Sovietmečio keramika: nuo jubiliejinių vazų iki Boleko ir Lioleko keramikos

LTStraipsnyje pristatomo tyrimo tikslas – išnagrinėti šventines vazas LSSR bei perkurti keramiką, pastebėtą animacinių filmų serijoje Bolekas ir Liolekas, randant sąlyčio taškus tarp propagandinio LSSR meno ir propagandiškai pramoginės Lenkijos Liaudies Respublikos buities. Tiriamos indų formos, sovietmečiu keramikų naudotos spalvos. Meninis tyrimas pateikiamas tekste ir jį lydinčiose nuotraukose. Rengiant straipsnį taikyta literatūros analizė, lyginamosios ir aprašomosios analizės metodai, taip pat kontekstinė ir socialinė analizė, o meniniam tyrimui taikytas perkūrimo metodas. [Iš leidinio]Reikšminiai žodžiai: Keramika; Vazos (Vasa family); Kopijavimas; Dizainas; Sovietmetis; Propaganda; Animaciniai filmai; Spalvos; Menininkai; Ceramics; Vases; Copying; Design; Soviet period; Propaganda; Animated films; Colors; Artists.

ENThe aim of the research presented in this article is to analyse festive vases created in the Lithuanian Soviet Socialist Republic and to offer a new take on Bolek and Lolek ceramics, while discovering the points of intersection between the propaganda art of the Lithuanian SSR and the propaganda-entertainment life of the People’s Republic of Poland. The shapes of the vessels and the colours used by ceramic artists in the Soviet period are explored. The artistic research is presented in the form of text and accompanying photographs. In preparing this article, the author referred to the methods of literary, comparative and descriptive analysis, as well as contextual and social analysis, while in his artistic research, he used the method of remake. The conducted research has resulted in six conclusions: 1. In the period under discussion, the ideological aspect in applied art was directly related to commitment to the people. At the same time, commitment to the people in art meant a possibility to replicate works, the simplicity of means, the monumentality of shapes, and interpretation of traditional forms of ceramics. 2. Local clay was not resistant to higher temperatures, and could not be used for producing durable works. 3. Local ceramic artists, working with local raw materials, were doomed to create decorative ceramics. 4. Generally established subordination that manifested itself as dedovschina (“grandfatherism”) and pakazukha (official art), composite parts of the Soviet system, influenced the nature of art and created conditions to favour certain artists. 5. Soviet Lithuanian ceramic artists experienced the influence of international artists in various ways: through the press of that time, travelling exhibitions, and trips abroad. 6. Copying without the original was a widespread art practice, occurring in design as well. [From the publication]

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