Šešėliai ir debesys: anapusybės vaizdavimo ribos

LTStraipsnyje svarstoma, kaip mimetiškai kūną kartojantis bekūnis šešėlis ir nuolat kintantis, efemeriškas, nors ir savitą kūną turintis debesis reprezentuoja anapusybę, neapčiuopiamą ir nepažinią tikrovę. Šios temos idėja kilo skaitant Hanso Beltingo knygą „Atvaizdo antropologija: Mokslo apie atvaizdus etiudai“, kur analizuojant Dantės „Pragarą“ buvo apmąstoma šešėlio ir atvaizdo analogija: šešėlis kartoja, imituoja kūną, pats juo nebūdamas, kaip ir atvaizdas. Šešėlis nuo pat antikos laikų siejamas su anapusybe ir kartu su atvaizdo, kurį inicijuoja fizinis žmogaus išnykimas, gimimu. Šiame kontekste iškilo klausimas apie šešėlį krikščioniškoje vaizdinijoje. Įdomu, kad, pavyzdžiui, Naujajame Testamente aprašytame Apreiškime (Lk 1,34) minimas Švč. Mergelės Marijos uždengimas šešėliu ikonografinėje tradicijoje neįsitvirtino: Viešpaties šešėlis buvo pakeistas spinduliais ir debesimis. Būtent čia ir užgimė šio tyrimo probleminė prieiga: pasitelkiant šešėlio ir debesies motyvus kelti neregimybės atvaizdo ir pačios vaizdavimo ribos, jo pradžios (šešėlio atveju) ir pabaigos (debesies atveju) klausimą. Kadangi tema labai plati, šis straipsnis - tik galimos tolesnės studijos eskizas. [Iš leidinio]Reikšminiai žodžiai: Neregimo vaizdavimas; Vaizdavimo ribos; Šešėlis; Debesys; Ikonografija; Depiction of the invisible; Boundaries of depiction; Shadows; Clouds; Iconography.

ENIt is attempted in this article to analyse together motives of shadow and cloud as occurrences of art and nature, iconography and historiography, basing this research on the interaction between depiction, body and shadow, highlighted in Hans Beltings Anthropology of Images. Shadows and clouds are distinct areas of nature depiction. Shadows are associated with natural mimesis, definition, dependency on the bodily primary image of the shadow. Clouds are related to the expression of depiction, loose and independent of earthy bodies, with a certain abstraction and vagueness. Thus, the areas of shadow and cloud depiction are very different, representing opposite ways of the creation of images in nature, but also similar in having no connection with a defined, fixed surface, stable body, and both have a long tradition of being employed to represent otherworldliness, and are also applied when researching the origins of image. As a consequence of this similarity of these two occurrences, the shadow is substituted by cloud in iconographic tradition (in the case of the depiction of the Annunciation) and cloud is substituted by shadow in art historiography (in the case of netabulae in parietė). The article follows how the boundaries of depiction are altered with the help of shadow and cloud motives in the tradition of art theory - the question of beginning (in the shadow's case) and of ending (in the cloud's case). The beginning is associated with the shadowy repetition of body, line and contour, and the ending is associated with shrouding cloud which fills space and disguises form with an undefined and changing substance. In the legend of the birth of image, described by Pliny the Elder, the image which follows a shadow and mimics a body recreates an illusion.On the other hand, in art theory clouds exist as a mainly symbolic motive (although can be found as a formal depiction principle sfumatto), employed to depict invisible and incomprehensible, hard to convey occurrences: wind, thunder, divinity, beauty, Gods respite, otherwordliness, and later - conditions and feelings. Thus, cloud, unlike the mimetic image of shadow, does not represent the possible existence of a person, but as Lessing wrote "is used to turn visible into invisible and also invisible into visible"; the cloud denotes existence beyond person and implies something impossible to depict, similar only to "nothing or a dream". The article describes how the cloud motive came to be used in the scenes of Divine intervention, how it became the main device in forming sacral space and in denoting the status of the depicted persons in baroque art. Also noted is a break of positivism in the 19th c, when a naturalistic notion of studying clouds as real and "not disguising anything" natural occurrences was formed. The attention of symbolism artists to the sky as a powerful laboratory of expressing fantastic imagery, emotions and conditions is described. In all these cases the motive of cloud is employed as a media in the representation of certain occurrences. In this context, Eglė Ridikaitės cycle of paintings "Colour of God", which (re)presents only painting itself - a colour sprayed on the canvas, is analysed. Here, no concrete or symbolic motives of cloud, no physical or metaphysical illusion of the sky is created. It is a bare materiality of media, which represents only itself as a certain visual poetics. [From the publication]

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