Vilniaus dailės akademija, Lietuva Vilnius academy of arts, Lithuania RaKtažoDžiai: Kandinskis, spalvos fenomenas, Bauhausas, Rytų kraštų estetika, orientalizmas, sinestezija.
KanDinsKis Bauhause-oRientaLististiniai iR neKLasiKiniai jo spaLVos teoRijos aspeKtai Kandinsky in the Bauhaus-oriental and non-Classical aspects of his Color theory summaRy this article reveals different aspects of the color theory of Wasilly Kandinsky, which was set out in his treatise Über das Geistige in der Kunst: Insbesondere in der Malerei published in 1911. this theory-an ode to spiritual and abstract art-was inspired by non-classical philosophy, W. Worringer and the aesthetic attitudes of eastern art. it had a strong impact on the Bauhaus design school even before the author of this theory was invited to teach at the Bauhaus in year 1922. the oriental ideas of Kandinsky significantly differed from the ideas of the Bauhaus manifesto, published by Walter Gropius in 1919. his theory encompasses the theme of color along with many other topical issues of the art. one could view this theory as an ontology-based study of the color phenomenon. the problems of art in Kandinsky's theory have been discussed beyond narrowly-understood aesthetic discourse, along with the philosophical questions of life, death, spirit and matter.
This article discusses Baublys – a nineteenth-century garden pavilion in Lithuania, Samogitia, established in the trunk of an oak tree by Lithuanian boyar and writer Dionizas Poška. Because of its ambiguity, Baublys has attracted considerable scholarly attention and, for the same reason, remains forgotten, generating a relatively small number of texts. Although interpretations vary, the place of Baublys in Lithuanian culture is still unclear. What is it? Is it a regional curiosity or a proto-museum? This article looks at Baublys through its function and aims at demonstrating that Baublys is not only a proto-museum, but also a prototype of today’s interactive museum, containing the analogues of modern practices of museology: interactivity, communicational features and performativity. My methodology is constructed invoking the conceptual metaphor of the mask and referring to the theories of Hans Belting and Mikhail Bakhtin. According to the Bakhtinian dialogic imagination and literary concepts of the epic and the novel, the analogy of the mask and the monument is used. The research question is what Baublys does as a mask during Poška’s lifetime and what it does as a monument today. How did its semantics and agency change after “becoming” a monument? The article shows that for Poška Baublys is a theatre of historical and personal memory, activated by structure, a set of finds, analogues (Sibile Temple, other garden pavilions) and performance. An empty Baublys is a monument – a reference to the past, which lacks the collection of the museum – Poška’s finds. Baublys is not only a museum, but might be perceived as a monument to museums, even a monument to the idea of a museum.
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