Lietuviškoji kultūrinė tapatybė atlydžio laikotarpiu: dailės nacionalinio savitumo samprata ir dailė gyvenamajai aplinkai

LTStraipsnyje nagrinėjama lietuviškosios kultūrinės tapatybės saugos ir raiškos atlydžio laikotarpio pradžios dailės lauke tema. Tiriama taikomosios dailės – vienos iš dailės šakų, kuriose anksčiausiai prasidėjo vadavimasis iš socrealizmo kanono ir modernėjimas – kritinė refleksija. Siekiama atskleisti Lietuvos dailininkų bendruomenės poziciją, nukreiptą prieš oficialiajame diskurse ir meno praktikoje gyvavusią atributišką dailės nacionalinio savitumo sampratą ir jos pastangas rūpintis gyvenamosios aplinkos estetine kokybe. Esminiai žodžiai: Lietuvos dailė sovietmečiu, atlydžio laikotarpis, tautinė tapatybė, meno nacionalinis savitumas, taikomoji dailė. [Iš leidinio]

ENThe article deals with the topic of national identity safety and expression in art and its criticism, which is a partial problem of national peculiarity of art. Towards the end of the Stalinist period, Khrusshchev Thaw (from the late 1950s to the early 1960s), when the relative liberalization of public life began, the national peculiarity of art started to be considered not only on the side of the preachers of official art policies, but also in the artists community. Applied art was one of the branches of fine arts where the liberation from the canon of social realism and modernization began at the earliest. The article explores sources from 1955 that reflect the state of applied art and its critical reflection – these are the texts and papers of the conference in cultural periodicals, that discussed the same year exhibition of applied art and design in Lithuania, Latvia and Estonia. The position of Lithuanian artists community against a superficial and attributive concept of national peculiarity, which had been established in the doctrine of social realism and in which the “national character” of a piece of professional applied art was reduced to a demise of folk art ornamentation and folkloric images, is revealed. The research concluded that criticism of the superficial and attributive concept of national peculiarity and the efforts of the artists community to take care of aesthetic quality of the living environment had a positive impact on the safety and expression of national identity. Keywords: Lithuanian art during the Soviet era, Khrusshchev Thaw, national identity, national peculiarity of art, applied arts. [From the publication]