Ornamentas tautiniame kostiume

LTStraipsnyje analizuojama, kaip XX a. pirmojoje pusėje kuriant lietuvių tautinį kostiumią buvo naudojami liaudies drabužių ornamentai. Aiškinamasi, kiek jie buvo svarbūs kaip nacionalinio savitimio perteikimo priemonė, kaip tradiciniai raštai buvo įprasminami, kaip ir kodėl transformuojami. Daugiausiai dėmesio skiriama Antano Tamošaičio sukurtiems tautinio kostiumo modeliams, savotiškai užbaigusiems XX a. I pusei būdingus „lietuviškumo“ drabužiuose ieškojimus. [Iš leidinio]

ENNational costume is an object related by obligatory relations to traditional folk "Sunday best" outfit containing recognisable features of the latter. However, the relationship between the national costume and folk dress may be constructed in various ways. It depends not only upon the initial choice of the creators of the traditional costume (whether they copy the traditional folk dress or create a stylised outfit based on it) but also upon the level of knowledge and completeness of research on folk clothing and upon the society's approach towards the value of heritage. As in most European countries, when various versions of traditional costume were being created in Lithuania, some of the features of folk garments may have been fully ignored while other properties may have been unproportionately emphasised. The goal of the article is to review how the ornaments of folk clothing were used for creation of the national costume in the first half of the 20th century. When creating Lithuanian national costumes in the beginning of the 20th century, home-made fabrics and needlework were considered a "reliable" means to preserve the "Lithuanian identity" of clothing. It was believed that the national character of the garment is first of all expressed through the pattern of its fabric and/or the trimming made by hand, i.e. the ornament. A popular opinion prevalent among cultural activists that were interested in national costume and other types of traditional textiles stated that country women stylised the nature when creating patterns for their fabrics and needlework and, therefore.the ornaments reflected the geography of the region and characteristics of local nature and were organically bound with the entire syncretic rural culture. This was one of the reasons leading to both numerous tradition al ornament collection campaigns in the first decades of the 20th century and also to favourable attitude towards comparatively free interpretations of ancient patterns and creation of new motifs. Until the fourth decade of the 20th century, the best known articles of the traditional folk costume dominating the exhibitions of the Lithuanian Art Society, other exhibitions and private collections were inkle woven sashes and aprons. Their ornaments were also used to decorate other parts of the costume. In the end of the 4th decade, an artist Antanas Tamošaitis created models of national costume for each individual region of Lithuania. He used larger quantities and a larger variety of ornaments of traditional clothing and systematised them based on ethnographic regions. Having limited available resources to local materials and home-made manufacturing techniques, Tamošaitis sought the decorativeness of the outfits by enlarging areas covered by ornaments and obtained the compositional harmony by using similar or matching ornaments in all parts of the costume. When creating the aforementioned national costumes, the artist both used the collected authentic samples of ornaments and also developed and expanded them adapting them to other textile techniques. [...]. [From the publication]