Lietuvos bankas, asmenybės ir Lietuvos pinigai 1918-1940 m. lietuviškos spaudos karikatūrose

LTKarikatūros lietuviškoje spaudoje ypač tampa populiarios XX a. 3 deš. pabaigoje, o 4 deš. jos tampa ir meniškos, jų galima rasti ne tik specializuotuose humoro leidiniuose, bet ir oficiozinėje spaudoje. Karikatūrų temų spektras gana platus: nuo socialinių santykių iki biurokratijos kritikos, nuo Lietuvą sukrėtusių skandalų iki pasaulinės reikšmės įvykių. Įdomu, kad nors šiandien esame įpratę, jog karikatūros dažniausiai skirtos jose vaizduojamiems subjektams pašiepti, šaržuoti ar kritikuoti, tarpukario Lietuvoje nereta tema buvo panegirika valdžiai, kurios santykis į daugelį valstybės sferų nebuvo iki galo demokratiškas. Prie šių „panegirinių karikatūrų“ (su retomis išimtimis) galima priskirti ir Lietuvos banką, kuris pristatomas kaip stabilumą ir valstybės finansus garantuojanti institucija. Panašus vaidmuo suteikiamas ir šios institucijos valdytojams (ypač Juozui Tūbeliui, kuris iki tapdamas valdytoju užėmė finansų ministro ir ministro pirmininko pareigas, bei ilgiausiai valdytojo pareigas užėmusiam Vladui Stašinskui). Litas karikatūrose vaizduojamas (kartais tik minimas) taip pat dažnai, kaip ir Lietuvos kaip stabilios valstybės simbolis. Tiesa, jo vaidmuo gali būti ir kitas. Litas dažnai iliustruoja kapitalizmo kritiką, visuomenės socialinę stratifikaciją, biurokratiją, finansinius nusikaltimus ir kt. Verta pastebėti, kad lito dizainui dėmesys nėra skiriamas ir banknotai ar monetos vaizduojami dažnai apskritai be jokių skiriamųjų ženklų, leidžiant suprasti, kad tai yra litai. Visuomenėje pinigai buvo savaime suprantamas dalykas, naudojamas kasdien, nors jų svarba, žinoma, buvo didelė. Peržvelgus karikatūras ir panagrinėjus jose vaizduojamus objektus bei subjektus, galima geriau suprasti visuomenės požiūrį į Lietuvos banką ir į jam atstovaujančius asmenis [p. 49].

ENIn the periodical press of Lithuania, humor reflecting and mocking current affairs played a significant role among Lithuanian and foreign news, polemical works, and critical articles during the interwar period. In the 1920s–1930s a separate niche among periodicals was also occupied by satirical and humorous publications, in which humoresques, feuilletons, humorous poems, written parodies, and other works in this genre were printed. A significant place was also occupied by visual, artistic satire – caricatures that were much more critical of society than written media, and that were also better understood by Lithuanian citizens. In interwar caricatures, the economic condition of the country played a considerable role – as it continues to today. High prices and political and economic decisions were criticized, and personalities related to the financial sector were ridiculed. A significant proportion of these caricatures depicted the currency of the Republic of Lithuania, the litas. Often, the litas was depicted only as a general trope for money, intended for the wider social criticism of society. Sometimes the litas became the main character, and often this character became part of the image of Lithuania as a stable and rich state. The litas could also be an auxiliary tool for high-profile events that were much-discussed; often, those events were related to the potentially illegal use of financial resources or other phenomena outside the law. Another important topic for caricatures was one of the most significant financial institutions of the time: the Bank of Lithuania. It should be noted that the Bank of Lithuania was not depicted as often as other state institutions. This may also be related to the fact that the image of the Bank of Lithuania as a stable institution prevailed in society.On the other hand, the Bank of Lithuania was seldom involved in internal scandals and received less criticism as a result. It could also be said that the role of this institution in the Republic of Lithuania was not perceived as particularly important or significant, and it was hence accepted quite naturally. In 1928, the image of the Bank of Lithuania was significantly improved with the opening of the representative bank building in the temporary capital of Lithuania, Kaunas. This became a symbol of the institution and the subject of many caricatures. However, most of the attention of caricature artists was paid to personalities related in one way or another to the institution of the Bank of Lithuania. Attention was also paid to the members of the board of the Bank of Lithuania – mostly those who had greater influence in society and belonged to the so-called elite. Naturally, a focus was also placed on the four interwar governors of the Bank of Lithuania: Vladas Jurgutis, Vladas Stašinskas, Juozas Tūbelis, and Juozas Paknys. The majority of the cartoons or caricatures featuring them were used to illustrate bank-related events that were important to Lithuania, though they were few in number. The only exception to this is Juozas Tūbelis, long-time Prime Minister, Minister of Finance, and brother-in-law of the President of Lithuania, Antanas Smetonas. Tūbelis was often portrayed while holding these positions, not only as a political leader but also as the personification of the state and the guarantor of its economic stability.In summary, it can be said that money, the economy, and banks occupy an important place among humorists at all times; they were also significant in the interwar period. Money was important, and the Bank of Lithuania was a symbol of this, as a result of which it featured in a small yet still significant number of interwar caricatures. After looking at these cartoons and examining the objects and entities depicted therein, one can better understand public attitudes towards the Bank of Lithuania and the persons representing it. One can also clearly understand events related to the bank and money that seemed important and significant to the caricaturists of the era.