M. K. Čiurlionio kūrybos recepcija okupacijų metais
LTMikalojaus Konstantino Čiurlionio kūryba (dailė žymiai labiau negu muzika) yra patyrusi skirtingų ir skonio, ir specifiniais meno kriterijais gristų vertinimų. Straipsnyje daugiausiai rašoma apie meno kontrolės stiprėjimą antrosios sovietinės okupacijos pradžioje, surengtą Čiurlionio dailės svarstymą; komunistinės ideologijos požiūriu ji įvertinta kaip „pūvančios buržuazijos“ pažiūrų išraiška. Tokį požiūrį 1926 m. jau buvo paskelbęs Maskvos lietuvių komunistas Zigmas Angarietis, 1931 m. pakartojo rašytojų grupės „Trečias frontas“ nariai. Pateikiama žinių apie Čiurlionio meną tarp okupuoto Vilniaus lietuvių, jo muzikos atlikimą vėliau bei karo ir pokario metais. 1955 m. leista paminėti Čiurlionio gimimo 80-metį. Minėtas tik kaip kompozitorius. Tačiau tai buvo jo kūrybos grįžimo į tautinės kultūros gyvenimą pradžia. Tuomet prasidėjo Čiurlionio gyvenimo, pažiūrų, visų kūrybos sričių tyrinėtojo ir populiarintojo Vytauto Landsbergio veikla. Daugėjo Čiurlionio kūrybos apskritai tyrėjų ir populiarintojų, menininko gimimo 90-mečio ir 100-mečio renginiai rodė vykstant reikšmingus jo kūrybos recepcijos pokyčius. [Iš leidinio]Reikšminiai žodžiai: M. K. Čiurlionio dailė; Mikalojus Konstantinas Čiurlionis; Mikalojus Konstantinas Čiurlionis; Mikalojus Konstantinas Čiurlionis; Okupacija; Recepcija; Occupation; Reception; Reception of Čiurlionis art; Čiurlionis' art; Čiurlionis' music.
ENIn 1901, Čiurlionis composed his first orchestral work, the symphonic poem In the Forest; a year later, he composed the overture Kęstutis (the name of the fourteenth-century grand duke of Lithuania.) and a string quartet based on the excellent melodics in the Lithuanian style. Lithuania as an independent state existed for only a quarter of the period from 1901 to the re-establishment of its independence in 1990. Historical changes affected the fate of his creative work as well. Vilnius was occupied by Poland from 1920 to 1939 and the artistic life of the independent Lithuania was forced to concentrate in Kaunas where Čiurlionis’ Art Museum was opened. Articles about Čiurlionis’ creative work were published in the Lithuanian press of Vilnius; a large artistic event was held to commemorate the 25th anniversary of the artist’s death. The paper contains data on the performances of Čiurlionis’ music during the last years of independence and the Second World War as well as on the lack of attention to his creative work at the beginning of the second Soviet occupation. In around 1950, the negative attitude of Soviet ideologists to Čiurlionis’painting intensified; in 1952, the press gave as broad coverage as possible of an attack against it. He was described as expressing the views ‘of the putrid and morally degenerate bourgeoisie’ alien to the Soviet man.Zigmas Angarietis, one of leaders of the Lithuanian communists in Moscow, voiced such a view in as early as 1926, and in 1931 he was supported by the members of the pro-communist group of writers ‘Trečias frontas’ (The Third Front) in Kaunas. In 1955, the commemoration of Čiurlionis’ 80th birth anniversary was permitted: he was celebrated as a composer. Nevertheless, it was the beginning of the return of his creative work to the daily artistic life. At the commemorative concert his piano works were performed by Vytautas Landsbergis, a graduate of the Lithuanian Conservatoire, who entered the artistic life from the environment directly related to Čiurlionis and to the tradition of fostering of national culture. Landsbergis is the most prominent and the only researcher of Čiurlionis’ complete artistic legacy. He has described every step in the artist’s life and each creative movement; he has published Čiurlionis’ writings, his letters to Sofija, and his piano works. Celebrations of the 80th, 90th, and the 100th anniversaries of Čiurlionis’ birth attested to the dynamics of the reception of his work. The author brings up the issue of Čiurlionis’ discography and of the necessity to publish his letters and literary works in English. According to the author, the publication of his bibliography (started in 1970) should be continued and a monument to Čiurlionis should be erected in Vilnius. [From the publication]
