Idea of landscape in the contemporary painting

Tapybos teorijoje palyginti mažai tyrinėta kraštovaizdžio idėjos suvokimo ir perteikimo problema XX a. pabaigos-XXI a. pradžios tapyboje (peizaže). Straipsnio tikslas - išryškinti prasmines vaizdavimo metodų interpretavimo galimybes. Jame apžvelgiami grynieji tapybiniai ir konceptualieji metodai, svarstomas meninės formos (stiliaus) ir turinio kategorijų santykis, lyginamas meninio ir mokslinio metodo suvokimas. Remiantis dailėtyrininkų ir filosofų Įžvalgomis siekiama pagrįsti meninių metodų savitumą. Pabrėžiama, kad meniniai metodai gali veikti kaip vidinis kūrinio struktūros formavimo veiksnys, t. y. gali būti traktuojami ne tik kaip kūrimo būdas ar technologinė priemonė, bet ir kaip idėjos numatymo ir įprasminimo galimybė. Visa tai leidžia naujai pagrįsti ir universaliau suvokti tikrovės vaizdo konstravimo ir perkūrimo idėją.In this article the expression of the idea of landscape in contemporary painting (end of 20th c. - 21th c.) is discussed. The article focuses on the methods of depiction, which has been less investigated in theoretical terms. These methods are considered the inner core of artworks structural construction. In the first chapter, called The vagueness of art method description, the depiction method concept is described. The depiction - a process that incorporates sensual and mental images - is compared to scientific knowledge. The art method differs from the scientific and is described by more flexible metaphors. The art method is much more fluid and loose. Nevertheless, the art method can name an implied relation between occurrences or categories and justify the artists chosen strategy. In the second chapter, called Change of landscape perception and its depiction tendencies, painting and conceptual contemporary artwork (abstract expressionism, neo-expressionism, minimalism, branches of conceptualism) are reviewed and analysed. Contemporary methods are compared to the end of 19th c. - middle of 20th c. methods. The landscape is regarded as an image ofthe existing place and as a reflection of the artist's inner feelings, and also an image of the second reality or its idea. The collage, techniques of multiplying, comparing images stand out. In the third chapter, called The relation between methods of depiction as stimulus for painting, the metaphoric nature of contemporary paintings is emphasised. The directions of depiction used by artists are not necessarily copies of landscape ideas, but separate systems of metaphoric images. The painting process works here as a way to change or structure meaning. The theories of image creation and change process by philosophers Nelson Goodman and lacques Derrida are discussed and developed. Therefore, the depiction method is important while considering the wider problem of comprehension of contemporary paintings. There is a new possibility to comprehend a painting - through the metaphoric understanding of the image