Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/34213
Type of publication: Straipsnis kitose duomenų bazėse / Article in other databases (S4)
Field of Science: Menotyra / History and theory of arts (H003)
Author(s): Slavinskienė, Aušrinė
Title: Kraštovaizdžio su kryžiumi ištakos ir tradicija Lietuvos dailėje
Other Title: The biginnings and the tradition of the image of the landscape with a cross in the Lithuanian painting
Is part of: Soter : religijos mokslo žurnalas. Kaunas : Vytauto Didžiojo universiteto leidykla., 2005, nr. 15(43)
Extent: p. 307-315
Date: 2005
Keywords: XIX a;XX a. pradžia;Kraštovaizdis su kryžiumi;Lietuvos dailė;Romantizmas;Realizmas;Nacionalinis romantizmas;19 th century;20th century;Landscape with cross;Lithuanian painting;Romantism;Realism;National romantism
Abstract: Straipsnyje analizuojamas XX a. pradžios Lietuvos dailėje itin paplitusio kraštovaizdžio su kryžiumi tipas. Atsekamos jo ištakos XIX a. pradžios romantizmo epochoje, tolesnė raida realizmo bei nacionalinio romantizmo meninių krypčių kūriniuose. Kraštovaizdis su kryžiumi, laikomas lietuviškosios kultūros savastimi, aptariamas atsižvelgiant į platesnį europinį dailės kontekstą, atrandama jo analogų Vokietijos, Lenkijos dailėje. Taip atsiskleidžia bendrumai ir savitumai
Landscape with a cross is an inseparable part of culture for every Lithuanian. The conception was greatly consolidated by the national art movement at the beginning of 20th century. The members of this movement managed to foresee that Lithuanian folk art would serve as the base for the future’s national painting. The professional works of painting included a number of ethnographic motives, symbols, and stylistic elements; whereas, the cross played the exceptional role. Painters, culture historians, litterateurs began to shoot, redraw or collect vanishing crosses whose forms and decorum varied to great extremes. The collected material was being published by individual albums or printed in magazines and newspapers. Many painters tended to portray the country’s landscape with a roadside cross. However, the more accurate glance at the painting of the 19th century enables us to assume that the beginnings of the image of the landscape with a cross can be traced slightly earlier than in the first part of the 20th century. Yet the 19th century romanticists took notice of the individual’s inner experiences which they found reflected in nature. Nature for them also became the part of a thrilling manifestation of divinity. This relationship between the individual, nature and divinity was expressed in the landscapes with crosses which first were depicted in the works of a German painter Caspar David Friedrich. In Lithuania these landscapes gained the national character. Lithuanian romanticists, who aimed to picture their country’s nature, noted the cross as its typical element. Moreover, in the period of czar’s government, russification spreading and persecution of Catholics’, the cross served as the symbol of national unity and resistance against the foreign culture. [...]
Internet: https://eltalpykla.vdu.lt/1/34213
https://www.vdu.lt/cris/bitstream/20.500.12259/34213/1/ISSN2335-8785_2005_N_15_43.PG.307-314.pdf
https://hdl.handle.net/20.500.12259/34213
Affiliation(s): Vytauto Didžiojo universitetas
Appears in Collections:SOTER: religijos mokslo žurnalas / SOTER: Journal of Religious Science 2005, nr. 15(43)
Universiteto mokslo publikacijos / University Research Publications

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