Tradicinis vaizdinys šiuolaikinėje tapyboje: Raimundo Sližio paveikslų "Judita"

ENThese are the essential points in the analysis of the image of Judith in the painting of Raimundas Sližis of the 10lh decade: 1) the functions of the traditional image in a modern picture, 2) characteristic transformations of the image. While discussing these problems much attention is paid to the twofold and ambivalent relationship between the actual content and the content of the scene in the creative work. The two traditional aspects of the image of Judith, that is of a motif of art having the secondary or conventional meaning are important - Judith as a woman with a weapon and Judith as the head hunter. One of the direct functions of the image is symbolical and embodying the author’s self-expression which combines the author’s authentic and private experience and the visual tradition. The second function is more important - it is the subject matter of the construction of the painting and of the methods of artistic practise: the performed cutting down of Judith and the dramatized section of the figure in the picture are connected by the paradigm of the affirmative destruction since the destruction of a body is an indispensable condition for the genesis of the image. Both the damage of a body and the habitual structure of the canvas is reinterpreted by Sližis. Judith created by him is a woman manipulating with a weapon and she becomes the image of self destruction which comments upon itself.The transformation of the image which must show the peculiarity of the author’s expression, in fact, are related to the historical tradition of art as well as to the traditional stage of the image. First, it is the secondary secularisation of the heroe which must be comprehended in the context of art but not in the relationship with reality. Second, it is the eroti- zation of a woman’s picture having feministic ambition, the transformations of her into the sexual fetish, phallic object as well as into the figure of autodeconstructive and autoerotic figure. Third, the depreciation of the image revealing itself by its comic caricaturation which is stipulated by the affected deformation of the body as well as by the twofold anatomical structure: hypertrophycally large head connected with a slim waist . The localization between the zones of beauty and ugliness as well as between the regularity and deformation or, in other words, the way of a body is meant for the head hunter. Deformed, fetishistic figure, however, secluded in itself, hermetic, with the actions ending in itself and at the some time harmful or useful only for itself is created by Sližis. Diffirently from the traditionally orientated Judith towards the society equivalent to the cosmos Sližis’ Judith becomes the manifestation of the inner complexes and aspirations.