"Ar tau žinomas lietuvių judėjimas?" : M. K. Čiurlionio apsisprendimas gyventi Vilniuje ir kūrybinių ieškojimų trajektorija
LTMikalojaus Konstantino Čiurlionio apsisprendimas 1907 m. persikelti iš Varšuvos į Vilnių tapo labai svarbiu veiksniu kultūriniame lietuviškajame atgimimo judėjime. Šiame straipsnyje chronologiškai analizuojamas paralelus Čiurlionio tapybos ir muzikos stiliaus bei turinio vystymasis, siekiant identifikuoti kūrybinės minties pasikeitimo tarpsnius. Pasitelkiant jo laiškuose užfiksuotus apsisprendimus, siekiama atpažinti, kokį poveikį kūrybiniams Čiurlionio ieškojimams turėjo menininko sprendimas apsigyventi Vilniuje. [Iš leidinio]Reikšminiai žodžiai: Dailė; Eksperimentai; Tautinė kultūra; Mikalojus Konstantinas Čiurlionis; Modernizmas; Muzika; Novatoriški eksperimentai; Čiurlionis; Art; Experiments; Innovative experiments; Lithuanian national culture; M. K. Čiurlionis; Misic; Modernity; Čiurlionis.
ENM. K. Čiurlionis’ decision to settle in Vilnius in 1907 had a very significant impact on the Lithuanian national cultural movement. His importance to the development of Lithuanian culture has been widely researched; however, it is still debatable whether this decision exerted any influence on the stylistic development of Čiurlionis’ creative career both as an artist and a composer. In order to answer the question if this biographical decision had an impact on Čiurlionis’ art and music it is important to chronologically analyse the development of both creative media, and to look for their possible simultaneous stylistic transformation. A valuable insight in this regard was provided by artist Aleksandra Kašubienė. In her lecture ‘The Vocabulary of Čiurlionis Imagery’ (Čiurlionio įvaizdžių žodynas), delivered in Chicago in 1977, Kašubienė pointed out that the visual art of Čiurlionis does not develop in a steadily progressive trajectory. After examining Čiurlionis’ treatment of individual aspects of painting - line, colour, plane, mass, perspective - she claimed that ‘in Čiurlionis’ early paintings there are numerous examples suggesting how strongly he sensed the expressive potential of each individual parameter of expression and how bravely and freely for the day he used them’. She pointed out that by 1906 the artist sufficiently commanded the tools of expression and was experienced enough to totally abandon the object matter in his paintings and proceed toward the art generated solely from the dynamics of the abstract expressive means.However, he decided to turn back to the subject matter and his natural inclination toward the abstract remained not fully developed. The analysis of development of Čiurlionis’ musical compositions also clearly points out that between 1903 and 1906 he was swiftly moving toward very radical and abstract compositional strategies, often employing short repetitive ostinati or series of repeated pitches to generate musical compositions. However, starting in 1906 his writing becomes much more diatonic and is often based on fragments and intonations of Lithuanian folk tunes. Therefore, after examining the parallel development of the artist’s two main creative media, it is possible to claim that their respective development follows the same pattern, with a significant curve toward more traditional, realist and matter-oriented expression occurring in 1906-1907. This stylistic curve coincides with the artist’s decision to settle in Vilnius and devote his entire oeuvre to Lithuania. Looking back from a hundred years’ perspective, it could be asserted that Čiurlionis’ decision to settle in Vilnius became not only a very important impetus for the whole Lithuanian cultural movement, but also influenced, in a very significant way, the artistic decisions and stylistic development of his own music and art. After deciding ‘to devote entire work to Lithuania’, Čiurlionis forced himself to abandon his more radical experiments for a path and style more closely linked with collective needs of the budding nation. [From the publication]
