Maironis ir jo „Pavasario balsai“ lietuviškosios pavasario vaizdinijos kontekste
LTReikšminiai žodžiai: Maironis; „Pavasario balsai“; Pavasario vaizdinija; Art nouveau; Bibliografinis kodas; Knygų apipavidalinimas; 19 amžius; 20 amžius; Maironis; "Pavasario balsai"; Imagery of spring; Art Nouveau; Bibliographical code; Book design; Second half of the 19th century – beginning of the 20th century.
ENThe issue raised and addressed in this paper concerns the modernity of the works of Maironis (1862–1932), a classic of Lithuanian national literature. The author aims to evaluate the timeliness of Maironis' work in the context of Lithuanian culture of the late nineteenth-the first half of the twentieth century, that is, during the poet's lifetime and the first decade following his death. The evaluation is based on the pecularities of the physical body of first five editions (1895, 1905, 1913, 1920, and 1927) of Maironis' best-known work, the poetry collection "Pavasario balsai" (Voices of Spring) and on the analogies between his poetic images and the art created by his contemporaries. The question raised in the paper i how much the poet contributed to the graphic design of different editions of his collection and to what extent the physical body of the book reflects the context of Lithuanian artistic culture at the turn of the twentieth century. The analysis focuses on the image of spring, which had aquired the meaning of a topos in the artistic culture of the period discussed and was popular in painting and graphic art. Althoug the theme of spring is not too widely developed in the collection "Pavasario balsai", this topos was of exceptional significance to Maironis: the poet kept the original title in the edition of the collection, and the motif of spring retained its importance in the design of first four editions of the book. The design of Maironis' collection is associated with versions of local variants of the stylistic idioms of Symbolism and art nouveau. The features of the amateur design (DIY) and stylistic elements of Historicism characteristics of Maironis' books are approached as typical of the modernising local artistic culture that encompassed aspirations of renewal and retrospection determined by local conditions.Maironis' image of spring is linked to the images of spring in the works of the painters Mikalojus Konstantinas Čiurlionis, Petras Kalpokas, Petras Rimša, Ferdinandas Ruščicas, and Antanas Žmuidzinavičius, which became established in the history of Lithuanian art, gained the status of a national symbolic icon, and symbolised national revival, and an optimistic vision of the future. The author shows how, posthumously, Maironis' collection was included in the modernist dicourse of the middle of the twentieth century after the deconstruction of the bibliographical canon created by the poet, that is, after disrupting the tardition of design of "Pavasario balsai" encoded by Maironis himself that has been installed in the idiom of the visual culture of the nineteenth-twentieth century. After the poet's death, the design of his books was no longer controlled, and the bibliographical code of his books was changed and integrated into the modernist visual discourse of the middle of the twentieth century. [From the publication]
