{"id":2256,"date":"2019-10-01T12:32:52","date_gmt":"2019-10-01T12:32:52","guid":{"rendered":"https:\/\/www.letrat.eu\/?p=2256"},"modified":"2024-04-17T17:35:38","modified_gmt":"2024-04-17T16:35:38","slug":"rafaeli-nxenesit-e-tij-dhe-manerizmi-artistik","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=2256","title":{"rendered":"Rafaeli, nx\u00ebn\u00ebsit e tij, dhe Manerizmi Artistik!"},"content":{"rendered":"

S. Guraziu – Ars Poetica, Shkurt 2017<\/em><\/p>\n

Manerizmi i referohet l\u00ebvizjes artistike n\u00eb artet vizuale q\u00eb u p\u00ebrhap n\u00eb pjes\u00ebn d\u00ebrrmuese t\u00eb Evrop\u00ebs mes periudhave t\u00eb Artit t\u00eb Lart\u00eb t\u00eb Renesans\u00ebs dhe Barokut. Manerizmi stilistikisht p\u00ebrfshin nj\u00eb shum\u00ebllojshm\u00ebri t\u00eb metodave si ndikim dhe reagim ndaj idealeve harmonike. N\u00eb let\u00ebrsi dhe muzik\u00eb Manerizmi \u00ebsht\u00eb i dalluesh\u00ebm me vetin\u00eb p\u00ebr shum\u00eb lajle-lule stilistike e q\u00ebndisma, dhe me shijen e st\u00ebrholl\u00eb intelektuale.<\/p>\n

Manerizmi \u00ebsht\u00eb i lidhur me artist\u00eb t\u00eb m\u00ebdhenj t\u00eb till\u00eb si Leonardo da Vin\u00e7i, Rafaeli, e po ashtu dhe me Mikelanxhelon. Ross Finocchio (The Metropolitan Museum of Art – Departamenti Pikturave Evropiane) thot\u00eb, anise gjuha formale e Manerizmit huazon shum\u00e7ka nga veprat e m\u00ebvonshme t\u00eb Mikelanxhelos (1475-1564) dhe t\u00eb Rafaelit (1483-1520), artist\u00ebt aderues t\u00eb Manerizmit e favorizojn\u00eb kompleksitetin dhe mjesht\u00ebrin\u00eb “artifi\u00e7a”, mbi natyralizmin artistik.<\/p>\n

Termi “manerizmi” prejardhjen e ka nga fjala e italishtes “maniera”, e p\u00ebrdorur nga artisti dhe biografi i shek. XVI Giorgio Vasari (1511-1574), pra Manerizmi si term e si stil origjin\u00ebn e ka n\u00eb Itali. Zgjati p\u00ebr nj\u00eb periudh\u00eb p\u00ebraf\u00ebrsisht nj\u00eb-shekullore, nga ~1520 deri n\u00eb v. 1600. Ndon\u00ebse nga David Freedberg (n\u00eb vitet ’80) thuhet se Manerizmi Verior (psh. n\u00eb Holande) vazhdoi deri n\u00eb fillimshekullin XVII.<\/p>\n

Sipas historianit t\u00eb artit Ernst Gombrich (1909-2001), n\u00ebse Arti i Lart\u00eb i Renesans\u00ebs e thekson proporcionin, balansin dhe bukurin\u00eb ideale, Manerizmi ekzagjeron me cil\u00ebsit\u00eb e tilla,
\nshpesh duke rezultuar n\u00eb kompozicione t\u00eb cilat jan\u00eb asimetrike ose jonatyrsh\u00ebm elegante. P\u00ebr dallim nga Arti i Lart i Renesans\u00ebs q\u00eb i jep p\u00ebrpar\u00ebrsi ekuilibrit dhe qart\u00ebsis\u00eb
\nkompozicionale, Manerizmi e favorizon tensionin kompozicional dhe jostabilitetin piktural.<\/p>\n

Sipas Ross Finocchio, n\u00eb gjysm\u00ebn e shek. XVI figura kryesore e stilit manerist n\u00eb Firenc\u00eb ishte Agnolo Bronzino (1503-1572). N\u00eb esen\u00eb e publikuar nga Metropolitan Museum of Art,
\n“Manerizmi: Bronzino (1503-1572) dhe bashk\u00ebkoh\u00ebsit e tij”, ai shkruan se disa nga karakteristikat e p\u00ebrbashk\u00ebta t\u00eb shum\u00eb veprave maneriste jan\u00eb “shtremb\u00ebrimi” i figur\u00ebs njer\u00ebzore,
\nrrafshimi (l\u00ebmuarja) e hap\u00ebsir\u00ebs pikturale dhe kultivimi i st\u00ebrhollimit intelektual. Manerizmi \u00ebsht\u00eb i dalluesh\u00ebm p\u00ebr shijen e st\u00ebrholluar intelektuale dhe p\u00ebr artificialitetin si kualitet (dmth. q\u00eb \u00ebsht\u00eb e kund\u00ebrt me qasjen p\u00ebr favorizimin e cil\u00ebsis\u00eb natyraliste).<\/p>\n

Ross Finocchio thot\u00eb se disa aspekte t\u00eb Manerizmit mund t\u00eb hetohen q\u00eb n\u00eb veprat e Andrea del Sarto (1486-1530). Edhe pse stili i A. del Sarto rr\u00ebnj\u00ebt i kishte thell\u00eb n\u00eb idealet artistike t\u00eb Renesans\u00ebs s\u00eb Lart\u00eb, integrimi i natyrsh\u00ebm i figurave n\u00eb nj\u00eb hap\u00ebsir\u00eb t\u00eb p\u00ebrcaktuar qart\u00eb, p\u00ebrdorimi ekspresiv i ngjyrave t\u00eb gjalla dhe t\u00eb ndryshme, si dhe pozat komplekse… paraqesin frym\u00ebzimin p\u00ebr gjenerat\u00ebn e par\u00eb t\u00eb piktor\u00ebve manerist n\u00eb Firenc\u00eb.<\/p>\n

Si “filiza” t\u00eb Manerizmit, Finocchio i konsideron sidomos nx\u00ebn\u00ebsit e A. del Sarto, Andrea Jacopo da Pontormo (1494-1556) dhe Rosso Fiorentino (1494-1540).
\nAktiv n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb me k\u00ebta artist\u00eb inovativ\u00eb – thot\u00eb Finocchio, ishte dhe piktori Bachiacca (1495-1557) i cili e zhvilloi nj\u00eb regjim eklektik duke kombinuar ndikime maneriste dhe theksime nga artist\u00eb t\u00eb Veriut evropian, si Albrecht D\u00fcrer dhe Lucas van Leyden, me traditat m\u00eb t\u00eb vjetra t\u00eb Renesans\u00ebs.Rreth v. 1540, Agnolo Bronzino (1503-1572) u b\u00eb artisti kryesor i stilit manerist n\u00eb Firenc\u00eb. Patronazhi i Dukes s\u00eb Toskan\u00ebs (Cosimo I de Medici), ka luajtur nj\u00eb rol t\u00eb r\u00ebnd\u00ebsish\u00ebm n\u00eb karrier\u00ebn e A. Bronzino, ashtu si dhe n\u00eb karier\u00ebn e bashk\u00ebkoh\u00ebsve t\u00eb tij, Francesco Salviati (1510-1563) dhe Giorgio Vasari (1511-1574), thekson Finocchio.<\/p>\n

Forma t\u00eb larta t\u00eb “maniera”, zhvilluar nga k\u00ebta piktor\u00eb jan\u00eb sh\u00ebnuar dhe me favorizimin e kompleksitetit intelektual n\u00eb veprat. Dizajni i G. Vasari p\u00ebr nj\u00eb piktur\u00eb dekorative n\u00eb Palazzo Vecchio i ilustron referencat mitologjike dhe alegorit\u00eb komplekse, at\u00ebher\u00eb n\u00eb mod\u00eb p\u00ebr elit\u00ebn e Firenc\u00ebs. Nga mesi i shek. XVI, ndikimi i Manerizmit u p\u00ebrhap shum\u00eb m\u00eb larg Firences.
\nP\u00ebrfaq\u00ebsues t\u00eb r\u00ebnd\u00ebsish\u00ebm t\u00eb l\u00ebvizjes n\u00eb Veri t\u00eb Italis\u00eb u b\u00ebn\u00eb Parmigianino (1503-1540), dhe Jacopo Tintoretto (1519-1594). P\u00ebr m\u00eb tep\u00ebr, artist\u00ebt italian\u00eb t\u00eb pun\u00ebsuar nga mbreti
\nFrancis I, e kthyen Manerizmin nd\u00ebr stilet dominante n\u00eb Franc\u00eb – p\u00ebrfundon Finocchio.<\/p>\n

[ Ngjitur<\/em>: Gianfrancesco Penni (1490-1528) – Pag\u00ebzimi i Konstandinit<\/strong>, 1517-24 (detaj – afresk nga G. Penni, nx\u00ebn\u00ebs i Rafaelit – n\u00eb t\u00eb ashtuquajturat “Dhomat e Rafaelit”, Vatikan) ]<\/p>\n

\"\"<\/a><\/p>\n

Sa i p\u00ebrket afreskut “Pag\u00ebzimi i Konstandinit”, nga historian\u00ebt e kritik\u00ebt e artit thuhet se p\u00ebrkund\u00ebr p\u00ebrpjekjes s\u00eb kontrollit dhe t\u00eb arritjes s\u00eb qet\u00ebsis\u00eb tipike pikturale t\u00eb Artit t\u00eb Lart\u00eb t\u00eb Renesans\u00ebs, skena e mbushur me njer\u00ebz n\u00eb afreskun megjithat\u00eb p\u00ebrshfaq tendenc\u00ebn maneriste drejt kompleksitetit dhe mosp\u00ebrputhjes. Pag\u00ebzimi i Konstandinit t\u00eb Madh (Konstandini I, perandori i par\u00eb romak q\u00eb do ta njihte zyrtarisht fen\u00eb e krishter\u00eb, duke i dh\u00ebn\u00eb lirin\u00eb e adhurimit), \u00ebsht\u00eb punuar nga ndihm\u00ebsit e mjeshtrit t\u00eb Renesans\u00ebs, Rafael (Raffaello Sanzio da Urbino, 1483-1520). Afresku i p\u00ebrshkruhet ndihm\u00ebsit t\u00eb tij, piktorit Gianfrancesco Penni, punuar mes viteve 1517-24 (dmth. u p\u00ebrfundua 4 vite pas vdekjes s\u00eb Rafaelit, m\u00eb 1520 – dhe 4 vite para vdekjes s\u00eb vet, m\u00eb 1528). Afresku ndodhet n\u00eb “Sall\u00ebn e Konstandinit”, n\u00eb kuad\u00ebr t\u00eb Dhomave t\u00eb Rafaelit (Stanze di Raffaello) n\u00eb Pallatin Apostolik n\u00eb Vatikan.<\/p>\n

Referencat<\/em>:
\n– E. H. Gombrich – Art and Illusion, 1960
\n– Ross Finocchio – “Mannerism: Bronzino (1503-1572) and his Contemporaries”, Heilbrunn TAH, The Metropolitan Museum of Art – New York, Oct. 2003
\n– Musei Vaticani<\/p>\n","protected":false},"excerpt":{"rendered":"

S. Guraziu – Ars Poetica, Shkurt 2017 Manerizmi i referohet l\u00ebvizjes artistike n\u00eb artet vizuale q\u00eb u p\u00ebrhap n\u00eb pjes\u00ebn d\u00ebrrmuese t\u00eb Evrop\u00ebs mes periudhave t\u00eb Artit t\u00eb Lart\u00eb t\u00eb Renesans\u00ebs dhe Barokut. Manerizmi stilistikisht p\u00ebrfshin nj\u00eb shum\u00ebllojshm\u00ebri t\u00eb metodave… Lexo →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,10],"tags":[],"class_list":["post-2256","post","type-post","status-publish","format-standard","hentry","category-classic","category-komente"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/2256","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2256"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/2256\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2256"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2256"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2256"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}