"Miesto sodo" idėjos ir praktikos atgarsiai XIX a. Vilniaus interjeruose

LTStraipsnyje, remiantis Vilniaus atveju, ryškinamas teiginys, kad Europoje XVIII a. antroje pusėje – XIX a. plitusios sodininkystės ir gėlininkystės idėjos bei vykdoma praktika tiek darė įtaką dekoratyvinės sienų tapybos raidai, tiek bendrai keitė interjero apipavidalinimo madas. Svarbus šio tyrimo akcentas – komercinė sodininkystė, skatinusi mažojo miesto sodelio vidiniame arba galiniame namo kieme plėtotę, gėlynų priešais namus ar ant palangių paplitimą, balkonų bei terasų atbrailų puošimą augalų akcentais, taip sudariusi sąlygas didžiulei naujovei – augalams interjeruose atsirasti. [Iš leidinio]Reikšminiai žodžiai: Vilnius; Sodai; Kambariniai augalai; Interjerų dekoras; Sienų tapyba; Baldai; Vilnius; Gardens; Houseplants; Interior decoration; Wall painting; Furniture.

ENThe author of the article refers to the Vilnius case to argue that the ideas and the practice of horticulture and flower gardening, which became widespread in Europe from the second half of the 18th century to the 19th century, both made an influence on the development of decorative wall painting and set the fashions of interior decoration in general. An important highlight of this research is commercial gardening, which spurred the development of small city gardens in the inner or back patios, the spread of flower beds in front of houses or on windowsills, and the decoration of balconies and terraces with plants, and thus laid the groundwork for a huge novelty – the appearance of plants in the interior. When houseplants came into fashion, specialized stands, so-called jardinieres, shelves, decorative pots, vases and their supporting pillars appeared in the interiors. Folding screens were overgrown with climbing plants, the latter were used to make “green” painting frames, flower baskets were hung or vases with flowers were set up in place of chandeliers and wall lamps. The garden fashion inspired the design of furniture containing the elements specially adapted for setting flowers. Among them, a writing desk of bent forms designed by Joseph Danhauser and a round settee with a raised central part having a special place for a jardinière on its top, called borne, should be mentioned.Horticulture and flower gardening that became popular in the late 18th and 19th century made an influence on certain motifs and plots of wall painting and the means of their composition. Among such, one should mention wall landscapes, flower garland rosettes, overdoors with painted landscapes and decorated with flower (mainly rose) baskets, as well as frieze paintings with views of landscape parks. Besides, the garden fashion encouraged filling the residential premises with garden features (pergolas) and open or closed garden tents by means of painting and houseplants. The fragments of nineteenth-century painted trellises with grapevines, the remnants of a curvy tent on the ceiling or striped fabric on the walls, which have survived in Vilnius houses, clearly show that the garden fashion, widespread in Europe, had taken root in this city as well. [From the publication]