{"id":5110,"date":"2019-12-27T17:03:50","date_gmt":"2019-12-27T16:03:50","guid":{"rendered":"https:\/\/letrat.eu\/?p=5110"},"modified":"2024-04-11T18:50:58","modified_gmt":"2024-04-11T17:50:58","slug":"friza-e-betovenit-trini-pikturale-rreth-lumturise-se-njeriut","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=5110","title":{"rendered":"Friza e Betovenit – Trini Pikturale Rreth Lumturis\u00eb s\u00eb Njeriut!"},"content":{"rendered":"

S. Guraziu – Ars Poetica, Dhjetor 2019<\/em><\/p>\n

(…bashkimi i arteve do duhej t\u00eb vinte si rrjedhoj\u00eb e vetvetishme nd\u00ebrdisiplinare, si nd\u00ebrveprim sinergjik mes dizajnit, piktur\u00ebs, skulptur\u00ebs etj. – sip\u00ebrfaq\u00ebsisht ndoshta duket si “paradoks” q\u00eb pik\u00ebrisht secesionist\u00ebt e rebel\u00ebt stilistik\u00eb t\u00eb brengoseshin p\u00ebr artet e “ndara”, t\u00eb impenjoheshin p\u00ebr unitetin e disiplinave artistike<\/strong> : )<\/p>\n

Gustav Klimt (1862-1918) – “Friza e Betovenit<\/strong>“, 1902<\/p>\n

“Friza e Betovenit” sot konsiderohet si nj\u00eb nga veprat kryesore t\u00eb Klimt dhe nj\u00eb vep\u00ebr e spikatur e stilit vjenez “art nouveau”. Sa i p\u00ebrket ikonografis\u00eb dhe simbolizmit, sipas M. Bisanz-Prakken (v\u00ebshtrim i v. 2002, n\u00eb t\u00eb cilin tekst sot zyrtarisht referohet dhe vet\u00eb “Secesioni”), jan\u00eb “tri risi t\u00eb r\u00ebnd\u00ebsishme q\u00eb mund t\u00eb v\u00ebrehen n\u00eb ‘Friz\u00ebn…’ – paraqitja dy-dimensionale dhe izolimi monumental i figur\u00ebs njer\u00ebzore, p\u00ebrdorimi shpreh\u00ebs i linj\u00ebs, dhe roli mbizot\u00ebrues i ornamenteve”.<\/p>\n

Tema e friz\u00ebs bazohet n\u00eb interpretimin e R. Wagner t\u00eb “Simfonis\u00eb nr. 9” t\u00eb Betovenit, friza i mbulon tri faqe murale dhe pikturat paraqesin narracionin koheziv rreth k\u00ebrkimit t\u00eb lumturis\u00eb s\u00eb njeriut – thuhet n\u00eb tekstin zyrtar.
\n“Friza e Betovenit” u krijua n\u00eb v. 1902 p\u00ebr ekspozit\u00ebn e XIV t\u00eb “Secesionist\u00ebve”. Ekspozita pati qen\u00eb konceptuar si tribut p\u00ebr kompozitorin Betoven, sot (pas pothuaj 120 viteve) ekspozita statistikisht ka ngelur si suksesi m\u00eb i madh n\u00eb historin\u00eb e “Secesionit…”.<\/p>\n

Ideali i nd\u00ebrthurjes, integrimi estetik i t\u00eb gjitha disiplinave artistike \u00ebsht\u00eb vazhduar me sukses dhe vazhdohet dhe sot e k\u00ebsaj dite – thon\u00eb “Secesionist\u00ebt…”. N\u00eb rregull, po ashtu dhe motoja akoma \u00ebsht\u00eb e nj\u00ebjta “\u00e7do epoke artin e vet, artit lirin\u00eb e vet”. At\u00ebbot\u00eb, n\u00eb v. 1902, ekspo-prezantimi p\u00ebr nder t\u00eb Betovenit duhej t’ishte di\u00e7 si mish\u00ebrim i vizionit “secesionistik” rreth sintez\u00ebs gjith\u00ebp\u00ebrfshir\u00ebse t\u00eb arteve (sipas tyre pikturat, skulpturat, arkitekturat, muzikat duhet t’jen\u00eb t\u00eb “pandashme”). Vet\u00eb ekspozita komplet do ishte di\u00e7 si “vep\u00ebr arti” n\u00eb vete. Artist\u00ebt qen\u00eb marr\u00eb vesh ta nd\u00ebrmerrnin nj\u00eb restaurim komplet t\u00eb interierit (t\u00eb qendr\u00ebs s\u00eb tyre), p\u00ebrkrah Klimt m\u00ebng\u00ebt e kontributit i pat\u00ebn p\u00ebrvjelur dhe rreth 20 an\u00ebtar\u00eb t\u00eb tjer\u00eb.<\/p>\n

Synimi dihej… qe deklaruar, objektivat dhe ambicjet rrinin k\u00ebmb\u00ebkryq n\u00eb shesh, q\u00ebllimi ishte ribashkimi i arteve t\u00eb ndara – i arkitektur\u00ebs, piktur\u00ebs, skulptur\u00ebs, muzik\u00ebs. Q\u00ebllimi pra i ishte shpalosur bot\u00ebs, por si do arrihej vall\u00eb ky q\u00ebllim?
\nSip\u00ebrfaq\u00ebsisht ndoshta duket si “paradoks” q\u00eb pik\u00ebrisht secesionist\u00ebt e rebel\u00ebt stilistik\u00eb t\u00eb brengoseshin p\u00ebr artet e “ndara”, pik\u00ebrisht ata t\u00eb impenjoheshin p\u00ebr unitetin e disiplinave artistike. Gjithsesi, nj\u00eb vit pas “rebelimit” t\u00eb tyre, qe themeluar dhe “Secesioni i Berlinit”, natyrisht, kot s’do “ndaheshin” as gjerman\u00ebt. Apo, n\u00eb fakt, ata ve\u00e7 paraprinin me “stilet e reja” e me secesionizmat, vet\u00eb emri “Secesionist\u00ebt e Vjen\u00ebs” ishte di\u00e7 si kopje e emrit t\u00eb pararend\u00ebsve, “Secesionist\u00ebt e Mynihut”.<\/p>\n

N\u00eb rastin e ekspozit\u00ebs n\u00eb fjal\u00eb, bashkimi i arteve do duhej t\u00eb vinte si rrjedhoj\u00eb e vetvetishme nd\u00ebrdisiplinare, si nd\u00ebrveprim sinergjik mes dizajnit t\u00eb dhomave (dmth. pjes\u00eb arkitekturale – interieri, nj\u00ebsoj si dhe eksterieri), mes pikturave n\u00ebp\u00ebr muret, mes skulptur\u00ebs s\u00eb Betovenit punuar nga Max Klinger dhe e cila do zinte vend n\u00eb “hap\u00ebsir\u00ebn qendrore” t\u00eb ekspo-interierit. Ose m\u00eb mir\u00eb t\u00eb thuhet gjith\u00e7ka e interierit, \u00e7do piktur\u00eb e skulptur\u00eb, gjith\u00e7ka e ekspozuar me secilin detaj duhej t\u00eb nd\u00ebrvepronte n\u00eb t\u00eb mir\u00eb t\u00eb sintez\u00ebs artistike.<\/p>\n

“Friza e Betovenit”, P\u00ebrshkrimi – Simbolizmi<\/strong><\/p>\n

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1 (muri majtas) – Genii (Shpirtra, krijesa… hyjnore mbase), Njer\u00ebzimi i P\u00ebrvuajtur, Kalor\u00ebsi “veshur” me Armorin e Art\u00eb* (n\u00eb sfond Ambicia dhe Dhimbshuria)
\n…arritja ose gjetja e lumturis\u00eb \u00ebsht\u00eb d\u00ebshira e p\u00ebrhershme e njer\u00ebzimit, p\u00ebr ta kap\u00ebrthyer simbolizmin e k\u00ebsaj Klimt ka zgjedhur figurat-simbole t\u00eb ashtuquajtura “genii” (shpirtra) – tutje, nj\u00eb grua lakuriq n\u00eb k\u00ebmb\u00eb dhe nj\u00eb \u00e7ift i gjunj\u00ebzuar sipas Klimt simbolizojn\u00eb vuajtjen e njer\u00ebzimit, grupi i nudo-figurave i lutet kalor\u00ebsit t\u00eb armatosur p\u00ebr ndihm\u00eb, n\u00eb em\u00ebr t\u00eb njer\u00ebzimit “njeriu i fort\u00eb, fisnik i pancirosur” niset n\u00eb misionin e k\u00ebrkimit t\u00eb lumturis\u00eb, i nxitur nga dy figurat-femra af\u00ebr tij, si alegori t\u00eb Ambicjes e Dhimbshuris\u00eb.<\/p>\n

2 (muri mes) – Forcat armiq\u00ebsore (t\u00eb Njeriut) – Tri Gorgonat (sip\u00ebr n\u00eb sfond S\u00ebmundja, \u00c7menduria, Vdekja) – Tifoni, pran\u00eb tij Tundimi Epsh\u00ebror, Pangop\u00ebsia (Paturp\u00ebsia), Mosp\u00ebrmbajtja – Mjerimi i Thell\u00eb
\n…njer\u00ebzimi duhet t\u00eb p\u00ebrballet me rreziqet q\u00eb vijn\u00eb nga “forcat armiq\u00ebsore”, Tifoni si nj\u00eb p\u00ebrbind\u00ebsh gjigant (nj\u00eb serpent monstruoz, nj\u00eb nga krijesat m\u00eb t\u00eb tmerrshme t\u00eb mitologjis\u00eb greke) shtrihet n\u00eb gjith\u00eb gjat\u00ebsin\u00eb e murit, majtas vajzat e tij, tri Gorgonat (n\u00eb mes padyshim Meduza e llahtarshme) dhe mbi to shohim figura t\u00eb sh\u00ebmtuara si p\u00ebrfaq\u00ebsime alegorike t\u00eb S\u00ebmundjes, \u00c7menduris\u00eb, Vdekjes, djathtas p\u00ebrbind\u00ebshit femrat simbolizojn\u00eb Epshet, Mosp\u00ebrmbajtjen, Pangop\u00ebsin\u00eb (kjo e fundit padyshim do jet\u00eb gruaja me barkun e madh), femra ulur tutje me flok\u00ebt e gjat\u00eb sipas Klimt do duhej t\u00eb simbolizonte Mjerimin…<\/p>\n

3 (muri djathtas) – Artet (Poezia dhe Shpirtrat e Gjenialitetit, Kreativiteti Artistik), Kori i Engj\u00ebjve, \u00c7ifti i P\u00ebrqafuar (Dashuria)
\n…d\u00ebshira e p\u00ebrhershme e njer\u00ebzimit p\u00ebr arritjen e lumturis\u00eb p\u00ebrmbushet me artet (me artin e poezis\u00eb, n\u00eb friz\u00eb shfaqur si figur\u00eb fem\u00ebrore me nj\u00eb lir\u00eb n\u00eb duart). Padyshim Klimt do ta ket\u00eb supozuar Poezin\u00eb si kryesimbol artistik, meq\u00eb poezia dhe \u00ebsht\u00eb di\u00e7 si “mbret\u00ebresh\u00eb e arteve”. Kulmi dramatik i frizes figurativisht na vjen n\u00eb sken\u00ebn p\u00ebrfundimtare, sipas Klimt figurat fem\u00ebrore q\u00eb simbolizojn\u00eb artet \u00e7ojn\u00eb drejt sfer\u00ebs ideale artistike, apoteoza e artit t\u00eb Klimt sikur vuloset me dashurin\u00eb, meq\u00eb e kemi dhe nj\u00eb \u00e7ift tek puthen para “korit t\u00eb engj\u00ebjve”, referenc\u00eb e drejtp\u00ebrdrejt\u00eb p\u00ebr Betovenin – thon\u00eb zyrtar\u00ebt e Vjen\u00ebs – pasi n\u00eb “Simfonin\u00eb…” e Betovenit (bazuar n\u00eb “Ode Lumturis\u00eb” t\u00eb Friedrich von Schiller), kori i fundit p\u00ebrmban fjal\u00ebt “Kjo puthje p\u00ebr gjith\u00eb bot\u00ebn”.<\/p>\n

***
\n“Wiener Secession” u themelua n\u00eb v. 1897 nga Gustav Klimt dhe nj\u00eb grup artist\u00ebsh austriak\u00eb (q\u00eb ishin distancuar nga Lidhja e Artist\u00ebve t\u00eb Austris\u00eb). Si l\u00ebvizje artistike “Secesioni…” p\u00ebrfshinte piktor\u00eb, skulptor\u00eb dhe arkitekt\u00eb. Presidenti i par\u00eb qe zgjedhur Gustav Klimt. Q\u00ebllimi i “ndarjes” pakashum\u00eb ishte kund\u00ebrshtimi i nacionalizmit artistik, rinovimi i arteve dekorative, krijimi i nj\u00eb “arti total” (duke bashkuar artin piktural, skulptural, arkitektural dhe artet dekorative) si dhe, ve\u00e7an\u00ebrisht, duke kund\u00ebrshtuar dominimin e Akademis\u00eb s\u00eb Arteve t\u00eb Vjen\u00ebs dhe t\u00eb salloneve zyrtare t\u00eb artit vjenez, t\u00eb orientuara tradicionalisht m\u00eb shum\u00eb kah historicizmi artistik.<\/p>\n

– – –<\/p>\n

* (post scr.) derisa po admiroja “kalorsin e florinjt\u00eb” t\u00eb Klimt, sikur po mahnitesha me ngjasimin profilesk “a la schwarzenegger-ian”, thua se nj\u00eb shekull m\u00eb par\u00eb si model p\u00ebr piktorin pati ndenjur n\u00eb profil askush tjet\u00ebr por vet\u00eb Schwarzenegger-i, kuptohet tashm\u00eb jo austriak por ai i Kalifornis\u00eb<\/em> : )<\/p>\n","protected":false},"excerpt":{"rendered":"

S. Guraziu – Ars Poetica, Dhjetor 2019 (…bashkimi i arteve do duhej t\u00eb vinte si rrjedhoj\u00eb e vetvetishme nd\u00ebrdisiplinare, si nd\u00ebrveprim sinergjik mes dizajnit, piktur\u00ebs, skulptur\u00ebs etj. – sip\u00ebrfaq\u00ebsisht ndoshta duket si “paradoks” q\u00eb pik\u00ebrisht secesionist\u00ebt e rebel\u00ebt stilistik\u00eb t\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":[14,10],"tags":[],"class_list":["post-5110","post","type-post","status-publish","format-standard","hentry","category-modern","category-komente"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/5110","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=5110"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/5110\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5110"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5110"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}