sources have remained.The question also arises, when can the reconstruction of the original be considered complete? The article is based on the theory that a complete reconstruction is when it is made in accordance with all the requirements set for it: retention of shape and dimensions, materiality, authentic performance technique, the survived original itself, the available archaeological research material and iconography. The museum activities have used 546 original archaeological finds, 7 reconstructions of original ceramics (several dozen of them are preserved in the museum funds) and 96 reconstructions made according to archaeological finds. Of these, 32 reconstructions have been exhibited together with the original. The highest quality requirements have been raised for them. 21 reconstructed articles have been exhibited together with the original, linking it with the archaeological site. Only 6 reconstructions have been presented with archaeological research and iconographic material. 4 original reconstructions have been used on advertising grounds as souvenirs, whilst 12 articles have been used in educational activities. 27 reconstructions belong to Alytus Regional Museum. However, in the practice of Alytus Regional Museum, there has not yet been a complete reconstruction.