M. K. Čiurlionio Sonata Nr. 7 (Piramidžių sonata) : mintys, atsiradus trečiajam paveikslui

LTStraipsnyje atkreipiamas M. K. Čiurlionio kūrybos tyrinėtojų dėmesys į paveikslų Allegro, Andante ir Scherzo dalių išdėstymo Sonatoje Nr. 7 (Piramidžių sonata) klausimą. Tekste nagrinėjama dvejopa problematika: tapybinės sonatos turinio patikslinimas ir sonatos kompozicinė struktūra, jos kitimai, atsirandantys ciklo dalis išdėstant skirtingais būdais – taip, kaip eksponuojama Nacionaliniame M. K. Čiurlionio muziejuje, ir kita tvarka, triptike apkeičiant vietomis pirmąjį ir trečiąjį Piramidžių sonatos paveikslus. [Iš leidinio]Reikšminiai žodžiai: Mikalojus Konstantinas Čiurlionis; Sonata Nr. 7 (Piramidžių sonata); Andante; Paveikslų išdėstymo tvarka; Egiptas; Saulės kultas; M. K. Čiurlionis; Sonata No. 7 (Sonata of the Pyramids); Andante; Oder of paintings' arrangement; Egypt; Cult of the Sun.

ENAlmost the entire heritage of Mikalojus Konstantinas Čiurlionis is preserved at the M. K. Čiurlionis National Art Museum (Kaunas) in Lithuania. A few paintings were sold or disappeared. Art critics were familiar with the story of the separation of the Andante section from the Sonata of the Pyramids' cycle and knew the fairly exact location of its whereabouts in the Netherlands. In 2009, the M. K. Čiurlionis National Art Museum purchased the Andante section from a private owner in the Netherlands. This event drew attention to the sequence of the paintings of this cycle. In the historiography of art studies, suggestions had been made that the parts of the Sonata of the Pyramids had been hung in the wrong sequence and that they should have been arranged differently. The article turns its attention to the creation of the sequence of the Allegro, Andante and Scherzo parts of the Sonata of the Pyramids. The article discusses problems of two kinds: the first is the closer definition of the subject-matter and plot of the Sonata of the Pyramids, and the second relates to the compositional structure of this three-part sonata and the alterations to this structure which appear when the parts of the cycle are arranged in different sequences. One of these possible sequences can be viewed in the M. K. Čiurlionis National Art Museum, while another sequence can be arranged by exchanging the first painting of the cycle with the third. The attention of this analysis is focused on the argumentation presented in the texts by Paulius Galaunė, Vytautas Kairiūkštis, and Vytautas Landsbergis, and the hypothesis that this article attempts to prove is that the current sequence of the exposition is false as it has never been known which painting exactly was to be the Allegro and which painting was to be the Scherzo.The article, having cited texts and archive photography, proposes that attention be turned to V. Kairiūkštis interpretation who viewed the Sonata of the Pyramids in exhibition, and presents the thesis that these three paintings should be viewed in the sequence proposed by him. Having changed the sequence of the paintings, the accents of the cycle's plot are altered and become clearer and the parallels with the elements of the Ancient Egyptian solar cult, which interested M. K. Čiurlionis, reveal themselves. [From the publication]