Kunigo Pijaus Brazausko meninė kūryba Užnemunės bažnyčiose

Abstract

Kunigo Pijaus Brazausko (1905–1990) indėlis puošiant Užnemunės bažnyčias tiriamas menininko kūrybinės biografijos kontekste. Gilinamasi į menininko kūrybos ištakas, pristatomi jo pirmieji darbai, sukurti 1923–1944 m. Išaiškinta, kad daugumą darbų Užnemunės bažnyčiose P. Brazauskas atliko kaip dailininkas mėgėjas, dar prieš studijas Kauno meno mokykloje. Plačiau straipsnyje pristatytas monumentaliausias kūrinys – Pajevonio bažnyčios sienų tapyba. Tyrimai leido patikslinti tapinių sukūrimo datą, išaiškinti, jog tapinių būta ne tik bažnyčios interjere, bet ir eksterjere. Sienų tapybos darbų nėra išlikę, rasti pavieniai šaltiniai leido juos tyrinėti fragmentiškai. Tapyba analizuojama formos, turinio ir stiliaus aspektais

Priest Pijus Brazauskas (1905–1990) was quite well known during the interwar period in Lithuania, but is undeservingly forgotten in our days. The creative heritage of this artist is not unanimous from geographical point of view – he was creating in Lithuania and in exile. The first period of P. Brazauskas’ artistic activity in Lithuania lacks thorough studying; one can find only short analysis of single works or just references to the artist. The later works created in USA are also little known in our country. Priest not only painted pictures, but decorated church interiors as well. Research object: P. Brazauskas’ artistic creation. Aim of the article: to investigate P. Brazauskas’ artistic creation in Užnemunė region and to evaluate his mural painting in the church of Pajevonys. Methods: find-factual, historic, reconstructional, formal, stylistic analysis, iconographic. The article shortly recalls the most important facts about P. Brazauskas’ life. While investigating P. Brazauskas’ artistic activity in Užnemunė region, his theoretical basics are explored as well. Priest has studied at Kaunas Art School, therefore the curriculum of this school and teaching professors of that time are discussed. Practical works – first painting experiments and works for churches are also surveyed. It is attempted in the article to review which artists influenced his artistic conception. The mural painting in Pajevonys church is presented at large and also evaluated. The church architecture has been changed, the mural painting has not survived, and therefore only the development of historic construction is surveyed. Very few mural fragments were found, photographed and analysed in the aspects of form, matter and style. Priest P. Brazauskas proportioned pastoral and artistic activities in various periods of his life. [...]