M. K. Čiurlionio "sonatinės" tapybos koloritinės sistemos savitumas

LTStraipsnis skirtas Mikalojaus Konstantino Čiurlionio tapybos spalvos ir kolorito sistemos projektui aptarti, dėmesį sutelkiant į brandaus „sonatinio“ tapybos periodo, vadinamojo Vilniaus laikotarpio, kolorito sampratos sąsajas su kai kuriais esminiais jo amžininkų klasikinio modernizmo korifėjų Paulio Klee ir Vasilijaus Kandinskio spalvos fenomeno suvokimo aspektais. Čiurlionis pasirinktas siekiant išskleisti nagrinėjamą spalvos ir kolorito problemiką lietuviškame kontekste, ieškant europinio masto asmenybės, kėlusios klasikinio modernizmo lyderiams analogiškus uždavinius tapybos ir sudėtingiausių spalvos fenomeno problemų sprendimo srityse. [Iš leidinio]Reikšminiai žodžiai: Abstrakcionizmas; Kandinskis; Klee; Koloritas; Mikalojus Konstantinas Čiurlionis; Mikalojus Konstantinas Čiurlionis; Modernizmas; P. Klee; Rytų estetika; Simbolizmas; Spalva; Tapybos ir muzikos sąveika; V. Kandinskis; Abstractionism; Colour; Eastern aesthetics; Kandinsky; Klee; M. K. Čiurlionis; Mikalojus Konstantinas Čiurlionis; Modernism; Symbolism; System of colour; The interaction of music and painting.

ENThe paper is dedicated to a multifaceted analysis of M. K. Čiurlionis’ perception of the phenomenon of colour and the unique aspects of his general system of colour in the context of a broad comparative analysis. The main focus is on the analysis of colour in the mature ‘sonata’ period of his work, also commonly referred to as the ‘Vilnius period’, and the parallels that could be drawn between the work of M. K. Čiurlionis and the core principles of the understanding of the phenomenon of colour as defined by his contemporaries: Paul Klee and Wassily Kandinsky. All of these artists took a similar creative journey from the poetry of symbolism to the modernist aesthetics by freeing up the colour and the line as the gradually abstract painting was aligned with the perception of music. Even though there are differences in details of the language chosen by each of these artists, the dynamics of the evolution of their systems of colour are very similar. One of the core principles in the artistic projects of Čiurlionis, Klee and Kandinsky is the reduction of colour that could be traced to their interest in the artistic traditions of East Asia where the reserved and sensitively nuanced system of colour is treated as the highest aesthetic value and the sign of a true mastery of the art.The perception of colour and the evolution of the scheme upon which Čiurlionis’ system of colour was build in the mature ‘sonata’ period of his work was formed in the tension of juxtaposing the classical Western artistic tradition to non-classical, gradually more and more abstract principles of modernist aesthetics. The reductive movement of colour in Čiurlionis’work is close to the artistic evolution of plastic goals of colour of Klee and Kandinsky, the contents of which not only brings M. K. Čiurlionis closer to the most important advances in the way modernist painters solved the challenges of colour, but also sets the stage for creating new and contemporary artistic practices. By reevaluating the past accomplishments in the practices of colour and by analyzing its theoretically disperse plastic aspects often intentionally left out or concealed by its authors, a new ‘silent’ artistic world view is then revealed though the prism of the artistic project of M. K. Čiurlionis. [From the publication]