Two painters, two books of genesis: "The god father" and "Creation of the world", II

LTReikšminiai žodžiai: Mikalojus Konstantinas Čiurlionis; Stanislaw Wyspianski; Dailininkai; Mikalojus Konstantinas Čiurlionis; Stanislaw Wyspianski; Painters.

ENThe subject of my research in the first place is an attempt to answer the question in what extent the stained glass window "The God Father" by Stanisław Wyspiański and the second painting of the larger Genesis cycle "The Creation of the World" by Mikalojus Konstantinas Čiurlionis meet the formal requirements of the concept of “the ontological piece of art.” Next, I will try to justify inclusion of both pieces of art in the discussion about the hierarchy of arts in the contemporary European aesthetics. As in the case of grasping the reality of the human experience one does not separate any more space from time, following the modern physical theories based on empirical data that prove necessity of ordering human events in space-time, one can look forward to a moment releasing art researchers from the need of arts hierarchization as for their power to convey fundamental meaning. In consequence, the debates whether music or painting reaches closer to Absolute might resemble debates on the superiority of the Christmas over the Easter, and vice versa. The Judeo-Christian tradition passes to us two seemingly complementary concepts on genesis, the acoustic and the optic one. They can be thought of as mirroring two relative concepts in astrophysics which divide scholars into followers of Stationary Universe from the one hand, and advocates of the Big Bang, from the other. The cosmological concept of the Stationary World explains genesis without the eruptive beginning, what at Einstein’s case is reduced to geometric properties of the World specification. [Extract, p. 253-254]