Liaudies tekstilės raštų interpretacijos XX a. pirmosios pusės dekoratyvinėje Lietuvos dailėje

LTStraipsnio objektas - tautinio stiliaus simboliu tapusių lietuvių liaudies tekstilės ornamentų sklaida XX a. I pusės dekoratyvinėje dailėje. Remiantis istoriniu-kultūriniu ir faktografiniu-analitiniu metodais, pasitelkus rašytinę ir ikonografinę medžiagą, bandoma išsiaiškinti liaudiškumo sampratos, besiremiančios vienos rūšies dirbinių puošyba, istorines priežastis, atskleisti to meto dailėje vyravusius ornamentų taikymo atvejus ir stilizacijos bei interpretavimo tendencijas. Apžvelgiami būdingiausi audinių raštų taikymo atvejai interjero puošyboje, grafikoje, taikomojoje dailėje.

ENThe object of the article is the spreading of Lithuanian folk textile patterns, the symbol of national style, in the first half of the 20th century interior decoration, graphic design and decorative arts. The application of folk art decorations in modern fine arts is the phenomenon of the most recent years associated with the search for national style in arts and fine crafts. National style corresponded with the aim of state politics to strengthen the national self-awareness, to find forms of expression which would be recognizable to the citizens and would arouse the feeling of their identification with the State. The prevailing trend of the national style of the first half of the 20th century was decorative style. The spreading of this trend was promoted by the patterns of the fabrics well known to the Lithuanians since their childhood. These patterns not only affected their aesthetical feelings, but also made a psychological impact on them. In Europe, attention to folk decoration was promoted by the representatives of the Romanticism movement. During the period of the Historicism, from the middle of the 19th century, theoreticians of art started exploring the decorations of different historical periods. The ornamentation was treated not only as external decoration, but also as the reflection of state ideology and value orientation. In this respect, the ideologues of Lithuanian national movement did not differ from their contemporaries in other countries.The decoration elements of Lithuanian fabrics could also have spread naturally because of the high popularity of folk textiles, their decorative characteristics and aptness for stylisation. Constant activities of the ideologists and theoreticians, who were promoting national style and emphasizing the beauty of textile patterns, also contributed to the spreading of textile decorations. In their methodical publications, they used to present these elements as the iconographic programme of Lithuanian identity which had to be the aim of everyone. Quite an important role was played by the decoration of representative accommodations, exhibition- halls and places for mass events with Lithuanian linen, sashes and other traditional fabrics. Fabric patterns served especially well for the decoration of flat surfaces. For this reason, the textile ornaments spread among fine crafts, graphics design and all types of decorative arts. Unlike other kinds of folk art decorations, which were transformed based on the material peculiarities of the articles, textile patterns did not change much in the works of professional fine arts. Sometimes they were stylised in the manner of Art Nouveau, neoclassicism, or Art Deco. The results of the interpretation and stylisation of fabric patterns varied from mechanical quotations to artistically mature works. Some attempts were aimed at the semi-official national representation which reflected state politics. Other works attracted people by their naive sincerity. [From the publication]