Iškreiptumo kilmė XX amžiaus meno estetikoje

ENThe article is written in an attempt to explore the perversity as an instance of the fatal changes throughout the entire socio-system considering the statement that perversity and mannerism are directly interrelated since a particular distortion is manifested as the forms of mannerism. Mannerism being valued as the third and at the same time the last developmental item in the culture - civilisation of any kind of period, therefore, it is tempting to seek for the answers to the questions concerning the origin of the perversity within the scope of the last developmental item the naming of which may vary ranging from sunset, autumn, decay, withering, overriping to senility, longing for death, the desire for selfdenial and self-destruction. The twentieth century is estimated as the third developmental item of European culture as well as of the entire Christian civilisation. Although at the beginning of the twentieth century it as an independent phenomenon was investigated by Walter Friedlaender who in a short while was joined by Werner Weisbach. Max Dvofak as well as by a vast majority of others evaluating the phenomenon of mannerism within the scope of stylistic manifestations in terms of the crisis of a concrete sixteenth century period, indeed, at the end of the twentieth century, the period of so- called prosperity of postmodernism, the greatest attention was drawn to the originality of the phenomenon with a more stress on its peculiar independence. All of the previous mannieristic manifestations, i. e. the deviations from the rules and norms are covered by the mannerism of the twentieth century and that is what finally has turned into the perversions of a twentieth century human mind distorting in as much refined way as possible the reality still existing in either way.Historical determinations of sixteenth-seventeenth century mannerism and the peculiarities of the aesthetics of twentieth century mannerism are compared in the article. This context is also distinguished by a particular focus on the fact that the involute of the semantic sense of the term of mannerism gives us an opportunity of viewing a certain „cultivation-development-perfection“ tendency with regard to the senses of the term throughout the works of art historians in the twentieth century. The simulation metasystem of the repeated mannerism is based on this, and the perversity as a role of „grey cardinal“ in the history of art development is proved by this. This is observable throughout almost all the works of the researchers of mannerism where diverse developments and perfections of „primordial“ manneristic features could be observed by attaching to them strange mutations of the deduced senses formerly being simple and understandable. The problem of the frequent distinguishing between the mannerism and the affection as well as the dividing them into different sense fields are also discussed and emphasised throughout the context of perversity. In exploring the origin of the perversity the focus is laid upon Jurgis Baltrušaitis’ art theories and ideas based on the fact that the animate forms are being deformed in art both consciously and because of the necessity, and that a permanently dominant aesthetic norms are constantly being infringed due to the strivings of establishing new forms of art.In explaining the distorted images as the question of the experiments of the perspective in the context of manneristic aesthetics Baltrušaitis’ investigations are of magnificent importance. The significance of Oriental cultures for the investigation of mannerism and the origin of the perversity as well as the influence of them upon the Western World and the development of art are also emphasised. The assumption is made that the cultural periods are related to the explanation of the secret. After it is revealed there is an attempt to seek for another one, by going through the three stages of its revealation from the respectable approaching toward it and, further, by „getting acquainted“ and „making friends“ with it to the using of it with the forms in states of overeating and boredom. These stages are compared to the archaic of any kind of culture, to clasics and mannerism, i. e. to the three items of its development or the periods of the biological life: childhood, maturity, senility.