Povilo Karpavičiaus pašto vokas ir Trakų pilies ikonografija XX a. 7-ojo-8-ojo dešimtmečių Lietuvos pramoninėje grafikoje

LTStraipsnyje atvejo studijų (angl. case studies) forma (tyrimo objektu pasirinktas Povilo Karpavičiaus pašto vokas "Trakai") legitimuojamos fotografijos funkcijos taikomosios grafikos kontekste Nikitos Chruščiovo "atlydžio" periodu (1953-1964) Lietuvoje. Pasitelkiant antropologinį, kultūros sociologijos ir postkolonijinį diskursus bandoma išryškinti polimorfinę sovietmečio dailės problematiką, kuri dar labiau neapibrėžta tampa tyrinėjant periferines (t. y. ilgą laiką laikytas neprezentacinėmis arba nereikšmingomis) ir tuo metu tik pradedančias formuotis sritis (pvz., taikomąją fotografiją, taikomąją grafiką, dizainą ir pan.). Daugiausia dėmesio skiriama ikonografijai, atribucijai ir struktūrinei analizei, kartu pabrėžiama faktografijos, kuri šiuolaikinėje menotyroje tampa socialistinio realizmo sinonimu, svarba. Be faktografijos vis dar neįmanoma identifikuoti kai kurių sričių tyrimo aplinkos ir tęsti kontekstinius tyrimus.

ENThe article, which takes form of case studies (the subject of the research is Povilas Karpavičius' postal envelope), looks at photography in the context of Lithuanian applied graphics during the Khrushchev Thaw period (1953-1964). Through anthropological, cultural sociology and post-colonial discourse, an attempt is made to examine polymorphic subjects of Soviet era art, which become even more uncertain when analysing fringe areas, considered untypical or unimportant for a long time or areas only beginning to form like applied photography, applied graphics, graphic design etc. Most of the attention in the article is paid to iconography, attribution and structural analysis, but also the importance of factography, which becomes synonymous with social realism, is stressed. Without factography it is still impossible to identify the circumstances of some of the art areas and continue contextual studies. The article researched the history of Trakai Castle restoration and facts about the communications system, publishing of postal envelopes and their standards in Soviet Lithuania and the photographers who worked in publishing. Comparing the work of photographers Povilas Karpavičius and Zinas Kazėnas, who both produced postal envelopes, the author and the year of publication of the first envelope with Trakai Castle photos is established - Karpavičius, 1958. The envelope by Karpavičius is considered in the context of educology of photography, the graphic design process and social circumstances, which helps to reveal the unusual relationship between photography and graphic design (for example, why the photographers, and not graphic designers were commissioned to create the first envelopes). The article discusses the change in Trakai Castle depiction from Maironis (Lithuanian romantic poet, 1862-1932) style romanticism to cropped fragments.Trakai Castle has been photographed many times during its reconstruction and has been portrayed so often in graphic arts that it could be considered the symbol representing the whole range of the Khrushchev Thaw period, reforms and changes.