Art deco bruožai liturginių rūbų dekore: raiškos specifika

LTStraipsnyje nagrinėjama XX a. 3–8 deš. liturginės tekstilės puošybos pobūdis; analizuojama XX a. 3–4 deš. pasaulietinių meninių krypčių įtaka jos dekorui; tradicijos, konservatyvumo ir modernumo santykis, kuriant naujų liturginių rūbų dekorą. Teigiama, kad XX a. 3–4 deš. naujos kūrybinės formos ir modernūs judėjimai menkai tepaskatino modernios ornamentikos radimąsi XX a. 3–4 deš. šioje tekstilės srityje, tačiau pateikiama tolesnis šiuo laikotarpiu atsiradusių art deco bruožų ir užuomazgų atgimimas ir rutuliojimasis XX a. 6–8 deš. sukomponuotų liturginių rūbų puošyboje. Reikšminiai žodžiai: liturginiai rūbai, siuvinėjimas, art deco, tautinis stilius, sovietmetis. [Iš leidinio]

ENThe paper examines the décor of the Lithuanian liturgical textiles of the 1920s through to 1970s and the influence of secular artistic trends of the 1920s and 1930s on it. The said décor is analysed in terms of relationship between tradition, conservatism and modernity. 1920s and 1930s saw the development of a distinctive variant of embroidered décor in Lithuanian paramentics that does not have a specific designation but can be recognised by a unique stylisation of floral ornaments (blooms of roses and lilies). In addition to liturgical vestments with such décor, Lithuanian churches and museums have preserved some items made by contemporary foreign ecclesiastical workshops featuring Art Deco characteristics harmoniously merged with the elements of Neo-Traditionalism. Meanwhile, the décor of the locally manufactured liturgical textile items varies from the imitations of the imported “pure” Art Deco examples or local interpretations of the new style to low-value Historicist decorations. In the 1920s and 1930s, the elements of the National style that emerged during the interwar period manifested in the décor of chasubles, stoles and copes. It was influenced by the activities and works of Antanas Tamošaitis (1906–2005), Antanas Jaroševičius (1870–1956) and other promoters of the National style and the use of this style in secular textiles and furniture. In secular and liturgical textiles, the synthesis of the National style and Art Deco was expressed both through direct citation and through a more subtle treatment and interpretation of folk ornaments. The décor of the liturgical vestments often featured simplified, geometricised motifs that were quite modern in the Lithuanian Art Deco context. However, there are very few surviving examples of this in the Lithuanian liturgical textile heritage.Throughout the first half of the 20th century, the Lithuanian makers of liturgical vestments remained faithful to Historicism and practices of copying and using stencils. The reasons may have been the tastes of the clients/users and the lack of attention of the society to this type of artistic textiles. The re-imagining of folk motifs in the style of Art Deco that has started during the interwar years naturally continued in Lithuania isolated by the Soviets during 1950s to 1970s. During this time, the local makers of liturgical vestments mostly used décor patterns created in 1918–1940 and materials surviving from the first half of the 20th century. This décor featured uniquely interpreted, Lithuania-specific geometricised ornaments with highly-structured shapes that came from the “pure” Art Deco - but mostly from its Nationalist Lithuanian variation. The décor of liturgical vestments with Art Deco characteristics from the period of 1950s to 1970s varies from professionally arranged to rather primitive compositions and from quite realistically rendered to completely geometricised motifs. Elements characteristic of Art Deco were used in combination with national ornaments and/or traditional liturgical symbols such as grape vines, bunches of grapes and ears of wheat. The study revealed that new artistic movements did not really encourage the appearance of modern ornaments in the décor of liturgical vestments in Lithuania in the 1920s and 1930s but the Art Deco features that made their way to these garments at the time were reborn and used in the paramentics from the 1950s to 1970s. The study has raised several questions that require further research. One of them is why Art Deco and National style did not become entrenched in liturgical textiles during 1918–1940, even though they had such a strong presence in secular applied arts.Another question is why Art Deco flourished so much during the Soviet era, in the 1950s to 1970s. This question seems to be easier to answer. Most probably, the key reason was that “Lithuanianness” became a highly important criterion for the décor of liturgical vestments in Lithuania occupied and isolated by the Soviets; therefore, Art Deco became the connotation of the National style, the symbol of identity and even a tool in the silent fight for independence and freedom of faith. Another, more practical reason was that the destruction of the liturgical textile manufacturing and trade network meant there were no preconditions for its modern development. The old masters were working underground using previously acquired samples and stencils of ornaments because the Soviets considered their work to be illegal. Keywords: liturgical textiles, Art Deco, national style, Soviet era. [From the publication]