Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius' Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania.
Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius' Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania.
Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius' Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania.
Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius' Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania.
The aim of this thesis is to present the analysis of stucco decor in Valavičius family chapel in Vilnius Cathedral, an object that has been studied only in a fragmentary way so far. The stucco decor of the chapel reflects the artistic tendencies of the first and second half of the 17th century, which is a rare case in the context of Vilnius Baroque architecture, considering that many objects were severely damaged when the city was occupied by Moscow military units in 1655. It can be reasonably assumed that the original decor scheme of the first half of the 17th century was at least partially preserved, and the ideas of the founder Eustachijus Valavičius were implemented in the decoration program. The Valavičiai chapel also served as a family mausoleum, so its decor themes are related not only to theological but also to social aspects: the perpetuation of memory, the representation of the individual and the family. The main idea of the chapel decor program reflects an eschatological narrative of salvation related to man's place in the world, his relationship with God, his values, the justice of his actions, and his existence after death.
The aim of this thesis is to present the analysis of stucco decor in Valavičius family chapel in Vilnius Cathedral, an object that has been studied only in a fragmentary way so far. The stucco decor of the chapel reflects the artistic tendencies of the first and second half of the 17th century, which is a rare case in the context of Vilnius Baroque architecture, considering that many objects were severely damaged when the city was occupied by Moscow military units in 1655. It can be reasonably assumed that the original decor scheme of the first half of the 17th century was at least partially preserved, and the ideas of the founder Eustachijus Valavičius were implemented in the decoration program. The Valavičiai chapel also served as a family mausoleum, so its decor themes are related not only to theological but also to social aspects: the perpetuation of memory, the representation of the individual and the family. The main idea of the chapel decor program reflects an eschatological narrative of salvation related to man's place in the world, his relationship with God, his values, the justice of his actions, and his existence after death.
The aim of this thesis is to present the analysis of stucco decor in Valavičius family chapel in Vilnius Cathedral, an object that has been studied only in a fragmentary way so far. The stucco decor of the chapel reflects the artistic tendencies of the first and second half of the 17th century, which is a rare case in the context of Vilnius Baroque architecture, considering that many objects were severely damaged when the city was occupied by Moscow military units in 1655. It can be reasonably assumed that the original decor scheme of the first half of the 17th century was at least partially preserved, and the ideas of the founder Eustachijus Valavičius were implemented in the decoration program. The Valavičiai chapel also served as a family mausoleum, so its decor themes are related not only to theological but also to social aspects: the perpetuation of memory, the representation of the individual and the family. The main idea of the chapel decor program reflects an eschatological narrative of salvation related to man's place in the world, his relationship with God, his values, the justice of his actions, and his existence after death.
Intro -- Inhalt -- Einleitung -- Deutsche Kunstgeschichte, Kulturpolitik und Kulturpropaganda in Italien vor und nach 1943. Eine Problemskizze -- Von der Kulturpolitik zur Kulturpropaganda. Das Kunsthistorische Institut in Florenz in den Jahren des Nationalsozialismus -- Museumspolitik im "Protektorat Böhmen und Mähren". Die Prager Galerie alter Kunst/Nationalgalerie/Landesgalerie -- "Eine Schau vom Erbe der Vergangenheit". Die Propagandaausstellung "Deutsche Größe" in Prag (1941) -- "Besondere Aufgaben der Kunstgeschichte im Warthegau". Tätigkeitsfelder und Handlungsspielräume deutscher Kunsthistoriker im besetzten Polen am Beispiel des Kunstgeschichtlichen Seminars Posen -- Zwischen Okkupation und Konspiration. Streiflichter auf die Situation von Kunsthistorikern im besetzten Polen (1939-1945) -- Art Protection and Architectural Preservation in the Netherlands (1938-1945) -- Die Denkmalpflege im belgischen Wiederaufbaukommissariat unter deutscher Besatzung (1940-1944) -- Dienstreisen in Zeiten des Krieges. Wilhelm Pinder als Kulturbotschafter des Deutschen Reiches -- Ex Libris Dr. Dagobert Frey. Beobachtungen zur "kunstgeschichtlichen Ostforschung" -- Lithuanian Art History under Nazi Occupation. Mikalojus Vorobjovas (1903-1954) and his Views on the Vilnius Baroque School -- Dr. Karl Heinz Esser. Selbstverständnis und Tätigkeit eines beim Einsatzstab Reichsleiter Rosenberg tätigen Kunsthistorikers im besetzten Baltikum -- Zwischen Siebenbürgen und Norwegen. Die Forschungen von Hermann Phleps zur Holzarchitektur und deren politische Instrumentalisierung im Nationalsozialismus -- "The Art History of Sweden" (1944-1946). Andreas Lindblom's Private War -- Abbildungsnachweis -- Personenregister.
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The Baltic phenomenon in music is based on the geopolitical connection between nations and their folklorist genesis. Contemporary Lithuanian, Latvian and Estonian organ music creates archetypes of a Baltic style. This is closely connected to their geopolitical situation and the agressive neighbourhood of the Russian Empire, the closeness of the sea, the power of unspoilt nature and its image in the rhythms of the waves, the dimensions of the mysterious dark forests, and the transcendental apocalyptic landscape of the north. The last issue is based on the political-historical experience of being occupied by the Russian Empire and the deportations to Siberia, and the constant fight for freedom, which created resistance against foreign power as a horizontal paradigm of their culture.In music, it appears in the style of the sacral cannon and the silent prayer of intonation cell becomming Baltic minimalism. This style of music is comparable with the fragmentary graphic of the Mannerheim line, defensive, patient and ascetic eternal melody, and the rhythmic monotony of pulsating waves and ringing bells. This special Baltic raw aestheticism meets the renewed idea of Baroque in Lithuanian visual art, literatue and music, which means another graphic space for cultural polyphony, and architecture, which emerges in the example of Vilnius, and then inspires the creation of statehood. Baroque means other eternal power, as an alternative to suffering in times of occupation and creativity in the other space of the past. It means a brigde over a crisis in history. Both lines of creativity meet in new Lithuanian organ music: the Baltic phenomenon with images of the transcendental north (the experience of deportation), and the Mannerheim line (the experience of the partisan war) and Baroque as an undamaged preoccupation political-cultural past, fundamental to the European Baltic self. There are some very important Mannerheim line composers of Baltic minimalism, based on folklorism, such as the Estonian Edgar Arro (1911-1978), the Latvian Imants Zemzaris (*1951), and the Lithuanians Feliksas Bajoras (*1934) and Teisutis Makačinas (*1938). Composers related to the sacral canon and Church songs and bells are the Estonians Arvo Pärt (*1935) and Toomas Siitan (*1958), the Latvians Peteris Vasks (*1946) and Aivars Kalejs (*1951), and the Lithuanians Bronius Kutavičius (*1932), Onutė Narbutaitė (*1956), Vidmantas Bartulis (*1954), Gracijus Sakalauskas (-1955) and Mykolas Natalevičius (*1985). There are also natural voice style composers, who are mostly Baltic composers: the Lithuanians Algirdas Martinaitis (*1950) and Bronius Kutavičius (*1932), and the Latvians Peteris Vasks (*1946), Imants Zemzaris (*1951) and Peteris Plakidis (*1947). But the Baltic minimalism extended to Europeanism mostly by Lithuanians included a new line of Baroque, which is very important, by exploring the part and the structure of Lithuanian statehood as an example, and led to the European Christian self in culture: in literature, visual art and music. There are Lithuanian composers who incorporated Baroque as important contemporary issues into their music: Algirdas Martinaitis, Onutė Narbutaitė, Vidmantas Bartulis, Mykolas Natalevičius and Vytautas Germanavičius (*1969). There remains as well the renewed statehood paradigm, related to Baroque and the Union with Poland as the European identity, which is basic to Lithuania in collision with Baltic minimalism. This extended and renewed means of the Baltic self is enclosed by another space and sacrality, even enriching the European self in the solution of music enlightening structured enlightening.
The Baltic phenomenon in music is based on the geopolitical connection between nations and their folklorist genesis. Contemporary Lithuanian, Latvian and Estonian organ music creates archetypes of a Baltic style. This is closely connected to their geopolitical situation and the agressive neighbourhood of the Russian Empire, the closeness of the sea, the power of unspoilt nature and its image in the rhythms of the waves, the dimensions of the mysterious dark forests, and the transcendental apocalyptic landscape of the north. The last issue is based on the political-historical experience of being occupied by the Russian Empire and the deportations to Siberia, and the constant fight for freedom, which created resistance against foreign power as a horizontal paradigm of their culture.In music, it appears in the style of the sacral cannon and the silent prayer of intonation cell becomming Baltic minimalism. This style of music is comparable with the fragmentary graphic of the Mannerheim line, defensive, patient and ascetic eternal melody, and the rhythmic monotony of pulsating waves and ringing bells. This special Baltic raw aestheticism meets the renewed idea of Baroque in Lithuanian visual art, literatue and music, which means another graphic space for cultural polyphony, and architecture, which emerges in the example of Vilnius, and then inspires the creation of statehood. Baroque means other eternal power, as an alternative to suffering in times of occupation and creativity in the other space of the past. It means a brigde over a crisis in history. Both lines of creativity meet in new Lithuanian organ music: the Baltic phenomenon with images of the transcendental north (the experience of deportation), and the Mannerheim line (the experience of the partisan war) and Baroque as an undamaged preoccupation political-cultural past, fundamental to the European Baltic self. There are some very important Mannerheim line composers of Baltic minimalism, based on folklorism, such as the Estonian Edgar Arro (1911-1978), the Latvian Imants Zemzaris (*1951), and the Lithuanians Feliksas Bajoras (*1934) and Teisutis Makačinas (*1938). Composers related to the sacral canon and Church songs and bells are the Estonians Arvo Pärt (*1935) and Toomas Siitan (*1958), the Latvians Peteris Vasks (*1946) and Aivars Kalejs (*1951), and the Lithuanians Bronius Kutavičius (*1932), Onutė Narbutaitė (*1956), Vidmantas Bartulis (*1954), Gracijus Sakalauskas (-1955) and Mykolas Natalevičius (*1985). There are also natural voice style composers, who are mostly Baltic composers: the Lithuanians Algirdas Martinaitis (*1950) and Bronius Kutavičius (*1932), and the Latvians Peteris Vasks (*1946), Imants Zemzaris (*1951) and Peteris Plakidis (*1947). But the Baltic minimalism extended to Europeanism mostly by Lithuanians included a new line of Baroque, which is very important, by exploring the part and the structure of Lithuanian statehood as an example, and led to the European Christian self in culture: in literature, visual art and music. There are Lithuanian composers who incorporated Baroque as important contemporary issues into their music: Algirdas Martinaitis, Onutė Narbutaitė, Vidmantas Bartulis, Mykolas Natalevičius and Vytautas Germanavičius (*1969). There remains as well the renewed statehood paradigm, related to Baroque and the Union with Poland as the European identity, which is basic to Lithuania in collision with Baltic minimalism. This extended and renewed means of the Baltic self is enclosed by another space and sacrality, even enriching the European self in the solution of music enlightening structured enlightening.
Abstract This article analyses anthropomorphic characteristics of death, specifically the mega-metaphor DEATH IS A LIVING BEING, manifested in the 16th-17th Century Latin mourning poetry by Vilnius Academy students. Employing the Metaphor Identification Procedure (MIP) method, the study systematically identifies and analyzes the conceptual metaphors within these works. Focusing on the anthropomorphic attributes of death, the research reveals that death was personified as a CAPTURER, GRIM REAPER, ENEMY, ANCIENT MYTHICAL FIGURE in the poetic tradition of the Grand Duchy of Lithuania. This analysis provides insights into the conceptualization of mortality during the late Renaissance and Baroque periods, unraveling the complex interplay between life, death, and human emotions. Additionally, the article serves as a methodological exemplar, demonstrating the application of MIP in historical literary texts and cataloging valuable resources for scholars and those interested in the mourning poetry of the Grand Duchy of Lithuania.
Abstract This article focuses on the Book of Miracles (Morze łaski Bozey Maria Panna przy obraźie swym cudownym w kościele mińskim Panien Zakonnych S. Franciszka) printed at the Vilnius Jesuit printing house in 1672 on the initiative of the mother superior of the Bernardine nunnery in Minsk, Franciszka Judycka. The book depicts miracles which occurred after prayers were said in the presence of the painting of the Blessed Virgin Mary and the Child of the Bernardines of Minsk. It portrays the illnesses and everyday life of the sixteen nuns. The book was dedicated to the castellan of Minsk and the elder of Josvainiai, Aleksander Judycki and highlighted the merits of Judycki who offered shelter for the Minsk Bernardines in his Josvainiai manor in Samogitia during the war with Russia in 1654–1667. The article shows the beliefs of society in the Grand Duchy of Lithuania during the Baroque epoque.
At the beginning scholastic Jesuit theatre was considered to be a part of didactic teaching programme. During their performances students were trained to associate with spectators, develop their memory, articulation, review the knowledge of the Latin language, meditate upon religious, moral values. New academic years used to begin and end with students' performances, they supplemented various state and religious celebrations, gave honour to outstanding heroes of past and present. Eventually, however, scholastic theatre overgrew these didactic aims: from academic lecture-halls they spread into the streets and squares of the town, became inseparable part of the town life, helped to form esthetic taste of spectators, impressively expressed the baroque spirit.The article analysis comedies, recitations and paratheatrical plays performed by the students of old Vilnius university show in political and social events by using different theatre forms.The biggest part of the analysis is devoted to the drama "About peace" written by the university professor Kasper Pentkovski (Kasper Pætkowski, 1554–1612). It was written and performed in 1582 in Vilnius when King of Poland and Great Duke of Lithuania Steponas Batoras returned after winning the war and signing the peace treaty with Moscow tzar Ivan the Terrible.The drama describes the hardships caused by the war, the sufferings, the loss, religious disunity, and belief that the treaty signed by Steponas Batoras will bring harmony, peace and help to strengthen catholic faith.Thus, Jesuit scholastic theatre very sensitively reacted both to local and European political changes, it might be called 'engagé' theatre trying to conciliate didactic and political goals.
The main objective of the article is to overlook the theories of national identity during the period of Lithuanian independence (1918–1939). The paper suggests that the so-called "national style" was among the core dimensions of Lithuanian cultural policy, which was intended to strengthen the feeling of independence after the liberation from the tsarist Russia. Despite the short period in time and quite integral political basement, one can distinguish a certain variety in theories and ways of expression of national identity in spatial terms. The first decade can be related with two principal approaches. The most popular way was to get one's inspiration from forms of vernacular (rural) dwelling. Traditional silhouette, layout and woodcarving were among the essential elements of the "national style", which was intended as an appropriate style for rural settlers as well as for a wide range of public representational buildings. Another source of inspiration was Baroque style with soft lines supposed to resemble the natural surroundings of Lithuanian landscape. Baroque was also a reference to Vilnius, the historical capital of Lithuania. During the 1930's, understanding of the "national style" gradually changed towards more sophisticated tendencies. The task was to involve the progress of modernization and to preserve the national character of forms and urban structure simultaneously. In the theoretical plane, we can find ideas quite close to regionalism, suggesting to examine the national aspects of psychology and also to cherish the respect towards the natural environment. However, the ideas put on the paper distinguished with quite utopian character. The possibilities to achieve the feeling of national identity in space through the monuments were much wider. [.]
The main objective of the article is to overlook the theories of national identity during the period of Lithuanian independence (1918–1939). The paper suggests that the so-called "national style" was among the core dimensions of Lithuanian cultural policy, which was intended to strengthen the feeling of independence after the liberation from the tsarist Russia. Despite the short period in time and quite integral political basement, one can distinguish a certain variety in theories and ways of expression of national identity in spatial terms. The first decade can be related with two principal approaches. The most popular way was to get one's inspiration from forms of vernacular (rural) dwelling. Traditional silhouette, layout and woodcarving were among the essential elements of the "national style", which was intended as an appropriate style for rural settlers as well as for a wide range of public representational buildings. Another source of inspiration was Baroque style with soft lines supposed to resemble the natural surroundings of Lithuanian landscape. Baroque was also a reference to Vilnius, the historical capital of Lithuania. During the 1930's, understanding of the "national style" gradually changed towards more sophisticated tendencies. The task was to involve the progress of modernization and to preserve the national character of forms and urban structure simultaneously. In the theoretical plane, we can find ideas quite close to regionalism, suggesting to examine the national aspects of psychology and also to cherish the respect towards the natural environment. However, the ideas put on the paper distinguished with quite utopian character. The possibilities to achieve the feeling of national identity in space through the monuments were much wider. [.]
