lš elitinės kultūros palikimo: Santeklių dvaras ir Onos Bagnickaitės japonų graviūrų kolekcija

LTReikšminiai žodžiai: Ando Hiroshige; Edo periodas; Japonijos menas; Japonų medžio graviūros; Katsukavva Shunsen; Katsushika Hokusai; Keisai Eisen; Kikugava Eizan; Kolekcijos; Medžio graviūros; Ona Bagnickaitė; Santekliai; Suzuki Harunobu; Takahashi Shotei; Torii Kiyonaga; Ukiyo-e; Utagawa Kunisada; Viekšniai; Ando Hiroshige; Art Collections; Edo period; Japanese Art; Japanese engraving; Katsukavva Shunsen; Katsushika Hokusai; Keisai Eisen; Kikugava Eizan; Ona Bagnickaitė; Santekliai; Suzuki Harunobu; Takahashi Shotei; Torii Kiyonaga; Ukiyo-e; Utagawa Kunisada; Viekšniai; Woodcuts.

ENThe site of the SantekJiai (or Sontekliai) manor was settled circa 1590. The Santekliai farm estate, owned by the colonel Gruz, is mentioned at the end of the 17th century. In the 18th century the farm estate fell to the Pancerynski family and later - to the Tanski family. In the first half of the 19th century the judge Ignotas Radavicius married a girl from the Tanski family and converted the Santekliai farm estate into a manor. From 1869 the Santekliai manor belonged to Ignotas Radavičius' daughter Kazimiera Radavičiūtė (1826-1906), though she did not move in until 1882. Her sister's daughter Teklė Gruževskaitė (b. 1851) also moved into the manor, and remained its proprietor until World War I and some time after. There are a lot of facts testifying to the broad views and intelligent life of these manor proprietors, which was admired by the luminaries of that time - Juozas Tumas Vaižgantas, the professors Viktoras, Mykolas and Vaclovas Biržiška, Michał Brensztejn and others. According to the first census of Lithuanian population of 1923,105 people lived in the Santekliai manor; in 1926 the manor was parcelled out - of more than 500 ha of land, 96 ha were left to the proprietors, and the rest was given out to new settlers, while the territory itself was called the Santekliai village. Teklė Gruževskaitė remained the proprietor of the manor, and before World War II passed it down to her ward Ona Bagnickaitė. in 1940 the manor lands were nationalized, and in 1941 Bagnickaitė was deported to the Altay region, where she soon died in hospital in the town of Onguday. In 1942, 25 wooden buildings remained in the territory of the former manor. Today, all that is left of the once magnificent manor ensemble is several buildings and an alley.The Santekliai manor, which Bagnickaitė inherited from her guardian before the war, boasted quite many works of art, sumptuous portraits of the forefathers, and some works by Japanese artists, which Bagnickaitė had brought from Paris. In 1906-07 Bagnickaitė entered the Warsaw Art School, the class of Professor Kazimierz Stabrowski, and later continued to study painting in Paris. [...] The artist returned from Paris to Santekliai circa 1914, and in 1915-17 went to Nowogródek to study at Stabrowski's school of fine weaving. In 1918 she returned to Lithuania and founded a weaving workshop in Santekliai; she took part in agricultural exhibitions in Šiauliai and Kaunas (1928-30). Bagnickaitė's beautiful and stylish art collection consisted of works by nine Japanese artists: the most remarkable masters from the Edo (today, Tokyo) period (1600-1868) Suzuki Harunobu (71725-70), Torii Kiyonaga (1752-1815), Katsushika Hokusai (1760-1849), Katsukawa Shunsen (1762-1830), Utagawa Kunisada (1786-1864), Kikugava Eizan (1787-1867), Keisai Eisen (1791-1848), Ando Hiroshigc (1797-1858), and Takahashi Shotei (Hiroaki) (1871-1945), who mainly created in the 20th century. Developing the tradition of Ukiyo-e art, these artists depicted the daily life of Japanese people, the world of entertainment, actors of Kabuki theatre, geisha quarters, and cities. In Japanese, Ukiyo-e means pictures of the floating world. In the article, Japanese wood engravings from Bagnickaitė's collection, currently held in the Šiauliai "Aušra" Museum, are described, and their plots and some compositional features are discussed. They are compared with works held in other world museums, and the collections to which they belonged are indicated. [From the publication]