Various Lithuanian Handcrafts


Lithuanian wood sculpture is justly regarded as having no parallel in Europe by virtue of its wide popularity, originality, and expressive imagery. Most of the extant statuary from the past can be traced back to Roman Catholic iconography. Yet some pagan idols excavated by archaeologists prove that the craft was widespread even before Christianity was adopted in Lithuania in the fourteenth century. This is indirectly evident in the Lithuanian artists' rather free interpretation of canonical images. Thus, in their hands, the Spanish saint Isidore acquired the appearance of a typical Lithuanian peasant. St. Isidore was thought to help the village people in their hard work; therefore images of him were usually placed by the fields at the far edge of the village. At the village entrance there used to be a figure of St. Florian, patron saint of firemen, who was to pray to Providence for mercy and deliverance from the scourge of fire, which so often and so disastrously afflicted man in the past.

As the original image underwent transformation, so did its symbolic significance. Thus, St. George, hardly recognizable as a commoner on horseback slaying a dragon with his spear, was now regarded as the protector of the oppressed. Such frivolous treatment of canonical subjects vexed the senior clergy, who, as a result, banned statues of this kind and insisted on their removal from roadsides and homesteads. Yet they continue to spring up like trees on Lithuanian soil as expressions of the people's aspirations. Wood was also used in other Lithuanian crafts. Various objects, such as peasant clogs, carved vessels, painted chests, distaffs, and other utensils indispensable in the peasant household for centuries, were traditionally made of wood in Lithuania.

A popular type of Lithuanian metalwork, the so-called "little suns," decorations for the roofs of houses, originated from the custom of erecting roadside statues. The "little suns" were decorated with exquisitely ham-mered flowers and leaves. The art of folk metalwork declined as manufacturing industries developed, and it was not until recently that it was revived, largely owing to the enthusiasm of present-day smiths.

Lithuanian scenery does not display a rich variety of colors. This is reflected in the color scheme of the local homespun or embroidered articles and glazed pottery. The typical geometric ornamentation used in Lithuanian woven or plaited belts is generally formed by two, or sometimes three to four alternating colors. Although the color range appears modest, Lithuanian handloom textiles show a surprising variety of design. Their stylistic austerity testifies to the fact that the Lithuanians based their craft on the artistic language of the remote past. The symbolism of certain ornamental elements is no longer clear, but on the whole the decoration retains its national flavor and vigor. It is for this reason that Lithuanian textiles can be easily distinguished from others.





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