Perskaityti iš naujo: Ingridos Korsakaitės "Gyvybinga grafikos tradicija" (1970)

LTStraipsnyje (re)interpretuojamas vienas geriausių Lietuvos sovietmečio dailėtyros veikalų – Ingridos Korsakaitės (1938–2014) monografija Gyvybinga grafikos tradicija (1970). Aiškinamasi, kas lemia šios knygos išliekamąją vertę, kokie jos ypatumai keltų nuostabą šiuolaikiniams skaitytojams (-oms), kokių pasakojimų šiandien čia galima atrasti. Reikšminiai žodžiai: Ingrida Korsakaitė, Lietuvos grafika, tautodailė, tradicija, interpretacija, Marija Gimbutienė, Petras Repšys.

ENThis article revisits and reinterprets one of the most significant works of Lithuanian art criticism from the Soviet period – Ingrida Korsakaitė’s monograph Gyvybinga grafikos tradicija (The Vibrant Graphic Tradition, 1970). The interpretation of folk art that flourished in graphic art in the 1960s, explored by Korsakaitė within the broader context of 20th-century Lithuanian and Eastern European graphic art, is reexamined alongside later developments in Lithuanian graphic art. Korsakaitė’s emphasis on the creative continuation of folk art traditions is contrasted with the strategies of appropriation that became prevalent in subsequent decades. An analysis of the monograph’s text, bibliography, and choice of illustrations within the framework of contemporary academic thought reveals latent narratives. Among them is a narrative of emancipation and archaeomythology, where feminist aspirations, forms of expression, and transgressive discourse intersect. These ideas are closely tied to Marija Gimbutienė’s early hypotheses on Old Europe and the Goddess religion, which are most clearly demonstrated by Korsakaitė’s focus on the concept of life’s unity and its expression in her interpretation of graphic works.Korsakaitė’s research methodology relies heavily on the interpretation of form and imagery in these works. This approach highlights the emancipatory and autonomous potential of artistic expression and its interpretation. In The Vibrant Graphic Tradition, above all, Korsakaitė’s interpretations of works remain valuable to this day. At the same time, the book’s ability to define and explore complex issues under the constraints of ideological coercion is equally notable. The publication of the monograph in the late 1960s was only possible because it officially aligned with the Soviet agenda of “Sovietizing” Lithuanian art – effectively, the nationalization of Soviet power through culture. Despite this, the book became a significant contribution to the ethnocultural movement that emerged in Lithuania during the 1970s. Keywords: Ingrida Korsakaitė, Lithuanian graphics, folk art, tradition, interpretation, Marija Gimbutienė, Petras Repšys.

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