Kūrybos "broliai" (kryždirbiai Stanislovas Gegeckas ir Antanas Soraka)
LTReikšminiai žodžiai: Amatai; Antanas Soraka; Gegeckas; Kryždirbiai; Kryždirbystė; Liaudies menas; Meistras; Soraka; Stanislovas Gegeckas; Antanas Soraka; Art; Crafts; Craftsman; Cross-Craft; Crosssmakers; Folk; Folk art; Gegeckas; Soraka; Stanislovas Gegeckas.
ENThe article analyses the features of the works of two Lithuanian folk artists of the second quarter of the 20th century. The first of them, Stanislovas Gegeckas (1873-1940), worked and created in the northern part of Lithuania, in Pasvalys locality, whereas the second one, Antanas Soraka (1886-1951) - in the southwest of the country. Both of them are to be attributable not to primitive artists, but rather to masters, craftsmen who got certain elementary education and professional training that was sufficient for them to make their living from manufacturing of furniture, wagons, sledges, articles necessary in a farmstead, house building as well as crafting of memorials and sculptures. Early in their lives both of them worked abroad: Gegeckas worked as moulder at St. Petersburg art foundry for fourteen years, and Soraka travelled to the USA several times to work in construction. Crosses and other memorials by both craftsmen have features typical to such articles in Lithuanian folk art, even (though one can see the changes that emerged during the first half of 20th century when, with the modernisation of the lifestyles, human demands and aesthetic attitudes changed. First of all, the craftsmen themselves became different, as can be seen from their biographies, mode of life and creative methods. Mixed-style and promiscuous ornamentation and iconography from the printed matter were the sources of their creative inspirations. Memorials of Lithuanian folk art became more complex; their traditional architectural structure was augmented with more abundant decorative sculptures.The above is characteristic of the works of Gegeckas and Soraka, though they slightly differ from the general "decorative" trend. First of all, both craftsmen, in addition to stylised vegetal motifs, use other ones to form together a certain "ideological programme" of every monument. Using inscriptions, various symbolic images, emblems and other signs, Gegeckas gives prominence to ethical, moral truths and concepts in his monuments. The motives of Soraka works also play a similar role, though decorative essence predominates. The article analyses figūrai sculptures contained in memorials and church altars of both craftsmen. Though these were created taking the hint from book illustrations, the carved figures, especially those by Soraka, fascinate for their emotionalism and lyricism. [From the publication]
