Tradicijos problema šiandien: dabartinė Lietuvos dailės situacija istoriniame tradicijos kontekste

ENThe article deals with the genesis of the tradition of Lithuanian fine arts and its interpretation at the given moment. It is stated that at the end of the 20,h century the problem of the tradition in fine arts is no longer a problem of today since when the society becomes posttraditional” the universal processes acquire the greatest importance which appear in the international level and have a great influence upon the development of different regions. The problem of the existence of a tradition becomes very urgent in the situation when there is no longer any dominant trend in art and pluralism is alive. So, is the tradition powerful enough to have an influence? The first conclusion of the author is that at present the processes in fine arts can not be called neither the “junior’s fine arts” nor the “new fine arts”. The term “vanguard” is not proper either. The most suitable definition is “modern fine arts” which corresponds to the spirit of the time and expresses its main point. When searching for the traits of the tradition in modern Lithuanian fine arts the author considers the situation of the turn of the century, respectively, that is the period when the tradition if the new Lithuanian fine arts reflecting the ideas of the national liberation movement began to develop. There was a perception that the roots of the national culture as well as of fine arts should be in folk art since the peasantry was the social background of the reviving state. A clearly expressed need has appeared to create the national art based not only on the communal village experience but also on the town developed even up until the year 1940, and the reason for this was the absence of deeper roots of the town culture.The emigration to the West of the junior generation has suspended the process, and everything was to start again in the post-war period. The vitality of the village tradition was inspired by the forcible pressing of the dogmas of the “socialist realism” throughout the period of the occupation. The interwar art, the creation of the ARS group, particularly, after the war was accepted as the proper tradition of Lithuanian fine arts which should be fostered and followed by. Innovations would seldom appear in Lithuanian fine arts without greater upheavals and breaches of the tradition. However, each time due to the liberation of the society the fundamentals of the individuality became more distinct and at the same time the “tradicentrism” was getting weak. The old cultural tradition was no longer the only fulcrum, it became merely one of the majority of reference points. The distinct disbalance of the traditional hierarchy of values was noticed in the 8,h decadewhen abstract painting was in intensive course, then there appeared hyperrealism etc. In the 9th decade the processes became absolutely unrestricted and the role of the tradition became weaker even more. It happened so for the new generation which appeared and was brought up in cities and changed the commonalty into the individuality. The true modern art occurs when it goes beyond the limits of the narrow local tradition and is searching for its place throughout the entire international context of the up-to-date fine arts, when the painter cares not only for the ethnic survival of the nation, when he refurses the role of the defender of national traditions, when he begins to cope with the problems of all mankind.