Japonų klasikinės ukiyo-e raižybos estetinės ir meninės ištakos

LTStraipsnis yra skirtas japonų klasikinės ukiyo-e raižinių estetinių ir meninių principų analizei. Jame plačiausiai tyrinėjamos japonų klasikinių raižinių atsiradimo sociokultūrinių, estetinių bei meninių principų ištako, nagrinėjami pagrindiniai istoriniai jų raidos etapai, įvairių tradicijų bei Yamalo-e, Kanö, Tosa mokyklų poveikis ukiyo-e estetinių bei meninių principų įsigalėjimui. Straipsnio pabaigoje glaustai aptariamas japonų raižybos poveikis japonizmo sąjūdžio sklaidai Vakaruose. įdėmiau pažvelgę į įvairių neeuropinių tautų meno istoriją iškart pastebime, kad tai nevienalytis meno rūšių ir formų sklaidos procesas, kuris skirtinguose civilizaciniuose pasauliuose turėjo savitą raidos logiką. Tolimųjų Rytų tautų meno raidos savitumą taip pat lėmė kitokie nei Vakaruose sociokultūriniai, ekonominiai, politiniai veiksniai, kiekvienoje konkrečioje civilizacijoje bei istoriniame tarpsnyje susiklostę menų hierarchijos principai. Kita vertus, meno istorija nėra, kaip įsivaizduoja daugelis klasikinių estetinių idealų įtakoje esančių vakariečių, susijusi vien tik su tapybos, skulptūros, grafikos darbais ar jų kūrėjais. Tai yra daugybės kitų meno formų, kartu ir pačios meno koncepcijos rutuliojimosi istorija. [Iš straipsnio, p. 319]Reikšminiai žodžiai: Ukiyo-e raižyba; Japonų estetika; Japonų menas; Yamato-e; Kanö; Tosa; Japonizmas; Ukiyo-e woodblock prints; Japanese aesthetics; Japanese art; Yamato-e; Kano; Tosa; Orientalism.

ENThis article is dedicated to analysis of a classical Japanese ukiyo-e wood-cut esthetical and artistics principles. The main attention is inflicted into the foundations of the Japanese classical prints, sociocultural, aesthetical and artistical principles, also into analizing the core of the historical issues, influence of various traditions also schools of Yamato-e, Kanö, Tosa to the acknoledgement of ukiyo-e artistical and aesthetical principles. The conclusion in the end of the article is a concise explanation of Japanese wood-cut influence to the Japanese movement in the West. Obviously art history of a various non-european nations was a separate process of spreading artistic styles and forms, which had a unique logic in different civilizations. In the Far East the variosity of the process of art was influenced by different sociocultural, economical, political and other issues. The unique Japanese engraving was filled with egzotical, uknown world for the Western world, since wich in 19th century the absorbation of the Japanese aesthetics and artistic values began together with the impressionistic movement. Japanese art evolved in a wavy rythm because of their remoteness, not like the Chinese assimilating traditions. Althought ukiyo-e was developed as a reaction to an aesthetical idols and canonized rules to an aristhocratical painting, in 15-16th century artists affected by an influential schools of Kanö and Tosa paintings were obviously close in stylistical point of view, also a dailylife motives were involved. Two schools confronting and also close reflected similar ukiyo-e characteristics: affection to decoration, accent of visualized texture of objects, inner architecture. In the 18th century a numerous urban society appeared, which was formed by a strike to form a united and stabilized country.The whole conception of art also splitted, together with the new estate, the popular urban arts - ukiyo-e prints - occurence. Not only the common society everyday views, but the behaviour models, offending official oppinions was also felt. Taking into consideration the phenom enon of the coloured wood-cut print, it is very important paying attention that the ukiyo-e wood-cuts, not the classical painting works affected the Western art and aesthetical beliefs. Ukiyo-e print and not the com pulsory 1853 year trade union with the U.S.A. became the new orientalistic catalysator in the West. Japanese wood-cutting art forced amagnitudional orientalistic waves, "which helped the traditional Japanese aesthetical ideas and artistic forms to establish firmly in the Western culture". Japanese engraving stimulated impressionists and their numerous followers to see the colour, beauty of the surrounding world. It strenthened the new principles of composition and space modelling in the Western painting. That was clearly seen in the works of post-impressionist Ihul Gauguin's who used to say, "one can sacrifice all, for colour". A new possibility of constructing space with colour occured, so the three dimensional view could be perspected in a paradoxal two dimensional view. Ukiyo-e corresponded with the new needs of opposing artistic movement, also it was a revolutionary challenge for the old-fashioned Western painting. Not only ukiyo-e was a unique continuer of traditions in Japan, but it, cortesy of structure, developed decorating equ ipment system, scene and visual multifuntionality helped japanese eastetic ideas and artistic forms establish firmly in the Western world. Its influence was very important in the second half of 19th century and the beggining of the 20th, affecting impressionism, symbolism, "Art nouveau, Jugendstil", expressionism and other movements. [From the publication]

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