Contemporary European amber jewelry and tradition

LTŠiandien gintaro menas išgyvena savo atgimimo laikotarpį. Autorę imtis straipsnio paskatino tarptautinė tarpdalykinė konferencija gintaro tema, kurioje jis analizuotas keliais aspektais – istoriniu, archeologiniu, meno kolekcijų ir kt. Šio straipsnio tikslas: išanalizuoti šiuolaikinės juvelyrikos šios šakos sklaidos laipsnį, pristatyti šalis, kuriose ji yra aktyviai vystoma ar itin populiari, atrasti tam tikras specifines savybes ir prielaidas, kurios yra skirtingos įvairiose šalyse. Autorė taip pat aptaria gintaro pozicijas ne tik šių dienų juvelyrikos meno kontekste, bet ir nusistovėjusios gintaro gaminių tradicijos atžvilgiu. Siekis interpretuoti šiuolaikinius gintaro kūrinius tradicijos diskurse buvo išprovokuotas iliustracinės medžiagos (albumai, katalogai) apžvalgos, pristatančios skirtingų šalių meninę patirtį.Reikšminiai žodžiai: Šiuolaikinė juvelyrika; Gintaras; Gintaro juvelyriniai dirbiniai. tradicija juvelyrikoje; Lietuvos meno istorija; Taikomasis menas; Juvelyrika; Lithuanian art history; Applied art; Jewelry.

ENThe choice of the topic for this report was prompted by the character of this conference in Vilnius. An international interdisciplinary conference, where the topic of amber is approached in several aspects, those of archeology, history, collections and art, seems to invite one to make a more expanded analysis of the application of amber in contemporary jewelry art. The principal aim of this research is therefore: to analyze the extent of spreading of this branch of contemporary jewelry, to present the countries where it is actively developed and enjoys popularity, to discover some specific features and peculiarities which are particular of the schools of individual countries and artists together with the factors which unite them and are typical for contemporary amber artifacts in general. On the other hand, discuss an attitude to amber not only in the context of the presentday jewelry art, but also in that of a long-established tradition of amber articles. The intention to think over the interpretations of contemporary amber art works in the discourse of tradition and its transformations was provoked by the reviewed illustrative material, presenting artistic practice in different countries - albums, catalogues, where in frequent cases the production of amber in the modern times makes a mere batch beside the copious pages of the glorious past. The present report is principally based on a comparative analysis.