Romantinės vaizduotės reikšmė M.K. Čiurlionio ir amžininkų kūryboje

LTNagrinėdami Čiurlionio ir jo amžininkų lenkų kūrinių ikonografiją (kitų kaimyninių šalių dailė nebus liečiama dėl ribotos šio teksto apimties), gilindamiesi į kontekstą, bandysime įrodyti, kad Čiurlionio kūryba susijusi su tam tikra romantinio meno tradicija, pavaldžia ne tiek laikui, kiek valdoma visais laikais gajos romantinės vaizduotės stichijos. Nagrinėdami Čiurlionio kūrybos pavyzdžius bandysime išsiaiškinti, kokį vaidmenį jo kūryboje vaidino gilusis romantizmo podirvis, kas sieja ir kas skiria Čiurlionį nuo kitų romantizmo ir neoromantizmo orbitoje judėjusių dailininkų [p. 23].

ENThe pictures of Mikalojaus Konstantinas Čiurlionis, as well as the pictures of the other painters of Eastern Europe of the 19lh century and the beginning of the 20th century, present the common images and the archetypical forms, such like a sea, a sun, n mountain, similar moods and states of the nature, such like a thunderstorm, the sunrises and the sunsets. Often are emphasized and dualistically distinguished the sun, the moon and the stars - the first elements of the light and the energy. A world of the images of Čiurlionis and his many contemporaries in the Eastern and Middle Europe is romantic and symbolistic. The creation of art of the simbolistic nature has been still very popular in a big territory, surrounding the Baltic Sea - Scandinavia, Russia and Poland. Such symbols, like a starry sky, the dark forests, the green mountains, the ancient castles of are being repeated in the creations of the painters. But what is the most important, that beyond the believed symbols of the painters', another reality, which is not now and not here, but somewhere else, above the borders of the visible world, is radiating. This article, where the iconography of the creations of Čiurlionis and his Polish contemporaries is being analysed (the painting of the other countries will not be discussed due to a limited size of this article) and deepening into the cultural context, is a real proving of that, that the creations of M. K. Čiurlionis are related to the particular traditions of the romantic art, more determined by always romantic imagination, than by the time. It is only the first impression, which makes thinking, that Čiurlionis did not experience the influence of the art of the neighbour countries, especially the influence of the Polish painters. This opinion is based on the sceptic evaluation of the author Stanisław Pszybyszewski, which was very popular at that time, found in the letters of the painter.By summarizing his contemplations Čiurlionis presents quite a romantic excerption of the unknown author, which says, that the human minds should fly in the infinities, but not in the bathos, of the dark abysses. This quote unfolds quite a pointed disposition of the young Čiurlionis to the romantic idealism. Čiurlionis is close to the Polish painters by the iconography of the paintings, searching of pictures' moods and the prominence of the past and the history. Let's compare the particular works - a creation by Leon Wyczółkowsky “Giewont at the sunrise” (1898) with the picture of M. K. Čiurlionis “The Message” (1904/1905). They are both related by the analogical motifs: a mountain, a bird, a sun. Both painters have formed a silhouette of the presented crest anthropomorphically. “The Message” by Čiurlionis - a reflection of a pantheistical world-view, cohering with an aesthetics of the romanticism. A historical decision of Wyczółkowsky also relates to the romanticism, but the pats in his creation, similarly like by the German romantics - historical time and the Middle Ages- is concretized to the reflections of the marches of Boleslav the Braver. A landscape for the Polish painter is also a manifestation of a national self-awareness and a homeland love. Čiurlionis appeal to another aspect of the romanticism - an emotional prominence of the nature, the contemplations on the human existence and the eternal variation of nature. One of the emphasized elements in the landscape paintings of the 20th century are the clouds. These characteristically Polish bright landscapes are often pressed by the big clouds, witnessing an odd drama or the destiny contemplations. (F. Ruszczyć. The Cloud, 1902).Čiurlionis changes the shapes of the clouds in his paintings more hardily, transforming them into the anthropomorphic creatures and thus creating the separate fairy-tale scenes or even unfolding a story action. (“The Thoughts”, 1906; “Journey of the princess”, 1907). You can often see the night images, called the nocturnes in the Polish painting. These are the streets, sinking into the light of the Moon, the mysterious dark alleys. The moods of a secret, a comfortless are bounded by Čiurlionis to the figure and the architectural motives, to the compositions, having the elements of an antiquity, the past and the history, but not to the nature landscape. Čiurlionis and the prominent Polish painters are united by the essential creative questions: an individualism and a self-expression, a national and a transcendental spirituality, a wish to approach to the ideal, the metaphysical spheres. Still managed the Lithuanian painter with his creations much more by bursting from the earthly everyday level to the metaphysic world. His artistical thinking is more abstract, though the images as by the Poles, are quite concrete. Although this period of the Polish creations is more often discussed as a specific part of the Polish modernism, it remains in the plane of the romantic art and the aesthetics. One of such symptoms - a rhetorical language and the intonations of the prophecy, which is, by the way, difficult in rooting up in the creations of Čiurlionis. Though in the esthetical consciousness of Čiurlionis as well as in the Polish art the romantic categories were the brightest, in the late creations the anti-rhetorical and the attitude of a calm talking, are particularly obvious. He gives a strong prominence to a plastical language. A follow-up and a continuity as well as the differences are important in the development of the art. [...].