Bendrosios ikonografinės genezės paieška: Liudas Truikys ir Mikalojus Konstantinas Čiurlionis

LTDailininko scenografo Liudo Truikio minčių gijos ne kartą driekėsi Mikalojui Konstantinui Čiurlioniui būdingų vaizdų ir apmąstymų linkme. Pačia bendriausia prasme jau yra nustatyta, kad abu menininkai siekė menų sintezės. Apie tai rašė ir pats L. Truikys, ir jo kūrybos tyrinėtojai - muzikologas Edmundas Gedgaudas, filosofas Krescencijus Stoškus, dailėtyrininkai Irena Kostkevičiūtė, Vytautas Tumėnas, Helmutas Šabasevičius. Jų darbuose vyrauja vieninga, estetiniu patyrimu paremta nuomonė: abu šie menininkai buvo pernelyg muzikalūs, kad kurtų tradicinius paveikslus, jų pasaulio suvokimas rėmėsi muzikų patyrimu, abiejų įvairiapusė ir turtinga meninė prigimtis neišsiteko nei vieno žanro, nei vienos filosofinės sistemos ribose. Abu menininkai akcentavo ritmą ir judėjimą kaip pirmapradį kūrybos principą, atsispindėjusį jų plastinėje kūryboje. [Iš straipsnio, p. 19]Reikšminiai žodžiai: Liudas Truikys; Dailininkai; Scenografai.

ENThis article is the first attempt to iconographically describe, compare and systematise the motifs, figures and attributes typical to the creative works of Liudas Truikys and Mikalojus Konstantinas Čiurlionis, and to find changing or constant elements of the canons of representation characteristic of both artists. Looking through the works of the two artists, it was noticed that the creation of both the one and the other most often have repetitions of vertical, horizontal and diagonal lines, the motifs of human figures, stars and halfmoons. The semantics of Truikys and Čiurlionis is alternating and dependent on the meaning of other elements of a particular work. It is closely related to the whole composition of the work and, in fact, is hard to embrace. This is why in this article semantics is classified into large 'visual and notional' groups, and a kind of 'comparative vocabulary' is constructed for the motifs and symbols most often used by the two artists. Tables present relevant groups of human beings, architecture, earth, objects, and signs.The performed analysis of motifs and images revealed that among 34 iconog- raphic motives presented in tables, 22 are common to both artists. Their noticeable iconographic community gives rise to specific arguments to substantiate spiritual closeness of these artists. It is true to say that both artists were linked by the talent to speak in the language of symbols, and the sense of dualism as the parallels of contrastive rudiments often dominate in their works. Neither Truikys nor Čiurlionis portrayed any scene having a single meaning. Moreover, both artists are close in terms of syncretic understanding of old religions, their particular emphasis on the ancient Egypt as the base of all religions, the personification of sovereigns and gods, and analogous symbols. Both artists enjoyed blending Eastern and Western cultures and, perhaps, that was one of the driving forces, which predetermined the iconographic similarity of their works. [From the publication p. 158-159]