Aukščio sinestezinis patyrimas Mikalojaus Konstantino Čiurlionio kūryboje

ENIn the present article we make a suggestion, that Čiurlionis' paintings, so richly penetrated by musical spirit also contain extraordinary phenomenon - a multiple and unique representation of specific quality of wondrous visionary space. That is a Height. The Height in Čiurlionis pictures from the structural point of view seems to be like the registries of visionary height. It opens itself as a peculiar metaphorical-perceptual structure of space impossible to grasp by any principle of spatiality, namely by perspective, panorama, polycentric projection etc. Moreover it is quite difficult to operate with classical categories of space in the face of Čiurlionis' representation of the Height. Each of the human senses is of limited entity. The particular sense acting in its inherent manner reaches the ultimate level of experience and fades or penetrates into another sense. The discrete sense becomes inadequate to convey an encountered phenomenon - visionary qualities of the Height. Hereby synaesthesia can be naturally given way to sensate and cognize such a real or imagined world. We would try to escape intentions to discuss about Čiurlionis' personal synaesthetical vigour. Instead of that we should choose one aspect of his represented realities, emergent as peculiar sensorial phenomena - multisensorial experience of the Height. The core presumptions were those: 1. The Height in Čiurlionis' paintings was experienced as an elaborated and intricate sensorial phenomenon, which involved the senses of sight and equilibrium. 2. It was represented qua balance between sense of sight and others imbued senses, not subservient, but equal by their signification. This balance probably was experienced by the artist as a synaestheticaly-sensorial harmony. 3. In Čiurlionis' paintings was represented an idiosyncratic limit of sensorial embrace of the Height.4. That hypothetical limit in human sensority could be surveyed in the context of synaesthetical aesthetics, which take a significant part in the whole art panorama of the beginning of the twentieth century. Besides that, we should be enabled to develop and use new approaches, original theoretical instruments and concepts in relation to phenomenon of the Height in Čiurlionis' painted visions. 5. The representation of the Height in Čiurlionis painting was executed by dynamic relations of particular spaces and shifting position of an eye. 6. The Height in Čiurlionis's painting is a representation of the peculiar experience of embodied sensation. Nikołaj Vorobjev who published the monograph about Čiurlionis in 1938 introduced a term of optical metaphor when the artist depicts the abstracted figures. The vision of Čiurlionis is like a spherical whole. The Height in Čiurlionis paintings deter mines organic wholeness of sophisticated structures. Cosmic Height is many-folded and hierarchical. The Height structures are fixed by references to spectators, for example, anthropomorphic figures of angels, observing platforms, peaks of the mountains, high bridges. The achieved border lines of sensorial altitude experiences are opened and closed in painting's structures. Specific sense of the Height transcendence is represented when perceived altitude suddenly goes down and disappears. The Height in Čiurlionis paintings is bright. It is perceived as a mean of transcending reality. Big variety of Height layers in Čiurlionis paintings are representing authenticity of sensorial experiences and uniqueness of the Lithuanian artist.