Pekino operos reliktai Lietuvoje: kinų medžio graviūrų rinkinys

LTOrientalistinės dailės artefaktų patekimo į Lietuvos muziejus, bibliotekas ar privačius rinkinius ir jų reprezentavimo nuostatos kaip mokslinio tyrinėjimo problema mažai tyrinėta. Straipsnio tema siekiama atkreipti dėmesį į Rytų Azijos meno paveldą Lietuvoje, iškelti atributavimo problemas. Tyrimo objektu pasirinktos kinų medžio graviūros – nianhua (年 画)1, vadinamieji Naujųjų metų paveikslėliai. Šiame straipsnyje siekiama pirmą kartą analizuoti Lietuvos nacionaliniame dailės ir Nacionaliniame M. K. Čiurlionio dailės muziejuose saugomas retas ir vertingas XIX a. pabaigos – XX a. pradžios kinų medžio graviūras, iššifruoti jų kiniškus užrašus, patikslinti ir įvardyti graviūrų pavadinimus, nustatyti, kokiai stilistinei raižymo mokyklai ar dirbtuvei priskiriami nagrinėjami atspaudai, identifikuoti teatro tematikos medžio graviūrų siužetą, jas įkvėpusį literatūrinį šaltinį ar Pekino operos pjesę, plačiau apibūdinti veikėjus bei jų atributus, aptarti pateiktų alegorijų, emblemų, sceninio grimo ir kostiumo simbolių prasmes, meninės raiškos ypatumus. Čia jungiami ikonografinis, istorinis ir lyginamasis metodai, iš dalies taikomos meninio stiliaus tyrimo prieigos.

ENThere has not been much academic research into how the artefacts of orientalist art ended up in Lithuanian museums, libraries and private collections, and how they are represented. This paper raises the question of the Far Eastern art heritage in Lithuania, and addresses the problems of artistic attribution. The paper analyses the case of the Chinese woodblock prints—nianhua (年画), or the so-called “New Year images”—stored in the orientalist art collections of the Lithuanian Art Museum (LAM) and Mikalojus Konstantinas Čiurlionis National Museum of Art (MKČNMA). The collections contain seven nianhua prints of this particular format and style. The research has successfully decoded the Chinese inscriptions; specified and determined the titles of the prints; attributed the prints to specific printmaking schools and workshops; identified the theatrical motifs with their corresponding literary sources and Peking opera productions; elaborated on the characters and their various properties; There has not been much academic research into how the artefacts of orientalist art ended up in Lithuanian museums, libraries and private collections, and how they are represented. This paper raises the question of the Far Eastern art heritage in Lithuania, and addresses the problems of artistic attribution. The paper analyses the case of the Chinese woodblock prints—nianhua (年画), or the so-called “New Year images”—stored in the orientalist art collections of the Lithuanian Art Museum (LAM) and Mikalojus Konstantinas Čiurlionis National Museum of Art (MKČNMA). The collections contain seven nianhua prints of this particular format and style. The research has successfully decoded the Chinese inscriptions; specified and determined the titles of the prints.attributed the prints to specific printmaking schools and workshops; identified the theatrical motifs with their corresponding literary sources and Peking opera productions; elaborated on the characters and their various properties; specified the meanings of the allegories, emblems, scenographic makeup, and costumes; and defined the particularities of artistic expression. The paper combined iconographic, historical and comparative methodologies, and carried out a partial research on the artistic style. Compared to the Chinese graphic art collections in the museums abroad, the works stored in LAM and MKČMA are not as numerous, yet they are arguably just as rare and valuable. The prints are unique in their form, aesthetic value, and artistic technique. All prints are attributed to the famous Yangliuqing school and dated to the end of the 19th century and the beginning of the 20th century. They are all in good condition, and some of them are professionally restored. This first attempt to identify and introduce the Chinese woodblock prints from the orientalist art collections of Lithuanian museums is intended to inspire further research, promote the museum collections, and give an impetus to expand them. The research aims to bring a wider knowledge about the theatre-themed prints that reflect the whole complex of Chinese spiritual culture to the contemporary audience.