Ornamentas kaip tautinio tapatumo žymuo? XX a. tarpukario interjerų ir dizaino raiška puošybos požiūriu

LTStraipsnyje gilinamasi į XX a. tarpukario Lietuvos gyvenamųjų interjerų ir taikomosios dailės bei dizaino dirbinių dekoro tendencijas, bandant nustatyti tautinio stiliaus puošybos sampratą, formuotą nevienodą skonį turinčių menininkų ir užsakovų. Norima parodyti, kad tapatybės paieškų laikotarpiu, kurį išgyveno nepriklausomybę atkūrusi Lietuva, kultūrinės orientacijos įvairovė atsiskleidė nevienareikšmiais tautiškumo požymiais, ne tik išorinių, bet ir vidinių ypatybių (santūrumo, įsijautimo, emocijas perteikiančios formos) sureikšminimu ir alternatyvia, prieš dekorą nukreipta raiška. Reikšminiai žodžiai: lietuvių tautinis ornamentas, XX a. tarpukario interjerų dekoras, tautinis stilius, Lietuvos tarpukario kultūrinės tendencijos, tarpukario dizainas. [Iš leidinio]

ENThe décor of the Lithuanian interwar interiors and design items was influenced by the ideas of a new way of life, international trends, needs of the society and financial possibilities. The persons who were creating residential interiors had different aesthetic tastes, education levels and different ways of expressing their world-view. The fashions of home décor reflected a very dynamic change of trends and the coexistence of mixed forms featuring Art Deco, Functionalism and Restrospective Modernism all intertwined together. Potentially because of this, the interior of the same house could feature different styles of decoration (Venclauskis house in Šiauliai, 1929) and opposite tendencies could be seen in the works of the same designer ( Jonas Prapuolenis, Gerardas Bagdonavičius, Liudvikas Strolis). This was a sign that the artists were interested in more than one design direction and when choosing the means of expression they sought to fulfil the wishes of their clients or to demonstrate the individuality of their work. The search for modernity forced the architects and artists to change their approach to the décor of things, to abandon it altogether, or to start looking for aesthetics in the structure and materials. The trust in the ability of a shape to speak for itself is likely related to Modernist trends that reached Lithuania via various channels at the time. Even though the décor of interiors and equipment reflected Functionalism and Rationalism, the choice was often determined by the conservatism of the residents of the house, their preference of Art Deco and the ideal of a cosy home. Architects and artists often focused on the accents of the National style in interiors.The most common way to incorporate ethnicity in the interior architecture and works of fine arts was through the decorative function by adding interest to the planes of the item using an ethnic ornament which had to be stylised and modernised. The National style décor was quite often used in Modernist pieces. However, not every artist associated nationality with recognisable folk patterns. There was another concept of nationality focusing on the interpretation of ethnic content through modest shapes and minimalist décor, which testified to the ongoing fight of the Western Europe with the excess of decoration. These artists improvised and re-envisioned the shapes of items to evoke associations with traditional peasant crafts items. Keywords: Lithuanian national ornament, interior decorating of the interwar period of the 20th century, interwar interior decorating, National style, cultural trends of interwar period, interwar design. [From the publication]