Meno formų, simbolių ir motyvų difuzijos problemos komparatyvistinėje Josefo Strzygowskio menotyroje
Problems Of The Diffusion Of Art Forms , Symbols And Motifs In Theart Criticism Of Joseph Sytrzygowski

Summary/Abstract: This article analyzes Strzygowski‘s works devoted to diffusion of art forms, symbols and motifs. His attempts to trace the development of Western architecture is largely formed from Eastern and indigenous influences. Courajod, Brehiers, Semper, Riegl and many others laid a foundation to the scholars of comparativistic art criticism, so called first wave (works of Strygowski and Warburg on the diffusion processeses of art forms, symbols and motifs from East to West) at the beginning of 20th century. A direct link with works and archeological findings never been analyzed before allowed the starters of comparativistic art criticism to expand the limits of academic traditionally West-orientated euorocentric art history. Analyzing the elements of art works remote in time and geographically, Strygowski traced ealier unknown sources of Byzantic art and Western European medieval art. Thus, a new perspective linking Eastern and Western traditions and the problem of the diffusion of art forms, symbols and motifs in Strygowski‘s works due to the awareness of the subtleties of art criticism, in deep knowledge about artefacts and material culture of East and West, as well as to understanding of the ways of diffusion of artefacts and forms. Strzygowski‘s works abundantly expanded the sources of Christian art research and the horizons of art history leading beyond Europe to Middle East countries as Armenia, Persia,and even Far East. Research approach and methodological problems received exclusive significance for the cognition of these processes. The main contribution of. Strzygowski’s investigations to art diffusion processes from East to West and to methodology is an introduction of new research spheres, various comaparative research strategies. It is obvious, that diffusion methodology, encouraging to search for European sources of art in the East opened new unexplored oriental art sources, powerful art traditions and also broadely expanded the geography of world art history. Having comprehensively investigated the problems of diffusion of art forms, symbols and motifs in the beginning of 20th century comparativistic art criticism, new methodological possibilities emerged, based on flexibility and new hierarchy-rejecting principles, liberation from many eurocentric conceptions of art criticism and narrow rasict prejudice. Therefore, a broaq view on world art history, constanly new areas of research, the interactions between Eastern and Western approaches stems from here.The applicability of these new methods of comparativistic art research, methodological strategies, various scientific methods helped to fill blank gaps in universal art history...

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