Tarp Stimmung'o ir nuotaikos pilkosios valandos antrosios pusės link

ENRelying on the description of that mystical phenomenon of twilight, dusk and shadow (in Polish - „grey hour”) it might become possible to discuss the issue of Stimmung, which at the junction of 19th-20th centuries enabled artists to focus on spiritual existence, „wrapped in cosmic music”, and at the same time, to close one's eyes and with the powers of spiritual vision watch the ideal world. The transformation of twilight into mystical vision is a mysterious and interesting phenomenon, worth discussing in the context of particular consequences of the “grey hour”. Since the traditions of celebrating twilight are being almost forgotten nowadays it is important to remind that this particular hour meant the period of time between the sunset and the dark, sometimes extending into the starry night. Munich, being the “cradle of the most characteristic trend” and backed up from Warsaw, had a significant influence on the development of M. K. Čiurlionis artistic taste and perception. Henrik Piątkowski wrote in 1895, that “respective to its origin, the phenomenon of Stimmung actually meant Munich itself”. In Polish landscapes Stimmung was reflected through the local moods of “tender melancholy”. According to analytical research of Leo Spitzer Stimmung, in fact, concealed the old pagan belief in the harmony of the world. It recovered in the junction of 18th-19th centuries in German aesthetics, especially at Jena early romantic school, and later with the efforts of symbolists it developed into mature art. The Stimmung followers had paid attention and enjoyed the fact, that at twilight the multicoloured world becomes one-colour, and the symbolists worshiped the “grey hour”, finding in it the moments of mystical changes. Then, to light comes a new rich reality, which is beyond visible, audible or perceptible things, and which is expressed only by the spiritual language and symbols.The unity of the world appears not so much as the final aim, craning the observation and comprehension, but as the prediction of new era, the premonition of some higher harmony, the entrance to the world of dreams. Physical vision loses its importance, the sensual one begins to rule. That, what disappears is also the spring of Stimmung, instead of which the mood comes and adds consistency to the vision. M. K. Čiurlionis imagination is concentrated exactly along the subtle line of division between day and night. Thus, in his picture “Ramybė” (“Stillness”) the shore looks like a mysterious watchful creature, and in the fantastic “Rojus” (“Eden”), the angels are enveloped in shadows. “Eternal circle of visions of the seasons, which are becoming more and more synthetical”, “transfiguring of light” and “increasing liberation of Light dreams” - those words of Miriam (Zenon Przesmycki), which were addressed to the symbolistic landscapes of Jan Stanisławski, M. K. Čiurlionis had incarnated in his paintings. He had definitely crossed the lines of the visual, but at the same time didn't refuse painting close to nature.