Suderinti (ne)suderinamą: tapatumo paieškos ankstyvajame sovietiniame tekstilės dizaine ("Kauno audinių" atvejis)

LTStraipsnyje gilinamasi į „Kauno audinių“ produkcijos menines tendencijas XX a. 5–7 deš., aptariama tuo metu fabrike dirbusių dailininkų kūryba, daugiausia dėmesio skiriant tapatumo paieškoms, bandymui suderinti tarptautines tendencijas su asmeniniu stiliumi. Tai pirmas „Kauno audinių“ fabriko dizainerių kūrybos pristatymas, skirtas laikotarpiui, kai buvo klojami lietuviško tekstilės dizaino pamatai: plečiamos ir į Sovietų Sąjungos ekonomikos sistemą integruojamos Lietuvos pramonės įmonės, aukštųjų dailės institucijų mokymo programos keičiamos pagal pramonės poreikius. Publikacijoje pasitelkiama ikonografinė ir dokumentinė archyvinė medžiaga, interviu su dailininkais, taikoma formalioji dailėtyros analizė, faktografinis, istorinis-kultūrinis ir statistinis metodas, atvejo studija. [Iš leidinio]Reikšminiai žodžiai: Tekstilės dizainas; Sovietmetis; Dailininkai; Fabrikai; Textile design; Textile; Soviet Period; Factories; Painters.

ENThe author of the article analyses the artistic tendencies of the production of Kauno audiniai factory in the early period of its activity (1940s–1960s), and describes the work of the designers who worked in that factory, devoting most attention to their search for identity. In that period, the foundations of Soviet Lithuanian textile design were laid. The Kauno audiniai silk factory established by the Latvian businessman Robert Hirsh in 1930 was Lithuania’s largest textile company of the prewar period. In the years of the German occupation, the factory was owned by the German company Osland-Faser Gesellschaft. In 1945, the company resumed production. It was expanded according to the Soviet model and integrated in the system of the USSR industry. The author of the article is looking for the features of identity in the curricula of schools that offered design studies (the Kaunas State Institute of Applied and Decorative Art and the LSSR State Art Institute) and prepared textile designers as unique textile and industrial textile specialists. Like all Soviet art, textile design functioned in the unfavourable environment of Socialist Realism. However, during the studies, the ethnical aspect was encouraged as belonging to the category of nationality of art in Soviet aesthetics. In the 1950s–1960s, industrial textile design made an impact on the modernization of Lithuanian textile in general, as it was part of the commercial field which responded to new fashion trends more quickly. Innovatory tendencies would reach Lithuania through the adapted type of Western functionalism – the Soviet “festival” style.In the first postwar decades, Lithuanian designers worked in a closed medium, and thus they had to manage a lot of things on their own: to improve their professional skills, to keep up to date with the latest developments in design and technology, to trust their professional intuition and not to be afraid to reveal their individuality. The search for identity was one of the key stimuli in designers’ work. At first their projects followed the examples of interwar textile, and gradually, as the principles of functionalism took root in design, they became bolder and were characterized by a larger freedom of self-expression, sometimes by naïve ideological enthusiasm. Textile patterns were often reminiscent of abstract painting compositions, which were tolerated in decorative art in the Soviet period as they were considered harmless for the political system. [From the publication]

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