{"id":2506,"date":"2019-10-01T19:56:38","date_gmt":"2019-10-01T19:56:38","guid":{"rendered":"https:\/\/www.letrat.eu\/?p=2506"},"modified":"2024-04-16T23:13:03","modified_gmt":"2024-04-16T22:13:03","slug":"thjeshtesia-platonike-dhe-kompleksiteti-i-thjeshtesise","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=2506","title":{"rendered":"Thjesht\u00ebsia “platonike”, dhe kompleksiteti i thjesht\u00ebsis\u00eb!"},"content":{"rendered":"

S. Guraziu – Ars Poetica, 2012 (Ese – V\u00ebshtrim eseistik…)<\/em><\/p>\n

Jo gjithkush ia del t’jet\u00eb nj\u00eb “Pikaso” apo nj\u00eb “Mondrian” poetik, t\u00eb thuhet sa m\u00eb shum\u00eb me sa m\u00eb pak mbetet gjithmon\u00eb problematike dhe e “xig\u00eblueshme”. Minimalizmi n\u00eb art, n\u00eb t\u00eb gjitha llojet e arteve vizuale… e po ashtu dhe n\u00eb artin poetik sa \u00ebsht\u00eb i leht\u00eb p\u00ebr ta kornizuar (n\u00eb dukje), n\u00eb fakt \u00ebsht\u00eb akoma m\u00eb i v\u00ebshtir\u00eb.
\nN\u00ebse t\u00eb duhej nj\u00eb paralelizim psh. mund t\u00eb referohemi n\u00eb pikturat e Mondrian, dhe n\u00eb an\u00ebn tjet\u00ebr n\u00eb artin e ndonj\u00eb piktori t\u00eb akademizmit klasik, cilindo prej tyre ta merrnim si shembull, pa p\u00ebrjashtime. Do ta kemi t\u00eb qart\u00eb se p\u00eblqimi dhe ndjenja p\u00ebr “minimalizmin” jan\u00eb absolutisht p\u00ebrbrenda domenit t\u00eb artit, me gjith\u00e7ka q\u00eb arti si i till\u00eb p\u00ebrfaq\u00ebson.<\/p>\n

Ne rastin e Mondrian do t’i shihnim ca vija e ngjyrash t\u00eb ndryshme, her\u00eb m\u00eb t\u00eb trasha e her\u00eb t\u00eb holla, her\u00eb tek shtrihen n\u00eb vertikalen dimensionale (t\u00eb piktur\u00ebs, si korniz\u00eb e kufizuar krijuese) e her\u00eb n\u00eb at\u00eb horizontale, her\u00eb ca katror\u00eb tek mb\u00ebshtillen a nd\u00ebrfuten n\u00eb nj\u00ebri-tjetrin, her\u00eb tek largohen… etj. etj.
\nN\u00eb piktur\u00ebn tjet\u00ebr, t\u00eb ardhur n\u00eb jet\u00eb si krijim p\u00ebr shtat\u00eb vite rresht (ose pes\u00eb vite, ose dy, ose kat\u00ebr vite, p.sh. si Mona Liza) do t’i shihnim ndoshta me dhjetra figura t\u00eb plota njer\u00ebzish, t\u00eb punuara deri n\u00eb detaje, me ambient e sfond, me vegla, arm\u00eb apo relikte… me gjith\u00e7ka t\u00eb nevojshme p\u00ebr ta rrumbullak\u00ebsuar “realen” artistike.
\nShtrohet pyetja: sa do ta ngop\u00eb artistikisht v\u00ebzhguesin piktura me tri-kat\u00ebr trakash laramane e Mondrian, dhe sa ajo piktura tjet\u00ebr?<\/p>\n

\u00cbsht\u00eb relative si fenomen, vet\u00eb “ngopja” si term \u00ebsht\u00eb term relativist. Q\u00ebkur v\u00ebzhguesi apo “konsumuesi” i artit n\u00eb momentin e caktuar \u00ebsht\u00eb i mb\u00ebshtetur n\u00eb pathosin subjektiv t\u00eb eksperienc\u00ebs, t\u00eb njohjeve, t\u00eb kapacitetit, t\u00eb parapritjeve… dhe \u00e7far\u00eb \u00ebsht\u00eb m\u00eb e r\u00ebnd\u00ebsishmja, t\u00eb nevoj\u00ebs.
\nVet\u00eb lindja e artit modern (do ta rrumbullak\u00ebsoj k\u00ebtu gjith\u00e7ka me p\u00ebrspektiv\u00ebn artistike t\u00eb Pikasos, si “babai” i artit modern) e qart\u00eb q\u00eb ishte rezultat i disa segmenteve – por nj\u00ebri prej tyre \u00ebsht\u00eb minimalistika, si koncept dhe si gjendje, paragjendje shpirt\u00ebrore.<\/p>\n

Shum\u00eb lexues modern\u00eb, shum\u00eb autor\u00eb dhe kritik\u00eb letrar e parap\u00eblqejn\u00eb pik\u00ebrisht minimalizmin. Jo vet\u00ebm p\u00ebr arsye t\u00eb fines\u00ebs dhe t\u00eb “thjesht\u00ebsis\u00eb” (dmth. p\u00ebr t’u p\u00ebrballur me t\u00eb, p\u00ebr t\u00eb qen\u00eb n\u00eb t\u00eb nj\u00ebjtat val\u00eb dhe brenda rrath\u00ebve t\u00eb t\u00eb nj\u00ebjtit spekt\u00ebr, p\u00ebr ta p\u00ebrthithur me efikasitet e p\u00ebr t’iu afruar sa m\u00eb af\u00ebr).
\nMadje kam p\u00ebrshtypjen, n\u00eb “mend\u00ebsin\u00eb” e let\u00ebrsis\u00eb shqipe, tash e sa dekada sikur dhe \u00ebsht\u00eb ngulitur si bindje se poezia vet\u00ebm si stil e p\u00ebrmbajtje minimaliste duhet t\u00eb jet\u00eb (mendoj, deri n\u00eb nj\u00ebfar\u00eb mase k\u00ebtij “mentaliteti” i paraprin\u00eb, \u00ebsht\u00eb e ndikuar nga… dhe \u00ebsht\u00eb e nd\u00ebrlidhur me tendencat moderniste, fillimisht t\u00eb poetikes kosovare). Sipas k\u00ebsaj bindjeje sa m\u00eb shum\u00eb e “krasitur” dhe e p\u00ebrthjesht\u00ebsuar p\u00ebrmbajt\u00ebsisht poezia, n\u00eb nj\u00ebfar\u00eb m\u00ebnyre sikur vet\u00ebm at\u00ebher\u00eb \u00ebsht\u00eb “poezi” me plotkuptimin e fjal\u00ebs.<\/p>\n

Nuk \u00ebsht\u00eb kjo preferenc\u00eb vet\u00ebm e lexuesve t\u00eb “lodhur” dhe sip\u00ebrfaq\u00ebsor, nuk \u00ebsht\u00eb vet\u00ebm pasqyr\u00eb e shkall\u00ebs-nivelit t\u00eb “uris\u00eb dhe nevojave artistike” t\u00eb lexuesve. Por dhe vet\u00ebdijsh\u00ebm e vet\u00eb poet\u00ebve t\u00eb cil\u00ebt n\u00eb nj\u00eb koh\u00eb t\u00eb caktuar kan\u00eb zgjedhur e p\u00ebrqafuar nj\u00eb stil q\u00eb iu p\u00ebrshtatet m\u00eb s\u00eb shumti, dhe me t\u00eb cilin stil ata m\u00ebtojn\u00eb t’i sh\u00ebrbejn\u00eb tradit\u00ebs artistike (po ashtu t\u00eb p\u00ebrzgjedhur dhe kuptimplote, si subjektivitet).<\/p>\n

Kjo “mend\u00ebsi” a ky p\u00eblqim… t\u00eb tilla qasje nuk bien ndesh me asgj\u00eb, artist\u00ebt, poet\u00ebt dhe t\u00eb gjith\u00eb krijuesit n\u00eb radh\u00eb t\u00eb par\u00eb krijojn\u00eb p\u00ebr vete. Un\u00eb iu qasa k\u00ebtij v\u00ebshtrimi duke e marr\u00eb si shembull minimalizmin n\u00eb piktur\u00eb me q\u00ebllimin p\u00ebr t\u00eb sjell n\u00eb sip\u00ebrfaqe nj\u00eb di\u00e7 t\u00eb vjet\u00ebr: “rregull\u00ebn e art\u00eb” t\u00eb dizajnit artistik. Q\u00eb moti Platoni e pati rrahur k\u00ebt\u00eb problematik\u00eb t\u00eb thjesht\u00ebsis\u00eb si koncept, problematik\u00ebn e minimalizmit p\u00ebrmbajt\u00ebsor. Th\u00ebnia e tij, n\u00eb artin e dizajnit objektual \u00ebsht\u00eb vet\u00eb themeli i t\u00eb ashtuquajturit “design equilibrium”: “bukuria e stilit, eleganc\u00ebs dhe e harmonis\u00eb \u00ebsht\u00eb n\u00eb vart\u00ebsi t\u00eb thjesht\u00ebsis\u00eb” (Platoni).<\/p>\n

Problemi \u00ebsht\u00eb, mendoj un\u00eb, se piktura e as arti poetik nuk jan\u00eb “design” n\u00eb t\u00ebr\u00ebsin\u00eb e tyre – pasi forma \u00ebsht\u00eb vet\u00ebm nj\u00ebri nga dimensionet e substanciales artistike. Mund t\u00eb “gdhendet” stili, figuracioni e metafora por jo dhe vet\u00eb substanca e “poetikes”, jo dhe vet\u00eb ndjenja. P\u00ebr m\u00eb tep\u00ebr, madje poetikja sikur nuk duron as “rroba”, ajo duhet t’jet\u00eb si\u00e7 lind nudo, e zhveshur totalisht. \u00cbsht\u00eb e pamundur por n\u00eb thelb poetikja sikur nuk e “duron” as vet\u00eb stilin, si shtojc\u00eb e jashtme. Vet\u00eb poeti, figurativisht duhet t\u00eb zhvishet “cullak”, jo pa asnj\u00eb arsye skulptori francez Auguste Rodin e pati gdhendur at\u00ebher\u00eb “poetin” (ose figur\u00ebn e famshme t\u00eb “mendimtarit” ulur) pik\u00ebrisht lakuriq – sepse vet\u00ebm ashtu mund t’i p\u00ebrafrohej brisht\u00ebsis\u00eb, ndjeshm\u00ebris\u00eb ultime dhe pafaj\u00ebsis\u00eb poetike.<\/p>\n

N\u00eb nj\u00eb skic\u00eb q\u00eb e pata titulluar “Glida poetike e nj\u00eb gjeniu” shkurtazi e pata nd\u00ebrfutur \u00e7\u00ebshtjen e dialektik\u00ebs artistike duke e lidhur at\u00eb me ngjashm\u00ebrin\u00eb e zhvillimeve teknologjike. N\u00eb nj\u00eb vend pata shkruar (lidhur me Da Vin\u00e7in): “…padyshim ai duhet ta ket\u00eb ditur q\u00eb arti s’rri n\u00eb vend, as ajri, as poezia dhe asnj\u00eb shkenc\u00eb, ai duhet ta ket\u00eb ndjer\u00eb se t\u00eb fluturoj\u00eb nj\u00eb “Airbus” me 500 njer\u00ebz, nj\u00eb “Hercules” i mbushur me tankse… mbase duhet t\u00eb jet\u00eb m\u00eb i r\u00ebnd\u00eb se nj\u00eb balon ajri, dhe sigurisht m\u00eb kompleks”.<\/p>\n

Jo vet\u00ebm piktura e poezia por \u00e7do gj\u00eb n\u00ebse duhet ta ng\u00ebrthej\u00eb kompleksitetin, padyshim do rezultoj\u00eb m\u00eb “e r\u00ebnd\u00eb”. Pas balonave pati ardhur nj\u00eb balon akoma m\u00eb kompleks, m\u00eb i madh dhe m\u00eb i r\u00ebnd\u00eb, Zeppelin. Pastaj u mor vesh se ajri megjithat\u00eb mund t\u00eb pushtohet pa balona fare, me tjera mjete e zgjidhje m\u00eb komplekse.
\nE gjith\u00eb rruga e artit dhe historia e tij na e d\u00ebshmojn\u00eb t\u00eb nj\u00ebjt\u00ebn – nganj\u00ebher\u00eb vijn\u00eb momente vendimtare kur duhet t\u00eb thyhen kanone e teori dominante, t\u00eb cilat kan\u00eb dominuar me dekada. A nuk \u00ebsht\u00eb shembull i mrekulluesh\u00ebm fakti q\u00eb nj\u00eb Servantes me nj\u00eb “Don Kishot” i m\u00ebshoi si me fshes\u00eb mentalitetit letraristik t\u00eb sa e sa shekujve t\u00eb m\u00ebparsh\u00ebm, romanet kalorsiake dhe nj\u00eb fiksion i till\u00eb, apo nj\u00eb fantazi e till\u00eb… ishin b\u00ebr\u00eb aq “bajate”!<\/p>\n

Pra, si\u00e7 dhe dihet tashm\u00eb, as minimalizmi dhe as kompleksiteti artistik nuk kan\u00eb gj\u00eb mangut n\u00eb vetvete si qasje krijuese apo si prurje. Thomas S. Eliot assesi s’do ta shkruante t\u00eb famshmen “Toka e Shkret\u00eb” po t’mos besonte fuqish\u00ebm edhe n\u00eb kompleksitetin artistik. P\u00ebrkundrazi, pik\u00ebrisht ajo poem\u00eb e b\u00ebri t\u00eb famsh\u00ebm sepse ia doli t\u00eb d\u00ebshmonte di\u00e7 shum\u00eb t\u00eb r\u00ebnd\u00ebsishme… nj\u00ebjt\u00eb sikur dhe Braque, Picasso e t\u00eb tjer\u00eb ia dol\u00ebn t\u00eb d\u00ebshmojn\u00eb se “artb\u00ebrja” e tyre pothuaj f\u00ebminore s’ka aspak r\u00ebnd\u00ebsi (sa mund t’jet\u00eb kompleks kolazhiteti me ca pako e bujashkash!), por thyerja e kanoneve “anti-minimaliste” dhe “anti-abstrakte”, ngulitur me shekuj n\u00eb kokat e realist\u00ebve puritan\u00eb. Vlera kryesore e pikturave t\u00eb Pikasos ndoshta nuk jan\u00eb asfare p\u00ebrmbajtja dhe “kalamall\u00ebqet” e tij, por d\u00ebshmia historike p\u00ebrbrenda vet\u00eb historis\u00eb s\u00eb artit, vizionalja si p\u00ebrthyerje dhe hapje e shtigjeve t\u00eb panum\u00ebrta, m\u00eb par\u00eb t\u00eb paimagjinueshme.<\/p>\n

\u00c7\u00ebshtja e mas\u00ebs (volumit artistik) dhe e kompleksitetit mbeten gj\u00ebra q\u00eb duhet t\u00eb “p\u00ebrtypen e kap\u00ebrdihen” nga nofullat e lexuesit e t\u00eb kritikes, secili sipas kapacitetit dhe p\u00eblqimit, por po ashtu shpesh dhe sipas “vendit e kuvendit”. Dmth. p\u00ebr t’i thjesht\u00ebsuar tani disa gj\u00ebra – si “ushqim shpirt\u00ebror” sot do t\u00eb mjaftohem thjesht me 4-5 figuracione t\u00eb q\u00eblluara e t\u00eb gdhendura bukur, p\u00ebrbrenda 2-3 poezive t\u00eb vetme. Mjafton, mjaftueshm\u00ebri optimale… Aq m\u00eb ngop sot dhe nuk ma r\u00ebndon stomakun, nuk ma \u00e7orodit\u00eb as gjum\u00ebsin\u00eb dhe as \u00ebndrrat. N\u00eb plazh madje s’do t’i p\u00ebrdor as ato fare, por ndonj\u00eb novel\u00eb “roz\u00eb”, aso t\u00eb kiosqeve q\u00eb flasin p\u00ebr dashuri\u00e7ka t\u00eb sukseshme apo… p\u00ebr pak\u00ebzzzzz jo t\u00eb sukseshme. S’jam i \u00e7mendur dhe s’kam vajtur n\u00eb plazh p\u00ebr t’u marr\u00eb me “pollavrat” e Shekspirit, me Xhulietat e me Hamletat etj. etj.
\nT\u00eb gjitha t\u00eb qarta, kristal.<\/p>\n

Mir\u00ebpo si duket, me v\u00ebrshimin e aq shum\u00eb krijimeve, me gjith\u00eb ato fabrika e furrash publikuese, me gjith\u00eb k\u00ebt\u00eb begati germatike, nd\u00ebr silos\u00eb t\u00eb panum\u00ebrt germash e gerrmnajash (edhe n\u00ebse t’i harronim t\u00eb gjitha t\u00eb tjerat: imagjino dhe vet\u00ebm dimensionin virtual, Internetin) p\u00ebrher\u00eb e m\u00eb shum\u00eb sikur na v\u00ebshtir\u00ebsohet madje dhe vet\u00eb seleksionimi, p\u00ebrher\u00eb e m\u00eb rrall\u00eb ia dalim t\u00eb gjejm\u00eb di\u00e7 q\u00eb nuk na r\u00ebndon shum\u00eb dhe q\u00eb s’na le t\u00eb “zhg\u00ebnjyer” pasi ta kemi marr\u00eb gjith\u00eb mundin, t\u00eb leximit… ia kemi falur koh\u00ebn ton\u00eb, v\u00ebmendjen, kemi lodhur kok\u00ebn me zb\u00ebrthimin etj.<\/p>\n

[ Bashk\u00ebngjitur: Auguste Rodin (1840-1917) – “Mendimtari”, 1880-81, dhe djathtas nj\u00eb version suvatik, v. 1903<\/strong> ]<\/p>\n

\"\"<\/a>
\nAuguste Rodin (1840-1917) – “Mendimtari”, 1880-81, dhe djathtas nj\u00eb version suvatik, v. 1903<\/p>\n","protected":false},"excerpt":{"rendered":"

S. Guraziu – Ars Poetica, 2012 (Ese – V\u00ebshtrim eseistik…) Jo gjithkush ia del t’jet\u00eb nj\u00eb “Pikaso” apo nj\u00eb “Mondrian” poetik, t\u00eb thuhet sa m\u00eb shum\u00eb me sa m\u00eb pak mbetet gjithmon\u00eb problematike dhe e “xig\u00eblueshme”. Minimalizmi n\u00eb art, n\u00eb… 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":[13,14,8,10],"tags":[],"class_list":["post-2506","post","type-post","status-publish","format-standard","hentry","category-classic","category-modern","category-ese","category-komente"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/2506","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=2506"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/2506\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2506"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2506"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2506"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}