Baroko pradžia Lietuvoje

LTTyrinėjant XVII a. Lietuvos baroko meną padaryta nemažai svarbių išvadų, ryškėja pagrindinė problematika. Vienas svarbiausių klausimų - tai baroko formavimosi problema, jo santykiai su vietine meno raidos kryptimi. Norint tyrinėti šį procesą, būtinai reikia praplėsti aptariamų paminklų sarašą, aprėpti tokius beveik netyrinėtus žanrus, kaip altorių skulptūra ir paveikslai, portretinis biustas, istorinė mitologinė tapyba. Tik tada bus galima nuodugniau ištirti stilistinius procesus trijose pagrindinėse meno šakose - tapyboje, skulptūroje ir architektūroje, tiktai toks tyrinėjimas leistų susidaryti išsamesnį vaizdą apie XVII a. Lietuvos baroko raidą.

ENThis book discusses the beginning of Baroque and architecture in Lithuania. Investigations do not limit itself only ethnic Lithuania, but endeavour to include the centre of the Grand Duchy of Lithuania - Vilnius and lands, which were in direct influence of centre. Chronological limits of investigation are the last quater of the 16th c. - the eighth decennium of the 17th c. - from the beginning of the Contrreformation movement in the Grand Duchy of Lithuania till the origin of the first Baroque art’s works representing styles. The author is preoccupied with the literature question at the beginning of the book. The main prob- lemme of investigation of Baroque in Lithuania and neighbouring countries - holding on at present administrative borders and ethnic or national artistic style problemme’s designing to the past. The author of a book noticing that, also underlines necessity to seperate local and imported art’s chronology, to mark out so called “high” and middle artistic culture’s layers, which at the given moment are very different in style in the Grand Duchy of Lithuania. The first part of the book is devoted to the local art’s and architecture’s development at the beginning of the Contrreformation. At the last quater of the 16th c. we can notice the intensifying artistic life in the Grand Duchy of Lithuania and distinct changes for the local styles of architecture and art. These changes develop on a change of general cultural and religious background. In the first part of the first chapter of the book the author describes the Contr- reformational culture of Lithuania, the most distinct its phenomena, connected with the action of Jezuits monastery. Besides that author descusses the conservative action of gentry’s culture its close relation with Gothic and Bizantic traditions, the direction of this culture to protect the old forms and traditions.The connection of retoric persuasive origin of Contrreformation with the archaical layer, cultural layer and its virtually mediaeval nature given a birth to a very distinctive style (culture that is distinctly original) in the end of the 16th century, which existing in the Lithuanian architecture and art, was not noticed or marked out at present. In cult’s architecture and building of Roman Catholic Churches in the end of the 16th c. reflects liturgical Potridental reform. Starts the expousure of altar space, joining interior space so, that the part of altar might be seen very clear. The lightning of interior serves for the same aim. The local builders almost do not use classical order - they manage with architectural elements of Gothic origin, but in creating a prospect of architecture we can notice some influences with precious style. The creations of this period and type do not go in frame of any style, but they are very expresive and distinctive. It can be said about Saint Peter’s Church in Šiauliai, Frenchiscons’ Convent Church of Kretinga. In volumetric, full extent decision of church reflects the entrence, but with the exeption only Saint Archangelas Mykolas’ Church in Vilnius, no striking examples of frontage decision. The local builders prefer to emphasize the entrance with a church-tower. But looking over the architectural esemble it could be said, that at the beginning of the 17th c. in the architecture of the Grand Duchy of Lithuania happens pecular artistic fermentation. In architecture of residences also we can speak about turning up of parade, central planning and paying more attention to representation. In architecture of residences as in cult’s buildings the classical order is not used, but is processed and changes the old, traditional designing and decomposition of used scheme.The same we can say about sculpture, where forms a new type of tombstone - panegyric, which vivid example is tombstone of Leonas Sapiega. Here is evident demonstration of influence of literary Contrre- formation genres. But this influence comes out not in “grammar” of tombstone which is still mediaval, but is its “syntax”. As in architecture the local masters make use jet of conditional, marked artistic expression, but also strives for more parade, retorical artistic image of the whole. In painting we can notice the formation of altar picture. We can keep way out of a stilisation a scheme of large formate Gothic altar picture, in which is more apparent central axle of composition, left less of detales, a big part falls on gilded and carved on background. But just as in sculpture increasing the repre- sentativness of compositions, they remain statical and marked on. As an example is discussed so called God’s Mother of Sapiega from Saint Archangelas Mykolas’ Church and other painting’s examples of this period. The analysis of portrait shows, that there is no any psychological and individual features. Man’s person is recounted through the atributes, is drawn as ideal representative of estete without being interested in his unrepeatable qualities. [...].