Lietuvos skulptūra iki XVII a. vidurio:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Aidai
2007
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 267 S. zahlr. Ill. 24 cm |
| ISBN: | 9789955656388 |
Internformat
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| 650 | 4 | |a Wood-carving / Lithuania | |
| 650 | 4 | |a Church decoration and ornament / Lithuania | |
| 650 | 4 | |a Church decoration and ornament |z Lithuania | |
| 650 | 4 | |a Wood sculpture, Lithuanian | |
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Datensatz im Suchindex
| _version_ | 1820595782655410176 |
|---|---|
| adam_text |
TURINYS PRATARM* / 7 *VADAS / 9 *INGSNIAI J VAKARUS / 15 AR*IAU *EM*S /
73 METAS PRIE* AUDR* / 115 EUROPOS DAIL*S PARA*T*JE / 215 SUMMARY / 251
SANTRUMPOS / 253 ILIUSTRACIJ* S*RA*AS / 254 BIBLINI* ASMEN* IR *VENT*J*
RODYKL* / 263 VIETOVARD*I* RODYKL* / 265
SUMMARY
Wooden sculpture occupies an important part in the art of feudal Lithuania. The
present study analyses the earliest stage of its development. It considers not only et¬
hnic Lithuania, but also discusses the general tendencies in the considerably more
extensive territory that the Grand Duchy of Lithuania occupied at the time. The
period under consideration had very clear chronological and stylistic limits. Its be¬
ginning coincides with the very late arrival of professional sculpture in
1386,
when
Lithuania was baptised and the isolation of the last pagan European country en¬
ded. It ends with the invasion of the Moscow army in the mid-17th century: the in¬
vasion wrought immense harm both on the economy and the culture of the whole
country. Stylistically the relevant period begins with the
transferral
to Lithuania of
mature Gothic, comprises Renaissance and Mannerism, considered as the late sta¬
ge of the former, and ends with the rudiments of Baroque sculpture.
These periods left very uneven quantities of surviving sculptures. Generally the
numbers are very meagre in comparison with those of the neighbouring countries,
and this alone makes the surviving items worthy of particular scholarly attention.
The relative poverty of artistic inheritance can be easily explained through particu¬
larly great number of misfortunes that befell Lithuania, such as periodic fires that
were especially dangerous in the cities and devastated its churches, frequent rebuil¬
ding of the churches which would usually furnish them with new interiors, final¬
ly, the closure of many of the churches after the lost rebellions of the 19th century,
whereby the churches were handed over to the Orthodox. Many churches were an¬
nihilated by the wars, including World War I and II. Especially pernicious was the
Moscow invasion in the 17th century when all the churches that found themselves in
the enemy occupied territory were systematically and intentionally destroyed.
Only very few, mostly imported, Gothic sculptures survived to our days. Their
scarcity is due to the fact that the network of the earliest churches was also very
sparse. The earliest sculptures represent international Gothic, while the latest be¬
long to the flamboyant style that became established towards the end of the 15th
century and was still popular in the first quarter of the 16th century and even later.
There are also individual objects that were most likely carved by the local masters
who graduated from foreign sculptors' workshops where they were apprenticed.
Some later embarked on artistic careers of their own. The remnants of Gothic are
also manifest in some of the works of the Renaissance period.
251
The Renaissance sculpture that replaced Gothic, with its balance of the mate¬
rial and the spiritual, was undoubtedly influenced by the Italian artists establis¬
hed in Vilnius. Its development was encouraged by the Queen
Bona
who often
visited as she was taking care of the renovation of the Lower Castle. Unfortunate¬
ly, Renaissance was slow to reach the more remote localities, and the process of its
further maturation was checked by the Reformation. The Reformation was favou¬
rably embraced by the Lithuanian nobility and fomented religious discord between
Catholics and Protestants. Very few new churches were built in this period, where¬
as those of the old churches that found themselves in the Protestant hands saw the
statues of the saints, unrecognised by the Protestants, removed and destroyed. This
likewise contributed to the disappearance of the Gothic sculpture. Some of the sur¬
viving Renaissance sculptures were created belatedly, at the beginning of the 17th
century, when greater part of nobility returned to Catholicism. These sculptures
are often recognisable through their exceedingly massive shape.
At the same time, Mannerism became widespread in Lithuania; its arrival coin¬
cided with the decline of the Renaissance. Although it only reigned in Lithuania
for fifty years, it left here many more works of art than the Gothic and Renaissance
periods which lasted considerably longer. Almost all the artistic objects that per¬
tain to the Mannerist style were created in Lithuania itself. They are astonishing
not only because of their number and stylistic variety, but often also because of
their high artistic quality. This phenomenon was due to historical conditions: when
Europe was engulfed by the Thirty Years War, a wave of talented artists who had
lost livelihood in their home countries must have washed over Lithuania from the
West. These artists, being the graduates of diverse schools, were the reason behind
the often very distinct artistic individuality of the sculptures, albeit most are cha¬
racterised by striving for gracefulness and expressiveness.
While Mannerism was still the prevalent style, the first Baroque sculptures ap¬
peared in Lithuania, even though the latter style had already taken root considera¬
bly earlier in the Lithuanian architecture. The early baroque sculptures with their
emphasis on the body and their restrained movements, still lacking complex drape¬
ries of the later sculptures, began to push out the elaborate works of the older Man¬
nerist style as early as the second half of the 17th century.
The monograph separately discusses local masters who worked in Lithuania in
the period under discussion and often ignored strict rules obligatory to the profes¬
sional artists. Along with coarsely-executed or totally primitive sculptures, their
oeuvre
also contains other works that stand out through their unique expressive¬
ness and can charm the modern viewer. On the other hand, the very appearance of
these works of art encouraged the intensive production of the popular sacred sculp¬
ture in our country at the later period.
Transi,
by
Gabriele Gailiutè
252 |
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| author | Matušakaitė, Marija 1924-2016 |
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| era | Geschichte 1600-1700 gnd Geschichte 1700-1800 gnd |
| era_facet | Geschichte 1600-1700 Geschichte 1700-1800 |
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| indexdate | 2025-01-07T13:10:36Z |
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| isbn | 9789955656388 |
| language | Lithuanian |
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| publishDate | 2007 |
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| spelling | Matušakaitė, Marija 1924-2016 Verfasser (DE-588)1235016455 aut Lietuvos skulptūra iki XVII a. vidurio Marija Matušakaitė Vilnius Aidai 2007 267 S. zahlr. Ill. 24 cm txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Geschichte 1600-1700 gnd rswk-swf Geschichte 1700-1800 gnd rswk-swf Wood sculpture, Lithuanian Wood-carving / Lithuania Church decoration and ornament / Lithuania Church decoration and ornament Lithuania Wood-carving Lithuania Holzplastik (DE-588)4072608-3 gnd rswk-swf Plastik (DE-588)4046277-8 gnd rswk-swf Litauen (DE-588)4074266-0 gnd rswk-swf Litauen (DE-588)4074266-0 g Holzplastik (DE-588)4072608-3 s Geschichte 1700-1800 z DE-604 Plastik (DE-588)4046277-8 s Geschichte 1600-1700 z SWB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017311325&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017311325&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Matušakaitė, Marija 1924-2016 Lietuvos skulptūra iki XVII a. vidurio Wood sculpture, Lithuanian Wood-carving / Lithuania Church decoration and ornament / Lithuania Church decoration and ornament Lithuania Wood-carving Lithuania Holzplastik (DE-588)4072608-3 gnd Plastik (DE-588)4046277-8 gnd |
| subject_GND | (DE-588)4072608-3 (DE-588)4046277-8 (DE-588)4074266-0 |
| title | Lietuvos skulptūra iki XVII a. vidurio |
| title_auth | Lietuvos skulptūra iki XVII a. vidurio |
| title_exact_search | Lietuvos skulptūra iki XVII a. vidurio |
| title_full | Lietuvos skulptūra iki XVII a. vidurio Marija Matušakaitė |
| title_fullStr | Lietuvos skulptūra iki XVII a. vidurio Marija Matušakaitė |
| title_full_unstemmed | Lietuvos skulptūra iki XVII a. vidurio Marija Matušakaitė |
| title_short | Lietuvos skulptūra iki XVII a. vidurio |
| title_sort | lietuvos skulptura iki xvii a vidurio |
| topic | Wood sculpture, Lithuanian Wood-carving / Lithuania Church decoration and ornament / Lithuania Church decoration and ornament Lithuania Wood-carving Lithuania Holzplastik (DE-588)4072608-3 gnd Plastik (DE-588)4046277-8 gnd |
| topic_facet | Wood sculpture, Lithuanian Wood-carving / Lithuania Church decoration and ornament / Lithuania Church decoration and ornament Lithuania Wood-carving Lithuania Holzplastik Plastik Litauen |
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