Teosofinės meno filosofijos idėjų atspindžiai Stabrausko ir Čiurlionio tapyboje

LTMonografijoje lyginamuoju aspektu analizuojami teosofijos įtakos pėdsakai K. Stabrausko ir M. K. Čiurlionio paveiksluose, XIX ir XX a. sandūros ezoterizmui būdingi mįslingi geometriniai ženklai, užšifruoti kriptografiniai užrašai, simboliai, metaforos ir archetipiniai vaizdiniai. Iš atliktos analizės formuluojama išvada, kad gilinimasis į ezoterizmo tendencijas padarė įtaką Čiurlionio tapybos stiliui, vyraujančių meninių simbolių, metaforų sistemai, įkvėpė kūrėją savitai pažvelgti į pasaulinės kultūros istorijos įvairovę, lietuvių liaudies folkloro bei mitologijos archajinius sluoksnius ir sukurti analogų pasaulinėje dailėje neturintį muzikalų maksimaliai apibendrintą tapybos stilių. Monografijos adresatas – profesionalioji akademinė auditorija ir visuomeninė aplinka, kūrybinė inteligentija, menininkai. Leidinys gali būti naudingas aukštųjų mokyklų dėstytojams, studentams, kultūros darbuotojams, visiems, besidomintiems aktualiomis kultūrologijos, meno istorijos, kūrybos teorijos, euristikos, estetikos, meno filosofijos ir meno psichologijos problemomis. [Leidėjo anotacija]

ENThe ideas of the main creators of the theosophical philosophy of art (Blavatsky, Steiner, Schuré, Besant, and Leadbeater) reflected the growing influence of the modern esotericism typical of the early 20th century. This influence was directly related to a rejection of the materialistic reality typical of artistic consciousness and to an unconditional exaltation of mysterious spiritual first principles. As the most typical features of this period, we may indicate growing tendencies toward occultism and an intensified belief that beyond the layer of outward appearance in the world around us there exists a deeper, mysterious, spiritual reality that can be reached through mystical intuition, contemplation, meditation, or revelation. The interaction of occultism and the theosophical philosophy of art with artistic practice clearly emerged in the colorful and contradictory Neoromantic, primarily Symbolist movement that was influenced by Romantic mysticism, Orientalism, and the problems of the interaction of the arts and in the Modernism that was forming in this movement. Every artist influenced by theosophy, anthroposophy, and other occult ideas had a specific style that was related to his childhood environment, experiences, creative potential, and national artistic traditions which were all integrated by a characteristic attitude that flowed from various esoteric teachings. This was primarily special attention to various spiritual aspects of artistic creation and of the psychology of the creative process. Many of the artists and composers inspired by the ideas of esotericism shared the quest, typical of their epoch and the Neoromantic artistic tradition, for links between pictorial and musical expression as well as special attention to the phenomenon of synesthesia.One more characteristic feature that connected these artists was an attraction to puzzling subjects enciphered in various signs and symbols and to metaphorical meanings in order to stress the importance of spiritual, nonmaterial values, and related to this attraction was a tendency in creative expression toward the dematerialization of the objects they depicted and toward the abstraction of artistic forms. Of the figures involved in the rebirth of Lithuanian art during the early 20th century, Stabrauskas (Stabrowski, 1869-1929) received the most widespread international recognition. During his youth, while studying at the Saint Petersburg Academy of Arts, he developed an interest in theosophy, parapsychology, mediumistic practices, and Orientalism, and this inclination remained relevant when this artist was on his later creative path. This attraction to esoteric doctrines continued to grow during journeys to Near Eastern countries and while he was studying at the Académie Julian in Paris. He was convinced that the spread of theosophical and, later, anthroposophical ideas would impel materialistic Western culture toward a desired dominance of spiritual values and would help artists master subtler forms of artistic expression that would capture spiritual phenomena invisible to the naked eye. Stabrauskas regarded his paintings, enriched with mysterious theosophical symbols and metaphors, as the most accessible way of spreading the idea of a new, exalted, spiritual art in the world. Because of these esoteric ideas, his creative style indeed underwent fundamental changes that were primarily connected with the growing importance of metaphysical and spiritual aspects flowing from theosophical and anthroposophical doctrines and with a growing tendency toward a symbolical, metaphorical style of self-expression.In this painter’s early pictures inspired by the ideas of esotericism we discern means of artistic expression that are typical of Symbolism, Impressionism, Art Nouveau, and Secession and that are intertwined with mysterious and ephemeral theosophical images. In his later creative work, Stabrauskas devoted most of his attention to lyrical landscapes, figure compositions, historical motifs, nature scenes, and the Romanticized cult of feminine beauty, and he created many mysterious and refined artistic images influenced by esotericism. He was connected to Čiurlionis and the national art of Lithuania through a Romantic, emotional tie to the cultural tradition of the Grand Duchy of Lithuania and an attraction to the nature-worshiping motifs of Lithuanian myths and legends. Alongside historical pictures, landscapes, and figure compositions, Stabrauskas also created images of women infused with the spirit of esotericism and flights of fantasy. Delving into the world of theosophical and occult ideas determined an ever-clearer separation of two different tendencies in esoteric painting. The first was the unrealistic, which was dominated by tendencies to dematerialize artistic images that were often created with a mystical tinge and to dissolve them in the ether, and the second, opposed to it, was the naturalistic, which preserved traces of the formerly dominant realistic style that was already ever more clearly directed toward realizing as suggestively as possible the new goals of esoteric painting. [...]. [From the publication]

• Filosofija / Philosophy
• Menotyra / Arts