Fotografuoti draudžiama: Vilniaus fotografų likimai 1863-iųjų sukilimo metu

LTReikšminiai žodžiai: Sukilimas, 1863-1864 (Lenkijos ir Lietuvos sukilimas; Sausio sukilimas; January Uprising); Sukilimas, 1863-1864 (Lenkijos ir Lietuvos sukilimas; Sausio sukilimas; January Uprising); Abdonas Korzonas; Achilas Bonoldis; Albertas Swieykowskis; Carinis režimas; Cenzūra; Fotografija; Ivanas Levickis; Kontrolė; Vilniaus fotografai; 1863 revolt; Abdon Korzon; Achille Bonoldi; Albert Swieykowski; Censorship; Control; Czar's regime; Ivan Levicki; Photography; The uprising of 1863; Vilnius photographes.

ENThe second period of development of photography in Lithuania coincided with the uprising of 1863. Vilnius photographers were most of all allocated in this period. The researches carried out over the past years have helped to systematize their activity and allowed registration of the revealed archives. Because of lack of sources and limited research possibilities the biographies of the photographers were not opened, the historical situation and the political and social conditions influencing their activity are not discussed. This feature publishes the results of the latest researches. On this base, the biographies of the brightest persons in the field of photography during the uprising are reconstructed, the dates and places of births are defined more exactly, and the chronology of life of the photographers is stated. The theme is projected in a context of historical events, discussed the problems of influence of the authority dictatorship on professional activity and individual destinies, and adaptation of the photographers in conditions of power structure are described. Disorders and ordeals revealed psychological properties of the persons, their aesthetic and moral installations. For more detailed discussion four photographers of Vilnius are chosen: Achille Giuseppe Bonoldi (1821-1871), Abdon Korzon (c. 1826-1865), Albert Swieykowski (born c. 1829) and Ivan Levicki (born c. 1837).The works created at that time testify to an early occurrence of the originative potential in the field of photography. However, the suppression of the uprising and radical reform "the reconstruction of Russian origins" at North-Western region stopped creative processes, which in that time occurred in Europe. The regime directly has affected practical activity of the photographers, regulating the contents, form, amplitude. After security check initiated by the governor general Mikhail Muravjev in June 1863, four of nine photo studios working at that time were closed. The photos and negatives were confiscated and destroyed. Those studios that had received the sanction to continue activity were forbidden to photograph and to distribute portraits of rebels and photos of political events. The photographing of people was strictly limited, and the objects of the military importance had the right to imprint the especially reliable and authorized persons. Until the end of the 19th century the portrait remained an object of commercial studio only, photo of view was limited to fixing of monuments and displaying of neutral landscapes. Reportage, still life and other genres were not developed. All restrictions of activity generated the photographer-handicraftsman. [From the publication]