Prarastasis rojus-Bogdanovas

Direct Link:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Lietuvių kalba / Lithuanian
Prarastasis rojus-Bogdanovas
Alternative Title:
Bogdanovas-the lost paradise
In the Journal:
Acta Academiae Artium Vilnensis [AAAV]. 2008, t. 47-48, P. 216-278. Lietuvos dvarai: kultūros ir šaltinių tyrinėjimai
LDB Open.
Ferdinandas Ruščicas; Bogdanovas; Dvaras; Istorija; Kultūra.
Ferdynand Ruszczyc; Bogdanow; Estate; Manor; Culture.
Summary / Abstract:

LTStraipsnio tikslas - pasigilinti į žinomo Vilnijos dailininko Ferdinando Ruščico santykį su jo gimtine, Bogdanovo dvaru. Apžvelgiama dvaro istorija ir tai, kaip šis dvaras, jo aplinka paveikė dailininko kūrybą. Konstatuojama, kad Bogdanove Ruščicas realizavo tapytojo talentą, o dvaras, dailininkui gyvenant, nepaprastai suklestėjo. [Iš leidinio]

ENThe Bogdanovas Estate is known mostly to us as the place where Ferdinandas Ruščicas, the prominent Vilnius artist of the early 20th century lived and worked. It was in Bogdanovas that his most famous paintings were conceived, and within these works the motifs of the Bogdanovas manner clearly dominate. How did it come to be that in the modern period, when the unquestionable epicenter of the panorama of cultural life had become the city, that an artist of such considerable talent was able to reveal himself as if dissociated and withdrawn from that epicenter in his provincial estate? The author has attempted to find an answer to this question while taking into consideration both the long history of this estate and the common social-economical-political tendencies of development in the region of the day. At the end of the 19th century and early 20th century, following the failed anti-czar rebellions, the politics of national oppression became stronger, serfdom was abolished and capitalist relations brought under formation. Under these circumstances the estate could not be content only to function as a preserver of the traditional mentality of the Grand Duchy of Lithuania and fixed rate shelter. In order to survive the estate was forced to accept new challenges and to find its place in a wider cultural context, exert influence upon it and even become a center of attraction. The history of the Bogdanovas Estate is one of the most significant and best documented examples that illustrate this phenomenon. Out of all the objective reasons which determined the significance of the role of this estate in cultural history, emphasis is placed on the fact that the family of Ruscicai managed to preserve it without any lending or division of the estate and with a functional infrastructure intact.A lot was determined by the geographical location of Bogdanovas and its good means of communication with Vilnius, thus its provincialism was converted into an advantage and even helped the estate to physically survive during the years of World War I. The Bogdanovas eventually benefited from the geopolitical changes that followed after World War I as it remained in the territory captured by Poland. This prolonged its existence as an agricultural and cultural center for a couple of decades. In addition, the article presents Bogdanovas as a unique, almost perfect location, resulting from a compatibility wrought between nature and culture which was formed during the centuries. The special aura of this estate not only prompted the unlocking of the talent of the artist, but for this frequent visitor longing for beauty and spiritual peace it also became associated with an ideal environment, one holding an almost sacral dimension. From here flowed the generous epithets of "heaven" that were meant for this place. The spiritual engagement of the artist to Bogdanovas and his strong instinct of love for his homeland, converted Ruščicas' landscapes into complicated visual interpretations of human experiences. At the same time, the minstrel of Bogdanovas consciously (and at the same time - unconsciously) formed the significance of his patrimony as of a passing cultural object. We can look at his canvas not only through the prism of the artist's moods, but also as an attempt to discern in them the felicitous metaphor of the passing epoch of the estates; one which is entwined with the menace of oncoming loss and the withdrawal from a lost heaven. [From the publication]

Related Publications:
  • Apie Ferdinando Ruščico fotografijas / Algė Andriulytė. Acta Academiae Artium Vilnensis 2010, t. 59, p. 105-123.
  • Ferdinandas Ruščicas - pedagogas ir Vilnijos peizažistas / Aleksandra Giełdoń-Paszek. XX amžiaus pradžios Vilnius: modernėjančios kultūros židinys / sudarė Laima Laučkaitė. Vilnius: Kultūros, filosofijos ir meno institutas, 2004. P. 73-78, 81-87.
  • Paskutinis dvaro pakilimas : dailės naujovės / Laima Laučkaitė. Dvaras modernėjančioje Lietuvoje : XIX a. antra pusė - XX a. pirma pusė / sudarytojai Giedrė Jankevičiūtė, Dangiras Mačiulis. Vilnius: E. Karpavičiaus leidykla, 2005. P. 59-71.
2018-12-17 12:20:28
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