M. K. Čiurlionis ir Jaunosios Lenkijos tapyba

LTSiekiant tiksliau atsakyti, kas lėmė M. K. Čiurlionio kūrybos pobūdį, temas ir vaizdų pasaulį, derėtų pažinti lenkų meną. Lenkų modernizmas, amžiaus pradžioje aktyviai perėmęs Vakarų Europos meno aktualijas, buvo ir viena iš M. K. Čiurlionio pažinties su Vakarų Europos menu pakopų. Straipsnyje aptariamas jauno menininko požiūris į ano meto kultūros reiškinius ir ieškoma atsakymų į klausimus, kaip ir kuo anuometinė Lenkijos dailė (temos, ikonografija, simbolio supratimas, plastinės problemos) ir kiti kultūros reiškiniai galėjo paveikti besiformuojantį individualų meninį pasaulį; ar jo kūryba turi ką nors bendro su Lenkijos tuometine menine aplinka ir kai kurių dailininkų kūryba. Autorė daro prielaidą, kad Lenkijos meninė aplinka, modernistinis Jaunosios Lenkijos (Moda Polska) sąjūdis yra pirmoji pakopa M. K. Čiurlionio kelyje į modernizmą. Esminiai kūrybos klausimai - saviraiška, tautinis ir transcendentinis dvasingumas, kūrybinis originalumas - aktualūs lenkų dailininkams, svarbūs ir jų terpėje susiformavusiam M. K. Čiurlioniui. Bendras yra ir siekimas pamažu nugalėti natūralizmą, noras priartėti prie idealiųjų, metafizinių sferų. Svarbus siejantis bruožas yra tas, kad naudojamasi faktiškai analogišku ikonografiniu žodynu, tačiau semantinės prasmės nėra analogiškos, nes skiriasi motyvacija. Tad, nors idėjos bendros ir visiems svarbi romantinė vaizduotė, negalima šių reiškinių tapatinti - M. K. Čiurlionio kūryba negali būti priskirta prie Jaunosios Lenkijos.Reikšminiai žodžiai: Siūloma: M. K. Čiurlionio kūryba; Vakarų Europos dailė; Simbolizmas; Modernizmas; Lenkijos tapyba; Dailininkų sąjūdis "Jaunoji Lenkija"; 19 amžius; 20 amžius.

ENPolish modernism was one of Mikalojus Konstantinas Čiurlionis' stages in his knowledge with regard to the art of Western Europe and the urgent problems of the European art in the end of the 19th century and the beginning of the 20th century. The comparative analysis of Čiurlionis' works as well as the most important ones of Polish painters presented in the article shows that there are features both similar and distinctive in them. The essential problems of the creation - self-expression, national and transcendental spirituality, creative originality - are important to both Polish artists and Čiurlionis who has formed himself on the basis of them. The gradual striving for overcoming naturalism and a wish of becoming close to ideal and metaphysical spheres is also common between them. A significant linking feature is the use of factual analogue iconographic vocabulary. Yet, the semantic senses are not analogue, there is a difference in their interpretation. Despite the common background of ideas and "romantic imagination" which is important to all, these phenomena can not be compared - there is a particular difficulty in attaching Čiurlionis' creation to that of the Young Poland. Still, on the whole, the most significant categories in the aesthetic consciousness of Čiurlionis likewise of the Poles were those of romanticism, however, the Lithuanian painter seemed to be rather a modern one by his anti-Catholic statements of particularly calm speech being recognized in his mature creation. He had laid a great emphasis on the plastic language itself.Not only the composition but also technical "discoveries" became the source of the aesthetic as well as the object of the interpretation of the picture. The art language itself is the object of great importance. By laying the emphasis on it the Lithuanian artist was driving to a deeper modernism as compared with any other of his contemporaries in Warsaw and Krakow. Despite the contact with the modern artistic language it could be seen that the most common peculiarities of Čiurlionis' creation - individualism, lyrism, symbolism, transcendentalism, the striving for nationalism - should be considered as romantic peculiarities characteristic of not only Polish painters but also the ones from Russian, Czechich and Scandinavian countries. It could be said that the painters of the Young Poland had a theoretical understanding with regard to the modernistic aesthetic affirming that, first and foremost, the creation is an aesthetical value, and yet they were not able to find any practical ways for its realization. They have pertained the naturalistic-realistic stylistics. On the contrary, there were no allusions toward the motto "art for art" in Čiurlionis' creative speaking, and, nevertheless, in practice he was close to the aspiration of the Poles, i. e. to modernism, and he did it by concentrating himself on plastic problems and by changing the form of the creative work. That is Čiurlionis' the most important characteristic distinguishing him from Polish painters and at the same time giving a possibility to speaking on the interrelation between the Lithuanian painter and the Young Poland's context. [From the publication]In order to provide an answer to the question what determined the character of the oeuvre of M. K. Čiurlionis, its subjects and the world of images, one should dig deeper into the Polish art. The Polish modernism, which, at the beginning of the century, actively took over the subjects of the Western European art, was one of the layers of M. K. Čiurlionis’s cognition with the Western European art. The article discusses the young artist’s view of the cultural phenomena of the period and searches for the answers to the questions how the Lithuanian art of the period (the subjects, iconography, comprehension of symbols, plastic problems) and other cultural phenomena could have influenced his shaping individual artistic world; whether his creative has anything in common with the Poland’s artistic environment of the period and the oeuvre of certain artists. The author makes an assumption that Poland’s artistic environment and the modernist movement “Mloda Polska” (“The Young Poland”) is the first step on M. K. Čiurlionis’s road to modernism. The essential issues of oeuvre, i. e. self-expression, the national and transcendental spirituality and creative originality were relevant to the Polish artists, including M. K. Čiurlionis, who shaped in the environment. Also common were the attempts to gradually overcome the naturalism, the desires to approximate the ideal and metaphysical areas. The important relating trait was that an actually analogical iconographical vocabulary was used however the semantic meanings are not analogical, since the motivation is different. Therefore, although the common ideas are a romantic vision, important to everybody, one may not identify the said phenomena, i. e. M. K. Čiurlionis’s oeuvre may not be considered a part of “Mloda Polska”.