Jurgio Baltrušaičio krizinių ir marginalinių meno bei kultūros reiškinių tyrinėjimai : anamorfozių sklaida dailės istorijoje
LTReikšminiai žodžiai: Anamorfozė; Deformacija; Jurgis Baltrušaitis; Komparatyvistinės studijos; Krizinis laikotarpis; Kultūrologija; Lietuvos išeivija; Lyginamosios kultūros istorijos studijos; Marginaliniai kultūros reiškiniai; Marginaliniai meno reiškiniai; Meno istorija; Menotyra; Menotyros istorija; Perspektyvos dėsniai; Siurrealizmas; „groteskinės“ meno formos; "grotesque" art forms; Anamorphosis; Art criticism; Comparative studies; Comparative studies of art history; Cultural studies; Deformation; History of art; Jurgis Baltrušaitis; Law of perspective; Lithuanian emigrants; Marginal art phenomena; Marginal cultural phenomena; Period of crisis; Surrealism.
ENA research of the periods of social crises and turning points is always a penetration into the hardly tangible margins of the territories of civilization and art history. These margins reveal creative contradictions and new "non classical" ways of solving of traditional problems. It is not accidental that social crises and "breaks", as well as studies of marginal phenomena related to them found themselves in the centre of various postmodernist theories. Jurgis Baltrušaitis (1903-1988) is among the first twentieth-century art historians who analysed the originality of artistic forms and structures during unstable periods in art history and spiritual life. He revealed that the expression of flights of fancy gets more active during sudden changes in the history of art and civilisation and noticed that similar "mechanisms of imagination" are to be reconstructed. In this paper an attempt is made to show a few aspects of the researches made by Jurgis Baltrušaitis, influential precursor of comparative and "non-classical" studies of art history. The art historian has revealed that the deformations, irregular and distorted forms, which appear in Romanic art, are determined both by the laws of archaic ornamental morphology, geometry, symmetry, and by the mysterious and enigmatic Asian images. So perspective in the late Renaissance was deformed by the laws of perspective itself and by the bases of optical studies; certainly, oriental forms, related to the belief in mystic power of mirror, took part in these processes as well. It follows that artists begin spontaneous deformation and deconstruction of dominating forms of expression when vitality of an artistic cycle grows weaker. This is a universal rule.Baltrušaitis holds that the laws of perspective were rethinked in the 16th century when artists began creating ingenious distorted perspectives, or, in other words, anamorphoses. In the level of meaning, the emergence of anamorphoses reveals the distinctive crisis of art and science. Anamorphosis - masterly deformed perspective - is the reflection of the fantastic nature of reality and the metaphor of illusion with which artists, philosophers, scientists and poets of certain periods come across. Baltrušaitis was among the first to analyse the anachronisms of forms and to show the significance of the emergence of anamorphoses in western art during complicated periods of art history till the rebirth of the phenomenon in the 20th century. He proved that at the time of important cultural processes and intercivilizational influences the experience and the artistic forms of ancient cultures and "exolicisms" arc easily integrated and involved in a new culture so that their foreign origin may hardly be felt. [From the publication]
- Apmąstymai ir įžvalgos apie XX a. lietuvių estetikos istoriją / Juozas Mureika. Estetikos ir meno filosofijos transformacijos / sudarytojas Antanas Andrijauskas. Vilnius: Kultūros, filosofijos ir meno institutas, 2005. P. 206-250.
- Meno formų metamorfozės : komparatyvistinė Focillono ir Baltrušaičio menotyra / Odeta Žukauskienė. Vilnius : Kultūros, filosofijos ir meno institutas, 2006. 288 p.
