Once, during my studies in Moscow, I encountered the desire of famous cultural people to draw even the smallest hook on the branch of their genealogical tree, connecting them to the Lithuanian family. If you managed to prove the connection, your blood immediately turned blue – just like from the Ryurikaichi dynasty of Kievan Rus… As they say, the ways of the Lord are unknown.
Cultural historian Eimantas Gudas (who wrote “Gedimin’s Blood” together with journalist Žilvina Petrauskaita) says: “Society is hungry for non-ideological history”. Yes, with us, these territories are occupied by honorable historians who are well versed in both genres and politics outside the window. In the library, I keep checking the longest shelf of rarely used academic books… If I find something more humane to read, it is translated from Polish. Our publishing houses are still exploring these paths, they are still persuading literate historians to try to create for the public as well (Norbert Černiauskas’ “1940. The Last Summer of Lithuania”, “Fado”). The longing for a different story also contributed to the success of “Silva rerum”, “Empress of Peter”.
Unfortunately, this time, the hunger – at least mine – is not quenched by the new book. I think that the 500-page opus “Blood of Gedimin” was pushed into a difficult situation by the publishing house, which was unable to steer the author in the right direction, to systematize his wealth of knowledge, and to finally decide what they are publishing the book about. 112 destinies of men and women (where is the index of names then?); based on fragments, psychological family portraits are imagined; a list of names and events that happened over 300 years, as encouraged; an album of fancy illustrations? A science popularization book, when you read it, you have to remember some point of view, selection and emphasis – I didn’t find such here or because of difficult to manage material (and repetitive) I skimmed it.
Professional historians probably have their own opinion about similar publications, but they proudly keep it quiet. Well, controversial conclusions can probably be found in their works as well. While reading the new book, I only looked more closely at Aleksandrs Jogailaičius – after all, now he has sprouted bronze in Kaunas, so the nation will attack to find information about this person.
Professional historians probably have their own opinion about similar publications, but they proudly keep it quiet.
E. Gudas lovingly describes Alexander’s Orthodox wife Elena (so far we have obeyed Adolfo Šapoka’s opinion about non-believers) – the harmonious relationship and dramatic fate of this unknown couple are no less noteworthy than those of Barbora and Žygimanto (“It didn’t change anything even that the wife turned out to be barren (…) Elena took care of her, protected her from intriguers, constantly kept her close to her, took her on trips”). E. Gudas or the publishing house highlights his opinion about Alexander’s Lithuanian language in larger font: “It seems that he no longer knew Lithuanian, unless he understood a few words from some courtiers who still spoke Lithuanian.” Academics have thought differently for a long time: “He took care of the use of the Lithuanian language in the Catholic churches of the LDK (…) Some researchers consider Aleksandar Jogailaitis to be the last prince of the LDK who knew and spoke Lithuanian.”
Photo by Mante Elelueta/Presentation of “Blood of Gedimin”.
On the other hand, maybe a lover of fiction, historical literature, science popularization lectures should be encouraged to “bleep”, to believe and not believe, to be more interested in that topic?
PS We are now talking about monuments no less than about basketball. The Grand Duke of Lithuania and King of Poland Alexander (he ruled Lithuania for 14 years, Poland for 5 years) rose in Kaunas. The arrogant intelligentsia condemned him for manifesting himself so great and beautiful without their permission. I have no doubt that the nation is and will be more forgiving to the bronze Alexander – romantic forms allow passers-by to relax, forget, and be proud.
The arrogant intelligentsia condemned him for manifesting himself so great and beautiful without their permission.
I think this old argument would be weakened if we decided who is the addressee of the new public good. Who exactly is this “concert of wishes” dedicated to? The mayor of Kaunas and the honorable patron decided – to the people, and thank them for that, and let’s leave Alexander to peace and time.
Teodoros Biliūnas/BNS photo/Unveiling of the monument of the Grand Duke of Lithuania and King of Poland Alexander Jogailaitis
“Beauties, Wonders and Samurai”
The exotic midsummer is also heating up in the National Art Gallery – the Japanese exhibition “Beauties, Wonders and Samurai” has opened (July 19). Exhibition curator Arūnas Gelūnas and his team boldly state that kabuki theater, ikebana, haiku are pop culture. And that modern works of Japanese popular culture have emerged from the 17th-19th centuries that are dear to us. Japanese historical graphics.
Well, Mozart is now called pop. This exhibition tries to reach the same edge.
Ah, the precise architecture of the exhibition and the mysterious, dim lighting (I look at the old engravings close up, there is no directed beam – maybe they are not the most valuable hung here?) while walking between the “screens” pleasantly narcotize your head… However, when you approach a specific opus of today’s art, he it seems to shoot out, because it is too loud and gushing, threatening and even funny (you see, irony is not characteristic of the Japanese). Animated fragments, pages of comics – completely open, just zero, inviting you to dive in and swim.
Organizers’ photo/Exhibition “Beauties, Wonders and Samurai”
We know the millennial generation (more male I guess) loves fighting anime images on their screens – maybe the exhibition is more for young minds? For older people, I think, it will be more difficult to accept the fusion of old and new, the crazy legalization of pop. Historical Japanese graphics are restrained, cautious, sustainable, just like Lithuanian fairy tales with the poisoned lamb’s foot. Exhibited next to today’s popular Japanese art, it reveals not only the origins, but also the abyss. Horrible and adorable. (Perhaps a more accurate place for the exhibition would be not NDG, but ŠMC. There, these samurai could express themselves in a less restrained and cultured way, maybe more openly, without being covered with a fig leaf, they would contact the young audience).
Once upon a time, we solemnly transported MKČiurlionis to Japan. Maybe on the occasion of his 150th anniversary, to “create” him and take him along with Žilvinus Kempin, etc.?
Opening of the Olympics
On water and under water! Thus Heaven punishes France for the pride of being herself.
However, everyone who is on and near the Seine is keeping cool and to us, sitting warmly in front of the screens, it even seems that maybe the rain is specially ordered as another sports barrier, like a great shot from “Ukai krantina” or “Sherbur umbrellas”.
The direction of the opening of the Olympics (July 26) is bold and wise, accumulating history, art that dances above the navel. They no longer make fun of Muslims with caricatures, they make fun of their own Christians. Characters emerging from the depths of the river watch the action – the Sun King will be pleased.
Photo by Vytautas Dranginis/Opening of the 2024 Paris Olympic Games
Only women and one countertenor sing, a robot horse (this one gets stuck in my throat for some reason) gallops through the water and carries the Maid of Orleans.
Those who trample on life will overcome everything – they are protected by thousands with automatic machines.
Everyone expects a flame on the top of the Eiffel Tower, but with the fire, a hot air balloon begins to rise, which the darkness and rain under its canopy do not want to let in.
#Critic #Visockaitė #opening #Olympics #book #Blood #Gedimin #exhibition #Beauties #treasures #samurai #Culture
2024-07-30 09:01:05
