RADIONICA 8+PROSLAVA.qxd

UMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJA

HRAM JE SPOMENIK RASTA THE TEMPLE I S A MONUMENT OF GROWTH

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mirisnipupoljci

olphatorybulbs

(SCHWALLER-LUBICZ)

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misti~ni stupanjmystic stage

intelektualni stupanjintellectual stage

intuitivni stupanjintuitive stage

piloni = zvonicipylons = belltowers

Amenhotepova kolonada =brodAmenhotep's colonnade = nave

Amenhotepovo dvori{te =transeptAmenhotep's court =transept

zatvoreni dio = korthe closed part = choir

prostorija s barkom =glavni oltarroom with the barque =main altar

prostorije9, 2 10, 14, 3, 15, 17

= deambulatorijrooms = ambulatory

27 kapela = apsidiole27 chapels = radiating chapels

zatvoreni dio hramathe closed part of the temple

(CHARPENTIER)

hijeroglifi zatkanje

hieroglyphsfor fabric

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UU NN II VV EE RR SS AA LL LL EE VV EE LL OO FF MM EE AA NN II NN GGTHE TEMPLE IS A MONUMENT OF TTRRAANNSSFFOORRMMAATTIIOONN

AARRTT AANNDD SSPPIIRRIITTUUAALLIITTYY -- EEXXPPLLOORRAATTIIOONN OOFF MMEEAANNIINNGGUMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJA

KOZMI^KA METAFORA COSMIC METAPHORE

VVAASSTTUUPPUURRUU[[AA//VVAASSTTUUPPUURRUUSSHHAAMMAANNDDAALLAA

PURUŠA (na~elo/kozmi~ki ~ovjek)pada u VASTU (mjesto)PURUSHA(principle/cosmic man) falls inVASTU (place)

garbha griha (svetište -maternica/embrio)

(sanctuary - womb/ embryo)

MOKŠA (oslobo|enje)MOKSHA (liberation)

mandapam (predvorje)(hall)

po~inje PREOBRAZBAthe beginning of a TRANSFORMATION

KAMA (osjetilni u`ici)(sensual delights)

ARTHA (svjetovno bogatstvo)(worldly richness)

DHARMA (du`nost/ sudbina/zakon)(duty/destiny/law)

HHRRAAMM LLAAKK[[MMAANNAA//TTEEMMPPLLEE LLAAKKSSHHMMAANNAA,,1100.. SSTT..//1100TTHH CC..,,KKAADD@@UURRAAHHOO// KKHHAAJJUURRAAHHOO

BINDU(to~ka/point)sastajali{te o~itovanog i neo~itovanog the meeting place of the manifasted and the unmanifasted

kalaškalash(posuda/vessel)

šikarashikara(~uperak/tuft)

presjek mozgasection of the brain

(NADER)

katedralacathedral

krstionicabaptistery

zvonikbelltower

konstelacija Ovnaconstellation of Aries

(GUIDONI)

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planetiplanets

321Vastupurushamandala is a pattern and as such itwas used in rituals. The participants are invited “tofound a city” with rice (in India it was one of theways), and to enliven in themselves the meanings (the particular side of the world, or the fields).3. a) The Vastupurushamandala is projected againand the mythic variations of the city’s appearance areexplained. The cosmic man/ divinity/principle falls onhis/its face, in existence and becomes a demon(Asura). This is the place from where a reversemovement starts - assumption, transformation. Everycity/temple is a monument of transformation (return).The main topic of this workshop is: to enable theparticipants to see that it is a universal meaning andwe can find it everywhere. b) A projection of a slideabout the Mountain Kailash. We talk about the ritualbehaviour in front of an Indian temple as well as infront of a mountain (approaching, circumambulating,looking, bowing, climbing, entering). We try intimate-ly in ourselves to reconstruct these movements,which are now common and profane, in their sacralmeaning. c) The participants receive a plan ofKhajuraho (out of a total of eigthy five, twenty seventemples are preserved) and the slide of the templeLakshmana (Rama’s brother) is projected. The tem-ple is consecrated to Vishnu (the Sustainer) and isfrom the 10th Century d) We read the plan in the pro-jections. The horizontal path: transformation/recon-struction of integrity, reconstruction of the Universethrough dharma (duty) - artha (worldly richness) -kama (sensual delights) till moksha (liberation); fromthe mandapam (hall) till garbha griha (sanctuary =womb/embryo). The vertical path (slide from theexterior): shikara (tuft) - the head above the rest ofthe body-temple, at the top: kalash (vessel), andBindu (point) the meeting place of the manifestedand the unmanifested. e) The holistic character of theIndian temple (S. Kramrisch): Each brick is in minia-ture of what the temple is in the whole (the centre isempty); in the deepest part of the sanctuary is thechest (comparison with the Judaic tradition) = Bija(seed), the temple in small scale with the samearrangement as in the Vastupurusha mandala (insidethere are gems, plants, metals, grains, pigments,earth, lotos). f) Slides of the details are shown. Someconstant subjects are isolated from the plastic articu-lation: First the frieze which represents Kirtimukha (ademon who serves Shiva, who gives him somethinghe can never eat and that is himself and in that waymankind is saved from the demon who now eatshimself; another variation, that he is Rahu (northernmoon knot) who has an immortal head, because asa demon he stole towards some divinities (the Sunand the Moon) when they were drinking the nectar of immortality and he himself began todrink it. The divinities reported him to Vishnu who cutoff his head and so the nectar was not swollen andthat is why it is immortal; a third variation is that heis Brahman who comes out with expiration. A reliefrepresentation of Shardul (lion + horse), a man rideson him (ignorance), beside him is another man(knowledge) follows. Slides about reliefs with repre-sentation of Apsaras are shown: (nymphs, rusalkas,heavenly dancers, watery maids) one of them pullsout a thorn, the other plays with a ball (about themeaning of the ball later). Instructions are given

Hrpa ri`e i vastupuru{a mandala/A heap of rice and the Vastupurushamandala

Sudionici ri`om utemeljuju grad/The participants with rice are founding a city

Uobi~ajena djelatnost studenata: dijelefotokopirane materijale/The usual activity ofthe students: distributing the copied material

Istra`ivanje hrama u Luxoru/Exploring thetemple in Luxor

Istra`ivanje hrama u Luxoru, poma`uinstruktori/Exploring the temple in Luxor, theinstructors help

Istra`ivanje mjera katedrale u Chartresu“druidskim konopom”./ Exploring the mea-sures of the cathedral in Chartres with a “druidcord”.

Prva izvedba radionica: 1996.-97.

Iako u radionicama U m j e t n o s t i d u h o v n o s t - i s t r a ` i v a nj e z n a ~ e nj asve teme sastanaka imaju svoju relativnu samostalnost, one se ipak mogu shvatiti i u slijedu. U ovim, osmim, “posljednjim” radionicama, dakako u tom smislu i zavr{nim, poku{ava seu~initi korak dalje u razumijevanju sakralnosti djela sintetiziraju}i sva dosada{nja iskustva.Produbljuju se i me|usobno povezuju iskustva ste~ena istraìvanjem u specijaliziranim radioni-cama o stalnoj te`nji da se slika pribliì apsolutnoj plohi - svjetlosti, o kozmi~koj osi kojapovezuje sva usmjerenja masa u kipovima koji pripadaju razli~itim kulturama i vremenima, oproporcioniranju arhitekture prema svetom tekstu itd. Ipak, bitna namjera ovih radionica jestistraìvati zna~enja, prepoznavati njihovu istost na univerzalnoj razini. Iako svaki sastanak imavlastitu temu unutar zajedni~ke, ipak se iz svake radionice neki detalj, neki dijeli} teme prenosiu sljede}u, i to {to se u jednoj pojavljuje tek usput, razvija se u nekoj od narednih.

Namjera u p r v o j radionici je istra`ivati zna~enja i osvje{tavati njihove univerzalne razine ukozmi~kim metaforama arhitekture i ljudskog tijela; upoznavanje s time da je svaki hram/gradspomenik preobrazbe u postojanje palog na~ela, kozmi~kog ~ovjeka.

Ambijent: Stolovi i stolice su okrenuti prema zidu. Potrebni su projektor, fotokopije, “druidskikonop”, ri`a. trokut, {estar.

Struktura doga|anja1. Radionica zapo~inje podsje}anjem na film Pro{le godine u Marienbadu u kojem jearhitektura/vrt metafora ~ovjeka/tijela/ènskog tijela/du{e, na {to }e se ova radionica upravo nas-taviti istraìvanjem zna~enja.2. a) Projicira se vastupuru{a mandala (vastu = mjesto, “stvar koja odista postoji”; Puru{a =na~elo, prvobitni kozmi~ki ~ovjek; mandala = dijagram, krug, poglavlje, prvotni oblik). b)Svakom sudioniku se daje {aka riè i fotokopija vastupuru{a mandale. Sudionici se pozivaju da“utemelje grad”. Govori se o pripremama koje su prethodile svakom utemeljenju (ispitivalo se tlo,voda, plodnost, vatra, boja, okus, miris zemlje, ~istilo se od zlih duhova) i, kad se pokazalo da jesve povoljno i pripremljeno, po~injao je ritual utemeljenja. Svaka je kultura poznavala ritualutemeljenja, no dok npr. o Etru{~anima tek ne{to znamo preko Rimljana, indijski opis na~inautemeljenja grada/hrama posve je sa~uvan. Na vastupuru{a mandali vidi se 81 polje, u sredini jebrahmastan, sjedi{te najvi{ega boànstva. U druga polja tako|er su upisana imena boànstava.Vastupuru{a mandala je uzorak i kao takav je i sluìo u ritualu. Sudionici se pozivaju da se, dokriòm utemeljuju grad (u Indiji je to bio jedan od na~ina), svaki za sebe udubi u zna~enja stranasvijeta i polja.3. a) Ponovo se projicira vastupuru{a mandala i tuma~e se mitske varijante nastajanja grada.Kozmi~ki ~ovjek/bog/na~elo, pada na lice u postojanje i postaje demon (Asura). Pada na mjestoodakle zapo~inje obrnuto kretanje - uzdizanje, preobrazba. Svaki je grad/hram spomenik preobrazbe (povratka). Bitna tema ove radionice je uvidjeti da je rije~ o univerzalnom zna~enjukoje }emo svuda susresti. b) Projicira se fotografija planine Kaila{. Govori se o ritualnompona{anju pred indijskim hramom kao pred planinom (prilaènje, obilazak, gledanje, klanjanje,penjanje, ulazak). Ova kretanja/pokrete, koji su nama svakodnevni i svjetovni, treba poku{ati usebi obnoviti u njihovu sakralnom zna~enju. c) Sudionici dobivaju plan Kadùraha (od 85sa~uvalo se 27 hramova) i projicira se snimak hrama Lak{mana (Ramin brat) posve}en boguVi{nuu (Odràvatelju), koji je nastao u 10. stolje}u. d) Na projekcijama se ~ita tlocrt.Horizontalni put: preobrazba/obnova integriteta, rekonstrukcija univerzuma putem dharme(du`nost), arthe (svjetovno bogatstvo), kame (osjetilni uìci) do mok{e (oslobo|enje); od man-dapama (predvorja) do garbha grihe (sveti{ta = maternica/ embrio). Vertikalni put (snimakizvana): {ikara (~uperak) = glava, iznad ostalog dijela tijela-hrama, na vrhu: kala{ (posuda),pa bindu (to~ka) = susret o~itovanog i neo~itovanog. e) Upozorava se na holisti~ki karakterindijskog hrama (S. Kramrisch): svaka je opeka u malom isto {to je hram u cjelini (sredina jeprazna). U dubini sveti{ta je kov~eg = bidà (sjeme) (usporedba sa ìdovskom tradicijom),hram u malom s istim rasporedom kao u vastupuru{a mandali. U kov~egu su drago kamenje,biljke, metali, zrnje, pigmenti, zemlja, lotos. f) Gledaju se snimci detalja. Iz plasti~ke obrade izdvajaju se pojedine stalne teme. Prvo friz kojiprikazuje Kirtimukhu (demon koji sluì [ivi, on mu daje ne{to {to nikada ne moè pojesti, a toje on sam, pa se tako ~ovje~anstvo spa{ava demona koji sada jede sebe; druga varijanta je da jeto Rahu (sjeverni mjese~ev ~vor) koji ima besmrtnu glavu, jer se, kao demon, prikrao bogovima(Suncu i Mjesecu) kada su pili nektar besmrtnosti i krenuo ga je piti, no bogovi su ga tuìli

First performance of workshops: 1996-97

Although all the topics of the workshops Art andSpirituality - Exploration of Meaning have their rel-ative independence, they can be conceived insequence. In these final workshops, we try to takea step further into the understanding of the sacralcharacter of the artwork synthetysing all the for-mer experiences of the same subject. The experi-ences gained during the explorations in the spe-cialist workshops are deeper now and intercon-nected. The tendency of a painting to become asclose as possible to the absolute plane - light, thecosmic axis which connects all the directions ofthe masses in sculptures which belong to differentcultures and periods, and the proportions of archi-tecture according to the Holy text etc. However themain intention in these workshops is to exploremeanings, to recognise their sameness on univer-sal level. In spite of each meeting has its owntopic inside the whole, from each workshop somedetail, some part of the topic is transmitted intothe next one and something that appears just bythe way in one workshop is developed in a laterone.

The intention of the f i r s t workshop is toexplore the meanings and become aware of theiruniversal level in the cosmic metaphors of archi-tecture and the human body; to know that eachtemple/city is a monument of transformation of intoexistence fallen principle, the cosmic man.

Ambience: Tables, chairs turned towards the wall. Projector, photocopies, “the druid cord”,grains of rice, triangles, and callipers are available.

Structure of the activity1. A reminder of the film Last Year in Marienbad,where we found the architecture / garden as ametaphor of man / body / female body / soul. Thisworkshop will just continue in that line, exploringthe meanings.2. a) A Vastupurushamandala is projected (Vastu =place, “really existing thing”; Purusha = principle,primordial cosmic man; mandala= diagram, circle;chapter, primordial shape). b) Each participant gets a handful of rice and a pho-tocopy of a Vastupurusha mandala. They are invitedto “found a city”. We talk about the preparationswhich always preceded the foundation (the soil, thewater, the fertility, fire, colour, taste and smell ofthe earth had been tested before and the purificationfrom evil spirits was done) and when everythingindicated that it was auspicious and prepared, the ritual of the foundation could start. All the cultures knew the ritual of foundation, but, forexample, about the Etruscan ritual we know onlythrough the Romans, while the Indian descriptionhow to found a city/temple is entirely preserved.Eighty one fields can be seen on theVastupurushamandala; in the centre is theBrahmastan, the seat of the highest divinity. In theother fields the names of other divinities are written.

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about the identical structure and different shapes. h) Three pages from the book by T. Nader HumanPhysiology are shown. He has on the basis of theknowledge received from the great sage of our timeMaharishi Mahesh Yogi, connected the structure ofthe Veda (the oldest knowledge of mankind) withthe structure of the human nervous system. Thetext is a metaphor and the human physiology is ametaphor (3 x 8 steps in transmitting the sound tothe auditive cortex / from the associative cortex to the hypotalamus / from the motoric to the verbalresponse, corresponds to the first 3 x 8 syllables ofRg Veda).5. a) An introduction/reminder of the cathedral ofNotre Dame in Chartres (we worked on it in theworkshop Architecture and City) begins with a slideof an old woman beside a holy well; with a slide ofa dolmen; and a slide of the statue of the BlackVirgin in a procession in Chartres. Chartres is onthe pilgrims’ way from East to West, in the place ofthe Celtic holy stones, a holy mound, and a holywell. The Black Virgin is also a Celtic statue Virgoparitura (the Virgin who will give birth). In the foundation and in the centre of Chartres cathe-dral are the well (found at the beginning of the cen-tury and again covered up), the stone and the cultof the Black Virgin (the present statue is new, theCeltic one was destroyed in the 16th Century). b) An aerial photograph and a few others of circum-ambulating in order to remind the participants of theCathedral. c) A slide of the crypt is projected. Thedepth of the well is 33 m, together with the heightof the crypt equals the height of the main nave (37 m), it means the depth = the height. We talkabout the presumption that in all Christian sanctuar-ies there was a spring (S. Paolo alle Tre Fontane inRome for example) and a stone (the Church on theRock in Jerusalem also an example). d) A slide of the interior with the labyrinth in the pavement in thefirst plan is shown. For the third time we state thefact: the temple is a transformation of man and thequestion is posed about the specificities of theChristian (Gothic) variation. e) The participantsexplore with the “druid cord” and try out the triangle(5 x 4 x 4) with the help of which a seven-pointedstar is constructed (the symbol of the Virgin’sincarnation) with a negligible error (angle: 51°19’)by which further construction is done and squaringthe circle is solved practically. f) We look into theinterior again. We remind the participants of thethree tables of St. Grail - three shapes of the samesurface. The first step/ stage (table = circle) isintuitive, instinctive, the dance in the labyrinth of thepavement, the rotation out of space and time, theEaster dance, Christ = Theseus, sphere, “Whodoes not dance does not know what exists (apoc-riphal Jacob’s Gospel). The next step/stage (table= square) is intellectual (may be built in in thepavement as at Amiens, in the shape of an abacusor a chess board). The third step/stage (table =rectangle) is a mystical experience (mainly L.Charpentier's interpretation). This passing throughdifferent periods of life/initiation in essence is thesame path as in the Indian temple, the path to liber-ation. g) The plastic articulation of the cathedral inChartres differs from the Indian and Egyptian ones.

Vi{nuu koji mu je odsjekao glavu i tako je nektar ostao neprogutan, a njegova glava besmrtna;tre}a varijanta je da je on Brahman koji izlazi dahom. Slijedi snimak reljefnog prikaza [ardula(lav + konj), na njemu ja{i ~ovjek (neznanje), a pokraj njega je drugi ~ovjek (znanje). Prikazujuse snimci reljefa s prikazima apsare (nimfe, rusalke, nebeske plesa~ice, vodene djeve), na jednom vadi trn, na drugom se lopta (o zna~enju lopte-sfere kasnije). Upu}uje se na oblikovanjeosi, na oblike, na sve ~ime smo se bavili i {to sada ne verbaliziramo. Vrlo va`na tema je Mithuna- par (najvi{e sabla`njava/zanima zapadnjake). U svakom slu~aju je samo jedna od tema, jedandio cjeline svijeta. @ivjeti u paru je stanje kroz koje se prolazi na putu do oslobo|enja jednakokao i kroz druga stanja.4. a) Projicira se avionski snimak Luxora (Ipet-reset-Imen), ju`ni Amonov hram, gra|en zaTutmozisa III., Amenhotepa III. i Ramzesa II, oko 1500 do 1200 pr. Kr. Ono {to je u Indiji Puru{a,u Egiptu je Neter/Kamutef, na~elo/kozmi~ki ~ovjek. Dok se u Indiji znanje sa~uvalo u “~itljivim”tekstovima, u Egiptu se ono mora “de{ifrirati”. b) Sudionici dobivaju tlocrt hrama, presjek~ovjekove glave, u tlocrt ucrtani kostur ~ovjeka i, uz pomo} studenata-instruktora istraùju, kojimorganima glave odgovaraju pojedini prostori/funkcije u zatvorenom dijelu hrama. c) Sudionicidobivaju fotokopiju poplo~enja zatvorenog dijela. Traì se da u “mozaiku” ugledaju profil i ucrtajuga (rije~ je o rekonstrukcijama istraìva~a R. A. Schwaller de Lubicza). Ako se istraìvanje pokaèprete{kim pokazuje se rezultat i sudionici ga ucrtavaju. d) Projicira se crte` rekonstrukcije zidaizme|u 5. i 12. dvorane i govori se i o parabolama: o transparencijama i o transpozicijama.Prikazan je Kamutef (kozmi~ki ~ovjek/pali an|eo). Spolni organ je na mjestu pupka (pupka nema- nije ro|en), on sam ra|a svijet (Adam-Kadmon, Puru{a). Prikazan je uz spremi{te za odje}u, sdruge strane tri hijeroglifa za tkanje koji izgledaju poput mirisnih pupoljaka u razrezanom mozgu(mirisni pupoljci su nositelji najtanahnije funkcije ~ovje~jeg ìv~anog sustava, nisu za{ti}eni ovojni-com i zato se moè npr. onesvijestiti od mirisa!). Transparentnost je u tome da ako je lik s jednestrane, s druge je razmak, barka s jedne, praznina s druge itd., a transpozicija u tome da se odnosfigura u jednoj prostoriji razvija i kompletira u drugoj i da odgovara unutarnjoj interakciji organa.e) Sudionici dobivaju tlocrt hrama s ucrtanim likovima. Svakom dijelu hrama po omjerima odgo-vara jedna faza razvoja ~ovjeka (zatvoreni dio - novoro|en~e, glava 4 x u tijelu itd.). Sudioniciistraùju rast hrama kao rast ~ovjeka. f) Slijedi nekoliko snimaka koji pokazuju plasti~nu obradu(zid ispisan hijeroglifima - uleknuti reljef, Se{at, boìca pisanja tako|er u uleknutom reljefu). g) Projicira se tlocrt Notre Dame u Parizu s ucrtanim funkcijama egipatskog hrama (opet inter-pretacija R. A. Schwaller de Lubicza o sli~nostima dviju tradicija). Zvonici odgovaraju pilonima,brodu odgovara Amenhotepova kolonada, transeptu Amenhotepovo dvori{te, koru zatvoreni dio,glavnom oltaru prostorija 6 s barkom, deambulatoriju prostorije 9, 2, 10, (lijevo) i 15, 17, 3, 14(desno), zrakastim apsidiolama 27 malih kapela. Ukazuje se na identi~nu strukturu i razliku uobliku. h) Pokazuju se tri stranice iz knjige T. Nadera Human Phisiology koji je, na temelju znanjadobivenog od velikog mudraca na{ega vremena Maharishi Mahesh Yogija, povezao strukturu Veda(najstarijeg znanja ~ovje~anstva) sa strukturom ~ovjekova ìv~anog sustava. Tekst je metafora i~ovjekova fiziologija je metafora (3 x 8 koraka u prijenosu zvuka do auditivnog korteksa/od asoci-jativnog korteksa do hipotalamusa/od motori~kog do verbalnog odgovora odgovara prvim 3 x 8slogovima Rg Vede).5. a) Upoznavanje/prisje}anje na katedralu Notre Dame u Chartresu (obra|ivala se u radionicamaG r a d i g r a d i t e lj s t v o) zapo~inje snimkom starice kraj svetog izvora, snimkom dolmena isnimkom kipa Crne Bogorodice u procesiji u Chartresu. Chartres se nalazi na hodo~asni~kom putus Istoka na Zapad, na mjestu keltskog svetog kamenja, svetog humka, svetog izvora. CrnaBogorodica je tako|er keltski kip Virgo Paritura (Djevica koja }e roditi). U temelju i sredi{tu kate-drale u Chartresu su izvor (prona|en po~etkom stolje}a, ponovo zatrpan), kamen-sveti humak ikip Crne Bogorodice (dana{nja statua je nova, keltska je uni{tena u 16. st.). b) Slijedi snimak izzraka i nekoliko snimaka obilaska radi prisje}anja. c) Projicira se snimak kripte. Dubina bunara(33 m), zajedno s visinom kripte iznosi koliko i visina glavnog broda (37 m), dakle, dubina = visina. Govori se o pretpostavci da je u svim kr{}anskim sveti{tima postojao izvor (npr. S. Paoloalle Tre Fontane u Rimu) i kamen (npr. Crkva na stijeni u Jeruzalemu). d) Prikazuje se snimakunutra{njosti, s labirintom u podu u prvom planu. Upu}uje se po tre}i put: hram je preobrazba~ovjeka i pita se koje su specifi~nosti kr{}anske (goti~ke) varijante. e) Sudionici istraùju “druid-skim konopom”, provjeravaju trokut (5 x 4 x 4) uz pomo} kojeg se konstruira sedmokraka zvijez-da (simbol Bogorodi~ina otjelovljenja) sa zanemarivom gre{kom (kut: 51° 19’), {to }e posluìti zadaljnju konstrukciju i ~ime se prakti~ki rje{ava kvadratura kruga. f) Ponovo se gleda snimakunutra{njosti. Podsje}a se na tri stola Sv. Grala - tri oblika jednake povr{ine. Prvi korak/stupanj(stol = krug) je intuitivan, instinktivan, ples u pod ucrtanom labirintu, vrtnja izvan prostora i vre-mena, uskrsni ples, Krist = Tezej, sfera, “tko ne ple{e ne zna {to jest” (apokrifno Jakovljevoevan|elje). Sljede}i korak/stupanj (stol = kvadrat) je intelektualni (mo`da je ~ak bio i ugra|en upod kao u Amiensu, u obliku abaka ili {ahovske plo~e). Tre}i korak/stupanj (stol = pravokutnik) jemisti~ko iskustvo (prete`no interpretacija L. Charpentiera). Ovo kretanje kroz razli~ita razdoblja

323about how the axes and the shapes are made, weconcentrate on everything we have always exploredand what we do not verbalise now. A very importantsubject is Mithuna - the couple (that is what theWesterners are mostly scandalised and interestedby). It is only one subject, one part of the world’swholeness. To live as a couple is a state throughwhich man passes on his way to liberation as muchas through other states.4. a) An aerial photograph of Luxor (Ipet- reset -Imen), the south temple of Amon, built by TutmosisIII Amenhotep III and Ramses II, approx. 1500.-1200. B.C. is projected. What Purusha is in India,Neter/Kamutef/(the Principle, the Fallen angel, theCosmic man) is to Egypt. While knowledge is pre-served in “readable” texts in India, in Egypt it has tobe “deciphered”. b) The participants receive a planof the temple, a section of a human head, the skeleton of a man drawn in the plan and helpedby students-instructors they explore which organsof the head correspond the particular room/functionin the closed part of the temple. c) They get photo-copies of the pavement of the closed part. The taskis to see the profile in the “mosaic” and to draw itinto (the reconstructions of R. A. Schwaller deLubicz). If the exploration is too difficult the result is demonstrated and the participants copyit. d) A reconstruction of the wall between the fifthand the twelfth room is projected. We talk about theparabolas: transparencies and transpositions.Kamutef (Cosmic man - Fallen angel) is represent-ed. The sexual organ is in the place of the navel (hehas no navel because he was not born), he himselfgives birth to the world (Adam Kadmon, Purusha).He is represented together with a dress store andon the other side are three hieroglyphs, signs fortexture which look like the olphatory bulbs in the cutbrain (the olphatory bulbs, the carriers of the finestfunctions of the human nervous system are notprotected with membranes because of that it ispossible to faint from a smell, for instance). Trans-parency has been attained by placing the figure onone side and a gap on the opposite side; the barqueis on one side, the void on the other etc.Transposition means that the relationship of the fig-ures in one room evolves and becomes completedin another and that this corresponds to the internalinteraction of the organs. e) The participants receive a plan of the temple with the figures drawn onto it.Each part of the temple in ratio corresponds to onephase in the development of man (the closed part -new born, the head 4 x in the body etc). The partici-pants explore the growth of the temple as thegrowth of man. f) Several slides demonstrate theplastic articulation (hieroglyphs written on the wallin a sunken relief), Sheshat, the goddess of writingalso in sunken relief). g) A plan of Notre Dame inParis is projected with the functions of the Egyptiantemple drawn into it - we quote R. A. Schwaller deLubicz about the similarities of both traditions. TheBelltowers correspond to the Pylons, the nave, toAmenhotep’s colonade, the transept to the court, the choir to the closed part, the main altar to room6 with the barque, the ambulatory to rooms 9, 2, 10(left) and 15, 17, 3, 14, (right), the radiatingchapels (absidioles) to the 27 little chapels. We talk

written onto it, which, with their characteristics,correspond to the functions of the talamus, hypota-lamus and basal ganglions. Here we demonstrateagain: The human body and the human artwork(architecture), the text and the nervous system arecosmic metaphors known in all cultures.

`ivota/inicijacije u biti je isti put kao u indijskom hramu, put do oslobo|enja. g) Plasti~ko obliko-vanje katedrale u Chartresu se razlikuje i od indijskog i od egipatskog. Projiciraju se prikazi radovai mjeseci, znakova zodijaka i sedam vje{tina.6. Pokazuje se snimak katedralnog kompleksa u Pisi (katedrala, baptisterij, kampanile). KonstelacijaOvna i prostorni raspored katedralnog kompleksa ukazuje na ravnanje arhitekture prema nebeskojkonstelaciji izvana. Projicira se interpretacija E. Guidonija.7. Opet se pokazuje snimak presjeka mozga (T. Nader) u koji su ucrtani planeti koji, po pripisanimim karakteristikama, odgovaraju funkcijama talamusa, hipotalamusa i bazalnih ganglija. Tu sepokazuje ponovo: ~ovjekovo tijelo i ~ovjekovo djelo (arhitektura), tekst i `iv~ani sustav su kozmi~kemetafore poznate u svim kulturama.

325The Works, the Months, the Signs of the Zodiac, theSeven Arts are the subjects.6. A slide of the cathedral complex in Pisa is shown(the cathedral, baptisterium, and campanile). Theconstellation of Aries and the space disposition ofthe cathedral complex indicates an adaptation of thearchitecture to sky constellations from the outside(E. Guidoni). 7. Again a section of the brain is shown from T. Nader’s book with the names of the planets

UMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJA

AARRTT AANNDD SSPPIIRRIITTUUAALLIITTYY -- EEXXPPLLOORRAATTIIOONN OOFF MMEEAANNIINNGG

VRATA - METAFORA KOZMI^KOG DOGAÐAJA

THE DOOR - THE METAPHOR OF COSMIC HAPPENINGS

VRATA - METAFORA KOZMI^KOG DOGAÐAJA

THE DOOR - THE METAPHOR OF COSMIC HAPPENINGS

DVA SUNCOSTAJA - DVA SUN^EVA PROLASKATWO SOLSTICES - TWO TRANSITIONS OF THE SUN

Uzašaš}eAscension

ZIMSKOG/WINTER - JANUA COELI LJETNOG/SUMMER - JANUA INFERNI

ZEMALJSKA MALI MISTERIJ(UZDIGNU]E DUŠE)

EARTHLY SMALL MYSTERY (ASCENSION OF THE SOUL)

(BURCKARDT)

KRIST: JA SAM VRATA(Sv. Ivan)

CHRIST: I AM THE DOOR(St. John)

transmutacijatransmutation

sublimacijasublimation

mortifikacijamortificationKrist u slavi

Christ in GloryBogorodica s djetetomPrikazanje

Ro|enje

Virgin andChild

PresentationNativityKKAATTEEDDRRAALLAA//

CCAATTHHEEDDRRAALL,, PPOORRTTAALL KKRRAALLJJEEVVAA//KKIINNGG''SS PPOORRTTAALL,, 1122.. SSTT..//1122TTHH CC..,,CCHHAARRTTRREESS

VVIIIIII//22 UMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJA AARRTT AANNDD SSPPIIRRIITTUUAALLIITTYY -- EEXXPPLLOORRAATTIIOONN OOFF MMEEAANNIINNGG

VV RR AA TT AAOTVARANJE - ZATVARANJE - RITAM UNIVERZUMA (Lao Ce) ULAZAK - IZLAZAK IMA SVOJE VRIJEME I SVOJ PROSTORUMJETNOST JE ZADNJA MRVICA SAKRALNOG @IVOTA - INTENZIVNOG OPA@AJA I DJELOVANJA

TT HH EE DD OO OO RROPENING AND CLOSING - RHYTHM OF THE UNIVERSE (Lao Tzu)

ENTRANCE - EXIT HAS ITS OWN TIME AND ITS OWN SPACEART IS THE LAST CRUMB OF SACRAL LIFE

- INTENSIVE PERCEPTION AND ACTION (B. Hamvas)

SSVV.. PPEETTAARR//SSTT.. PPIIEERRRREE,,1122.. SSTT..//1122TTHH CC..,, MMOOIISSSSAACC

SS.. SSEERRNNIINN,, 1122.. SSTT..//1122TTHH

CC..,,TTOOUULLOOUUSSEE

kri`anjeapsolutno/ukinuto vrijeme,istodobnost

crossing absolute/abolished time,

simultaneity

spiralaemanacija,{irenje,kretanje du{e,involucija-evolucija

spiralemanation,expansion,

the movement of the soul,involution-evolution

lav - uskrsnu}elion - Resurrection

ovan - stradanjeram - Suffering

krunacrown

OTVORENOSTprema stranama svijeta

OPEN to all sides of the world

vjetroviwinds

SREDIŠTE univerzumaCENTRE of the Universe

pasivnost, prijem~ivost, pri-

hva}anje

passivity,receptivity,

acceptance

aktivno sudjelovanje

active participation

1, 2, 3, 4tetraktys

MJESEC

odsjaj

promjenjljivoosjetilno

mnoštvo

Reflection

ChangingSensible

Pluralism

mandorla -vesica - piscis

utjelovljenjeincarnation

prijestoljethrone

(LAWLOR)

košulja/plaštshirt/cloak

KRISTCHRIST

ŠIRENJE univerzumaEXPANSION of the Universe

URAVNOTE@AVANJEsuprotnosti univerzuma

BALANCINGthe opposites of the Universe

arhetipskazbilja

jedinstvo

Source

ArchetypalReality

NEBESKA VELIKI MISTERIJ (ODVAJANJE DUHA OD PRIRODE)

HEAVENLY GREAT MYSTERY (SEPARATION OF THE SPIRIT FROM NATURE)

space for the intensity of experience. Literally: therich relief articulated niche stops the one who isentering either in order to read only the iconograph-ic content or also the artistic one. In this way it ismade possible, prepared, intensified the entranceto another world. The entrance/exit will not occur inspace and time but will obtain its own space andits own time. We are reminded of the ritual move-ments mentioned in the former workshop: circumambulating, approach, looking, bowing,climbing (here only several steps) and entering.The subjects are on the left: St. John, Poor Lazarusand the evil rich man; on the right: TheAnnunciation (the angel is new), Visitation,Presentation in Temple, Idols of Egypt throwingthemselves down, Adoration, Flight to Egypt; onthe left Saint Peter and on the right Isaiah - weremind the participants of the interitorised frame.b)We stop in order to watch the door mullion:lions, roses, lotoses. Discussion is about theEastern influence. Last time we explored the levelof creating from the same root - archetypal mean-ings, now O. Begbeider’s thesis: the entire FrenchRomanesque style is a continuation of two influen-tial flows: the Egyptian and the Eastern. The mon-sters (left-right) from whose mouths roses arecoming out and the meander remind us of Torana(Kirtimukha) - and the lions remind us of Shardul.The lion has a twofold meaning: the resurrectedChrist because he sleeps with open eyes, and ademon because it divides. The crossing is concen-tration, opposition, the symbol of absolute time,(the simultaneity, the abolishment of time) also theEastern influence. First we recognize it on the doormullion and later we explore it on the entire portal.We read the composition of the door mullion: threetimes crossing of the large lion’s figures, but alsothe crossing of the tails. The roses and the lotuses,the two divine flowers (the rose - Christian,Islamic; the lotus - Indian) are between. c) Another example: relief from the portal of S. Sernin in Toulouse (today in the Museé Augustinin Toulouse). In an analysis we demonstrate theprocedure of the crossing variations. The legs ofthe figures are crossed, one foot with its shoe on,stands on shells (Heaven), the other barefoot onthe lion’s head (fertility). The inscription: Aries,Leones. Two maidens are represented withcrossed legs holding a ram/lion. Here the twoaspects of the door are manifested (the ram - theSun ascending; the lion closest to the Sun, but itsdescent begins); Christ’s double aspect: good tothe good and terrible to the bad. We talk about thesemantic exploration, but as it is one of the lastworkshops, the presumption is that the already cul-tivated gaze of the observers explores and sees thebeauty of all the artwork we demonstrate. d) Thedoor mullion is explored further. Left: St. Paul;right: Jeremiah. We discuss the variations of the crossing. The slides taken from the bottomshow how the law of spacial frame functions (therelief is not visible). A frontal slide of the tympa-num and a description of the subject follows.(Christ in a tunic and cloak, sits on the throne, witha crown on his head, in one hand he holds theBook with the other gives his blessing, round himthere are four Beings - the four Evangelists, twoCherubs which in the angelic hierarchy are immedi-ately behind the Thrones and see God, and thetwenty four Kings of the Apocalypse). The sideview: the round / penetrated shallow niche is seen.The curved plane of the background and the sug-gested front plane also curved but imaginary,

Namjera u d r u g o j radionici je evocirati sakralni karakter obi~nih stvari, radnji; upoznati uni-verzalni karakter vratiju; upoznati kozmi~ku i teolo{ku interpretaciju portala; ste}i likovno iskustvo osvetim oblicima.

Ambijent: Isti je kao i u prethodnoj radionici. Potrebni su projektor, fotokopije, flomasteri, papiri,{estari, krejoni.

Struktura doga|anja1. a) Radionica zapo~inje vje`bom: sudionici pi{u svoje asocijacije na pojam vrata i nabrajaju vrstevrata koje poznaju. Nakon toga postavlja se pitanje jesu li u asocijacijama naveli aspekte vrata:ulazak/izlazak, gledanje na jednu stranu, na drugu. Projicira se snimak kipa galskog Janusa. b) Pozivaju se sudionici da, na trenutak, obnove intenzitet doga|anja ulaska/izlaska. Citira se B. Hamvas: “Umjetnost je zadnja mrvica sakralnog ìvota.” Sakralnog, zna~i intenzivnog opaànja iintenzivnog djelovanja. Vrata su metafora kozmi~kog doga|anja, dva suncostaja kroz koje prolaziSunce - janua coeli i janua inferni (Sv. Petar ima dva klju~a - klju~ raja i klju~ pakla). Citira se Sv.Ivan: “Krist kaè: ‘Ja sam vrata.’”, i jedna od metafora Taoa: “~udesna èna”. Lao Ce kaè: “U vrati-ma ~udesne ène je korijen neba i zemlje.” Tako|er Lao Ce: otvaranje - zatvaranje je ritam univerzu-ma. Koliko smo svjesni na{ih ulazaka/izlazaka? Daju se primjeri iz literature: Madam Chauchat uromanu Th. Manna npr. uvijek “ulazi”, ili operni entré je nagla{avanje ~ina ulaska itd. Moèmo li sesjetiti svjesnih ulazaka? Ne{to posve obi~no: promrznuti smo i ulazimo u toplo ili obratno. c) Zatim seprojiciraju snimci nekoliko dalekoisto~nih vratiju: Citragupta, hinduisti~ki hram u Kadùrahu, ulaz izbogato skulpturiranog predvorja u sveti{te gdje su zidovi goli i u kojem je postavljen kip samo jednogaboànstva; Torana, velika stupa u budisti~kom sveti{tu u San~iju (2. st. pr. Kr.). Postoje ~etvora vratakoja su samostalna i bogato reljefno obra|ena (lavovi, monstrumi). (Usput: svjetovna varijanta takvihsamostalnih vrata je rimski slavoluk). în samog prolaza jo{ ima va`nost. Prisje}anje na “ulazne prije-laze” seoskih ku}a iz radionica G r a d i g r a d i t e lj s t v o i na individualne “ìvotne re~enice”(jesu li sadràvale rije~i ulazak/izlazak, jesu li oni na{i ìvotni doga|aji ili se uvijek de{avaju tek usputneprimije}eno);. Budisti~ki hram na Baliju: rascjepljena vrata, dvije zidne gromade bez nadvratnika -simboli dobra i zla. Upu}uje se na iskonsku tradiciju: va`no je pro}i ne prianjanjaju}i niti uz dobro nitiuz zlo; Tori, vrata {intoisti~kog hrama kraj Hiro{ime, koja stoje u vodi i isklju~ivo sluè pticama iprolaènju svjetlosti.2. Slijedi veliki broj snimaka portala crkve S. Pierre u Moissacu (12. st.) a) Prikazuju se snimci izve}e udaljenosti, zatim bliè, bo~ni dijelovi, timpan. Govori se o sakralnom karakteru ni{e. Umjetnostje zadnja mrvica sakralnog ìvota zato {to omogu}uje, stvara prostor za intenzitet doìvljaja.Doslovno, bogato reljefno obra|ena ni{a zadràva onoga koji ulazi bilo iz razloga ~itanja samo ikono-grafskog sadràja, bilo likovnog. Tako se omogu}uje, priprema intenzitet ulaska u drugi svijet.Ulazak/izlazak ne}e biti u prostoru i vremenu nego }e zadobiti svoj prostor i svoje vrijeme.Podsje}amo se ritualnih kretanja/pokreta spominjanih u prethodnoj radionici: obilazak, prilaènje,gledanje, klanjanje, penjanje (ovdje samo nekoliko stuba), ulazak. Teme su lijevo: Sv. Ivan, Siroma{niLazar i bogata{; desno: Navje{tenje (an|eo je novijeg datuma), Vizitacija, Prikazanje u hramu, IdoliEgipta se survavaju, Poklonstvo, Bijeg u Egipat; lijevo: Sv. Petar; desno: Izaija - podsje}anje napounutreni kadar. b) Zadràvamo se na gledanju trimoa: prikazani su lavovi, rozete, lotosi. Govori seo utjecaju Istoka. Pro{li put se istraìvala razina stvaranja iz istih temelja - arhetipska zna~enja, sadateza O. Begbeidera: cijela francuska romanika nastavlja se na dva utjecajna toka: egipatski iisto~nja~ki. Nemani lijevo-desno, iz ~ijih ustiju izlaze rozeta i meandar podsje}aju nas na toranu(Kirtimukhu), a lavovi pak na [ardula. Lav je dvostrukog zna~enja: uskrsli Krist, jer spava otvoreniho~iju, i demon, jer razdvaja. Kriànje je usredoto~enje, suprotstavljanje, simbol apsolutnog vremena(istodobnosti, ukinu}a vremena) {to je tako|er isto~nja~ki utjecaj. Prvo ga primje}ujemo na trimou, a kasnije }e se istraìvati i na cijelom portalu. îta se kompozicija trimoa: 3 x kriànje velikih likovalavova, zatim isto tako kriànje repova. Izme|u su rozete i lotosi, dva boànska cvijeta (ruà -kr{}anstvo, Islam; lotos - Indija). c) Slijedi novi primjer: reljef s portala S. Sernin u Toulousu (danasu Muzeju Augustin u Toulousu). Analiziranjem se pokazuje postupak variranja kriànja. Noge likovase kriàju, jedno stopalo, obuveno, stoji na ljuskama (nebo), drugo, golo na lavljoj glavi (plodnost).Natpis: Aries, Leones. Prikazane su dvije djevice prekriènih nogu koje drè ovna/lava. Tu dolaze doizraàja dva aspekta vratiju (ovan - sunce u usponu; lav - najbliì suncu, ali zapo~inje opadanje);dvostrukost Krista: dobar prema dobrima, stra{an prema zlima. Upozorava se da se sada istraùjezna~enjski aspekt, ali, jer su to zadnje radionice, pretpostavlja se da odnjegovani pogled promatra~asam istraùje i vidi ljepotu svih djela koja se pokazuju. d) Istraùje se dalje trimo: lijevo Sv. Pavao,desno Jeremija. Upozorava se na varijacije kriànja. Snimci odozdo pokazuju funkcioniranje pros-tornog zakona kadra (reljef je nevidljiv). Slijedi frontalni snimak timpana i opis teme (Krist, u tunici ipla{tu, sjedi na prijestolju, oko njega mandorla, na glavi je kruna, jednom rukom drì knjigu, drugomblagoslivlje, oko njega ~etiri bi}a - ~etiri evan|elista, dva kerubina koja u hijerarhiji an|ela stojeodmah iza prijestolja i vide Boga, i dvadeset~etiri kralja Apokalipse). Snimak sa strane: vidi sezaobljena/udubljena - plitka ni{a. Zakrivljena ploha pozadine i sugerirana prednja tako|er zakrivlje-na ali imaginarna ploha zajedno tvore kadar po kojem se ravnaju svi prikazani likovi.3. Pokazuju se detalji prikaza Krista i zapo~inju vje`be. a) Oblik Kristove krune se poku{ava u crteùotvoriti, rastvoriti, prenijeti na plohu. Dobivaju se ~etiri kraka - usmjeravanje prema stranama svijeta. Poku{ava se uputiti na sakralnost ~ina stavljanja pokrivala na glavu. b) Crtaju se rastvorenako{ulja i kru`ni pla{t (u Kini: pi = centar univerzuma) i daju se upute u sakralni ~in navla~enja ko{ulje:

329The intention in the s e c o n d workshop is toevoke the sacral character of ordinary things andactions; to perceive the universal character of theportal; to introduce the cosmic and theologicalinterpretation of the portal; to gain a visual artisticexperience of the sacral shapes.

Ambience: As usual. Projector, photocopies, felt-tip pens, crayons and paper are available.

Structure of the activity1. a) The workshop begins with an exercise. Theparticipants write their associations of the conceptof a door and enumerate the species of doors theyknow. The question: the aspects of the door like:an entry/exit, looking in one direction or in theother are contained in the associations or not.Projecting a Gallic statue of Janus. b) The partici-pants are asked to reconstruct for a moment theintensity of the occurrence of entering/exiting. B. Hamvas is quoted: “Art is the last crumble ofsacral life”. Sacral means intensive perception andintensive activity. The door is a metaphor of cos-mic occurrence, two solstices through which theSun passes - janua coeli and janua inferni (St.Peter has two keys - the key of Heaven and theKey of Hell). St John is quoted: “Christ says: “I am the door” and a metaphor from Tao: “the mysterious Feminine” Lao Tzu says: “The Doorway of the Mysterious Feminine / iscalled the Root of Heaven and Earth.” Also LaoTzu: opening - closing is the rhythm of theUniverse. The question is: How much are we con-scious of our entries/exits? Some examples aregiven from literature: Madame Chauchat inThomas Mann’s novel always has her “entry” orfor instance an opera entreé always emphasizesthis act. Can one remind oneselfes of ones con-scious entries? Something ordinary: one is coldand one enters a warm room or the opposite. c) Projections of some doors from the Far East:Citragupta, the hinduistic temple in Khajuraho, theentrance from a richly decorated hall, to the sanc-tuary (griha), where the walls are naked and onlyone representation of the Divinity is present;Torana, of a great stupa in the Buddhist sanctuaryin Sanchi (2nd Century B. C.). There are four inde-pendent doors richly decorated in relief (lions andmonsters). A profane variant of such an independent door isthe Roman triumphal arch. The act of passing wasin Roman times still important. We remind our-selves of the “entrance transitions” in the villagehouses in the workshop City and Architecture andof the individual “life sentences” we prepared: didthey contain the words entry/exit? Are they lifeoccurrences? Or do they always happen by the way, unnoticed? A Buddhist temple on Bali:The door is split into two, two large masses ofwall without a lintel - the symbols of good andevil. We talk about the primordial tradition: it isimportant to pass and not to be attached either togood or evil; Tori, the door of the Shinto templenear Hiroshima, which stands in the water and isused exclusively by birds and for light to passthrough.2. After this introduction the next step is to studymore thoroughly the portal of Saint Peter inMoissac (12th Century). a) Slides are shown,taken from a greater distance, then approaching,the side parts, the tympanum. We talk about thesacral character of a niche. Art is the last crumbleof sacral life because it enables, and creates a

Voditelj tuma~i/The workshopleader explains Studenti instruiraju/Students instruct

Voditelj tuma~i ko{ulju kao sredi{te/ Theworkshop leader explains the shirt as a centre

Crta se “ko{ulja”/A “shirt” is drawn

Konstruira se mandorla/A mandorla is constructed

Tuma~e se osobitosti timpana u Moissacu doksudionici rade individualno/The pecularities ofthe Moissac tympanum are explained while theparticipants work individualy

Tuma~e se osobitosti reljefa na projekcijama/The particularities of the relief are explained on the projections

Analiziraju se kompozicijske zakonitostitimpana u Moissacu/The compositional lawsof the Moissac tympanum are analyzed

and right are projected. i) The participants receivephotocopies of the portal and explore them. Theydraw onto the variations on the basic compositionalrule: crossing. j) They try to catch the flow of therepresented meander and spiral. k) The composition-al spiral/spirals of the entire portal is/are explored (tohelp we project an already performed drawing).4. a) The front of Chartres cathedral with three por-tals is projected. We remind the participants of whatwe learnt in the former workshop. We add a hypothe-sis of the sudden appearance of the Gothic style. TheCistercits had constructively and spiritually preparedit, and by the foundation of the Templar order theymight have found the mystery they searched for, inJerusalem: the chest with the measures ofSolomon’s Temple (L. Charpentier). A comparisonwith the chest in the Indian temple comes to mind. b) The next is an iconographic description of thethree tympanums (left: the Ascension, the Angels,the Apostles, in the arches: the signs of the Zodiac,the Works and Months; in the centre: Christ in Glory,the Apostles, in the arch: The Elders/Kings of theApocalypse, the Angels; right: the Virgin and Child onthe throne, Presentation in the Temple, Birth; in thearch: the Seven liberal Arts). c) A theological andcosmic interpretation follows. The left is the heavenlyportal, the right the earthly. The Great mystery: sepa-ration of the Spirit from Nature, the Small mystery:Ascension of the soul. Beside the Great mystery thecalendar (time) is represented beside the Small oneknowledge (alchemical procedures - up: transmuta-tion; centre: sublimation; bottom: mortification (T. Burckardt)). d) Exercise: in the photocopies of therelief the three scholastic principles are explored:claritas (clearness), distinctio (distinctiveness), simil-itudo (similarity) (E. Panofsky). e) Once more a sightof all the three portals. On the left there are two direc-tions: up - down: division. On the right the directionis from top to bottom.5. We finish the workshop reminding the partici-pants of the reliefs of the King’s portal already seenin the workshops Sculpture (projection of a detail).

rub, ruba~a, rubina, ko{ulja = rub. Svijet se stvara, a ko{ulja je njegov rub, rub unutarnjeg prema van-jskom. c) Knjiga je posuda objave. Pitanje: kada uzimamo u ruke knjigu, ~inimo li to sastrahopo{tovanjem? d) Krist sjedi na prijestolju. Prijestolje, ali ve} i sam ~in sjedenja je uravnoteàvanjesuprotnosti univerzuma. e) Konstruira se mandorla. Crta se kru`nica i polumjer se prebaci na obod dabi se nacrtala druga kru`nica koja sije~e prvu. Oblik koji se dobiva zove se riblji mjehur (vesica piscis) ilimandorla. Jedna kru`nica: Sunce, izvor, arhetipska zbilja, jedinstvo. Druga kru`nica: Mjesec, odsjaj,promjenljivo osjetilno, mno{tvo. Njihovim presjecanjem nastaje mjesto izme|u, za Krista, za utjelovljenje(R. Lawlor). f) Projicira se detalj prikaza Kristova lica u visokom reljefu. Govori se o jednoj osobitostikoja se naro~ito opaà na licu, kod o~iju, usana, a ta je da se iz polazi{ne zatvorene mase stvara iluzijaodijeljivanja, lju{tenja plohe, kao da je polazi{te u savr{enim tijelima (Platon: sve poti~e od geometrij-skih tijela) i kao da se od njih odvaja/lju{ti, razlistava - apstrakcija plohe. g) Projicira se kale` DonneUrake iz 11. st., dva oniksa opto~ena zlatom i draguljima (u radionicama K i p a r s t v o op{irnijesmo se bavili posudom, ènskim izumom, i njenim sakralnim karakterom). Kraljevi Apokalipse u jednojruci drè kale`, simbol pasivnosti, prijem~ivosti, prihva}anja, a u drugoj lutnju, simbol aktivnog sudjelo-vanja. h) Projiciraju se sva tri pojasa reljefa s kraljevima, s lijeva i desna. i) Sudionici dobivaju fotokopi-ju portala i istraùju, ucrtavaju varijacije na temeljno kompozicijsko pravilo - kriànje. j) Poku{ava seuhvatiti tok prikazanog meandra i zavojnice. k) Istraùje se kompozicijska zavojnica/zavojnice cijelogportala (za pomo} se projicira ve} izvedeni crte`).4. a) Projiciraju se snimci pro~elja s tri portala katedrale u Chartresu. Podsje}a se na spoznaje izprethodne radionice. Nadopunjuje se jednom pretpostavkom koja poku{ava protuma~iti iznenadnopojavljivanje gotike. Cisterciti su je ve} konstruktivno i duhovno pripremili i, osnivanjem templarskogreda, mo`da su uspjeli na}i krajnju tajnu po koju su i{li u Jeruzalem: kov~eg s mjerama Solomunovahrama (L. Charpentier) i uspore|uje se s kov~egom indijskog hrama. b) Slijedi ikonografski opis trijutimpana (lijevo: Uza{a{}e, An|eli, Apostoli, u lukovima Zodija~ki znakovi, Radovi i Mjeseci; u sredini:Krist u slavi, Apostoli; u luku: Starci Apokalipse, An|eli; desno: Bogorodica s djetetom na prijestolju,Prikazanje u hramu, Ro|enje; u luku: Sedam slobodnih vje{tina). c) Slijedi teolo{ka i kozmi~ka inter-pretacija. Lijevi portal je nebeski, desni zemaljski. Veliki misterij: odvajanje duha od prirode; mali mis-terij: uzdignu}e du{e. Uz veliki misterij prikazuje se kalendar (vrijeme), uz mali, znanje (alkemijski pos-tupci, prema T. Burckardtu - gore: transmutacija; sredina: sublimacija; dolje: mortifikacija). d) Slijedevje`be. Na fotokopijama reljefa istraùju se tri skolasti~ka principa: claritas (jasno}a), distinctio (raz-likovnost), similitudo (sli~nost) (E. Panofsky). e) Jo{ jedan pogled na sva tri portala. U lijevom su dvausmjerenja: gore-dolje: razdvajanje. U desnom je jedno usmjerenje odozdo prema gore.5) Radionica zavr{ava pokazivanjem detalja Portala kraljeva ve} vi|enih u radionicama K i p a r s t v o.

331together make the frame, within which all the rep-resented figures are arranged.3. Some details of the representation of Christ areprojected and the exercises begin. a) With drawing:to open, unfold, transmit the shape of Christ’s crownonto the plane. The four wings are directed towardsthe four sides of the world. We explain the sacralcharacter of putting something on/covering thehead. b) An unfolded shirt, a round cloak are drawn,(in China: pi = the centre of the Universe). We dis-cuss the sacred act of putting on a shirt. A world iscreated and the shirt is its edge, the edge betweenthe interior and the exterior. c) The book is the ves-sel of revelation. The question: When we take abook in our hands do we do it with reverence? d)Christ is sitting on the throne. The throne itself, butalso the act of sitting mean balancing of the oppo-sites of the Universe. e) We construct a mandorla. Acircle is drawn and the radius is transmitted ontoany point of the circumference to draw another cir-cle which cuts the first one. The shape we get iscalled the fish bladder (vesica piscis) or mandorla.One circle: the Sun, the Source, the archetypal Reality, Unity.The other circle: the Moon, the Reflection, Changing-Sensible, Pluralism. The interaction of both makes aplace for Christ, for incarnation (R. Lawlor). f) Adetail of Christ’s face in high relief is projected. Wetalk about the peculiarity we can specially notice nearhis eyes and lips. From the starting monolithic massan illusion of dividing, of a peeling of the plane is cre-ated, it seems as if the origin is in perfect solids(Plato: everything originates from solids) and itseems that from them separates/peels, opens - theabstraction of the plane. g) The chalice of DonnaUraka, 11th Century is projected (two pieces of onyxset with gold and gems). In the workshops Sculpturewe studied the vessel, the woman’s invention and itssacral character thoroughly. The Kings of theApocalypse hold a chalice the symbol of passivity,receptivity, and acceptance in one hand and in theother a lute, the symbol of active participation. h) All the three zones of the relief with the Kings, from left

UMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJA AARRTT AANNDD SSPPIIRRIITTUUAALLIITTYY -- EEXXPPLLOORRAATTIIOONN OOFF MMEEAANNIINNGG

STVARANJE = POJAVLJIVANJE CREATION = EMERGENCE

ulazakentrance

Plava ptica sre}ethe Blue Bird of happiness

tragovi odvodethe footprints lead us away

Sveta os = putthe Holy Axis = path

pojavljivanje ^ovjekathe Emergence of Man

^etiri svijetaFour Worlds

BlizanciTwins

Sveti kukuruzthe Holy Corn

Muški put(cik-cak)

Male path(zig-zag)

Drvo `ivotathe Tree of Life

@enski put (luk)Female path

Sveta planina pri~vrš}uje zemljuthe Holy Mountain pegs the Earth down

Vjesnici - MuheMessengers- Flies

PPJJEE[[^̂AANNEE SSLLIIKKEENNAAVVAAHHOOIINNDDIIJJAANNAACCAA//NNAAVVAAHHOO SSAANNDDPPAAIINNTTIINNGGSS,, 2200.. SSTT..//2200TTHH CC..

KREIRANJE POGLEDOM CREATION BY A GLANCE

DEKREIRANJE RA^UNALOM DECREATION BY COMPUTOR

UMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJAVVIIIIII//33 AARRTT AANNDD SSPPIIRRIITTUUAALLIITTYY -- EEXXPPLLOORRAATTIIOONN OOFF MMEEAANNIINNGG

SS TT VV AA RR AA NN JJ EE -- PP AA DD // UU ZZ DD II ZZ AA NN JJ EEUMJETNOST JE PONAVLJANJE PRIMORDIJALNE KREACIJE

CC RR EE AA TT II OO NN -- FF AA LL LL // AA SS CC EE NN SS II OO NNART IS A REPETITION OF PRIMORDIAL CREATION

OKOMITI RASTRAZLI^ITI STUP-NJEVI POSTOJANJA

VERTICALGROWTHDIFFERENTDEGREES OFEXISTENCE

Libijska sibila odustaje od svojih mo}i

The Libic Sybyl gives up her powers

Bron~ana zmijaBrazen Serpent

DanijelDaniel

Kumanska sibilaThe Cumean Sybyl

medaljonimedallions

Ignudi ljepotom tijelabliski su zbilji ali je ne

Ignuds are close to reality withtheir bodily beauty

but cannot see it

IzaijaIsaiah

Delfijska sibilapuna snaga

vidovitosti

The Delphic Sybilfull strength of

visionary possibilities

Judita I Holoferno

Judith andHolophernes Zaharije

Zachariach

prvi stupanj duhovnog iskustvathe first step of spiritual experience

Estera i AhasverEsther and Ahasueras

JeremijaJeremiah

Perzijska sibilaThe Persic Sybyl

EzekijelEzekiel

Eritrejska sibilaThe Eritrea Sybil

David i GolijatDavid and Goliath

Jona krajnja ekstazaJonah the ultimate extasis

Nojino pijanstvoNoah’s drunkenness najve}a zarobljenostthe greatest captivity

jedinstvounitybo`anskoDivinity

KristovipreciChrist'sancestors

IgnudiIgnuds

NEOPLATONI^KI PROGRAM MICHELANGELOVOG SVODA SIKSTINSKE KAPELE

THE NEOPLATONIC PROGRAMME OF MICHELANGELO'S VAULT IN THE SISTINE CHAPEL

OKOMITI RASTPRIBLI@AVANJE

ZBILJI

VERTICALGROWTH

APPROACH TOTHE REALITY

0.0 - 2.0 sec

0.0 - 3.0 sec

0.0 - 5.0 sec

0.0 - 21.0 sec

(MACLAGAN)

what we can see under an angle of 1°. It meansthat our eyes fix on them and are guided by them.They are shown two other series which can beseen - the putti in the background of the prophetsand sybillas and the naked boys/ cariathid (spiritualand sensory experience). d) In the same seriesalternating with the Prophets the Sybyls are repre-sented (Delfica, Eritrea, Cumea, Persica, Libica). The procedure is the same in the demonstrationand in the work of the participants. We explain theneoplatonic meaning; we notice that in the case ofthe series from Zachariach to Jonah the divineexcitement (furor divinus) rises in the case of theSybyls’ it is the opposite. Delfica is in her fullstrength of visionary possibilities, Eritrea’s strengthlessens, Cumea frantically grasps the book to findthere what she does not see anymore, Persica isvery old and blind, Libica puts aside the book andshe gives up her powers. e) The details in the pen-dentives are shown, God’s important interventionsin the history of the Jewish people: David andGoliath, Judith and Holophernes, Esther andAhasuerus (the figure of Haman as pseudo Christ),The Brazen Serpent (if it is looked at according toGod’s instructions to Moses, the serpent’s poisonwill not do any harm). In this serie, which consistsof triangular frames too, mankind before Christ isrepresented, which does not know the spiritualreality. We present two scenes, Zorobabel withfather and mother and Hoshea with mother. f) A medallion is shown (David and the prophetNathan) representing another series. g) We look atthe ensembles where the Ignudi are seen (beautifulyoung male nudes who are with their bodily beautyclose to Reality but cannot see it) and scenes ofReality (Noah’s drunkeness, the Deluge,Noah’Sacrifice, The Fall, The Creation of Eve, TheCreation of Adam, Expulsion from the Paradise,Dividing the Waters, Creation of Stars, DividingLight and Darkness). We talk about the tworhythms (similar as in the Indian temple), about therhythm of growth and that of the path. The growthis from bottom to top through different stages ofrelationship from Prophets and Sybyls till scenes.The path is from the Fall to the Unity (Reality) andis in reverse to the occurrences in time. The begin-ning is in the greatest captivity of the soul in thebody (Noah’s drunkeness) and arrives at theDividing Light and Darkness (Unity, Divinity). Weremind the participants of the talk in the workshopOrigins and Principles about how Michelangelodemolished the scaffolding after finishing the firstthree scenes and then changed the measures. h) Inconnection with the scene of the Fall we talk aboutthe Christian tradition to which neoplatonism isadded and with which it is united. The illumination:The Fall from the Commentary of the Apocalypse ofBeatus de Liebana 11th Century, Escorial, isdemonstrated and we talk about Meister Eckhardt’sinterpretation from 14th Century (the fig leaf =appron = Adam says it is Eve’s fault, Eve says it isthe serpent’s fault = projection = Fall); Adam’s fallis in his answer to God’s question: Where are you?Here I am, which means a localisation, becausewhere could he be if not in God, it means every-where and of St. Augustine (Fall = detachment fromGod, Resurrection = return to Him). i) In connec-tion with the scene of Creation of Adam we talkabout the new interpretation by an American art historian (L. Steinberg) after the frescos had been cleaned.From Vasari onwards the figures have constantlybeen read and counted. Now we can clearly see the

Namjera u t r e } o j radionici je osvijestiti stvaranje od impulsa do ~ina; detaljno upoznati duhovniprogram najgrandioznijeg djela zapadnoga svijeta; ste}i iskustvo o jednom izuzetnom na~inu stvaranjaslike; ste}i iskustvo o stvaranju pogledom; upoznati shva}anje stvaranja kao pada/uzdizanja/vje~nogza~injanja, ali i kao pojavljivanja.

Ambijent: Isti je kao i obi~no. Potrebna su tri projektora, video, fotokopije, raznobojni pijesak, krejoni.

Struktura doga|anja1. Prije gledanja djela isku{at }e se {to moè ruka. Predlaè se vje`ba (plesna!): pu{ta se ruka dase stropo{ta i onda se polako diè u zavojitoj putanji. Nakon vje`banja te kretnje isto se radi solovkom koja ostavlja trag (to~ku). Podsje}a se na odredbu apsolutne plohe (znak zaustavljenostisvjetla) i odredbu mrlje - to~ke (znak zaustavljenosti kretnje ruke) koja imitira nastajanje apso-lutne plohe. Sve u likovnom svijetu po~inje od to~ke i spirale, temeljnog sintati~kog pravila kojesadrì i napredovanje i vrtnju i {irenje. Veliki mudrac na{ega vremena Maharishi Mahesh Yogiobjelodanjuje Rk Vedu ovako: R je beskona~ni dinamizam, K je beskona~ni mir/ti{ina. RK pred-stavlja sve mogu}e transformacije od beskona~nosti do to~ke i od to~ke do beskona~nosti -cijelokupnu kreaciju. Umjetnost je, rekli bismo, u tragu toga, ponavljanje primordijalne kreacije(likovna umjetnost, njen vizualni vid).2. a) Po~inje se s projekcijama (tri projektora). Cjelina Sikstinske kapele projicira se s desnog a sdruga dva projektora dva dijela cjeline svoda gledanog odozdo. Podsje}a se (v. radionice P o ~ e l ai n a ~ e l a) da se ovo najgrandioznije djelo zapadne kulture (Michelangelo je oslikao 1000 m2)moè sagledati u cjelini pod okomitim kutem od 45°, a da se pritom lagodno razabiru najmanjidetalji pod kutem od 4-5’. Iza takve cjelo}e stoji, naravno, koncepcija da je svijet po ljudskoj mjeri.Bavit }emo se istraìvanjem neoplatoni~kog programa (Ch.Tolnay). Cijeli svod predstavlja razli~itestupnjeve egzi-stencije. b) Svatko dobiva shemu svoda i u njega redom upisuje detalj, koji se projici-ra s desnog projektora, i kojeg je prethodno na{ao na snimcima cjeline (projekcije: sredina, lijevo). c) Po~inje se s projekcijama prikaza niza starozavjetnih proroka, koji vide Boga/Zbilju. Njihova pred-imenzioniranost dovodi do iluzije da su najbliì gledatelju. Prikazuju se detalji proroka po redu, ~itase cik-cak (Zaharije, Joel, Izaija, Ezekijel, Danijel, Jeremija, Jona). Tuma~i se neoplatoni~ki pro-gram: od prvog stupnja duhovnog iskustva (Zaharije ~ita iz knjige) do krajnje ekstaze (Jona).Me|ufaze su: otvaranje svitka, odlaganje knjige, odlaganje svitka, slu{anje glasa i biljeènje toga {tose ~uje, uranjanje u meditaciju. Uz ovakvo i{~itavanje programa upozorava se da se ne zaboravi gledati/osvijestiti izbor boja, sintaksu boja, omjere likova, kompoziciju. Upozorava se na neke,uglavnom ovalne oblike, koje se naj~e{}e poklapaju s mogu}no{}u vi|enja pod kutom od 1°, {tozna~i da se na{e o~i fiksiraju na njih i vo|ene su njima. Upozorava se na jo{ dva niza koja se vide -putti u pozadini proroka i sibila, i goli dje~aci/ karijatide (duhovno i osjetilno iskustvo). d) U istomnizu, naizmjence s prorocima, prikazane su poganske vidilice, sibile (delfijska, eritrejska, kumejska,perzijska, libijska). Tuma~i se njihovo neoplatoni~ko zna~enje: primje}uje se da dok su od Zaharijado Jone likovi u sve ve}em boànskom uzbu|enju (furor divinus), dotle je kod sibila obrnuto.Delfijska je jo{ u punoj snazi svojih vidila~kih sposobnosti, eritrejskoj se snaga smanjuje, kumejskagr~evito hvata knjigu ne bi li tamo na{la ono {to vi{e ne vidi, perzijska je prastara i slijepa, libijskaodlaè knjigu i odustaje od svojih mo}i. e) Pokazuju se detalji u pandativima, va`ne intervencije Boga u povijest ìdovskog naroda: David iGolijat, Judita i Holoferno, Estera i Ahasver (lik Hamana kao krivog Krista), Bron~ana zmija (ako seona gleda po Bo`joj uputi Mojsiju, zmijski otrov ne}e djelovati). U tom nizu, koji se sastoji jo{ odtrokutastih kadrova prikazuje se ~ovje~anstvo prije Krista koje ne poznaje duhovnu zbilju. Pokazujuse dva prikaza Zorobabela s ocem i majkom i Ozaje s majkom.) f) Pokazuje se jedan medaljon(David i prorok Natan), kao predstavnik jo{ jednog niza. g) Gledaju se sklopovi u kojima su Ignudi(lijepi goli mladi}i koji su svojom tjelesnom ljepotom blizu zbilji, ali je ne vide), i scene zbilje (Nojinopijanstvo, Potop, Nojina `rtva, Pad u grijeh, Stvaranje Eve, Stvaranje Adama, Stvaranje zvijezda,Razdioba voda, Razdioba svjetla i tame). Govori se o dva ritma (sli~no kao u indijskom hramu), oritmu rasta i hoda. Rast je odozdo prema gore kroz razli~ite stupnjeve odnosa prema zbilji, od pro-roka i sibila do scena. Hod je od pada prema jedinstvu (zbilji) i obrnut je od vremenskog slijedadoga|anja. Po~inje se od najve}e zarobljenosti du{e u tijelu (Nojino pijanstvo) i stiè do razdiobesvjetla i tame (jedinstvo, Boànsko). Podsje}a se na spoznaju ste~enu u radionicama P o ~ e l a in a ~ e l a da je Michelangelo nakon prve tri scene skinuo skele i promijenio mjere. h) U veziscene Pada u grijeh govori se i o kr{}anskoj tradiciji na koju se nadovezuje i s kojom se spaja neo-platonizam. Pokazuje se minijatura s prikazom Pada u grijeh iz rukopisa Komentara ApokalipseBeatusa iz Liebane, 11. st., Escorial, i govori se o interpretaciji Meistera Eckhardta iz 14. st.(smokvin list = prega~a = Adam kaè Eva je kriva, Eva kaè zmija je kriva = projekcija = pad);Adamov je pad u odgovoru na Bo`je pitanje: gdje si, tu sam, {to je lokalizacija, jer gdje bi bio ako neu Bogu, dakle svuda) i Sv. Augustina (pad = odale~iti se od Boga, uskrsnu}e = vratiti se). i) U vezisa Stvaranjem Adama govori se o novoj interpretaciji ameri~kog povijesni~ara umjetnosti L.Steinberga nakon ~i{}enja fresaka. Od Vasarija naovamo stalno se ~itaju i prebrojavaju likovi: sadase jasno vide likovi Sophije i Krista, likovi Lucifera i arkan|ela Mihaela pokraj Boga Oca pristvaranju. j) Poznavaju}i sva Michelangelova djela, likovna a i knjièvna tako|er, moè se povu}iparalela u njegovom shva}anju svoda, kamenog bloka i druge osobe kao danosti. Sve ovisi o ama-toreu (onome koji ljubi/onome koji kle{e/slika), {to }e biti u stanju osloboditi dobro/lo{e u drugom~ovjeku, kamenom bloku, svodu.

335The intention of the t h i r d workshop is tobecome aware of creation from the impulse to act;to introduce the participants into the spiritual pro-gramme of the most grandiose artwork of theWestern culture; to gain experience of an extraordi-nary way of creating a picture; to gain experience of creating with thegaze; to teach about a concept of creation asfall/raise/eternal conceiving but also as emergence.

Ambience: As usual. Three projectors, a videoplayer, a TV screen, photocopies, polychromaticsand and crayons are available.

Structure of the activity1. Before looking at the artworks we try out whatour hands can do. The exercise is suggested (adancing one): the hand is left to fall and then it israised again slowly in a spiral path. After a bit oftraining this movement, the same is tried out with acrayon in the hand which leaves a trace (point). Weremind the participants of the definition of theabsolute plane (the sign of halting light), of the defi-nition of dot-point (the sign of halting the handmovement) which imitates the emergence of theabsolute plane. Everything in visual arts begins withthe point and the spiral, a basic synthetic rule whichcontains progression, rotation, expansion. The greatsage of our time Maharishi Mahesh Yogi reveals theRk Ved as: R - infinite dynamism, K - infinitepeace/-silence; RK presents all the possible tranfor-mations from infinity to the point and from the pointto infinity, contains the whole creation. The arts are,we would say, a revival of the primordial creation(the visual art is its visual aspect).2. a) We begin with the projection (three projec-tors). The whole of the Sistine chapel is projectedfrom the right and from the other two parts of thewhole of the vault seen from below. We remind our-selves (see Origins and Principles) that this mostgrandiose artwork of Western culture (Michelangelocovered 1000 m2 with paintings) is possible toapprehend as a whole under a vertical angle of 45°,and at the same time the tiniest details can be dis-tinguished under a 4-5’ angle. Behind such a wholethere is naturally the conception that the world is upto human scale. We explore the neoplatonistic pro-gramme (Ch. Tolnay). The whole vault represents the different stages ofexistence. b) Each participant gets a sche-me of the vault and writes onto it, the detail whichis projected from the right projector and whichhe/she had found before in the projection of thewhole vault (projections left, centre). c) We beginwith the series of the Prophets from the OldTestament and Sybils (pagan seers) who see God -Reality. The great dimensions give the illusion thatthey are the nearest to the spectator. The details ofthe Prophets are shown in an order, the reading iszig-zag (Zachariach, Joel, Isaiah, Ezekiel, Daniel,Jeremiah, Jonah). The neoplatonic programme isexplained: from the first step of spiritual experience(Zachariach is reading from a book) to the ultimateecstasy (Jonah). The phases between are: openingthe rotulus, putting the book aside, putting the rotu-lus aside, listening to the voice and noting what isheard, sinking into meditation. The participants areasked (the instruction is given), not to forget, apartfrom such a reading of the neoplatonic programme,to look/to become aware of the colour choice, ofthe colour syntax, of the figure’s ratio, of the com-position. Their attention is also drawn to some,mostly oval shapes, which most often overlap with

Voditelj postavlja “plesni” zadatak, neka seruka stropo{ta u to~kuThe workshop leader isputting the “dancing” task: let the hand collapse ina point

Sudionici izvode “plesni” zadatak: ruka se uzavojitoj putanji di`e/The participants perform a “dancing” task: thehand raises in spiral movement

Sudionici bilje`e u shemi ikonografski pro-gram Michelangelovog svoda/The participants are noting in scheme the iconographic programme of Michelange-lo’s vault

Sudionici bilje`e u shemi ikonografski pro-gram Michelangelovog svoda/The participants are noting in scheme the iconographic programme of Michelange-lo’s vault.

Sudionici “crtaju” raznobojnimpijeskom/The participants are “drawing” withmulticolored sand

two focuses - the Twins/Couple. The game is toreconstruct the centre (Hamvas). d) Back to the picture: the central axis is the Holy Corn aroundit the male and the female paths (zig-zag and thebow). At the top is the Tree of Life (known in allcultures), a vertical which connects the under-ground, this world and the supernatural world. The Mother Corn guides the first people up to thesurface of the earth: “All is done. All is perfect.” e) Some slides of the Navaho Indians are shown.They are in a hogan (tent) and draw. In the centrethere is a sick woman. The picture is used to healher. To heal means to revive the creation which hasbeen spoiled. When the ritual is finished the sand isgathered and the picture de-created. f) The partici-pants are asked to de-create their pictures with anintentional gesture. g) In connection with Creationone more interpretation is told. T. de Pasquoes:Creation is God’s sin, and man is repeating God’ssin, but Christ redeems. When one divides into two,that is the sin. The overcoming is in the concept ofthe RK: only if the transcendental in oneself has theinfinite dynamism and the infinite peace and isabove the One and the Two then the myths aboutthe sin of Creation are out of the question.4. a) On the screen we look how the gaze creates.On the screen we follow the computerized eye move-ments of D. Mance. and I. Mance. while looking atTartaglia’s Still Life and also I. Mance looking at J. Knifer’s Meander. After looking at the device thereverse is also shown - “de-creation of theobserved”. We talk about the act of creation with thegaze about which we have constantly been speaking,but now we want to try out the artificial and possiblede-creation. S. Weil in “Venice Saved” says that increation man imitates God but the main thing is to beable to imitate God in de-creation too and not becaptured by one’s own creature. b) M. Tartaglia’sStill Life and J. Knifer’s Meander are projected. Nowthe accent is not on the paintings but on the mode ofcreation with the gaze (the accent is however alwayson that). The projection of Knifer’s painting is blurred.From the faint blur the world emerges every morning.We always ask whether a new one or the oldscheme is always repeated and now we want to add:Are we able to withdraw from creation, from theworld, either from materialisation like a painting, orfrom a living child or only from the things seen?

3. Stvaranje se shva}a kao pad u gotovo svim tradicijama, ali ipak ne u svim i zato slijedi upozna-vanje s pje{~anim slikama Navaho Indijanaca. a) Sudionici dobivaju pijesak (ùti, bijeli, crni, plavi -moè se koristiti i pepeo, samljevene latice, ugljen itd)) i sipanjem rade koncentri~ne kru`nice (vanjs-ka je bijela, pa slijedi ùta, pa plava i, kona~no, unutarnja crna). b) Projiciraju se snimci NavahoIndijanaca pri slikanju - sipanju da bi sudionici mogli usporediti kako su radili. c) Projiciraju se ~etirislike Navaho Indijanaca koje pokazuju stvaranje u ~etiri faze. Stvaranje se ne shva}a kao pad negokao pojavljivanje, iz svjetova se pojavljuje ~ovjek kao najvi{i stupanj. Prva slika: u sredini su koncen-tri~ni krugovi, oko njih uzdu`ni oblik, rub je bijeli. Pratimo ulazak: tragovi vode unutra, tu suVjesnici - Muhe. Uspon se ponavlja, bijela ozna~ava pojavljivanje ôvjeka. Gore je Plava ptica sre}e itragovi koji odvode. Sveta os = put oko centra je ùt, napravljen je od peludi. Druga slika: ~etiripre~ke u ~etiri boje, êtiri svijeta. Gore je Plava ptica. Tre}a slika: uz os je cik-cak linija = munja =mu{ki put i duga = luk = ènski put. Sedam kru`nih oblika = Svete planine koje pri~vr{}ujuzemlju. êtvrta slika: tragovi vode do uzdu`nog oblika izme|u Blizanaca (putem kojih Stvoritelj pu{esvoju bit u svijet). Slijedi usporedba s prikazom parova u Indiji (Mithuna). Na~in egzistencijePar/Blizanci u svim je kulturama va`na tema: uvijek se radi o istom. Slijedi usporedba s meksi~komigrom loptanja. Radi se o igri ponovnog uspostavljanja kruga. Naime, krug je deformiran, umjestosredi{ta dva su fokusa - to su Blizanci/Par. Igra se da bi se opet uspostavilo sredi{te (B. Hamvas). d) Vra}amo se ~etvrtoj slici: sredi{nja os je Sveti kukuruz oko kojega se omotavaju mu{ki i ènskiputovi (cik-cak i luk). Gore je Drvo ìvota (poznaju ga sve kulture, vertikala koja povezuje podzemni,ovaj i nadzemni svijet. Majka kukuruz vodi prve ljude gore na zemljinu povr{inu: “Sve je dovr{eno.Sve je savr{eno.” e) Pokazuju se snimci Navaho Indijanaca u hoganu ({atoru) kako slikaju i kako je usredini slike postavljena èna/bolesnica. Slika sluì iscjeljenju. Iscijeliti se zna~i obnoviti stvaranje kojese iskvarilo. Kada je ritual gotov pijesak se pokupi, slika dekreira. f) Pozivaju se sudionici da nekomnamjernom kretnjom dekreiraju svoju sliku. g) U vezi sa stvaranjem pri~a se jo{ jedna interpretacija(T. de Pasquoes): kreacija je Bo`ji grijeh, ~ovjek ponavlja Bo`ji grijeh, a Krist iskupljuje. Kada se,naime, jedno razdvoji u dva, to je grijeh. Nadilaènje takvog shva}anja je u RK: mitovi o grijehuotpadaju samo onda ako je transcendentno iznad jedan i dva i ako u sebi sadrì beskona~nidinamizam i beskona~ni mir.4. a) Na ekranu se gleda stvaranje pogledom. Prati se kompjutorski zapis kretanja pogleda D. Mance.i I. Mance. pri gledanju Tartagline Mrtve prirode, pa kretanje pogleda I.Mance pri gledanju KniferovaMeandra. Zapis se odvrti i unatrag - “dekreira se gledano”. Govori se o ~inu stvaranja pogledom o~emu uvijek govorimo, ali sada isku{avamo i umjetnu i mogu}u dekreaciju. S. Weil u Spa{enoj Venecijigovori da ~ovjek u kreaciji imitira Boga, ali bit je u tome zna li ga imitirati i u dekreaciji ili ostajezarobljen u onom {to je stvorio. b) Pokazuje se Tartaglina Mrtva priroda i Kniferov Meandar. Sada nijenaglasak na slikama nego na ~inu kreacije pogledom (o ~emu je uostalom rije~ i ina~e). Zamuti seprojekcija Kniferove slike. Iz nejasne mrlje svako jutro izranja svijet! Uvijek se pitalo: da li uvijek noviili tek stara shema, a sada bi se nadopunilo: umijemo li se povu}i iz kreacije, iz svijeta, bila to materi-jalizacija poput slike, ìvog djeteta ili samo vi|enog?

337figure of Sophia and Christ, the figure of Lucifer andthe archangel Michael beside the God father duringcreation. j) Knowing all Michelangelo’s artworks,visual and literary too, we can draw a parallelbetween his conception of the vault, a stone blockand the other person as that and which is given. Alldepends on the amatore (this one who loves / thisone who carves / paints), who will be able to liber-ate the good/the evil in another man, in a stoneblock or in a vault.3. In nearly all traditions the Creation is conceivedas a Fall but not in all and because of that partici-pants learn the sand pictures of Navaho Indians. a) The participants get some sand (yellow, white,black and blue - crushed flower petals or ash orcharcoal can be used too and by strewing, concen-tric circles are made (the outer circle is white, thenthe next one yellow, then blue and in the end theinterior is black). b) Some slides of Navaho Indiansare projected, how they paint-strew in order tomake the participants control how they worked. c) Four pictures of Navaho Indians are shown. Theyrepresent Creation in four stages. The Creation isnot conceived as a Fall but an Emergence, from theworlds man emerges as the highest stage. The firstpicture: In the centre there are concentric circles,around them a longitudinal shape, the edge is white.We follow the entrance: the traces guide inside,here are the Messengers-Flies. The raising isrepeated, the white signs mean human emergence.At the top is the Blue Bird of happiness. The foot-prints lead us away. The Holy Axis = path aroundthe centre is yellow, made of pollen. The secondpicture: the four bars in four colours, Four Worlds.At the top is the Blue Bird. The third picture: Besidethe axis there is a zig-zag line = thunder = malepath and the rainbow = bow = female path. Sevencircular shapes = the Holy Mountains which pegthe Earth down. The fourth picture: The footprintsguide between the Twins (through them the Creatorblows his essence into the world) to the longitudinalshape. They are compared with the representationof the couple in India (Mithuna). The mode of exis-tence Couple/-Twins in the cultures is an importantsubject: always about the same. A comparison fol-lows about the Mexican ball game. The intention ofthe game is to reconstruct the circle. That is, thecircle is deformed, instead of one centre there are

rastapanje razvojadissolution of evolution

odr`avanje razvojapreservation of evolution

razvijanje razvojaevolution of evolution

BBUUDDDDHHAA,, CCRRNNII BBAAZZAALLTT//BBLLAACCKKBBAASSAALLTT,, 4444,,55 CCMM,,LLAAOOSS

paryanka polo`aj/posturebhumisparsa mudra

MJERA = NADLJUDSKA BIT THE MEASURE = SUPERHUMAN ESSENCE

SSRRII YYAANNTTRRAA,, 1188.. SSTT..,, 1188TTHH CC..2200 XX 2244 CCMM,, NNEEPPAALL(ZIMMER)

BBUUDDDDHHAA,,BBRROONNCCAA//BBRROONNZZEE,, 5533 CCMM

SS VV EE TT II PP RR II KK AA ZZ TT HH EE HH OO LL YY RR EE PP RR EE SS EE NN TT AA TT II OO NN

VERA ICON - ACHEIROPOIETOS (ne rukom stvorena/not hand made)APAURUŠEYA/APAURUSHEYA (ne ljudskog podrijetla/not human origine)

SVJETLOST JE NADNARAVNA BIT IKONELIGHT IS THE SUPERNATURAL ESSENCE OF AN ICON

BBOOGGOORROODDIICCAA VVLLAADDIIMMIIRRSSKKAA((UUMMIILLJJEENNIIJJAA))//OOUURR LLAADDYY OOFFVVLLAADDIIMMIIRR ((GGLLYYKKOOPPHHIILLOOUUSSAA)),,1122.. SSTT..//1122TTHH CC..,, MMOOSSKKVVAA//MMOOSSCCOOWW

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IKONA SU VRATA LICE RAZOTKRIVANJE SLOJEVA PRISJE]ANJE NA BO@ANSKO

KONSTRUKCIJA YANTRE CONSTRUCTION OF YANTRA

BBIINNDDUU

rastapanje rastapanjadissolution of dissolution

odr`avanje rastapanjapreservation of dissolution

razvijanje rastapanjaevolution of dissolution

rastapanje odr`avanjadissolution of preservation

odr`avanje odr`avanjapreservation of preservation

razvijanje odr`avanjaevolution of preservation

ICON IS THE DOOR FACEREVELATION OF LEVELSREMEMBRANCE OF DIVINITY

nevidljiva to~kainvisible point

duction. e) Because of the bad condition of the iconOur Lady of Vladimir we project details of the Virginof the Belltower (see the workshops Painting)where we can easily identify the traces of a particu-lar procedure. f) Our Lady of Vladimir is shownagain. The participants are told that the painterprayed always to the Virgin Hodegitria before paint-ing to be able to be faithful to the pattern. Furtherwe talk about the representation of the drapery(asistka) as streams of energy - a cut in goldenleaves or wires. We also talk about the dividing,razdielka, separation as acts of creation from a blur.The relation between the figure-primal figure is ananalogon to the relation of Father-Son, and an anal-ogon of the communion. The painting uncovers (astory about an icon from Constantinopole, whereChrist is without a hand because the icon painterdied instantaneously when Christ answering hisdelight in how faithfully he had painted the Lord,answered: “I wanted it that way”). The icon is adoor and through it the face appears. Uncoveringliterally means pushing away the layers and whenthe face emerges that is the remembering - anam-nese, regaining the power of the memory ofDivinity. What is uncovered is the superheavenlyessence, spiritual energy = the golden network, theonthological skeleton of the world.3. a) To the participants are given instructions how toconstruct the yantra (the nucleus of the visible andknown - the linear diagram, with the help of whichthe visualized energy is concentrated, the concentra-tion of energy and content). The construction is per-formed in six steps - intermediate shapes. The par-ticipants receive the specimens and the text (the ver-bal instructions for construction and description ofmeaning). Through tracing paper they draw, step bystep the whole linear yantra from the six specimensonto the same tracing paper, students help and oneof them draws on the blackboard. They are asked toread the meaning of every intermediate shape eachtime. We begin from the invisible point (bindu), theparticipants are reminded that the bindu is at the topof the Indian temple, the uncatchable encounter ofthe manifested and unmanifested (see the first work-shop). After that we construct the first triangle etc.The participants are told about 3 x 3 processes (dis-solution of dissolution, preservation of dissolution,evolution of dissolution, dissolution of preservation,preservation of preservation, evolution of preserva-tion; dissolution of evolution, preservation of evolu-tion, evolution of evolution). b) The Sri Yantra fromNepal, 18th Century (20 x 24 cm) is projected. It isa “vessel” for visually diving into oneself. The pic-ture is looked at and the participants speak abouttheir experiences of the visible transformations ofthe shapes. The dynamics of deconstruction is

U ~ e t v r t o j radionici namjera je istra`uju}i/konstruiraju}i ste}i neposredno iskustvo o nastajanjusvetog prikaza po strogim pravilima.

Ambijent: Razmje{teni su posebno stolovi za po dvoje sudionika i studente-instruktore. Potrebni sutu{, kistovi, paus, prire|eni tekstovni i likovni materijal.

Struktura doga|anja1. Projicira se Kristovo lice s Torinskog pokrova ~ime zapo~injemo temu svete slike, svetog prikaza,vere icone, acheiropoietosa (ne na~injeno ljudskom rukom), apauru{eye (ne ljudskog porijekla). OsimTorinskog platna mo`da je postojao i Mandilion (od lat. mantile = pla{t, arap. mandil = veo,rubac), Veronikin rubac s otiskom Kristova lica, (okvir se pokazuje na Veliki petak u crkvi Sv. Petra uRimu). Postoji i predaja o prikazanoj Bogorodici, slici Sv. Luke (slika se nije sa~uvala i upravo je raditoga bila vrhunska sablazan kada je Mimara za jedan svoj falsifikat! tvrdio da je to ikona Sv. Luke).Budisti~ka tradicija ~uva uspomenu na doga|aj kad majstori nisu uspijevali pogoditi Buddhin lik, ikada im je Buddha dozvolio da obcrtaju njegovu sjenu. Buddhin lik je u odsutnosti svjetlosti(prisje}amo se odredbe plohe) i u omjerima. Vra}amo se Torinskom platnu i nesigurnosti oko nasta-janja (eksplozija prilikom uskrsnu}a?).2. a) Projicira se snimak ikone Bogorodica Vladimirska (Umiljenija), 12. st. Tretjakovska galerija,Moskva. Bogorodica Vladimirska je jedna od naj~udotvornijih ikona isto~noga kr{}anstva. Ikona jepoput pri~e{ti (communion), {to se ~esto doslovno shva}alo, i {to je, mo`da, razlogom slabe o~uvanostislike. b) Slijedi samostalno istraìvanje uz pomo} studenata-instruktora. Dobiva se saètak teksta P.Florenskog o pripremanju podloge i slikanju ikone, i fotokopija ikone. Crta se presjek ikone (kov~eì}-okvir) i crtom/nekim znakom ozna~avaju se slojevi. Govori se o neutraliziranju oplo{ja kao imitiranjuplohe (svjetlosti). Podsje}a se ponovo na odredbu plohe, na paradoksalni karakter plohe (potpuno jevizualna - svjetlost, a ipak nevidljiva, jer svjetlost pada na neku povr{inu koja se tek zapravo vidi).Pomno pripremljena podloga u slu~aju ikone (neutralizirani odnos mase i prostora) je radi “slikanja posvjetlosti”. c) Opet se projicira Bogorodica Vladimirska. Govori se o zlatu (zlato nije boja), prikladnomza ozna~avanje nadnaravne svjetlosti. d) Istraùje se dalje i upisuju se termini u fotokopiju reprodukcije.e) Zbog slabe u{~uvanosti Bogorodice Vladimirske projiciraju se, kao pomo}, detalji Gospe od zvonika(v. radionice S l i k a r s t v o) gdje se lak{e identificiraju tragovi pojedinih postupaka. f) PonovoBogorodica Vladimirska. Govori se o tome da bi se slikar prije slikanja ikone obratio BogorodiciHodegitriji (Putovoditeljici), kako bi mogao ostati vjeran uzorku. Govori se o prikazu nabora (asistka)kao o toku energije - udubljenja u koje dolaze zlatne ìce. Govori se o diobi (razdjeljka), odjeljivanju kao~inu stvaranja iz mrlje. Dalje se govori o odnosu lika - prvolika kao o analogonu odnosa Oca - Sina,analogonu pri~e{ti. Slika razotkriva (pri~a o jednoj carigradskoj ikoni, na kojoj je prikazan Krist bezruke, jer je ikonopisac ostao na mjestu mrtav kad mu se javio Krist i, na njegovo zadovoljstvo da jeGospoda vjerno naslikao, odgovorio: “Tako se to meni ushtjelo”). Ikone su vrata, kroz njih se pojavljujelice. Razotkrivanje je odmicanje slojeva i, kada se lice pokaè, to je prisje}anje - anamneza, zadobivanjemo}i ponovnog prisje}anja na Boànsko. Ono {to se otkriva je nadnebeska bit, duhovna energija =zlatna mreà, ontolo{ki kostur svijeta.3. a) Sudionicima se daju upute za vje`bu konstruiranja yantre (jezgra vidljivog i znanog - linijskidijagram uz pomo} kojeg se koncentrira vizualizirana energija, koncentracija energije i sadràja).Konstrukcija se izvodi u {est koraka - me|uoblika. Sudionici dobivaju predloàk i tekst (verbalneupute za konstrukciju i opis zna~enja). Korak po korak, preko pausa precrtavaju cijelu linijskuyantru sa svih {est predloàka (na isti paus), pomaù im studenti-instruktori, a jedan student crtana plo~i. Pozivaju se da svaki puta pro~itaju i zna~enje svakog me|uoblika. Po~inje se od nevidljiveto~ke (bindu), pritom se podsje}a da je bindu, neuhvatljivi susret manifestiranog i nemanifestira-nog, i na vrhu indijskog hrama. Nakon toga se kre}e u konstrukciju prvog trokuta itd. Upozoravase na 3 x 3 procesa (rastvaranje rastvaranja, odràvanje rastvaranja, razvijanje rastvaranja; rast-varanje odràvanja, odràvanje odràvanja, razvijanje odràvanja; rastvaranje razvijanja,odràvanje razvijanja, razvijanje razvijanja). b) Projicira se Sri Yantra iz Nepala, 18. st., 20 x 24cm. To je “posuda” za vizualno uranjanje u sebe. Slika se gleda i sudionici govore o svojimiskustvima o vidljivoj transformaciji oblika. U statiku konstruirane yantre ugra|ena je dinamika

341In the f o u r t h workshop the intention is togain experience through an exploration/constructionabout the holy representation done by strict rules.

Ambience: Separate tables for two participants anda student instructor, Indian ink, brushes, tracingpaper, prepared texts and photocopies.

Structure of the activity1. Christ’s face in the Turin shroud is projected andwe begin with the topic of the holy picture, holyrepresentation, vera icona, acheiropoietos (not doneby hand), apaurusheya (not of human origin).Except the Turin shroud may be the Mandilion (lat.mantile mantel, the arabic mandil, scarf, veil) exist-ed too (Christ’s face) as Veronica’s scarf (on GoodFriday its frame is displayed in San Pietro in Rome)and a tradition about the image of the Virgin madeby St. Luke (the painting is not preserved andbecause of that it was a real blasphemy whenMimara claimed that one of his forgeries, was St.Luke’s icon). The Buddhist tradition keeps thememory of an occurrence when Buddha’s figurecould not be caught and when Buddha allowed thepupils to make an outline of his shadow, it meansBuddha’s figure is in absence of light and in ratios(a reminder of the definition of the plane). We goback to the Turin shroud and talk about the insecu-rity of its origins (the explosion of the Resurrectionmaybe).2. a) The icon of Our Lady of Vladimir (The Glykophilousa the Tender one) 12th Century,Tretjakov Gallery, Moscow, is projected. Our Ladyof Vladimir is one of the most miraculous icons ofOrthodox Christianity. The icon is like a commu-nion, which is very often literally conceived and hasperhaps become the cause for the bad state of thepainting. b) Individual exploration begins (studentshelp). A digest of P. Florensky’s text is given aboutpreparing the ground, and painting the icon and thephotocopy of the icon. A section of the icon (thechest-frame) is drawn and with a line or somesigns the layers are noted. We talk about neutraliz-ing the surface as an imitation of the plane (light).We remind ourselves again of the definition of theplane, of the paradoxical character of the plane (it isa pure visual phenomenon - light, and is invisiblestill because the light always falls on some surfacewhich is then really visible). The carefully preparedground in the case of icons (the neutralized relationof mass and space) is because of that “painting onlight”. c) The icon Our Lady of Vladimir is projectedagain. We talk about the gold which is not a colourand because of that it is suitable to be a sign ofsupernatural light. d) We explore further and the ter-minology is noted on the photocopy of the repro-

Kako se priprema i slika ikona:studenti instruiraju/How an icon is preparedand painted: students are instructing

Crta se presjek podloge/A section of theground is drawn

Konstruira se tibetska yantra. Studentipoma`u/A Tibetan yantra is constructed.Students-instructors help.

Radi se kistom i tu{em: imitira se Budhinasjena po odre|enom mjerilu/The participantsare working with brush and Indian ink, Buddha’sshadow is imitated according to certain mea-sures

everything; urna - the third eye = Buddha seeseverything; great ears = Buddha hears everything).The measures are explored (they are holy) and b)the shadow-plane is explored. The participants areinvited to fill in the drawing with a brush and Indianink simulating the shadow of Buddha’s body. Thestory about Buddha’s permission to outline hisshadow is repeated.5. Reminding the participants once more: weexplored the light, the supernatural essence of theicon, the shape in the yantra (emergency of theworld and exit from it) and the third item the plane,as a sign of light absence, the measures whichdo/not come out of human hands and are thesuperhuman essence of the all artworks.

dekonstrukcije. Gledanjem se doìvljava sebe kao Brahmana identificiraju}i se sa sredi{temsredi{ta (nevidljivom to~kom) odakle se svi oblici {ire.4. Sudionici dobivaju dio mreè na pausu, onaj dio koji se realizira u kompoziciji Buddhinog kipa(paryanka poloàj - bhumisparsa mudra: rukom pokazuje prema zemlji) i, na fotokopiji, shematskiprikaz Buddhinog lika. Stavljanjem mreè na lik (paus na fotokopiju) ili se rekonstruira cijelamreà, ili se samo ucrtava lik u postoje}u mreù pritom obra}aju}i pozornost na osi i na veli~inuistaknutih dijelova (u{ni{a na tjemenu = Buddha sve zna; urna - tre}e oko = Buddha sve vidi;velike u{i = Buddha sve ~uje). Istraùju se mjere (one su svete). b) Istraùje se i sjena-ploha.Sudionici se pozivaju da kistom i tu{em ispune dobiveni crte` simuliraju}i sjenu koju bacaBuddhino tijelo. Ponavlja se pri~a o tome da je Buddha dozvolio da mu se sjena opcrta. 5. Podsje}a se jo{ jednom: istraìvala se svjetlost, nadnaravna bit ikone, zatim oblik u yantri (nasta-janje svijeta i izlazak iz njega) i tre}e: ploha, kao znak odsutnosti svjetlosti, te mjere koje ne potje~uod ljudske ruke, i koje su nadljudska bit djela.

343inserted into the statics of the constructed yantra.Looking at the picture, the participants experiencethemselves as Brahman in their identification withthe centre of the centre (invisible point) from whereall the shapes expand.4. The participants receive part of a network ontracing paper, the part which is realised in the composition of Buddha’s statue. (paryanka pos-ture - bhumisparsa mudra = hand pointing at theearth) and in the photocopy a schematic represen-tation of Buddha’s figure. Putting the network on thefigure (tracing paper on a photocopy) either thewhole network is reconstructed or the figure isdrawn onto the network paying attention to the axesand to the dimensions of the accentuated shapes(ushnisha at the top of the head = Buddha knows

voda = yang / muško/nebo/jasnowater = yang / male/heaven/sharp

vodopad = yin / `ensko/zemlja/mutnowaterfall = yin / female/earth/gloomy

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tokovi `ivotne energijecontinous vital energy

URAVNOTE@AVANJEmuško - `ensko = u`itak

BALANCINGmale - female = pleasure

HH AA RR MM OO NN II ZZ II RR AA NN JJ EE KK OO NN TT RR AA SS TT AA -- AA NN AA LL OO GG NN OO MM II [[ LL JJ EE NN JJ EE

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TAO Jedno Dvoje Sve što postoji = 10 000 bi}aTAO One Two Everything that exists = 10 000 beings

ANALOGIJA, TOK ANALOGY, FLOW

STVARNOST JE POKRETNA MRE@A REALITY IS THE MOBILE NETWORK

dim planina

smoke mountain

metafora trajanjemetaphor continuity

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evil / Indeed, the hidden and the manifest give birthto each other. / Difficult and easy exhibit each other. /High and low set measure to each other / Voice andsound harmonize each other. / Back and front followeach other.” c) The task is posed to write a poem ora riddle using the contrasts and analogies from theirlist. The metaphor is presented as a proportion a : b= c : d (heaven : dragon = earth : vessel). If theproportion is reduced a continuous proportion isobtained a : b = b : c (heaven : dragon = dragon :vessel); may be it can be expressed like this: thedragon is looking towards heaven and the vessel,connecting, conciliating them.) or the GoldenSection, economical proportion: a : b = b : (a + b)(heaven : dragon = dragon : (heaven + dragon);may be it can be expressed like this: the dragon islooking towards heaven and the dragon itself, in unitywith heaven). d) The Islandic kennings are read (theship = sea horse,the battle = the raven’s feast,storm of swords; the sea = the chain of islands, theshelter of whales); examples from the Bible: (matter= adulteress); from Maimonides: (matter = restlesswoman); from folk songs: (“the fire came betweenus” = hero, “as you asked for the gold” = girl, and“the swan you ride” = horse); are mentioned Tao TeKing : Tao = the way, the mysterious feminine, thevoid, the spirit of the valley, but the ten thousandbeings = the Universe. e) The participants read theirpoems. f) Gwion’s riddle is read (a Welsh priest,13th Century) “I suffered hunger with the Son of theVirgin; I was on the High Cross in the land of Trinity;I was three periods in the castle of Arianrhod, abovethe Castle of the Sidha” - who am I? The riddle isput, to be solved to participants and probably some-body answers - Jesus. (The first line is most confus-ing but it is probably directing to the “witnessing”quality of Jesus).4. After all these preparations we look at the first ofthe examples in a serie of projected artworks. It wasimportant to enter the spirit of Tao to solve theirmeanings. a) A diagram is projected which oncemore reminds the participants that from Tao emergesOne, from One Two, and further the ten thousandbeings (the Universe). b) A jar inlaid with gold, 3rdCentury B. C. (comparison with the asistka) isshown. In the representation smoke can be recog-nized, which transforms into a mountain - expellingof the world as a continuous flow, the smoke whichrises and develops into a tangible, hard threedimen-sional landscape. Reality as conceived by Tao is amovable network, a network of constant movement.This concept is opposite to the usual Western onewhich cuts and observes the halted and the cut. A great turn is in our age when even physicist com-prehended that everything is a continuum and thateverything transforms into everything. To enterChinese traditional thinking we have to enter the streams (analogies), then the contrasts aresmoothed and in harmony. For instance, water isyang/male/heaven etc. but falling water or a whirlpool is yin, and opposites of heaven and earthare harmonized in that, losing their sharp boundariesand everythings drawn off. c) A dish from the Mingdynasty, 14th Century is shown.The polychromicgaze makes the representation/ effect of continuousall pervading energy (chi). d) A wooden stand withholes, 18th Century is presented (the fullness =earth, the emptiness = heaven). It would be wrongto say heaven and earth are represented. It is veryeasy to read it on the universal level as a highly pen-etrated mass however semantical it is the harmoniz-ing of all possible contrasts. e) A sacrificial chünbowl, 12th Century with a calligraphic mark is pre-

Namjera u p e t o j radionici je ste}i iskustvo o tragu djelovanja energije na tvar; osloboditi rukui pripremiti se za upoznavanje djela odista oslobo|ene ruke, izraza neprianjanja; ste}i iskustvo o kon-tinuitetu me|u suprotnostima {to je temelj analognog mi{ljenja i o razmjeru zlatnog reza kao pravilaanalognog mi{ljenja; poku{ati verbalno i likovno izraziti svoja iskustva; ste}i iskustvo o bitnim osobi-nama kineske kulture.

Ambijent: Isti je kao i u prethodnoj radionici. Potrebni su projektor, fotokopije, tu{, kist, paus ikrejoni.

Struktura doga|anja1. Radionica zapo~inje pokazivanjem snimaka o kreiranju i dekreiranju tibetske yantre od pijeska.Ponovo se govori o kreaciji/dekreaciji kao uvod u to {to slijedi. Upoznavanje iste ideje u Lao Ceovutekstu Tao Te King (podsje}anje na ranije radi-onice K i p a r s t v o, U m j e t n o s t i p o v i j e s t - r a z v o j m o d e r n e o s j e t lj i v o s t i, kada se ve} citirao Tao). îta se drugi dio 2. pjesme Tao te Kinga: “Mudrac(Seng-@en) dozove u postojanje ali ne posjeduje / stvara ali ne prianja (uz to {to je stvorio) / svojedjelo ucjelovi, ali ne boravi u njemu. / I upravo radi toga {to ne boravi u njemu / ne moè ga niizgubiti.” 2. Slijede vje`be: a) Sudionici dobivaju paus i fotokopije snimaka raspukle stijene, suhe raspucale zemljei raspucale glazirane povr{ine. Zada}a je precrtati raspukline (preko pausa) kod relativno elasti~nogmaterijala pod kutom od 120°, kod neelasti~nog pod kutom od 90° uz upozorenje da je pukotina prazn-ina u materijalu (energija) i da nastaje istisnu}em ~estica. b) Dijeli se fotokopija crteà ôvjek u ku}iispod stijene Tao îja koji je ve} poznat iz radionica U m j e t n o s t i p o v i j e s t - r a z v o j m od e r n e o s j e t lj i v o s t i. Preko pausa, ispod niza ranijih crteà, precrtavaju se tokovi linija sa Taoîjeva crteà. Uspore|uju se s raspuklinama. Govori se o Tao îjevoj “metodi bez metode” kako je onsam nazvao svoj na~in poistovje}ivanja s tokovima energije - dok crta, svjestan je da kroz njega prolaziista kozmi~ka energija kao i kroz stijene koje crta. c) Sudionici dobivaju krejonom precrtani kineski znaki krejonom ga precrtavaju u jednom potezu, i ne prekidaju}i pokret, ponavljaju ga, ispravljaju mjere,sve dok ne osjete da im ruka izvodi crte` posve automatski, posve slobodno od bilo kakvezapreke/ko~nice. d) Na novom papiru, bez gledanja, ruci se dopu{ta da nacrta zapam}eni oblik. e) Sve se to ponavlja kistom i tu{em. Pritom se nagla{ava: treba raditi neprislonjenom rukom, ste}iosje}aj slobode, doìvjeti rukom oblik.3. Slijedi vje`ba analognog na~ina mi{ljenja. a) U dva stupca pi{u se kontrasti poput: nebo - zemlja,koji su po~etni stupanj analogija. Daju se primjeri kontrasta: svjetlo - tama, puno - prazno, gorko -slatko, mu{ko - ènsko, godi{nja doba, strane svijeta, ìvotinje, biljke. Kao primjer ~itaju se kontrastniparovi Meistera Eckhardta: postojanje - nepostojanje itd. Upozorava se da u ~esto kori{tene kineskeanalogije npr. spadaju zemlja/posuda/krizantema/boùr/riba itd. b) îta se prvi dio 2. pjesme Tao teKinga: “Kada u onome pod nebom svatko prepozna da je lijepo lijepo onda se pojavi i ru`no / Kadasvatko prepozna da je dobro dobro, pojavi se i zlo / Zato: postojanje (ju) i nepostojanje (vu) ra|aju seme|usobno / lako i te{ko jedno drugo tvore / duga~ko i kratko jedno drugo oblikuju / visoko i dubokojedno uz drugo prianja / zvuk glasa i glazba se uskla|uju / ono prije i ono poslije se slijede.” c) Postavlja se zadatak da se, koriste}i kontraste i analogije iz svog popisa, napi{e pjesma ili zagonet-ka. Pritom se tuma~i metafora kao razmjer. Kao primjere uzimamo kineske kontraste i analogije: a :b = c : d (nebo : zmaj = zemlja : posuda). Ako se skrati dobiva se kontinuirani razmjer: a : b = b : c (nebo : zmaj = zmaj : posuda, {to se mo`da moè izraziti: zmaj gleda prema nebu i posudipovezuje/miri ih) ili zlatni rez, ekonomi~an razmjer: a : b = b : (a + b) (nebo: zmaj = zmaj :(nebo + zmaj), {to se mo`da moè izraziti: zmaj gleda nebo i sebe neodvojivog od neba). d) îtajuse islandski kenninzi (brod = morski konj, zlato = zmijski leàj, bitka = gozba gavranova, vihorma~eva; more = lanac otoka, skloni{te kitova). Spominju se primjeri iz Biblije (tvar = preljubnica),Maimonidesa (tvar = nemirna èna), primjeri iz narodnih pjesama (“vatra izme|u nas do|e” =junak, “otkako si isprosio zlato” = djevojku, “i labuda svoga uzjahao” = konja). U Tao te Kingu:Tao = put, ~udesna èna, praznina, duh doline, a desettisu}a bi}a = univerzum. e) Sudionici ~itajusvoje pjesme. f) îta se Gwionova zagonetka (vel{ki sve}enik, 13. st.): “Gladovao sam s Djevi~inimsinom, bio sam na visokom kriù u zemlji Trojstva. Tri sam razdoblja proveo u dvorcu Arianrhodiznad dvorca Sidha”. Tko sam ja? Zagonetka se upu}uje sudionicima i vjerojatno netko pogodi da jeto Isus (najvi{e zbunjuje prva tvrdnja - ali vjerojatno upu}uje na Isusovo “svjedo~enje”).4. Nakon svih ovih priprema projiciraju se snimci niza djela za odgonetavanje ~ijih zna~enja je bilopotrebno u}i u duh Taoa. a) Prvo se projicira dijagram koji jo{ jednom podsje}a da se iz Taoapojavljuje Jedno, iz Jednog Dvoje, iz Dvoje Desettisu}a bi}a (univerzum). b) Pokazuje se snimakkineske posude sa zlatnim inkrustacijama, 3. st. pr. Kr. (usporedba s asistkom). U prikazu se prepo-znaje dim koji se pretvara u planinu - doìvljaj svijeta kao kontinuiranog toka, dim koji se diè i razvijau opipljivi, ~vrsti trodimenzionalni krajolik. Realnost je, kako se po Taou shva}a, pokretna mreà,mreà neprestalnog kretanja. Shva}anje je opre~no uobi~ajenom zapadnom koje reè i promatra zaus-tavljeno i razrezano. Veliki zaokret nastaje u na{em vremenu kada su i fizi~ari spoznali da je sve kon-tinuum i da sve prelazi jedno u drugo. Da bismo u{li u kinesko tradicionalno shva}anje moramo u}i utokove (analogije). Tada se kontrasti ublaùju, harmoniziraju. Npr. voda je yang/mu{ko/nebo itd., alivodopad ili vrtlog je ve} yin/ènsko/zemlja i tu se suprotnosti neba i zemlje ve} harmoniziraju, gubeo{tre granice i sve se preta~e. c) Pokazuje se snimak zdjele iz dinastije Ming, 14. st. Raznobojnom caklinom postiè se prikaz/efekt kontinuirane sveproìmaju}e energije (~i). d) Pokazuje se snimakdrvenog stalka s rupama iz 18. st. (puno}a = zemlja, praznina = nebo). Ipak, bilo bi krivo re}i da se

347The intention of the f i f t h workshop is to gainexperience of the action of energy on matter; aboutliberating the hand as a preparation for an introduc-tion to the artworks made with a really liberatedhand, as an expression of detachment; of the conti-nuity between opposites which makes the maincontent of analogous thinking and about the propor-tion of the Golden Section as a rule of analogousthinking; to try the verbal and visual art expressionsof experience; to gain experience of the main char-acteristics of Chinese culture.

Ambience: As usual. Projector, photocopies, Indianink, brushes, crayons, and tracing paper are avail-able.

Structure of the activity1. Some slides are shown about creating anddecreating a Tibetan Yantra made of sand. We talkagain about the creation/de-creation as an introduc-tion to the next topic. Again Lao Tzu (he was quot-ed in Sculpture, in Art and History) and now the endof the second poem from Tao Te King is read: “Hedoes his work, but sets no store by it. / He accom-plishes his task, but does not dwell upon it. / Andyet it is just because he does not dwell on it / Thatnobody can ever take it away from him.”2. Exercises follow: a) The participants receive trac-ing paper and photocopies made of photographs ofcracked rocks, dry cracked earth and a crackedglaze surface. The task is to draw through the trac-ing paper the cracks in relatively elastic materials(which are at an angle of 120°), in nonelastic(which are at an angle of 90°). Instrucions are givenabout the gaps as the void in material achievedpressing out the particles and entering the void -energy. b) A photocopy of the drawing The Man inthe House beneath a Cliff by Tao Chi, is distributed.It is already known from the workshops Art andHistory. Through tracing paper under the series offormer drawings the streams of lines from TaoChi’s drawing are drawn. They are compared withthe cracks. There is a talk about the Tao Chi’s“method without method” as he himself called hisway of identification with the streams of energy -while drawing he was conscious that cosmic ener-gy was passing through him as through the rockshe was representing. c) The participants receive acrayon-drawn Chinese sign. They draw it also witha crayon in one stroke not interrupting the move-ment, repeating, and correcting the measures tillthey feel their hand performs it quite automaticallyfree from any obstacle. d) On a new piece of paper,without looking we allow our hand to draw thememorized shape. e) All this is repeated with brushand Indian ink. Instruction and emphasis: to workwith a liberated hand not leant against the table, togain a feeling of freedom, to experience the shapewith the hand.3. An exercise of analogous thinking next. This timethe exercise is not visual. a) In two columns the con-trasts such as: heaven - earth, (the beginning of thecolumns of analogies) are written. Examples of con-trast are given: light - dark, full - void, bitter - sweet,male - female; the seasons, the sides of the world,animals, plants. As an example of contrast, pairs byMeister Eckhardt are read: existence - nonexistenceetc. Instruction about often used Chinese analogiesare given: earth / vessel / chrysanthemum / peony /fish etc. b) The beginning of the second poem fromTao Te King is read: “When all the world recognizesbeauty as beauty, / this in itself is ugliness. / Whenall the world recognizes good as good, this in itself is

Isku{avaju se energetski tokovi u crte`u Tao^ija/The energetic streams are explored in TaoChi’s drawing

Vje`ba kineske kaligrafije da se oslobodiruka/An exercise of Chinese calligraphy to liberate the hand

Tra`i se prikladan kist/Searching for appropri-ate brush

Poku{aj kaligrafije/An attempt to calligraph

Vje`ba u analognom mi{ljenju/An exercise inanalogous thinking

Voditelj tuma~i razmjere/The workshopleader explains the proportions

Sudionici ~itaju svoje haiku pjesme iraspravlja se/The participants read and discusstheir haiku poems

and sharpness of representation which are yangcharacteristics are contrasted with the subject:vallies, water fall (yin), while the subject is themountain (yang) it is represented cloudy androunded (yin). The strokes are followed (thestreams of energy) on different levels and thedelight is in the feeling of continuity, harmonizingeverything that exists. c) Huang Kung WangDwelling in the Fu’ch’un Mountains, 14th Century,ink, paper, Taichung, is shown. The basic mode isrecognized. The anecdote: Where are the peoplein your landscape? Answer: I did not know thatthere was anybody around in the world except me.The difference: St. Francis preaches to birds, aBuddhist monk listens to a birds’ song and hearsBuddha’s words in it. d) We look again at TaoChi’s drawing: the dots are yin (but tien meansalso heaven) and the lines yang. About halting themovement, about the flow, about the disposition,the gradation we talked in the workshops Art andHistory - The Development of Modern Sensibility,Tao Chi:“A single stroke which identifies with universalitycan clearly reveal the idea of man and fully pene-trate all things. Thus the wrist seizes reality, itmoves the brush with a revolving movement, cher-ishes the strokes by rolling the brush hairs, andleaves them unbounded by any limitation.” e) Chou Chen’s Dreaming of Immortality in aThatched Cottage, 16th Century, paper, ink, paint,Washington, is projected. First the right part of therotulus: mountain, cottage then the left one: “earlyin the morning I dream about immortality”. f) The participants are invited to write a haikupoem inspired by the drawing and on the basis oftheir experiences. Instruction: the form has to be5, 7, 5 syllables. g) They finish writing and readtheir poems aloud, if they want to.

349348 prikazuju nebo i zemlja. Na univerzalnoj razini posve ga je lako ~itati kao visokopenetriranu masu.Me|utim, zna~enjski je rije~ o harmoniziranju svih kontrastnih mogu}nosti. e) Pokazuje se snimak`rtvene ~ün zdjele iz 12. st. s kaligrafskim znakom. Na tom se primjeru dobro moè uo~iti kako sezna~enjski uslojava. Prvi je kontrast znak i posuda. Posuda je plava a znak purpuran. Me|utimkaligrafski znak zna~i i zmaja (lung) i plavo (~’ing). f) Slijedi nekoliko snimaka japanskih zen vrtovakoji su nastali pod taoisti~kim utjecajem: reljef = kamen = planina = zemlja; teksturalna povr{ina =voda = nebo. Ipak se to ne smije shvatiti kao stati~na metafora, treba poku{ati misliti tok, a ne pojed-ina~ne, izdvojene elemente. g) Slijede snimci nekoliko japanskih haljina “kratkih rukava” = kosode,od 17. do 19. st. Ukrasi imaju harmoniziraju}i karakter - na prvom primjeru grane {ljivinog cvijeta =uravnoteènje mu{kog i ènskog koji ra|a uìtak. Na drugom primjeru su zajedno dva ènska elemen-ta: krizantema i vodopad. Jo{ jedan primjer kosodea s kaligrafskim znakovima uz krizantemu. h)Pokazuje se znak koji se isku{avao: {u = dugi ìvot. Na temelju vlastitog iskustva bar malo oslobo|eneruke, prosu|uje se djelo odista oslobo|ene ruke, izraza neprianjanja. i) Slijedi jo{ jedan kaligrafski znak(japanska kaligrafija nagari pisma). [iroki potez izraz je velike unutarnje slobode, osje}aj slobode bezograni~enja.5. a) Projicira se fotografija Planine Maiji (Gansu) u oblacima. Upozorava se: “priroda imitira umjet-nost”! b) Pokazuje se Li êngova slika Budisti~ki hram u planini, 10. st., svila, tinta i boja, KansasCity. Sudionici se pozivaju da pogledaju crte` onako kako su ve} nau~ili sti~u}i iskustvo gledanja, sadajo{ nadopunjeno time da je ulaskom u univerzalnu razinu zna~enja prije|ena i posljednja zapreka.Jasno}i i o{trini prikazivanja, {to su yang osobine, suprotstavlja se prikazano: doline, vodopad (yin), akada je pak tema planina (yang) prikazana je zamagljeno i zaobljeno. Prate se potezi (tokovi energije)na razli~itim razinama i u uìtku je unutra i osje}aj trajanja, harmoniziranja svega {to postoji. c) Pokazuje se Huang Kung Wangova slika Selo u planini Fu ûn, 14. st., tinta, papir, Taj~ung.Prepoznaje se temeljni na~in. Anegdota: Gdje su ljudi u krajoliku? Odgovor: Zar ima jo{ nekoga osimmene? Razlika: Sv. Franjo propovijeda pticama, budisti~ki redovnik u pti~jem pjevu ~uje, oslu{kujeBuddhinu rije~. d) Ponovo se gleda Tao îjev crte`: mrlje su yin (ali tien zna~i i nebo) a linije yang. O zaustavljanju pokreta, o tokovima, o raspore|ivanju, stupnjevanju ve} se govorilo u dva navrata uradionicama U m j e t n o s t i p o v i j e s t - r a z v o j m o d e r n e o s j e t l j i v o s t i, Taoî: “Jedan jedini potez poistovje}en s univerzalnim jasno }e pokazati ~ovjekovu ideju i ponovo prodri-jeti u sve stvari. Jer ru~ni zglob dosiè zbilju, pokre}e kist, obr}u}i ga, oboga}uju}i poteze zavr}u}idlake kista i ne ograni~ava se.” e) Pokazuje se û ênova slika Sanjaju}i o besmrtnosti u kolibi, 16. st., papir, tinta, boja, Washington, prvo desna strana svitka: planina, koliba, pa druga strana: “u rano jutro sanjam o besmrtnosti”. f) Sudionici se pozivaju da inspirirani slikom i na temelju dosada{njeg iskustva napi{u haiku pjesmu.Uputa: forma mora biti 5, 7, 5 slogova. g) Pali se svjetlo, dotjeruje se napisano, i sudionici ~itaju svojepjesme, ako to èle.

sented. This example shows some semantic layers.The first is the contrast of the sign and the vessel.The vessel is blue and the sign purple. But the calli-graphic sign makes the dragon (lung) as well as theblue (ch’ing). f) A few slides about Japanese zengardens which were created under taoistic influenceare shown. The relief = stone = mountain = earth;the textural surface = water = heaven. But it mustnot be comprehended as a static metaphor, it is nec-essary to try to think the flow, and not the isolatedparticular elements. g) The next slides of severalJapanese dresses so called with “short sleeves” =Kosode from the 17th till the 19th Century are pro-jected. The decoration has a harmonizing character.In the first example flowering branches of a plum-tree= balancing the male and female, which results inpleasure. In the second example there are two femaleelements together: the chrysanthemum and thewaterfall. The third example has calligraphic signsbesides the chrysanthemum. h) We project the signwe tried out earlier, the sign shu = long life. The cal-ligraphic sign, the expression of detachment, madewith a really liberated hand is judged by our ownexperience, of at least a slightly liberated hand. i)Another calligraphic sign (Japanese, in Nagari letters)follows. The expanded stroke is an expression ofinner freedom, a feeling of freedom without bound-aries.5. a) A photograph of the Mountain Mai (Gansu) isprojected in clouds (instructions: “Nature imitatesart”!). b) Li Cheng: A Buddhist temple in themountains, 10th Century, silk, ink, paint, KansasCity, is presented. The participants are invited tolook at the drawing as they have already learned,gaining experience of observing, but their visualexperience is now complemented, because enter-ing the universal level of meaning the last barrierhas been crossed for appreciation. The clearness

NADILA@ENJE OSJETILNOG MEDIJA - UTRKA U BESKRAJ DO ISCRPLJENJA

TRANSCENDING THE SENSORY MEDIUM - ENDLESS RACE TOWARD INFINITY UNTIL EXHAUSTION

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mentalna utrka: slikarsko hini skulpturalno, skulpturalno hini verbalno, verbalno (alegorija = slikoviti govor) slikarskomental race: the painterly simulates the sculptural, the sculptural the verbal, the verbal (allegory = picturesque speech) painterly

JEDINSTVO ELEMENATA UNITY OF ELEMENTS

POTEZ SVE POMETE A STROKE SWEEPS EVERYTHING

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KK AA SS NN AA DD JJ EE LL AA LL AA TT EE OO PP UU SS

SADA SU MOJE ^AROLIJE NADVLADANE NOW MY CHARMS ARE OVERTHROWN(Shakespeare)

POSLJEDNJI BLAGOSLOV @IVOTA JEST SVE ISTODOBNO THE LAST BENEDICTION OF LIFE IS THE SIMULTANEITY OF EVERYTHING(B. Hamvas)

dodir: slijepi crte`!touch: a blind drawing

jedinstvo tijela i energijeunity of the body and energy

PP.. CCEEZZAANNNNEE::KKUUPPAA^̂IICCEE//WWOOMMEENN BBAATTHHEERRSS,, 11990022..--66..,, UULLJJEE//OOIILL,, 7733,,55 XX 9922,,55 CCMM,, ZZÜÜRRIICCHH

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TREBA NAU^ITI ŠTO JE PRAZNINA IT IS NECESSARY TO LEARN WHAT THE VOID IS.

(Goethe)

JEDINSTVO TIJELA I PROSTORAUNITY OF BODY AND SPACE

JJ.. PPOONNTTOORRMMOO:: PPOOTTOOPP//DDEELLUUGGEE,, 11555555..,,CCRRNNAA KKRREEDDAA//BBLLAACCKK CCHHAALLKK,,115566 XX 224444 CCMM,, FFIIRREENNCCAA//FFLLOORREENNCCEE

2. a) An exercise again. The participants receivephotocopies of a detail of Cezanne’s late paintingThe Women Bathers. The areas which Cezannecovered with paint are covered with Indian ink andbrush. Instructions are given about the explorationof the void (Goethe: “It is necessary to learn whatthe void is”, it means, in this case, an illusion of thevoid or abstract plane). b) A projection ofCezanne’s Women Bathers, 1902-6, oil, 73,5 x92,5 cm Zürich is shown. The detail is found. Heworked four years on the painting and during thattime wrote to E. Bernard: “The sensations of thepainted which the light gave, caused abstractionswhich did not allow me to either cover the wholecanvas or to continue with the definition of theobjects, because of which my painting looks unfin-ished”. “To show” the “void” in Cezanne’s terminol-ogy was to meditate, to contemplate Nature andreflect it. Next a detail of Cezanne’s painting, Mont St. Victoire, 1904, oil, 60 x 72 cm, Basle, is pro-jected and observed. It is done nearly at the sametime. We notice the wide, short rectangle-likestrokes. We talk about Cezanne’s way of working,which was opposed to the traditional or academicprocedure of starting with a global sketch and pro-ceeding towards articulation. Cezanne paintedislands of paint and then interconnected them. c) Arelatively late Cezanne’s work, The Bathers from1900, oil, 37 x 45 cm, Basle, is shown. First thedetail then the whole. We talk about the unity ofenergy and figure in movement. In traditional draw-ing it would be called pentimento. But Cezannedoes not really hesitate or regret but explores themoving body showing how the body loses its bodi-liness and establishes unity with space.3. a) The participants receive photocopies of a black convoluted shape. The question: what is it?How shall we characterize it? Does it perhaps resem-ble someone’s “blind sculpture”? b) Goya’s late“black painting” from Quinta del Sordo (“The Villa ofDeafness”) is projected. Namely, when Goya paintedhis “black paintings” he had already been deaf for along time. (The paintings have been taken off the walland are today displayed in Prado). The shape theyreceived is recognized as a shadow drawing of thegroup in the painting. The title is Three Parks, 1819-23, oil on plaster, 123 x 266 cm. There are four fig-ures, the fourth one is perhaps Fatum, but it is possi-ble that there are four Parks, for which an indicationexists also in Greek mythology. Clotho is waving thedestiny, Lachesis is with ell measuring, Atropos iscutting with scissors when Fatum orders. The subject is allegoric (“a picturesque speech”).The group is represented so that in its basic shape itis a simulation/make-believe of it is a sculpture, andalso an illusion is made with the rough layers thatthere is paint on the surface of it. The observer isengaged in a “mental race”: the painterly simulatesthe sculptural, the sculptural simulates the verbal (allegory = picturesque speech) simulates paint-erly and so the circle is closed. The “race”, becausenone of the presumptions of that make-believe has astability, goes on towards infinity, until exhaustion.“This rough magic I here abjure” - again quotingShakespeare. The exhaustion, the mental rotationleads to overcoming the sensory medium. We alsotalk about the format (it requires approaching - be-ing remote), about the difference in painting the background (the thin lay on: painterly mode) andthe “sculptural” group. c) Another Goya's “Blackpainting” is presented. The Witches’ Sabbath, 1819-23, oil on plaster ,123 x 266 cm. Why the witches’Sabath? Because God has a rest on Saturday and

353352 Namjera u { e s t o j radionici je ste}i iskustvo o nadvladavanju medija, o postizanju efektaistodobnosti, o nadosjetilnosti u kasnim djelima velikih europskih umjetnika, bilo slikara, biloglazbenika.

Ambijent: Kao obi~no. Potrebni su projektor, kazetofon, tu{, kist, ugljen, glina, rupci.

Struktura doga|anja1. a) Rad po~inje vje`bom. Sudionicima se zavezuju o~i i dodaje im se hrpa pripremljene gline. Traìse da naprave “slijepu skulpturu”, ne samo takvu jer je ne vide dok je rade, nego i takvu da prinjenom stvaranju ne zami{ljaju odnose praznine, nego samo odnose puno}e (opipljivog). Predlaè seda rade vi{e krakatih oblika i da ih me|usobno prilagode, priljube. b) Pokazuje se crte` J. PontormaPotop, 1555., crna kreda, 13,5 x 30,6 cm, Firenca. Podsje}a se da se na pro{loj radionici poku{alou}i u sustav zna~enja jedne udaljene dalekoisto~ne kulture, i da se primijetilo kako se ona na uni-verzalnoj razini otvara prema drugim kulturama. Ovoga puta istraìt }e se kasna djela velikih europ-skih umjetnika dobro poznatog opusa. Pontormov crte` je studija za sliku u oltarnom prostoru S. Lorenza u Firenzi. Na oslikavanju je radio zadnjih deset godina ìvota, dovr{io ih je Bronzino, a uni{tene su sredinom 18. st. Kada se gleda crte` jasno je za{to se radila vje`ba sa “slijepom skulpturom”, jer se u Pontormovu slu~aju radi o “slijepom crteù”. U Melankoliji kasnih djela B. Hamvas citira Shakespeareovog Prospera iz Oluje: “now my charms are overthrown”, ~ime bi semogla okarakterizirati kasna djela. U posjedu svih mogu}nosti medija, na ~emu je radio cijeli ìvot,majstor odustaje od ~arolije, od medija, i poku{ava ne{to {to je vi{e od ~arolije, od medija. Vasari, ~ijisu podaci o suvremenicima naravno dragocjeni ali, jer je bio u biti mediokritet, uàsnut vi~e: senzaregola, senza misura, senza ordine, senza proportione. c) Pokazuje se Pontormova slika Skidanje skrià, nastalo trideset godina ranije da bi se vidio njegov zreli maniristi~ki stil, od kojeg }e odustati ukasnim djelima (izduèni veoma priblièni likovi, koji ipak sugeriraju razmak/prostor; maniristi~kasintaksa boje - dvosmislena sintagma zeleno-naran~asto koja osloba|a ùtu, boju sredi{ta). d) Sudionici dobivaju fotokopije Pontormovog crteà i istraùju. [irokim ugljenom ozna~avaju - vukupokret svakog tijela, da bi ga osjetili. Osvje{tavaju se dva iskustva ste~ena putem vje`bi: “sljepo}a”,efekt dodirnog karaktera i “jedinstvo izme|u tijela i energije”. Pokret je do te mjere proèo tijela datijela i nisu drugo no pokret/trag pokreta. Fizikalno, danas to najve}ma shva}amo kao jedinstvo naj-manje tvarne ~estice i energije. U crteù se, me|utim, to jedinstvo pokazuje na makro razini. e) Navodimo misao: “zadnji blagoslov ìvota jest ‘sve istodobno’” (B. Hamvas). Moderna umjetnost,kao kasna umjetnost, stalno tematizira istodobnost, ali to rade i kasna djela pojedinaca u bilo kojemvremenu. Jo{ se pokazuje nekoliko Pontormovih crteà za S. Lorenzo. Navodi se njegov dnevnik(deset godina je radio u tajnosti, zapisi ukazuju na to da u biti ni{ta drugo i ne radi nego jede ioslikava).2. a) Slijedi vje`ba. Sudionici dobivaju fotokopiju detalja kasne slike P. Cezannea Kupa~ice. Tu{em ikistom prekrivaju sve dijelove koje je Cezanne prekrio bojom. Pritom se upozorava da se istraùjepraznina (Goethe: “Treba nau~iti {to je praznina”, odnosno, u ovom slu~aju iluzija praznine ili pakapstraktna ploha). b) Projiciraju se Cezanneove Kupa~ice, 1902.-1906., ulje, 73,5 x 92,5 cm, Zürich.Pronalazi se detalj. Na slici Kupa~ice Cezanne je radio ~etiri godine i pritom pisao E. Bernardu:“Senzacije (osjeti) obojenosti koje je dala svjetlost uzrokovali su apstrakcije koje mi nisu dozvoljavaleda pokrijem cijelo platno, niti da nastavim s odre|ivanjem predmeta, zato moja slika izgledanedovr{ena.” Pokazati “prazninu” zna~ilo je, Cezanneovom terminologijom, meditirati, kontempliratinad prirodom i reflektirati je. Nakon toga projicira se i motri detalj jednog skoro istodobnogCezanneova djela Mt. St. Victoire, 1904., ulje, 60 x 72 cm, Basel. Uo~avaju se {iroki kratki ~etvrtastipotezi. Taj je postupak posve suprotan tradicionalnom ili akademskom postupku kretanja od globalne skice prema razradi. Cezanne je slikao otoke boja i onda ih me|usobno povezivao. c) Pokazuje se jo{ jedno, relativno kasno P. Cezanneovo djelo Kupa~i, 1900., ulje, 37 x 45 cm, Basel,prvo detalj pa cjelina. Govori se o jedinstvu energije i figure u pokretu. U tradicionalnom bi se crteùto zvalo pentimento. Ali Cezanne se ne koleba/kaje nego istraùje tijelo u pokretu pri ~emu pokazujekako tijelo gubi svoju tjelesnost i uspostavlja jedinstvo s prostorom.3. a) Sudionici dobivaju fotokopiju jednog crnog razvedenog oblika. Pitanje: [to je? Kako bi gaokarakterizirali? Je li sli~an ne~ijoj “slijepoj skulpturi”? b) Projicira se kasna “crna slika” F. Goye izQuinta del Sordo (“Ljetnikovac gluho}e”). Naime, kada Goya slika “crne slike” ve} je dugo gluh (slikesu skinute sa zida i danas se nalaze u Pradu). Prepoznaje se dobiveni oblik kao sjena-oblik grupe liko-va na slici. Naslov slike je Tri parke, 1819.-1823., ulje na `buci, 123 x 266 cm. êtiri su lika, ~etvrti jemo`da Fatum, a mo`da su to ipak ~etiri Parke za {to postoji tako|er upori{te u gr~koj mitologiji. Klototka sudbinu, Lahesis ar{inom odmjeri, Atropa odreè {karama kada to Fatum odredi: tema je alegori-jska (“slikovni govor”). Grupa je prikazana tako da u osnovnom obliku hini skulpturu, i na~inomgrubog namaza stvara se iluzija da se radi o namazu na oplo{je. Promatra~ se upu{ta u “mentalnuutrku”: slikarsko hini skulpturalno, skulpturalno hini verbalno, verbalno (alegorija = slikarski govor)slikarsko i tako se krug zatvara. Radi se o utrci zato jer ni jedna pretpostavka hinjenja nije stabilna itako “utrka” ide u beskraj do iscrpljavanja. Opet Shakespeare: “this rough magic I here abjure “.Iscrpljivanje, mentalna vrtnja, dovodi do nadilaènja osjetilnog medija. Govori se jo{ o formatu (traìkretanje: pribliàvanje - udaljavanje), o razlici u na~inu slikanja pozadine (lazurni namaz: slikarskina~in) i “skulpturalne” grupe. c) Pokazuje se jo{ jedna Goyina “crna slika” Vje{ti~ji sabath, 1819.-1823., ulje na `buci, 123 x 266 cm. Za{to vje{ti~ji sabath? Bog se subotom odmara i onda izlaze zliduhovi. Ipak, {to je tema ostaje jo{ nejasnije nego na prethodnoj slici (lazurni namaz, skulpturalna

The intention of the s i x t h workshop is to gainexperience of overcoming the medium, of the effectof simultaneity, of the supersensory in the late art-works of great European artists, either painters ormusicians.

Ambience: As usual. A projector, Indian ink, a cassette player, brushes, charcoal, clay and vari-ous scarves are prepared/available.

Structure of the activity1. a) We begin the work with an exercise. The participants blindfold their eyes with a scarfand a lump of prepared clay is given to them. Theyare asked to make a “blind sculpture”, that they nei-ther see it while working nor the relations of voidsare imagined. The suggestion is given to makemore long-legged forms and to interadapt them, toapply them to each other. b) J. Pontormo’s drawingThe Deluge, 1555, black chalk, 13,5 x 30,6 cm,Florence, is presented. We remind the participantsthat last time we tried to enter a system of meaningof a very distant culture but coming to the universallevel we noticed how it opened itself to other cul-tures. What we try to explore this time are the lateworks of some of great European artists of well-known opus. Pontormo’s drawing is a study for a painting in the altar space of San Lorenzo inFlorence. He painted the walls during the last tenyears of his life, Bronzino finished the paintings andthey were destroyed in the middle of the 18thCentury. When we look at the drawing it is veryclear why we made the “blind sculptures”.Pontormo made a “blind drawing” too. B. Hamvasin the Melancholy of Late Works quotesShakespeare’s Prospero from The Tempest: “Nowmy charms are overthrown” which could be a char-acterisation of late works. Owning all the possibili-ties of the medium on which he had worked hiswhole life, the master gives up the magic and triesto do something more than the magic, than themedium itself. Vasari, whose informations about hiscontemporaries are naturally very precious, butsince he really was a mediocrity, cries panic-strick-en: “senza regola, senza misura, senza ordine,senza proportione.” c) Pontormo’s Deposition isshown. It was created thirty years earlier and hisripe Mannerist style can be seen, the style he wouldgive up in his late works. (The elongated figures,close to each other but still suggesting agap/space, the Mannerist syntax of colour - theambigual syntagm: green - orange which liberatesthe yellow, the colour of the centre.) d) The partici-pants receive photocopies of Pontormo’s drawingand explore it. With a wide charcoal sign - strokethe movement of each body to sense it. Theybecome aware of two experiences gained in exer-cises: “the blindness”, the tangible character of thedrawing and the “unity between the body and ener-gy”. The movement saturated the bodies so muchthat the bodies are nothing else but movement/traceof a movement. Today we comprehend it physical-ly, mostly as a unity of the smallest particles ofmatter and energy. In the drawing on the contrary,this unity is demonstrated on the macro level. e)We quote the idea: “the last benediction of life is,everything simultaneously” (B. Hamvas). Modernart as a late art thematises simultaneity all the timebut the late artworks of some artists in anytime. Weshow some other drawings of Pontormo’s for SanLorenzo. We quote from his diary (he workedsecretly for ten years and the notes show that hedid nothing else but paint and eat).

Studentica zavezuje o~i sudioniku/A student-instructor blindfolds to a participant

Sudionici rade slijepe kipove/The participantswork on “blind sculptures”

Studenti poma`u pri “slijepom oblikovanju”/Students help during the “blind work”

Sudionik gleda svoj “slijepi kip”/A participantis looking at his “blind sculpture”

Ugljenom se ozna~avaju tokovi energije /pokreti tijela na Pontormovom crte`u zaPotop/With charcoal the streams of energy /movements of the bodies on Pontormo’s drawingDeluge are marked

Kistom i tu{em se radi na Cezannovoj sliciKupa~ice/With brush and Indian ink work onCezanne’s Bathers

AARRTT AANNDD SSPPIIRRIITTUUAALLIITTYY -- EEXXPPLLOORRAATTIIOONN OOFF MMEEAANNIINNGGUMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJA AARRTT AANNDD SSPPIIRRIITTUUAALLIITTYY -- EEXXPPLLOORRAATTIIOONN OOFF MMEEAANNIINNGGUMJETNOST I DUHOVNOST - ISTRA@IVANJE ZNA^ENJAVVIIIIII//66

b) A later painting by P. Breughel is projected. The Conversion of St. Paul, 1567, oil, 108 x 56cm, Vienna. The “main subject“is searched The first participant who notices it shows it to the others. The participants are instructed aboutthe change in the shapes of the landscape (theclouds, rocks, trees). A sort of equalizing, someunbroken transition in planes - rocks - clouds, itseems the elements of the world begin to mix. c) The culmination is in the Storm, 1568, oil, 70 x97 cm, Vienna. The contrast consists of two com-plementary colours although subdued. But the sur-face is a wide stroke which sweeps all the details,creating the effect of the unity of the elements(“the storm”).5. The workshop ends by listening to the GreatFugue, op. 133, of L. van Beethoven. Beethoven wasalso deaf, like Goya, when he was writing this lateopus (but Goya was not blind!). It seems as a with-drawal from the senses and “the last benediction ofsimultaneity” occurs. “All destinies, one in C-sharpminor, the other in G-major, for instance soundsimultaneously and this makes it the reason whysomeone can become mad from it”. There is a state-ment that it is impossible to perform this composition(we listen to the performance of the Bartók quartet),because the musicians unintentionally want to har-monize what cannot be harmonized.

355354 grupa, kontrast lebde}ih likova i onih na zemlji). d) Tre}a slika vi{e nije mi{ljena u alegoriji, u njoj jedo{lo do izjedna~enja. Skoro je cijela apstraktna, samo pri dnu viri prikaz pse}e nju{ke.4. a) Projicira se pet detalja i cjelina relativno rane slike Ikarov pad P. Breughela, 1558., ulje, 73,5 x112 cm, Bruxelles. Govori se o bitnim karakteristikama boje i omjera likova-elemenata pejsaà(“realisti~ki”, “uobi~ajeni”, ali nedostaje jedan aspekt realizma: razrada povr{ine; povr{ina jeapstraktna, izostaje iluzija dodirne senzacije iz ~ega proizlazi izvjesna grotesknost). Govori se jo{ o“Weltlandschaftu” i o stavljanju detalja u prvi plan za koje }e se kasnije ispostaviti da nisu bili va`ni(usporedba s jednom epizodom u Doktoru @ivagu B. Pasternaka. @ivago poku{ava naloìti pe} kojadimi, to je upravo dan kada izbija Oktobarska revolucija, ali ipak, u Pasternakovu opisu, u prvom jeplanu pe} u ku}i @ivagovih, a ne svjetski doga|aj). Postavlja se pitanje primje}uju li Ikarov pad,ora~, pastir, brod? b) Projicira se Breughelova kasnija slika Obra}enje Sv. Pavla, 1567., ulje, 108 x156 cm, Be~. Traì se “glavna tema” slike. Prvi sudionik koji pronalazi pokazuje je ostalima. Ukazujese na promjenu u oblicima pejsaà (oblaci, stijene, stabla) izvjesno izjedna~enje, nezako~enoprelaènje u biljke - stijene - oblake, kao da se elementi svijeta po~inju mije{ati. c) Kulminacija je uBreughelovoj Oluji, 1568., ulje, 70 x 97 cm, Be~. Na slici postoji kontrast dviju komplementarnihboja, iako prigu{en, ali povr{inu tvori {iroki potez koji pomete sve detalje stvaraju}i dojam jedinstvaelemenata (“oluja”).5. Radionica zavr{ava slu{anjem Velike fuge, op. 133. L. van Beethovena. Beethoven je tako|ergluh, kao i Goya, kada pi{e to svoje kasno djelo (ali Goya nije slijep!). Kao da se radi o povla~enjuiz osjetila i na djelu je “zadnji blagoslov istodobnosti”. “Sve sudbine, jedna u cis-molu, druga u g-duru npr. zvu~e istodobno i od toga se moè poludjeti.” Tvrde, da se to djelo i ne moè izvesti(slu{a se izvedba Bartók kvarteta), jer glazbenici i nehotice ho}e uskladiti neuskladivo.

evil spirits come out. Still what really is the subject iseven more unclear here than in the former painting.(The thin lay-on, the sculptural group, the contrast ofthe soaring group and the one on the ground). d) The third painting is not thought of as an allegoryanymore, there is an equalisation. Nearly the whole isabstract, only at the bottom there is a representationof a dog’s snout.4. a) Five details and the whole of P. Breug-hel’s relatively early painting The Icarus’ Fall,1558, oil, 73,5 x 112 cm, Brussel is projected. Wetalk about the main characteristics of colour, theratio of figures, and the elements of landscape(“realistically” “ordinary”, but one aspect of real-ism is absent: the articulation of the surface; thesurface is abstract, the illusion of tangible sensa-tion is missing, from which some sort ofgrotesqueness comes out). We also talk about the“Weltlandschaft” and about putting the details inthe first plane, for which it will turn out that theywere not important (a comparison with a detailfrom B. Pasternak’s Doctor Zhivago: Zhivago triesto light a fire which is smoking, this is the daywhen the October Revolution broke out, but still inPasternak’s description the stove in Zhivago’shouse is in the first plane and not the worldevent). The question: the ploughman, the shep-herd, the ship, have they noticed Icarus’ fall?

To~kaPPoint

LinijaLLine

Mre`aNNetwork

MjestoPPlace

+OblikSShape

Zna~enjeMMeaning

uvjetujestipulates

raste u (pad)grows in (fall)

vodi uleads to

o~ituje se kaomanifests itself as

BILO GDJE U SPLETU MO@E NASTATI RAVNOTE@A/JEDINSTVO

IN ANY PLACE IN THE STRUCTURE A BALANCE/UNITY CAN HAPPEN

- OBLIK MO@E ZNA^ITI BILO ŠTO - SHAPE CAN MEAN ANYTHING

- “SLI^NOST PRIRODI” - TAKVO NEŠTO NE POSTOJI - “SIMILARITY WITH NATURE” - SOMETHING LIKE THAT DOES NOT EXIST

- POSTOJE RAZLI^ITI KODOVI - THERE EXIST DIFFERENT CODES

- ŠTO VIDIMO U KRAJNJEM JE ENIGMA - WHAT WE SEE ULTIMATELY IS ENIGMATIC

- OBLIK “SKRIVA”, MJESTO “OTKRIVA” - THE SHAPE “IS COVERING”, THE PLACE “UNCOVERING”

- TO^KA JE I OBLIK I MJESTO - THE POINT IS A SHAPE AND A PLACE

- SADR@AJ UMJETNOSTI JE PREOBRAZBA - THE CONTENT OF ART IS TRANSFORMATION

SS TT II LL II ZZ AA CC II JJ AA -- UU RR AA VV NN OO TT EE @@ EE NN JJ EE OO BB LL II KK AA II ZZ NN AA ^̂ EE NN JJ AA

SS TT YY LL II ZZ AA TT II OO NN -- BB AA LL AA NN CC II NN GG FF OO RR MMAA NN DD MM EE AA NN II NN GG

JE LI STILIZACIJA UNIVERZALNI POSTUPAK? IS STYLIZATION A UNIVERSAL PROCEDURE?

razina rotacije s pomakomlevel of rotation with a shift

razina translacijalevel of translation

RAZINA ELEMENTARNIH ZNAKOVA THE LEVEL OF ELEMENTARY SIGNS

RAZINA SINTAKTI^KIH PRAVILA LEVEL OF SYNTACTIC RULES

PPRRIINNCC BBIIRRAASSPPAATT TTRRAA@@IIPPRRIINNCCEEZZUU MMIIRRGGAAVVAATT//,,PPRRIINNCCEE BBIIRRAASSPPAATTLLOOOOKKIINNGG FFOORRPPRRIINNCCEESSSS MMIIRRGGAAVVAATT,,11556600..,, 1188,,33 XX 1177,,22 CCMM,,BBHHAARRAATT KKAALLAA BBHHAAVVAANN

EESSHHAATTOOLLOO[[KKAA @@EETTVVAA IIBBEERRBBAA// EESSCCHHAATTOOLLOOGGIICCAALLHHAARRVVEESSTT ,, BBEEAATTUUSS DDEE LLIIEEBBAANNAA,, KKOOMMEENNTTAARRIIAAPPOOKKAALLIIPPSSEE// CCOOMMMMEENNTTAARRYY OOFFTTHHEE AAPPOOCCAALLYYPPSSEE,, KKRRAAJJ 1100.. SSTT..//..EENNDD OOFF 1100TTHH CC..,, 3333,,55 XX 2222,,55 CCMM,,RRUUKKOOPPIISS IIZZ EESSCCOORRIIAALLAA//MMAANNUUSSCCRRIIPPTT FFRROOMM EESSCCOORRIIAALL

linijska i plošna sekvenca; karakter oblika; uloga oblika (sli~ni oblici - razli~ite funkcije; ista funkcija - razli~iti oblici)

linear and planar sequences; the characteristic of shapes;

the function of shapes (similar shapes - different fuctions;the same function - different shapes)

to~ka, pokrenuta to~ka, linija (ravna, jednaka krivulja),point, shifted point, line (straight, equal curve)

outside the city, and there came forth blood out ofthe wine press, up to the horses’ bridles, for a thou-sand and six hundred stadia.” The participants areinstructed to follow the elements of the subject dur-ing the reading. We talk again about the stylizationas a balancing of meaning and shape. Once againwe start from the elementary sign: the shifting point- line, the line which becomes a network, the net-work a shape and as a shape obtains a meaningaccording to its place. But the line also leads to theplace and the point is manifested also as the net-work, so the network stipulates the shape, the place stipulates the meaning and the pointgrowth (falls) into place. (The participants receive adiagram.) The question: How much do we under-stand the meaning? The invitation for analogousthinking (the wine press of the wrath of God, thesickle, the city etc. - what are the meanings?) Theset of mysterious visual shapes becomes a little lessmysterious because of their places. We read the statements (the participants receive thetext):- shape can mean anything; - “similarity with Nature” - something like that doesnot exist; - there exist different codes (we tried to enter thecode of stylization);- what we see ultimately is enigmatic;- the shape is “covering” the place is “unco-vering”, together they make a symbol (the two partsof a broken tile);- the point is a shape and a place (the place is anaugmented point);- the content of art is transformation.5. A Turkish illumination from the 17th Century,which represents a duel before the battle ofMohács, 29,3 x 20,4 cm, Topkapu seraj, Istanbuland the Four riders of Apocalypse (Beatus deLiebana’s Commentary, approx. 970, 33,2 x 24,2cm, Valadolid) are presented. Instructions are giventhat in our exploration of meaning and shape wemust not come to a definite conclusion whether thestylization is a universal procedure or not. That isleft to everybody and to time and further explo-rations.6. Quickly we project a series of Turkish and Persianilluminations and a few from the BeatusCommentary (from Borgo da Osma, Seo de Urgel,Fernando and Sancha). They all represent horsesand riders to enhance the impressions of similaritiesof shapes on the macrolevel.7. We are back to the idea that verbal shapes/meanings are enigmatic. Exercise: texts are distributed. In the left column there are quotationsfrom the Apocalypse with some bold printed words,syntagms, in the right column the explanation of thetext of the Apocalypse (with missing words) of anIndian sage (Yukteshwar) and a Western seer(Cayce) on the basis of Indian teaching about thelayers of the body. According to this teaching thebody is conceived as a sequence of energetic cen-tres - chacras (wheels) and as the existence ofseveral envelopes (mental, causal etc). This teach-ing appeared in India in the time of earlyChristianity. The task is to fill in the right columnusing words and syntagms from the left column.8. Pages from different manuscripts of the Beatusde Liebana’s Commentary of the Apocalypse, whichillustrate parts of the Apocalypse, which the partici-pants have already explored, are projected (Thechurch in Ephesus, approx. 970., 39,8 x 26,7 cm,Seo de Urgel; The Church in Tiatyra, approx. 1000.,35,5 x 24 cm, San Millan de Cogolla; the Church in

359358 U s e d m o j radionici namjera je ste}i iskustvo o mogu}em univerzalnom karakteru stilizacije;ste}i iskustvo o mogu}em odgonetavanju enigmatskih zna~enja u jednoj kulturi putem onih iz druge.

Ambijent: Razmje{taj je kao i u ranijim radionicama. Potrebna su dva projektora. Prire|eni su tek-stovi, olovke, paus i fotokopije

Struktura doga|anja1. Sudionici dobivaju fotokopije dvaju detalja. Istraùju: tankom olovkom precrtavaju na pausu udva stupca: a) to~ke, pomaknute to~ke, linije (elementarne znakove - ravna, jednaka krivulja itd.) s jedne odnosno druge slike da bi uo~ili sli~nosti i razlike; b) linijske i plo{ne sekvence - sintaksu; c) karakter oblika (kakvi su, kako su nastali); d) ulogu oblika, kakav je odnos prema zna~enju (sli~nioblici - razli~ite funkcije, ista funkcija - razli~iti oblici).2. Projiciraju se dva detalja (s dva projektora), ali se jo{ ne govori ~ega su to detalji. Uz projekcije sevodi rasprava: kakvi su elementi, sli~nosti, razlike. Podsje}a se na to da je to~ka znak zaustavljenekretnje, linija pak pokrenuta to~ka. Prepoznaju se likovna po~ela (to~ke, linije) i na~ela (sintakti~kapravila) na pojedinim dijelovima. Otkriva se slojevitost (npr. translacija na jednoj razini, rotacija spomakom na drugoj, translacija na tre}oj itd.). Otkrivaju se velike sli~nosti na razini elementarnihznakova i na razini sekvenci, i smanjenje sli~nosti na daljnjim razinama.3. Slijedi vje`ba. Sudionici dobivaju dva detalja s istom temom (konj - konjanik). Traganje zasli~nostima u postupku stilizacije (uravnoteènje zna~enja i oblika). Istraùju se omjeri (na pausu) iuz projekcije se govori o rezultatima istraìvanja, o omjerima, o sli~nosti opet na razini elementarnihznakova i o njihovoj ulozi u denotiranju teme. Govori se o velikim razlikama (stilskim/crta~kim,lik/pozadina).4. Pokazuju se cjeline (Princ Biraspat traì princezu Mirgavat, indijska minijatura predmogulskograzdoblja, oko 1560. i Eshatolo{ka ètva i berba, Beatus iz Liebane Komentari Apokalipse, kraj 10. st., 33,5 x 22,5 cm, Escorial. Analizira se cjelina Eshatolo{ke ètve i berbe. îta se tekst izApokalipse, 14, 14-20: “Potom sam imao ovo vi|enje: Bijel oblak i ‘na oblaku’ opazih nekoga“sli~na Sinu ôvje~jemu” kako sjedi sa zlatnom krunom na glavi i o{trim srpom u ruci. Uto nekidrugi an|eo izi|e iz hrama i povika jakim glasom onomu {to je sjedio na oblaku: “‘Po{alji svoj srp’ iànji, ‘jer je do{lo vrijeme da se ànje’; dozrela je ètva na zemlji!” Tada onaj koji je sjedio na oblakubaci na zemlju svoj srp, i bi po`njevena zemlja. Uto neki drugi an|eo izi|e iz nebeskog hrama; i on jeimao o{tar srp. Zatim neki drugi an|eo - nadglednik vatre na `rtveniku - do|e do `rtvenika i povikajakim glasom onomu koji je imao o{tri srp: “‘Po{alji svoj’ o{tri ‘srp’ i trgaj grozdove u zemaljskomvinogradu, jer mu je gro`|e zrelo!” Tad an|eo baci na zemlju svoj srp i obra zemaljski trs i sasugro`|e u veliki tijesak Bo`jega gnjeva. Gro`|e u tijesku bi zgnje~eno izvan grada i iz tijeska se razlikrv konjima do uzda u {irinu tisu}u i {est stotina stadija.” Sudionike se upozorava da tijekom ~itanjateksta prate tematske elemente. Opet se govori o stilizaciji kao uravnoteènju zna~enja i oblika. Jo{ sejednom kre}e od elementarnog znaka: to~ka koja se pokre}e - linija, linija koja postaje mreà, mreà,pak, oblik, i kako oblik dobiva zna~enje mjestom. Ali linija vodi i do mjesta, a to~ka se o~ituje i kaomreà, mreà uvjetuje oblik, mjesto uvjetuje zna~enje, a to~ka raste (pada) u mjesto (sudionici dobi-vaju diagram). U kojoj mjeri razumijemo zna~enje? Poziv na analogijsko mi{ljenje (tijesak Bo`jeggnjeva, srp, grad itd. - koje je njihovo zna~enje?). Sklop tajanstvenih vizualnih oblika postaje manjetajanstvenim mjestom.îtaju se tvrdnje (sudionici dobivaju tekst): - oblik moè zna~iti bilo {to; - “sli~nost prirodi”, ne{to takvo ne postoji: - postoje razli~iti kodovi (poku{ali smo u}i u kod stilizacije);- {to vidimo u krajnjem je enigma;- oblik “skriva”, mjesto “otkriva”, zajedno ~ine simbol (dva dijela slomljenog crijepa); - to~ka je i oblik i mjesto (mjesto je narasla to~ka);- sadràj umjetnosti je preobrazba.5. Pokazuje se cjelina turske minijature iz 17. st. koja prikazuje Dvoboj prije Moha~ke bitke, 29,3 x20,4 cm, Topkapu seraj, Istanbul i êtiri jaha~a apokalipse iz Komentara Apokalipse Beatusa izLiebane, oko 970., 33,2 x 24,2 cm, Valadolid. Upozorava se da u na{em istraìvanju zna~enja i obli-ka ne moramo donijeti definitivni sud o tome je li stilizacija univerzalni postupak ili ne. To seprepu{ta svakome osobno kao i vremenu/daljnjem istraìvanju.6. Na brzinu se projicira slijed turskih i perzijskih i nekoliko minijatura iz Beatusovih Komentara(Borgo da Osma, Seo de Urgel, Fernando i Sancha) koji prikazuju konje/konjanike da bi se dojmovi osli~nosti oblika na makrorazini u~vrstili.7. Vra}amo se misli da su verbalni oblici/zna~enja enigmati~ni. Vje`ba: dobivaju se tekstovi. U lijevom stupcu su navodi iz Apokalipse s nekim masno otisnutim rije~ima, sintagmama, udesnom stupcu tuma~enje teksta Apokalipse (s mjestimice izostavljenim rije~ima) jednog indijskogmudraca (Yukte{vara) i zapadnog vidovnjaka (Caycea) na temelju indijskog u~enja o slojevitosti tje-lesnosti. Prema tom u~enju, tijelo se shva}a kao slijed energetskih centara - ~akri (kota~a) i omota~a(mentalnog, uzro~nog itd). To se u~enje pojavljuje u Indiji paralelno s razdobljem ranog kr{}anstva.Sudionici trebaju tekst u desnom stupcu nadopuniti rije~ima i sintagmama iz lijevog stupca.8. Projiciraju se stranice iz razli~itih rukopisa komentara Apokalipse Beatusa iz Liebane koje ilustrira-ju dijelove Apokalipse (Crkva u Efezu, oko 970., 39,8 x 26,7 cm, Seo de Urgel; Crkva u Tiatiri, oko1000., 35,5 x 24 cm, San Millan de Cogolla; Crkva u Sardu, oko 975., 40,3 x 26,2 cm, Gerona;

In the s e v e n t h workshop the intention is togain experience of the possible universal characterof stylization; to gain experience of the possibility ofsolving the enigmatic meanings in one culturethrough the ones from another one.

Ambience: Arrangement as in the former work-shops. Two projectors, texts, tracing paper, photo-copies, pencils are prepared.

Structure of the activity1. a) The participants receive photocopies of twodetails. With a sharp pencil they explore/-work ontracing paper and they trace over in two columns:a) Points, shifted points, lines (elementary signs -straight, equal curve etc) from one or the otherpainting to notice the similarities and differences; b)Exploring (trace over) the syntax - the linear andplanar sequences; c) The character of the shapes(what they are like, how they were created); d) Therole of the shapes, what is their relation to meaning(similar shapes - different functions, the same func-tion - different shapes). 2. Two details are projected (two projectors), butthey are not told where the details are from. Whileprojecting we talk about what the elements are like,and their similarities, and differences. We remindthe participants that the point is the sign of a haltedmovement, the line of a shifted point. The visual artorigins and principles (syntactic rules) are recog-nized. The layers are discovered (for instance trans-lation on one level, rotation with a shift on the sec-ond, translation on the third etc.). Great similaritiesare discovered on the level of elementary signs andon the level of sequences: and a lessening of thesimilarities on the further levels. 3. An exercise follows: the participants receive twodetails with the same subject (a horse-rider). Theysearch for similarities in the procedure of stylization(balancing the meaning and the shape). The ratiosare explored on tracing paper and by the projection.We talk about the results of the exploration, aboutratios, about similarities, again on the level of ele-mentary signs and their role in the denotation of thesubject and about the great differences (stylistic/-drawing, figure/background).4. The wholes are presented (Prince Biraspat lookingfor Princess Mirgavat, Indian illumination from theProtomogul period, approx. 1560 and EschatologicalHarvest, Commentary of the Apocalypse by Beatusde Liebana, 10th Century, 33,5 x 22,5 cm, manu-script from Escorial). The whole of theEschatological Harvest is analysed. We read the textfrom the Apoca-lypse 14, 14-20. “And I saw, andbehold, a white cloud, and upon the cloud one sit-ting like the Son of Man, having upon his head acrown of gold and in his hand a sharp sickle. Andanother angel came forth out of the temple cryingwith a loud voice to him who sat upon the cloud,’Put forth thy sickle and reap, for the hour to reaphas come, because the harvest of the earth is ripe,’And He that seat on the cloud throust in his sickleon the earth; and the earth was reaped. And anotherangel came out of the temple which is in heaven, healso having a sharp sickle. And another angel cameforth from the altar, he who has authority over the fire, and he called with a loud voice to him whohad the sharp sickle, saying, ’Put forth thy sharpsickle and gather the clusters of the vine of theearth; for its grapes are fully ripe’. And the angelcast his sickle to the earth, and gathered the vintageof the earth, and cast it into the great wine press ofthe wrath of God. And the wine press was trodden

Zadaje se zadatak/The task is given Studenti poma`u/tuma~e/The studentsinstruct/help

Na paus papiru se istra`uju oblici s indijskeminijature/On tracing paper the shapes of theIndian illumination are explored

Studentica tuma~i/poma`e/A studentinstructs/helps

Sudionik na projekcijama provjerava rezultate istra`ivanja/A participant controls onthe projection the results of exploration

Na paus papiru se istra`uju oblici sromani~ke minijature/On tracing paper theshapes of the romanesque illumination areexplored

Rad na usporednom tekstu Apokalipse iYukteshvarove i Cayceove interpretacije/Work on comparative texts of the Apocalypseand Yukteshvar’s and Cayce’s interpretations

does, too. (Just because of that the latter, today’sillustrations of the holy texts are not successful anymore because in visual expression stylization (thebalance between the meaning and shape) is notreally possible. Stylization makes the illuminationsfrom Beatus’ series able to achieve an intensityanalogous to the intensity of the text. It would beuseless to ask for a literal illustration, what is infront of us is a parallel work.

361360 ilustracija prva êtiri pe~ata, Valadolid; Peti pe~at, Seo de Urgel; [esti pe~at, Seo de Urgel i Gerona)koje su sudionici istraìvali i pritom se ponovo ~ita tekst Apokalipse. Prethodna bi vje`ba trebalapomo}i da enigmati~ni verbalni sadràj postane shvatljiviji. Poku{ava se objasniti da se ne radi opukoj ilustraciji nego o paralelnom postupku. Verbalnim simbolima paralelni su likovni simboli i tekstskriva/otkriva kao {to to ~ini i postupak stilizacije (upravo radi toga kasnije, dana{nje ilustracijesvetih tekstova vi{e ne uspijevaju, jer u likovnom izrazu zbiljski vi{e nije mogu}a stilizacija). Stilizacijau minijaturama iz Beatusova niza u stanju je posti}i intenzitet analogan intenzitetu teksta. Krivo bibilo traìti doslovnu ilustraciju, ono {to je pred nama paralelno je djelo.

Sardes, approx. 975,. 40,3 x 26,2 cm, Gerona;illustration of the Four Seal, Valladolid; the FifthSeal, Seo de Urgel; The Sixth seal, Seo de Urgel,Gerona) and the text of the Apocalypse is readagain. The former exercise should help the enigmat-ic verbal meanings to become clearer. We try toexplain that they are not only illustrations but thatthere is a parallel procedure. The visual symbols areparallel to verbal symbols and the textcovers/uncovers as the procedure of stylization

arabeska AHWAL

nestalnost Bo`je milosti, rasprostire searabesque instability of God’s Grace, expands

spirala: po~etak = krajspiral: beginning = end

MMEETTAALLNNAA RREE[[EETTKKAA[[AAHHAA SSUULLEEJJMMAANNAA II//MMEETTAALL GGRRIIDD OOFF SSHHAAHHSSUULLAAYYMMAANN II,,1177.. SSTT..//1177TTHH CC..

geometrijski ornament MAQUAMAT

trajna duhovna postajageometrical ornament permanent spiritual station

KKAAMMEENNAA RREE[[EETTKKAA//SSTTOONNEE GGRRIIDD,, 1133 SSTT..//1133TTHH CC..,, IISSFFAAHHAANN

otvaranje open-ing

zatvaranjeclosing

nema ulaza u “labirint” - unutra se na|e Bo`jom miloš}u, JEDINSTVO PUTA I CILJAthere is no entrance into the “labyrinth” - one gets inside through God’s Grace, UNITY OF THE PATH AND AIM

AA.. KKAARRAAHHIISSAARRII//QQAARRAAHHIISSAARRII::KKAALLIIGGRRAAFFSSKKAASSTTRRAANNIICCAA,, DDIIOO//CCAALLLLIIGGRRAAPPHHIICCPPAAGGEE,, PPAARRTT,, 1166.. SSTT..//1166TTHH CC..

pismo/scriptthuluth: Bism Allah -

al Rahman al Rahim

OO RR NN AA MM EE NN TT -- JJ EE DD II NN SS TT VV OO OO BB LL II KK AA IIZZ NN AA ^̂ EE NN JJ AA

OO RR NN AA MM EE NN TT -- UU NN II TT YY OO FF SS HH AA PP EE AA NN DDMM EE AA NN II NN GG

konstrukcija motivaconstruction of a motive

STRANICA = VELIKI DO@IVLJAJ CJELINE, @IVOTA, REDA A PAGE = A GREAT EXPERIENCE OF WHOLENESS, OF LIFE, OF ORDER

DUHOVNA PORUKA ORNAMENTA: THE SPIRITUAL MESSAGE OF ORNAMENT:prepustiti se `ivotnom impulsu s povjerenjem i ne završiti u potcjelini, surrrendering to life impulse with confidence and not ending svako usmjerenje ima svrhu in a subentirety, all the directions are sensible

jedna linija one line

“Ima onih, iako malobrojnih odista, kojima je Bo`ja mudrost podarila mo} kontem-placije, jasnu i razgovjetnu, s rasponom uma ~udesno proširenog, koji u istom

trenutku kao ispod jedne sun~eve zrake zahva}a cijeli krug cijele zemlje s oceanom inebom iznad.”

There are some, although few indeed, on whom divine favour has bestowedthe gift of comtemplating clearly and very distinctly, with scope of mind

miraculously enlarged, in one and the same moment, as though under oneray of the Sun, even the whole circle of the whole earth, with the ocean and

sky above it. (Sv./St. Columban)

BBOOOOKK OOFF DDUURRRROOWW,, 77.. SSTT..//77TTHH CC..,, 2244,,55 XX 1144,,55 CCMM,, TTRRIINNIITTYY CCOOLLLLEEGGEE,, DDUUBBLLIINN

(BAIN)

SILAZAK RIJE^I PUTEM IMENA SUOSJE]ANJA RAHMAN

THE WORD DESCENDS THROUGH THE NAME OF COMPASSION

UZLAZAK DO RIJE^I PUTEM IMENA SAMILOSTI RAHIM

TO THE WORD ONE ASCENDS THROUGH THE NAME OF MERCY

pismo/scriptkufik/kufic: Bism Allah -

al Rahman al RahimSurat al-Ikhlas

mind miraculously enlarged, in one and the samemoment, as though under one ray of the Sun, eventhe whole circle of the whole earth, with the oceanand sky above it.” The fragments of movement canlook chaotic, the directions “unconceivable” but thewhole is a complex order. The page gives a greatsensation of wholeness.3. a) A drawing of a funeral ritual of Maki from theisland of Vao is projected. We say: “the female spir-it” who guards the cave puts “the deceased” intotemptation. With fingers she, in one stroke, drawsin the sand a geometrical pattern in the shape of atortoise. The “deceased” notices the drawing fromfar, gets confused and mistakes the path. When hefinds it again, the guardian wipes away half of thedrawing (we switch off the projector). If the“deceased” is able to reconstruct the wiped halfhe/she, enters the centre guided by the line, if notthe guardian swallows him/her. b) The participantsreceive half of the drawing (the other part has beenerased from the photocopy) and helped by stu-dents-instructors they reconstruct the other half (soas not to be swallowed by the guardian!). Importantinstruction: they must enter the drawing and findthe centre. c) Again the projection of the wholedrawing with the comment. Warning: we havegained the competence to look at it.4. a) One more Irish illumination is projected, thistime from the Book of Kells, begin of 9th Century,33 x 25 cm, Trinity College, Dublin, the page onwhich the patriarchal cross is represented, thecross with eight circular shapes. The shape is bal-anced with the exterior meaning (cross) in a veryeasy and successful way. Instructions are givenabout the layers - different modes. b) Photocopiesof a detail are distributed. The original is 3 cm large.The task is to “enter and exit” the shape. There aretwo lines, two entrances, two exits, the cause for towork with felt-tips in two colours. c) The detail andthe whole are projected again. The detail is found.5. a) A page from the Lindisfarne Gospel, the begin-ning of the Gospel of St. Mark, approx. 698, 33x24,8 cm, the British Library, London is projected.The scriptor and illuminator, Eadfrith, is known. Thecolour is the cause of complexity in knottwork(interlace) but also the other motives of the Celticornament (step, pelta-shield, double, threefold, fourfold spirals) and the Germanic too (zoomorphic ele-ments). b) An initial (St. Luke) is shown. Morecomplexity is created so that the lines are changedfor a row of points (10 600 of them on the wholepage). c) A detail is shown. The spiral is concretized with zoomorphic elements(dog and bird). Instructions are given about the dif-ferent width of the lines. One more moment: notonly that we do not know the whole while surrender-ing ourselves to the flow of the line, but there alsoexist manifold traps (different attractions of the co-lours and ratios). Again we emphasize that the spiri-tual message of the ornament is just that it simulatesthe life stream, the sense of which, the sense of the whole, is on the path, full of unknown traps. d) A page at the beginning of the Gospel of St. Lukeis projected. Instructions are given about a newmotive the so called key. A participant traces it outon the projections. The union of the organic and geo-metric ornament is most visible on this page.6. A page is projected with the representation ofChrist, again from the Book of Kells. We talk abouthow St. Augustin on arrival in Ireland carried in frontof him an icon. The union of two traditions can beseen, the encounter of two codes: the Celtic, prehis-toric ornament and a Late antique representation of

365Namjera u o s m o j radionici je istra`iti i ste}i iskustvo o univerzalnosti ornamenta, jednog odna~ina uspostavljanja jedinstva oblika i zna~enja; ste}i uvid i u oblik i u zna~enje ornamenta u dvijevelike kulture (kr{}anska Irska, Islam)

Ambijent: Opet je isti kao i ranije. Potrebni su projektor, fotokopije, flomasteri, paus, kist, tu{.

Struktura doga|anja1. a) Iz teme pro{le radionice jasno je {to }e biti tema ove. U pro{loj se radionici steklo iskustvo omogu}em univerzalnom karakteru stilizacije kao ravnoteì zna~enja i oblika, u ovoj se istraùje jedanod univerzalnih na~ina uspostavljanja jedinstva: ornament. Obnavlja se iskustvo iz radionica P o ~ el a i n a ~ e l a i podsje}a se sudionike da postoje dvije vizualne discipline: ornament i pismo. Uornamentu se radi o jedinstvu zna~enja i oblika, u pismu o ve}oj ili manjoj razdvojenosti. b) Radiprisje}anja, zajedni~ki se prolazi klesanim ornamentom iz Koljana. Ponavlja se {to je motiv (pokrenu-ta to~ka zavrnuta ponovno u sebe). Pokrenuta to~ka zna~i valovito gibanje i to je i zna~enje orna-menta: “talasanje bitka”, bez po~etka i bez kraja. U slu~aju ornamenta nije potrebno uspostavitiravnoteù izme|u zna~enja i oblika, jer zna~enje nije ne{to {to dolazi izvana. Pleter jest doga|anjesvijeta. Upozorava se na to da mi vi{e nismo disciplinirani za ~itanje ornamenta, nego za jednu (ilivi{e) od vrsta pisma. Ono {to u ovoj radionici slijedi jest ulazak u sloèni svijet prvotnog jedinstvazna~enja i oblika.2. a) Sudionici dobivaju analizu temeljnog motiva iz jedne stranice Book of Durrow G. Baina. Uzpomo} studenata-instruktora konstruiraju motiv. b) Sudionici dobivaju Bainovu shemu rekonstrukci-je, dapa~e korekcije jedne stranice Book of Durrow. Flomasterom prolaze ornamentom - radi se ojednoj liniji. Tijekom rada daju se upute: potrebno je raditi mirno i pa`ljivo, treba se predati kretanjulinije poput predavanja ìvotnom impulsu, ne racionalno ispravljati (naime, ako se ne pozna cjelina,pojedina usmjerenja mogu izgledati besmislena). Potrebno je imati povjerenja i na kraju }e se vidjetida je svako usmjerenje linije imalo svrhu; potrebno je doìvjeti putovanje pogleda i ruke poputcjelo}e ìvota (simulacija ìvota). Ne znamo kuda i za{to idemo i ako se ne prepustimo toku s povjerenjem moèmo zavr{iti u nekoj podcjelini i nikada ne sti}i do cjeline. c) Nakon {to svi pro|ucijeli ornament projicira se stranica Book of Durrow, druga polovica 7. st., 24,5 x 14,5 cm, TrinityCollege, Dublin. Prolaènje njome predstavljalo je duhovnu pripremu za ~itanje stranica s tekstomEvan|elja. Upozorava se na zamku koju predstavlja boja (zeleni verdigris - bakreni acetat, ùti orpi-ment - arsenov sulfit, i olovno crvena). Boja stalno odvla~i pogled, motiv treba stalno pronalaziti.Citira se Sv. Columban (Colum Cille): ”Ima onih, istina malobrojnih, kojima je Bo`ja milost podarilamo} kontemplacije, jasnu i razgovjetnu, s rasponom uma ~udesno pro{irenog, koji u istom trenutkukao ispod jedne sun~eve zrake zahva}a cijeli krug cijele zemlje, s oceanom i nebom iznad.” Fragmentikretanja se mogu ~initi kaoti~nim, usmjerenja “neshvatljiva”, cjelina je, me|utim, sloèni red.Stranica pruà veliki doìvljaj cjeline.3. a) Projicira se crte` pogrebnog obreda Maki s otoka Vao. Pri~a se: “ènski duh” koji ~uva {piljupodvrgava “pokojnika” isku{enju. Jednim zamahom crta prstima po pijesku geometrijsku {aru uobliku kornja~e. Pokojnik izdaleka ugleda crte`, zbuni se i pogrije{i put. Kada ga opet na|e, ~uvaricapobri{e polovicu crteà (ugasi se projektor). Ako pokojnik uspije obnoviti izbrisani dio moè, vo|ennjegovom linijom, u}i u sredi{te, ako ne, ona ga proguta. b) Sudionici dobivaju polovicu crteà(druga polovica je na fotokopiji izbrisana) i uz pomo} studenata-instruktora rekonstruiraju drugupolovicu (da ih ~uvarica ne bi progutala!). Va`na uputa: moraju u}i u crte` i na}i sredi{te. c) Ponovose projicira cjelina. Upozorenje: stekla se kompetencija da je se pogleda.4. a) Projicira se jo{ jedna irska minijatura, ovoga puta iz Book of Kells, po~. 9. st., 33 x 25 cm,Trinity College, Dublin i to stranica na kojoj je prikazan patrijarhalni kri` s osam kru`nih oblika.Oblik se vrlo lako i uspje{no uravnoteùje s vanjskim zna~enjem (kri`). Upozorava se na slojeve -razli~ite na~ine. b) Dijeli se fotokopija detalja, u originalu veli~ine oko 3 cm. Zadatak je da se “u|e ui iza|e iz” oblika. Dvije su linije, dva su ulaza, dva izlaza, zato se radi s flomasterima u dvije boje. c)Ponovo se projiciraju detalj i cjelina. Pronalazi se detalj.5. a) Projicira se stranica Evangelijara iz Lindisfarnea, po~etak Evan|elja po Marku, oko 698., 33 x24,8 cm, British Library, London. Poznat je i prepisiva~ i slikar po imenu Eadfrith. Uslo`njavanje jeostvareno bojom u pleteru, a i drugim motivima keltskog ornamenta (stepeni~asti oblik, pelta/{tit,dvostruka, trostruka, ~etverostruka spirala) a i germanskog (zoomorfni elementi). b) Projicira se ini-cijal (Sv. Luka). Uslo`njavanje nastaje jo{ i na taj na~in da se linije ~esto zamjenjuju nizom to~aka(na cijeloj stranici 10.600 to~aka). c) Projicira se detalj. Spirala je konkretizirana zoomorfnim ele-mentima (pas i ptica). Upozoruje da su linije razli~ite {irine. Jo{ ne{to: ne samo {to ne poznajemocjelinu dok se prepu{tamo toku linija, nego postoje vi{estruke zamke (razli~ite privla~ivosti boja iomjera). Ponovo se ukazuje na to da je duhovna poruka ornamenta upravo u tome {to simuliraìvotni tok, a smislenost njegove cjeline je, tijekom hoda prepunog zamki, nepoznata. d) Projicira sestranica ispred Evan|elja po Luki. Upozorava se na novi motiv tzv. klju~. Netko od sudionika gaiscrtava na projekciji. Na ovoj stranici je najo~itiji spoj organskog i geometrijskog ornamenta.6. Projicira se stranica koja prikazuje Krista, opet iz Book of Kells. Govori se o tome da je Sv.Augustin ispred sebe nosio ikonu kada je do{ao u Irsku. Vidi se spoj dviju tradicija, susret dva koda:keltskog, pretpovijesnog ornamenta i kasnoantiknog prikazivanja ljudskog lika (ikona). U kod orna-menta se ve} u{lo. Sada se ulazi u kod tog naro~itog spoja. O~itavaju se drugi zna~enjski elementi:paun, loza, kale`, i kako se uravnoteùju s oblicima ornamenta. Upozorava se na analogiju s na{impristupom Apokalipsi u prethodnoj radionici, kada smo je poku{avali ~itati iz aspekta indijske tradici-

The intention of the e i g h t h workshop is toexplore and gain experience of the universality ofthe ornament, of one way to establish the unity ofshape and meaning; to get an insight both into theshape and the meaning of the ornament in twogreat cultures (Christian Ireland, Islam).

Ambience: Again the same as earlier. A projector,prepared photocopies, felt-tip pens, tracing paper,brushes and Indian ink are available.

Structure of the activity1. a) From the topic of the former workshop it isclear what this one will be like. In the former work-shop we gained experience of the possible universalcharacter of stylization as a balance between mean-ing and shape, in this one we explore one of the uni-versal modes to establish unity: the ornament. Werevive the experience from the workshops Originsand Principles and the participants are reminded ofthe existence of two visual disciplines: the ornamentand letters. In the ornament the unity of meaningand shape is established, in letters there is a greateror smaller division. b) To remember: we collectivellypass through a carved ornament from Koljani. Werepeat what the motive is (the shifted point turnedagain in itself). The shifted point means - a wavingmotion and it is the meaning of the ornament too: -”waving of the Being”, without beginning and end. Inthe ornament it is not necessary to establish a bal-ance between the meaning and the shape, becausethe meaning is not something from outside. Theknotwork (interlace)is the world itself. The partici-pants are told that we are not disciplined to read theornament any more, but to read one or more kindsof letters. What we are about to do next in this work-shop is to enter this complex world of the unity ofmeaning and shape.2. a) The participants receive G. Bain’s analysis ofthe basic motive from one page of the Book ofDurrow. With the help of the students-instructorsthey construct the motive. b) The participants getBain’s scheme of reconstruction, more a correctionof one page from the Book of Durrow. With felt-tippens they pass through the ornament - it is oneline altogether. The following instructions are givenduring the work: it is necessary to work peacefullyand attentively; it is necessary to surrender oneselfto the flow of the line as a surrendering-of-oneself-to-life’s impulse, not correcting rationally (namely,if the whole is not known, the particular directionscan seem senseless). It is necessary to have confi-dence and in the end we shall see that all thedirections were sensible; it is necessary to experi-ence the travelling of the gaze, and the hand as thewholeness of life (the simulation of life). We do notknow where we go and why and if we do not sur-render ourselves with confidence we can end in asubentirety and never reach the wholeness. c) Aftereach of the participants has passed through thewhole ornament a page from the Book of Durrow isprojected, (second half of the 7th Century, 24.5 x14.5 cm, Trinity College, Dublin). Passing throughit was a spiritual preparation for reading the text ofone of the Gospels. Warnings are given about thetrap that the colours (green verdigris - copperacetate, yellow orpiment - arsenic sulphit and leadred) represent. The colour always draws our gazeaway, the motive has to be discovered - alwaysanew. St. Columban (Colum Cille) is quoted:“There are some, although few indeed, on whomdivine favour has bestowed the gift of contemplat-ing, clearly and very distinctly, with the scope of

Konstruira se ornamentalni motiv iz Book ofDurrow/An ornamental motive from the Bookof Durrow is constructed

Na shemi se prolazi jedna linija ornamen-talne stranice Book of Durrow/On the schemegoing through one line of the ornamental page ofthe Book of Durrow

Dopunjavanje labirintskog crte`a s otokaMaki/Completing a labyrinthic drawing from theIsland of Maki

Prola`enje kroz jedan detalj Book ofKells/Going through a detail of the Book of Kells

Pra}enje arabeske/Following an arabesque

Isprobavanje islamske kaligrafije(mashq)/Trying the Islamic Mashq calli-graphy

Kako u}i u “labirint” Kufik pisma/ How toenter in the “labyrinth” of Kufic calligraphy.

elementary level is transformed in a more elaborateone (the closed shape is a hexagram, the open onea six pointed star). f) Again a slide of the stone gridis shown. Attention is directed at how the linearmasses are concretised in the ornament and howthe game of opening/closing gets a new dimensionwith the relationship of fullness and emptiness.Once more: the arabesque is the descent of God’sgrace, the geometric ornament the ascent.8. a) A detail of a text written in Mashq calligraphyis shown. Not knowing Arabic, we can naturallyonly feel the balance between the meaning and theshape but cannot really judge it. b) The participantsreceive photocopies, brush and Indian ink, the taskis to write one of the signs in one stroke.9. a) A work of the otomanic calligrapher AhmadQarahisari, 16th Century, is presented. It is writtenin Kufic letters: 4 x Al Hamd li Llah - “Grace toGod” (up); Basmalah written in Riqa letters (in thecentre); in angular Kufic letters: Basmalah and thetext Surat al-Ikhlas: “Say he is the one God, theeternal God, He begets none, neither is He begot-ten, and none is equal to Him”. b) Both basicmodes of Arabic calligraphy are presented whichhave the meaning of the arabesque and the geomet-ric ornament, the instability of God’s Grace and thestability of the spiritual stations, the word descendsthrough the name of compassion and one ascendsto the word through the name of mercy. The lowerpart is similar to a maze, again, an archetypal shape(“the soul’s journey”) where we have to enter, andan aim exist. c) The participants receive photocopies to explore theentrance and the aim. d) The slide is projected. Weascertain that there is no entrance (“we can get inonly through God’s Grace”), and when we are in, wesurrender ourselves to the impulse of moving and the experience is: the aim and the path are the same.We quote St. Columban: With God’s Grace we seethe whole and the detail.

367366 je.7. Druga velika kultura ornamenta je Islam. a) Pokazuje se detalj tepiha i obja{njava se arabeska -ahwal, nestalnost Bo`je milosti, proètost cijelog univerzuma ritmom. Spirala je tematski odre|enaviticama. Nestalna Bo`ja milost se rasprostire i silazi kao Rahman, suosje}anje. Arabeska aktualiziraspiralu, spirala aktualizira sredi{te, sredi{e (simetrija) stabilizira arabesku. b) Metalna re{etka [ahaSulejmana iz 17. st., pokazuje kako se u arabesku upli}e kaligrafsko pismo (thuluth): basmalah(Bism Allah - al-Rahman al-Rahim - u ime Boga suosje}ajnog i samilosnog). c) Sudionici dobivajufotokopiju i izdvajaju arabesku (flomasterom crtaju spirale). Uputa: neka se obrati pozornost namanje i ve}e spirale i na to koji je figurativni element aktualiziran (arabeska: po~etak je kraj, kraj jepo~etak). d) Pokazuje se kamena re{etka iz Isfahana, 13. st. Obja{njava se druga vrsta islamskogornamenta, geometrijski - maquamat = trajna duhovna postaja. e) Sudionici na pausu dobivajugeometrijsku shemu generiranja oblika: pulsiranja iz otvorenog u zatvoren i obratno. Stavljaju je nacrte` ornamenta koji je konkretiziran u re{etki i istraùju igru otvaranja i zatvaranja. Za razliku odto~ke - linije, likovnog po~ela statike i dinamike, ovdje se radi o plo{nim oblicima i tako se ta elemen-tarna razina pretvorila u razvijeniju (zatvoreni oblik je {esterokut, otvoreni je {estokraka zvijezda). f) Slijedi ponovno snimak re{etke. Usmjerava se pozornost na to kako linijski istanjene masekonkretiziraju ornament i kako igra otvaranja/zatvaranja dobiva novu dimenziju odnosom punog ipraznog. Jo{ jednom: arabeska je silazak Bo`je milosti, geometrijski ornament je uzdizanje. 8. a) Pokazuje se detalj teksta pisan mashq kaligrafijom. Ne znaju}i arapski, naravno, samo osje}amoravnoteù zna~enja i oblika, a ne moèmo do kraja prosuditi. b) Sudionici dobivaju fotokopije, kist itu{ i traì se da jedan od znakova ispi{u u jednom potezu.9. a) Pokazuje se djelo otomanskog kaligrafa Ahmeda Karahisarija iz 16. st. pisanog u kufik pismu: 4 x Al Hamd li Llah - Slava Bogu (gore); basmalah pisan riqa pismom (u sredini); u uglatom kufikpismu: basmalah i tekst Surat al-Ikhlas: “Reci, on je jedini Bog, vje~ni Bog, on ne ra|a i nije ro|en initko mu nije ravan” (dolje). b) Prisutna su oba temeljna na~ina arapske kaligrafije koji imaju smisaoarabeske i geometrijskog ornamenta, nestalnost Bo`je milosti i stalnost duhovnih postaja, silaska rije~iputem imena suosje}anja i uzlaska do rije~i putem imena samilosti. Donji dio nali~i labirintu, opetarhetipskom obliku (“putovanje du{e”) u koji treba u}i, i gdje postoji cilj. c) Sudionici dobivajufotokopije da istraè ulazak i cilj. d) Ponovo slijede projekcije. Ustanovljuje se da nema ulaza (“na|ese unutra samo Bo`jom milo{}u”), a kada smo unutra, predajemo se impulsu kretanja i iskustvo je:cilj i put su jedno. Prisje}amo se Sv. Columbana: Bo`jom milo{}u vidimo i cjelinu i detalj.

the human figure (icon). We have already enteredthe code of the ornament. Now we try to enter in thecode of this peculiar union. We read the semanticelements: the peacock, the sprouting vine, the chal-ice and how they are balanced with the shapes ofthe ornament. The participants are instructed on theanalogy with our approach to the Apocalypse in theformer workshop when we tried to read it from theaspect of Indian tradition.7. The other great culture of ornament is Islam. a) A detail of a carpet is shown and the arabesqueis explained - ahwal, the instability of God’s grace,the saturation of the whole Universe with rhythm.The spiral is thematically defined with sproutingvine. God’s unstable grace expands and descendsas Rahman-compassion. The arabesque actualizesthe spiral, the spiral actualizes the centre, the centre(symmetry) stabilizes the arabesque. b) A metalgrid of Shah Sulayman I from the 17th Century isshown. The arabesque is interwoven with calli-graphic letters (Thuluth): the basmalah (Bism Allah- al Rahman al Rahim - in the name of God thecompassionate and merciful.) c) The participantsreceive photocopies and isolate the arabesque(drawing the spirals with a felt-tip pen).Instructions: to direct attention to the larger andsmaller spirals and discover which figurative ele-ment is actu-alized (the arabesque: the beginning isthe end, and the end is the beginning). d) The stonegrid from Isfahan, 13th Century, is presented. Theother kind of Islamic ornament is explained, thegeometric one - maquamat = the permanent spiri-tual station. e) The participants receive geometricalschemes of generating shapes on tracing-paper:which pulsate from an open to a closed one and inreverse order. The schemes are put onto the draw-ing of the ornament which has been concretized inthe stone grid and they explore the game of theopening and closing. Differently from the point -line, which are the visual origins of statics anddynamics, here we get planar shapes and so this

“APSOLUTNA” RAZINA“ABSOLUTE” LEVEL

~ista boja: nema tragedijeravna linija: beskona~nostpravi kut: krajnostbijelo: sve mogu}nostioslobo|enje pogleda

pure colour:no tragedystraight line: the infiniteright angle: the ultimate

white: all possibilitiesliberation of glance

primordijalni odnosi primordial relations

BESKRAJ I MIR INFINITY AND PEACE

PP.. MMOONNDDRRIIAANN::KKOOMMPPOOZZIICCIIJJAA SSAA@@UUTTIIMM LLIINNIIJJAAMMAA//CCOOMMPPOOSSIITTIIOONN WWIITTHHYYEELLLLOOWW LLIINNEESS,, 11993333..,, UULLJJEE//OOIILL,, DDIIJJAAGG..//DDIIAAGG..,,111133 CCMM,, HHAAGG//TTHHEE HHAAGGUUEE

“vi|ena iz relativnog” - površinska, geometrijska (kvadrat), verbalna (Maljevi~: ne slikam crni kvadrat negobespredmetnost) razina

“seen from the relative” - superficial, geometric (square), verbal (Malevitch: I am not painting a blacksquare but objectlessness) level

KK.. MMAALLJJEEVVII^̂//KK.. MMAALLEEVVIITTCCHH:: CCRRNNII KKVVAADDRRAATT//BBLLAACCKK SSQQUUAARREE,, 11991133..,, CCRRTTEE@@//DDRRAAWWIINNGG

NN.. GGAABBOO:: SSFFEERRNNAA TTEEMMAA//SSPPHHEERRIICC TTHHEEMMEE,, 11996600..,,BBRROONNCCAA//BBRROONNZZEE,,DDIIAAMM:: 5577 CCMM,, TTAATTEE GGAALLEERRYY LLOONNDDOONN

AA PP SS TT RR AA KK CC II JJ AA -- JJ EE DD II NN SS TT VV OO OO BB LL II KK AA IIZZ NN AA ^̂ EE NN JJ AASEDAM JEZIKA PRIRODE

AA BB SS TT RR AA CC TT II OO NN -- UU NN II TT YY OO FF FF OO RR MM AA NN DDMM EE AA NN II NN GG

THE SEVEN LANGUAGES OF NATURE (Maharishi Mahesh Yogi)

“RELATIVNA” RAZINA“RELATIVE” LEVEL

“vi|ena iz relativnog” - povr{inska anegdotska razina“seen from the relative” - superficial, anecdotal level

GG.. CCOOUURRBBEETT:: BBOONN JJOOUURR MMOONNSSIIEEUURR CCOOUURRBBEETT,, 11885544..,, UULLJJEE//OOIILL,, 112299XX114499 CCMM,, MMOONNTTPPEELLLLIIEERR

emotivno emotive

boja colour

sinestezija synaestesia

^ISTI DUH PURE SPIRIT

VV.. KKAANNDDIINNSSKKII//KKAANNDDIINNSSKKYY::IIMMPPRROOVVIIZZAACCIIJJAA 2266,,DDEETTAALLJJ//DDEETTAAIILL

“vi|ena iz apsolutnog”, dubinska, apstraktna razina “seen from the absolute”, deep, abstract level

“RELATIVNO TRANSCENDIRA VLASTITU STRUKTURU” “THE RELATIVE TRANCENDS ITS OWN STRUCTURE”

Kandinsky:

“RAZMAK VI\EN IZ RAZMAKA”“GAP SEEN FROM THE GAP”

mjera measure

TEMATIZACIJA BESKONA^NOSTITHE THEMATISATION OF INFINITY

Mondrian:“vi|ena iz apsolutnog” - dubinska, apstraktna razina“seen from the absolute” - deep, abstract level

scene). f) A repeat of Courbet’s painting. Attention isdirected towards other aspects, which make a paint-ing painting: the play of different textures (smooth -background; dense, with a cloth rubbed part - middleplane; the paint thrown with a spatula - the frontalpart). g) The second suprematistic drawing Circle isprojected. The measure of the endless is empha-sized. The measure (the boundary) of the abstractarchetypal shape (circle, square) cannot hide theopen, the endless, that the world can be anything onthe unbounded quantum level. Once again: “I am thebeginning, my consciousness creates everything”.Malevitch realizes the unity of the world and man andthat is the main spiritual content of his works. h) A drawing of the Cross, the third suprematisticelement is shown. Instructions about the universalbasic archetypal symbol of the tetractys whichframes and gives measure to the unbounded aregiven. i) A drawing where there are all the threesuprematistic elements: circle, cross and square isshown at the end.2. a) A detail of V. Kandinsky’s Improvisation 26 ispresented. We continue with the ideal frame in theprocedure of our approach. Between the two oppo-sites Courbet and Malevitch we now observe an art-work which we put in the centre. Kandinsky pro-claims that he starts from nonmaterial, from theemotion “crazy, joyful, arrogant”, which materializesin the matter of the yellow paint in a place protructingof the canvas texture where the yellow paint haslocated itself and from where it reflects. From thatmaterialization Kandinsky starts, goes throughsynaestesia ending in pure spirit. The participants areinstructed to make an attempt of sensation: “a bitingsharp sound ee, at the same time a sour taste, asmell that pinches, and a sharp, warm hard touch” ofthe yellow. Further we read the detail: the contrastbetween yellow and black (“the deepest sonoritywhich cannot be heard”), achromatic colour (put outall the colours). The transition of yellow toward green(calming) transition towards orange (braking), con-trast with white (the highest sonority cannot beheard, all possibilities) a jump to the unbearable,gloomy, colour of purple. b) The detail where blue ispresent (deep closed sound: uu, an astringent taste,a sweetsharp smell, turned to itself, melancholic,dark, smooth, cold.) In these details there is no veilat all which hides the essence, the colour is in rela-tion to colour without any “amiable fraud”(Kandinsky about impressionism). c) For the furtherdetails the participants are instructed on the ambigualsyntagm of orange-purple which liberates the red, thewarm and heavy sonority. We present the whole andwe speak about it in this 79th workshop: we counton the ability of the participants who attended all theworkshops to read the painting without instructions.According to Kandinsky, we arrive at the pure spirit,the spirit is speaking to the spirit. The whole is natu-rally a great place without any semantic momentswhich would limit it. e) The students-instructors andthe workshop leader “perform” the Prologue ofKandinsky’s drama The Yellow Sound. The workshopleader reads all the instructions with a restrainedcommentary. The students-instructors stand in a cir-cle and in chorus recite the text. f) Once again thewhole of the painting is projected. If the painting hasno semantic limits, no veil, then only the text of thedrama represents a semantic point of support.3. a) P. Mondrian’s Composition with Yellow Lines,1933, oil, diagonal: 113 cm, the Hague is projected.Mondrian interprets the frame rotating it, the squarehe gets is the painting. He uses one colour (pure yel-low) in four straight linear shapes and an achromatic

371370 Namjera u d e v e t o j radionici je istra`iti (ste}i iskustvo) o jednom drugom univerzalnomna~inu uspostavljanja jedinstva zna~enja i oblika, o apstrakciji u modernoj umjetnosti; upoznatimogu}nost: “sedam jezika prirode” u djelima modernih umjetnika; sudionicima pru`iti mogu}nostizno{enja vlastitog stava u odnosu na radikalne stavove modernih umjetnika.

Ambijent: Stolice su razmje{tene u krug. Potreban je projektor i prire|eni su tekstovi.

Struktura doga|anja1. a) Projicira se slika G. Courbeta Bon jour Monsieur Courbet, 1854., ulje, 129 x 149 cm, Montpellier.Jo{ prije pedeset godina uobi~ajeno je bilo misliti da moderno slikarstvo zapo~inje Courbetom. To namse danas moè ~initi neopravdanim, ali s njim su zapo~eli skandali koji su pratili cijelu ranu povijestModerne. Polazi se od najpovr{inskije razine, anegdotske. Tema pokazuje krajnje udaljenje od univerzal-nih sakralnih zna~enja kojima se bavimo u ovim radionicama. U doba nastajanja Courbetove slike pot-puno vlada akademski ki~ (prevaga profanih zna~enja) i njegova se slika procjenjuje tako|er sastanovi{ta zna~enja ali progla{ava revolucionarnom zbog pomaka prema svakodnevnom. b) Projicira sedetalj. Otkriva se slikarska (apsolutna) razina slike koju se istraìvalo u prethodnim radionicama. c) Izlaè se idejni okvir ove radionice. Slici pristupamo prvo s povr{inske razine kako se nudi she-matskom opaàju, potom otkrivamo dubinsku, doslovnu, apsolutnu razinu. Pritom se podsje}a naodredbu stilizacije kao ravnoteè zna~enja i oblika, i ornamenta kao ostvarenog jedinstva. U akadem-skom na~inu umjetnost se izgubila u potpunoj prevazi zna~enja. Pitamo se da li Courbetov realizamizmi~e ili ostvaruje svojevrsnu ravnoteù. d) Pokazuje se Bog Otac J. Van Eycka, Gentski oltar, detaljpla{ta. Upozorava se, da se ovdje, za razliku od Courbetova na~ina, zna~enjska organizacija proteè i domikro razine slike. Postavlja se ponovno pitanje o ravnoteì. Osje}amo ~aroliju, pitamo se ~ega, mo`datematizacije boànske svijesti, proètosti svega boànskim pogledom i svjetlo{}u. e) Projicira se K. Maljevi~ev suprematisti~ki crte` Crni kvadrat iz 1913. god. Radi se o zaokretu za 180° u odnosu naCourbetovu sliku i na~in na{eg promatranja. Maljevi~ u crteù uop}e ne èli imati zna~enjsku,povr{insku, makro ili relativnu razinu. Maljevi~: “supremacija osjeta” - “ne slikam kvadrat negosupremaciju osjeta”. Predlaè se da se Maljevi~ev termin “osjet” zamijeni Gibsonovim terminom“doslovni opaàj”, kojim se stalno koristimo. Ako Maljevi~ev crte` ~itamo s razine koja je bila o~ita uCourbetovoj slici, onda je to upravo kvadrat, koji naravno nije anegdotski, nego arhetipski znak.Maljevi~ev se crte` isti~e apsolutnom razinom, materijalizacijom doslovnog opaàja, malih promjena usvjetlini, koja je u Courbetovom slu~aju bila zastrta. Citira se Maljevi~ i pritom postaje jasno i to da sunjegovi verbalni iskazi tako|er ona relativna, povr{inska razina, koja je kod Courbeta bila anegdotska.Maljevi~: “ja sam po~etak, sve je u mojoj svijesti … ne slikam crni kvadrat nego bespredmetnost”.Ograni~enje stvaranja je mjera (kvadrat), crni kvadrat = osjet, bijela podloga = ni{ta, ali je, kodMaljevi~a, veo koji zastire beskrajno stvaranje propustan, za razliku od gustog vela svakodnevnog prizo-ra u Courbetovom slu~aju. f) Ponovo Courbetova slika. Usmjerava se pozornost i na druge aspekte kojesliku ~ine slikom: igra razli~itih tekstura (posve glatka - pozadina; gusti krpom razmazani dio - srednjiplan; {pahtlom nabacana boja - prednji dio). g) Projicira se crte` drugog suprematisti~kog elementa,Krug. Nagla{ava se da mjera (granica) apstraktnog arhetipskog oblika (kru`nica, kvadrat) ne moèposve sakriti otvorenost, bezgrani~nost, to da svijet na neograni~enoj kvantnoj razini moè biti bilo {to.Jo{ jednom: “ja sam po~etak, moja svijest stvara sve”. Maljevi~ ozbiljuje jedinstvo svijeta i ~ovjeka inaravno u tome je njegov bitni duhovni sadràj. h) Projicira se crte` Krià, tre}eg suprematisti~kog ele-menta. Upu}uje se na univerzalni temeljni arhetipski simbol tetraktisa koji uokviruje i daje mjeru bez-grani~nom. i) I na kraju se pokazuje crte` na kojem su zajedno tri temeljna suprematisti~ka elementa:krug, kri`, kvadrat.2. a) Pokazuje se detalj slike V. Kandinskog Improvizacija 26. Nastavlja se s idejnim okvirom u na{empristupu. Izme|u dvije suprotnosti, Courbeta i Maljevi~a, sada gledamo djelo koje stavljamo u sredinu.Kandinski kaè da polazi od nematerijalnog, od emocija “ludo, veselo, drsko” koje se materijaliziraju utvari ùte boje, na nekom mjestu, na izbo~eni dio tkanja platna na koji se smjestila ùta boja i odaklereflektira. Od te materijalizacije Kandinski, preko sinestezije, stiè do ~istoga duha. Upute za poku{ajdoìvljaja: “reski, o{tri zvuk: ii, istodobno kiseli okus, miris koji {tipa, i o{tri, topli, tvrdi dodir” ùtog.Dalje ~itamo detalj: ùto je u kontrastu s crnim (“najdublja zvu~nost koja se ne moè ~uti”), nebojom(pogasila, progutala sve boje). @uta prelazi u zelenu (smiruje se), prelazi u naran~astu (zako~i se), ukontrastu je s bijelom (najvi{a zvu~nost koja se ne moè ~uti, sve mogu}nosti), ska~e premanepodno{ljivoj, turobnoj, neizdr`ljivoj purpurnoj boji. b) Projicira se detalj gdje se pokazuje plava(duboki zatvoreni zvuk: uu, trpkog okusa, slatkoo{trog mirisa, sebi okrenuta, melankoli~na, tamna,mekana, hladna). U ovim detaljima nema vi{e nikakvog vela koji zastire bit, radi se o odnosu bojeprema boji bez ikakve “umilne prijevare” (Kandinski o impresionizmu). c) Na sljede}im detaljimaupu}uje se na ambivalentnu sintagmu naran~asto - purpur koji osloba|a crvenu, toplu, te{kezvu~nosti. d) Pokazuje se cjelina i govori se o tome da se u ovoj 79. radionici ra~una da sudionici kojisu poha|ali sve radionice ~itaju slike bez uputa. Prema Kandinskom, stiè se do ~istoga duha, duhgovori duhu. Cjelina je, naravno, veliko mjesto bez ikakvih zna~enjskih momenata, koji bi je ograni-~avali. e) Studenti i voditelj “izvode” prolog Kandinskijeve drame @uti zvuk. Voditelj ~ita sve uputeuz suzdràni komentar. Studenti stoje u krugu i u zboru govore tekst. f) Ponovo se projicira cjelina. Ako slika nema zna~enjskog ograni~enja, nema vela, onda tekst dramepredstavlja neko zna~enjsko upori{te.3. a) Projicira se P. Mondrianova Kompozicija sa ùtim linijama, 1933., ulje, dijagonala: 113 cm,Hag. Mondrian interpretira kadar rotiraju}i ga - dobiveni kvadrat je slika. Koristi jednu boju (~isto

The intention in the n i n t h workshop is toexplore and gain experience of the other universalmode of establishing unity betwen meaning andshape, of the abstraction in Modern art; to introducethe possibility of the“seven languages of nature” inthe works of modern artists; to give a chance to theparticipants to express their ideas in connection withthe most radical ideas of modern artists.

Ambience: Chairs are placed in a circle. A projector and texts are prepared.

Structure of the activity1. a) G. Courbet’s Bon jour Monsieur Courbet, 1854.,oil, 129 x 149 cm, Montpellier, is projected. Aboutfifty years ago it was usual to think, that modern artbegan with Courbet. Today it may seem withoutgood reason, but with him the scandals began whichlater characterized the whole history of Modern art.We start from the surface level, from the anecdotalone. The subject is an ultimate detachment from theuniversal sacral meanings, we occupy ourselves inthis workshops. When Courbet’s painting was madeacademic kitch ruled entirely (preponderance of pro-fane meanings) and still his painting was proclaimedrevolutionary because of the shift in meaningtowards the ordinary. b) A detail is projected. The painting made (absolute) level is discovered,which we have always explored in workshops. c) The ideal framework of this workshop is explained.We first approach a painting from the surface level inthe way it is displayed to the schematic perception,next we discoverthe absolute, profound, literally level.We think of the definition of stylization as a balancebetween meaning and shape and the ornament asrealized unity. In the academic mode art was lost in atotal preponderance of the meaning. The question iswhether Courbet’s realism evades or realizes a par-ticular balance. d) J. Van Eyck: Godhead from Gent altarpiece, adetail of the mantle is shown. Instructions are givenabout the difference from Courbet’s mode, here thesemantic organization expands to the micro level ofthe painting too. Again we ask about the balance. Wefeel the magic, and ask ourselves magic of what? -Perhaps of the thematisation of God’s conscious-ness, perhaps of the saturation of everything withGod’s gaze and light. e) K. Malevitch suprematisticdrawing The Black Square, 1913, is projected. It is a180° turning in relation to Courbet’s painting and theway we look at it. Malevitch does not want to have asemantic surface, a macro or relative level in hisdrawing. Malevich: “the supremacy of the sensation”- “I am not painting a square, but the supremacy ofthe sensation”. It is suggested proposed: to changeMalevitch’s term “sensation” for Gibson’s “literal per-ception”, which we constantly use. If we readMalevitch’s drawing from the level which was evidentin Courbet’s painting then it is just a square, which isnaturally not an anecdotal meaning, but an archetypalsign. Malevitch’s drawing is prominent with itsabsolute level, the materialization of the literal percep-tion of tiny changes in light, which was covered inCourbet’s case. Malevitch is quoted and it becomesclear also that his verbal statements are also this rel-ative, surface level as it is the anecdotal one withCourbet. Malevitch: “I am the beginning, everything isin my consciousness... I am not painting the blacksquare but the objectlessness”. The limit of creationis the measure (square). Black square = sensation,white ground = nothing, but with Malevitch the veilwhich hides the endless creation is transparent, dif-fering from the dense veil in Courbet’s case (ordinary

@uti zvuk Kandinskog prolog izvode voditelji studenti/Yellow sound by Kandinsky, prologueperformed by the workshop leader and the stu-dents-instructors

Ulomak Mondrianove drame Prirodna iapstraktna zbilja, pojedine uloge ~itajusudionici i studenti/A fragment of Mondrian’sdrama Natural and Abstract Reality, the roles areread by the participants and students-instructors

how much participating in workshops has made con-scious the changes which probably occurred to eachparticipant.4. N. Gabo’s, Spherical theme, 1960, bronze diam:57 cm, Tate Gallery London is projected. Now theideal construction of this workshop is encompassedup to the end. The great sage of our age MaharishiMahesh Yogi differs “seven languages of nature”.We tried to state this theme as follows:

The sphere is in infinity and infinity is in sphere.Gabo pulled out, as a segment, the round planarmass from the sphere, but he shifted it = breakingof the symmetry = creating.

373372 ùtu), u ~etiri ravna linijska oblika, i neboju. Glavna Mondrianova teza - ~ista boja: “ne trebajufantazmagorije”, “nema tragedije”; ravna linija: “beskona~nost”; pravi kut: “krajnost”; bijelo: “svemogu}nosti”. Mondrian traì primordijalne odnose, a to su krajnost, beskraj i mir. Moderna unajradikalnijim ostvarenjima izbjegava simetrije, ritam, razmjere. Mondrian: treba vidjeti apstrakt-no, ne relativno; ne prirodne oblike, nego zbilju; ne prirodni ritam nego izmaknuti ritmu, izmaknutizlatnom rezu, a najva`nije je lomiti simetriju ~ime se tematizira samo stvaranje, kao lom apsolutnesupersimetrije. Sudionici se pozivaju da se prepuste doga|anju slike i da, po mogu}nosti, sa~ekajuda za trenutak i{~eznu sve razlike (sve ~etiri ùte linije). Govori se o osloba|anju pogleda, odusta-janju od “umilnih prijevara”, ne vode se pogledi “za ruku” poput djece, ve} se pogled osloba|a,nudi se mogu}nost transcendiranja. Mondrian: ne moè se posti}i univerzalno, ako vam sredstvanisu univerzalna. b) Sudionici i studenti sjedaju u krug. Svatko dobiva cijeli tekst ulomkaMondrianove drame Prirodna i apstraktna zbilja (6. prizor), razgovor izme|u ljubitelja umjetnosti(Y), naturalisti~kog slikara (X) i apstraktno-realisti~kog slikara (Z) s ozna~enim ulogama za svakogsudionika. Svatko ~ita svoju dionicu i raspravlja se o tome koliko se tko slaè sa svojom ulogom.Radi se o provokaciji razgovora, izno{enju stavova, iskustava, koliko je sudjelovanje u radionicamadovelo do osvje{tavanja promjena koje su se vjerojatno dogodile svakom polazniku.4. Projekcija Sferne teme N. Gaboa, 1960., bronca, promjer: 57 cm, Tate Gallery, London. Sada sedo kraja zaokruùje idejna konstrukcija ove radionice. Veliki mudrac na{eg vremena MaharishiMahesh Yogi razlikuje “sedam jezika prirode”. Ovu smo temu poku{ali postaviti na temelju toga:Sfera je u beskona~nosti i beskona~nost je u sferi. Gabo je izvukao, kao isje~ak, kru`nu plo{no istanjenumasu iz sfere, ali ju je pokrenuo = lom simetrije = stvaranje.

white. The main thesis of Mondrian’s - pure colour:“phantasmagorics are not needed”, “no tragedy”; thestraight line: “the infinite”; right angle: “the ultimate”; white: “all possibilities”. Mondriansearches for primordial relations and they are the ulti-mate, the endless and the peace. Modern art in themost radical creations is avoiding the symmetries,the rhythm, the proportions. Mondrian: we ought tosee abstractly, not the relative natural shapes, but thereality, not the natural rhythm, but to evade therhythm, to evade the Golden Section, and the mostimportant to break the symmetry and so thematisethe creation itself as a breaking of absolute supersymmetry. The participants are invited to surrenderthemselves to the occurrence of the painting and forthis reason if possible to wait till all the differencesdisappear (all the four yellow lines) for a moment.We talk about the liberation of the gaze, about givingup “the amiable fraud”, the gaze is not guided by tak-ing it “by the hand” like a child, but the gaze is liber-ated, offered the possibility of transcending. Modrian:it is not possible to achieve universal if your meansare not uni-versal. b) The participants and the students-instruc-tors sit in a circle. Everybody receives the whole textof the fragment of P. Mondrian’s drama The naturaland abstract reality (6th scene), a dialogue betweenan art lover (Y), a naturalistic painter (X) and anabstract-realistic painter (Z) with marked roles foreach participant. Everybody reads his/her part andthere is a discussion about how much he/she is inaccordance with the role. It is a provocation of dis-cussion, an expression of statements, experiences,

“relativna” razina, “relativno trancendira “razmak vi|en tematizacija “apsolutna” razina “vi|ena iz relativnog” vlastitu strukturu” iz razmaka” beskona~nosti “vi|ena iz apsolutnog”“vi|ena iz apsolutnog” (Kandinski) (Gabo) (Mondrian) “vi|ena iz relativnog”(Courbet) (Maljevi~)

“relative” level “the relative transcends “gap seen thematisation “absolute” level“seen from the relative” its own structure” from the gap” of infinity “seen from the absolute”“seen from the absolute” (Kandinsky) (Gabo) (Mondrian) “seen from the relative”(Courbet) (Malevitch)

375374

CORPO TRANSPARENTE - ANTHROPOCOSMOS

ODALE^ENJE OD POZNATIH MJERA OTVARA POLJE/ISKU[AVANJE SVIH MOGU]NOSTI

GETTING AWAY FROM THE KNOWN MEASURES OPENS THE FIELD/EXPLORATION OF ALL POSSIBILITIES

PP.. MMOONNDDRRIIAANN:: CCRRVVEENNII OOBBLLAAKK//TTHHEE RREEDD CCLLOOUUDD,,11990077..--88..,, UULLJJEE//OOIILL,,6644XX7755CCMM,, HHAAGG//TTHHEE HHAAGGUUEE

liceface

MM JJ EE RR AA -- NN AA DD OO SS JJ EE TT II LL NN OO

ZLATNI RAZMJER - LOGOS GOLDEN PROPORTION - LOGOS

SVETO TROJSTVO TRI KOJE JE JEDNO THE HOLY TRINITY THE THREE WHO ARE ONE

PP.. DDEELLLLAA FFRRAANNCCEESSCCAA:: KKRR[[TTEENNJJEE//TTHHEE BBAAPPTTIISSMM OOFF CCHHRRIISSTT,,OOKKOO//AAPPPPRROOXX.. 11444422..,, TTEEMMPPEERRAA II UULLJJEE NNAA DDRRVVUU// TTEEMMPPEERRAA AANNDD OOIILL OONN WWOOOODD,, 116677 XX 111166 CCMM,, LLOONNDDOONN

TT HH EE MM EE AA SS UU RR EE SS -- TT HH EE SS UU PP EE RR SS EE NN SS OO RR YY

(LAWLOR)

1 = BOG OTAC, 1/Φ = SVETI DUH, 1/Φ2 = SIN, MOGU]NOST O^ITOVANJA, UZVI[ENI ARHETIP, OPOJMLJENJE BO@ANSKOG O^ITOVANJA, 1/Φ3 = UTJELOVLJENJE, UNIVERZALNI POJEDINAC, KRIST

1 = GOD THE FATHER, 1/Φ = THE HOLY SPIRIT, 1/Φ2 = SON, THE POTENTIAL FOR MANIFESTATION, THE SUPREME ARCHETYPE,THE IDEATION OF DIVINE MANIFESTATION, 1/Φ3 = THE EMBODIED UNIVERSAL INDIVIDUAL, CHRISTOS

1 Φ2 2

Kristovo je tijelo u podru~ju 1 x 1/Φ3

The body of Christ is in area

Sveti Duh je u preklapanju 1/Φ 1/Φ2

The Holy Spirit is in overlapping

Visina Kristovog lika = 3 x 1/Φ3

The heigth of Christ

Udaljenost od pubi~nog luka do nogu = 1/Φ2

The distance from pubic arch to feet

Centar ispod pupka = kri`anje dvije √2 linijeThe centre below the navel = crossing of two √2 lines

Sr~ani centar = kri`anje dva Φ lukaHeart centre = crossing of two Φ arcs

Udaljenost krunskog centra od pup~anog = 1/Φ2

The distance from crawn centre to navel centre

GG.. GGUUAARRIINNII:: KKUUPPOOLLAA SSAANNLLOORREENNZZAA//TTHHEE DDOOMMEEOOFF SSAANN LLOORREENNZZOO,, 11666666..,, TTOORRIINNOO//TTUURRIINN

rotacijarotation

circles (the radius of the exterior circle is the diame-ter of the given interior). It is important to accentuatethat they are extending the Greek cross. c) The plansare distributed. The question: What from the structureyou have constructed has been realized in the plan ofSan Lorenzo’s (the sanctuary, and the narthex haveto be taken into consideration.) d) The vertical sec-tions are distributed. The diameter of the dome isgiven: 15.40 m, the measurements are written in thesection. The participants are asked to explore: whatrelations did they find? e) A projection of severalslides of the whole and details of the lower part ofthe interior is shown. We have to discover the elasticshape we have constructed on that level, like a rota-tion 4 of the convex shapes. The special characteris-tics of the concave shapes are observed (thecolumns pushed away from the wall, empty partsupon the arch). We remind the participants that themeasures: 1:2 / 1:3 were found in the exploration. Itis evident that the importance is elsewhere. f) Slides about the second zone are shown. Now it isvisible that the great convexity which has to bear theload of the dome via pendentive is in reality empty.We notice that the second zone is different from thefirst, each has its independence and demonstratesthe impossibility of standing by itself. g) Some slidesabout the dome are projected and show that beforethe transition on the pendentive there is another zoneof an aperture. h) Slides about the dome in Cordobaand the Romanesque church in Torre dell Rio areshown. There is a presumption that Guarini, travellingto Portugal through Spain, saw some Arabic domes(even the differences are essential). i) The exterior ofthe San Lorenzo where zones are clearly visible isprojected. Comment are made about how open anddifferent they are given. j) A drawing of the construction is presented and the double struc-ture is explained. The doubling of the wall is hidden,so the illusion of irrationality, impossibility, floating isachieved. k) A slide of the dome is shown. We dis-cuss that besides the Golden Section in different cul-tures, there exist also an idea of regular solids (theso called “Platonic solids”) which generate eachother. The Renaissance was absorbed by the idea ofputting the solids one into the other to achieve trans-parency. No architecture has realized that, but Keplertried to explain the planetary system that way. He didnot succeed but he gained some very important con-cepts by it. Perhaps Guarini achieved the corpotransparente with the six giant faces which rotatecreating an anthropocosmos analogous to the modesof achieving it through the Golden Section or accord-ing to the holy texts. In the most abstract art, inarchitecture antropomorphizesing the functional ele-ments, the windows the human body becomestransparent.3. a) A series of six (always in pairs) reproduc-tions with computer interventions of P. Mondrian’spainting the Red Cloud, 1907-8, oil, 64 x 75 cm,the Hague is presented from two projectors. (muti-lated red shape; again mutilated red shape; redshape in the centre; without intervention; the muti-lated relation of dimension up-down; shortenedblack strokes left and lengthened black strokesright). Once again it is a self-examination, the par-ticipants note down their observations, decisions,corrections. b) Photo-copies of the reproductionare distributed. Instructions about the GoldenSection in a point (the left boundary) and how toexplo-re it are given. c) The series is again pro-jected and the participants recognize the interven-tions. d) Mondrian’s painting The Red Cloud isprojected. We talk about the definitive step in the

377376 Namjera u d e s e t o j radionici je sudionicima pru`iti priliku za samoispitivanje (provjeravanjemjera slike); ste}i iskustvo o podrijetlu i sakralnom zna~enju zlatnog reza; ste}i iskustvo o djelima ukojima izmicanje simetrijama predstavlja isku{avanje svih mogu}nosti analogno nultom setu modernematematike.

Ambijent: Kao obi~no. Potrebna su dva projektora i fotokopije.

Struktura doga|anja1. a) U svim proteklim radionicama uvijek je dolazilo do izraàja to da je mjera presudna. Ovaposljednja (80.) bit }e neka vrsta samoispita u kojoj se mjeri to osje}a. b) Projicira se slijed od {est snimaka slike P. della Francesce Kr{tenje, oko 1442., tempera i ulje nadasci, 167 x 116 cm, National Gallery, London, u koju se interveniralo kompjutorski. Projicira se sadva projektora tako da su na zidu uvijek dvije varijante. Vodi se razgovor i upu}uje se na to dasudionici, radi samoispita, zapi{u primije}eni nedostatak/vi{ak ili neki drugi moment koji im se ~inine-pravi na slici (promjene po redu su: nema goluba; golub je pomaknut ulijevo; promijenjeniomjeri cjeline; golub ne{to manje ulijevo; bez intervencija; na Kristovu tijelu spu{ten pupak). c) Sudionici dobijaju fotokopirani materijal o zna~enjskoj interpretaciji i o generiranju zlatnog reza zaindividualno izu~avanje (unato~ toga pomaù studenti-instruktori). Dok izu~avaju, govori se o zlat-nom rezu, kojeg poznaju sve kulture, u razli~itim mitolo{kim varijan-tama: u Egiptu npr. bog Aton, koji u primordijalnoj vodi sam ra|a svijet, u kr{}anskoj odnos BogaOca, Sina i Duha. Ali se uvijek Jedno vra}a sebi = iracionalnost = zlatni broj = sveti broj Φ koji jebroj~ani simbol stvarala~ke funkcije. Kontinuirani razmjer se u gr~kom zove logos (“U po~etku bija{eRije~ /Logos/” - Evan|elje po Ivanu). Ali zlatni rez nije samo kontinuiran, on je i ekonomi~an razmjer,jer pokazuje da je tre}i ~lan privid. Zlatni rez nalazimo svuda u prirodi i temeljna je zakonitost djela.d) Sudionici dobivaju fotokopiju P. della Francesce djela i fotokopiju gdje je u malu reprodukciju djelaucrtana interpretacija Pierove zlatnorezne interpretacije Trojstva (R. Lawrol). Sudionici {estarom itrokutom na veliku reprodukciju prenose podjele - kontroliraju i osvje{tavaju. e) Ponovo se projicira istislijed snimaka. Na temelju iskustva odbacuju se krive varijante (npr. mjesto pupka u cjelini slike jetako va`no da ne moè biti pomaknuto).2. a) Projicira se snimak unutra{njosti San Lorenza u Torinu G. Guarinija, 1666. Tu se radi onaro~itom na~inu udaljenja od starih svetih mjera (upu}uje se i na radionice G r a d i g r a d i t e l j s t v o). Govori se o tome da se stare mjere u manirizmu i barokudjelomi~no napu{taju, a da ipak nastaju velika djela. b) Slijedi vje`ba. Sudionici dobijaju nacrtanikrnji gr~ki kri`, i traì se da saviju krakove prema unutra, konveksno, i da konstruiraju ~etirikru`nice (polumjer vanjskog kruga kao promjer zadanog unutarnjeg). Va`no je naglasiti da u bitirazvla~e gr~ki kri`. c) Dijele se tlocrti. Pitanje: {to se od strukture koju ste konstruirali realiziralo utlocrtu San Lorenza (treba uzeti u obzir sveti{te i narteks) d) Dijele se vertikalni presjeci. Daje sepromjer kupole: 15,40 m, u presjek su upisane mjere. Pozivaju se sudionici da istraè. Na kojeodnose nailaze? e) Projicira se nekoliko snimaka cjeline i detalja doljnjeg pojasa unutra{njosti.Potrebno je otkriti elasti~ni oblik koji su na toj razini konstruirali, kao rotaciju br. 4 konveksnih obli-ka. Vide se osobitosti konkava (stupovi odmaknuti od osnovnog zida, {uplji dijelovi iznad luka).Podsje}a se da se u istraìvanju uo~ilo mjere: 1:2 ili 1:3. O~ito da je zanimljivost negdje drugdje. f) Slijede snimci drugog pojasa. Sada se vidi da je velika konveksa koja treba nositi teret kupole prekopandativa zapravo {uplja. Primje}uje se da se drugi pojas razlikuje od prvog, svaki ima samostalnosti demonstrira tu nemogu}nost da stoji za sebe. g) Snimci kupole pokazuju da prije prelaska napandativ postoji jo{ jedan pojas otvora. h) Pokazuje se nekoliko snimaka kupole u Cordobi iromani~ke crkve u Torre del Rio. Postoji pretpostavka da je Guarini, putuju}i u Portugal pro{ao[panjolskom i vidio arapske kupole (ipak, bitna je razlika). i) Nakon toga slijedi snimak S. Lorenzaizvana gdje se jasno razabiru pojasevi. Upu}uje se na njihovu razli~itost i otvorenost. j) Pokazuje secrte` konstrukcije i tuma~i se dvostruka struktura. udvostru~enje zida, ali skriveno, tako da nastajeiluzija iracionalnosti, nemogu}nosti, lebdenja. k) Snimak kupole. Govori se o tome da, uz zlatni rez, uraznim kulturama postoji i ideja o pet pravilnih tijela (tzv. Platonovih) koja jedno drugo generiraju.Renesansa je bila zaokupljena idejom da se transparentnost postigne umetanjem tijela jednog udrugo. Nijedna arhitektura nije to ostvarila, ali Kepler je poku{ao Sun~ev sustav protuma~iti na tajna~in. Nije u tome uspio, ali je do{ao do vrlo va`nih spoznaja. Mo`da je Guarini postigao corpotransparente sa {est lica divova koja rotiraju stvoriv{i antropokozmos analogno na~inima putemzlatnog reza ili na temelju svetih tekstova. U najapstraktnijoj umjetnosti, u arhitekturi, antopomor-fizacijom funkcionalnih elemenata - prozora ljudsko tijelo postaje transparentno.3. a) S dva projektora pokazuje se niz od {est (uvijek u paru) kompjutorski obra|enih reprodukcijaMondrianove slike Crveni oblak, 1907.-1908., ulje, 64 x 75 cm, Hag (krnji crveni oblik, opet krnjicrveni oblik, crveni oblik u sredini, slika bez intervencija, poreme}eni odnos veli~ina gore-dolje,skra}eni crni potezi lijevo i produèni crni potezi desno). Opet se radi o samoispitu, sudionici biljeèsvoja zapaànja, odluke, ispravke. b) Dijeli se fotokopija reprodukcije. Upozorava se na zlatni rez ujednoj to~ki (lijeva granica) i upu}uje se na istraìvanje. c) Ponovo se pokazuje niz i sudionici prepoz-naju intervencije. d) Projicira se Mondrianova slika Crveni oblak. Govori se o tome da se definitivnozakora~ilo u slobodu odnosa, u kr{enje/lom poznatih mjera, i da se motri kako se radi slika u toj slo-bodi. Govori se o tome da i europska i egipatska tradicija polaze od broja 1. Kada je u 8. st. do{la 0iz Indije gdje se shva}ala kao praznina i bila je iza 9, u Europi je pretvorena u ni{ticu. Srednji sevijek dugo opirao ra~unanju s ni{ticom i prihva}ena je tek u kasnoj renesansi i manirizmu. Shva}anje

The intention of the t e n t h workshop is tooffer a chance to the participants for a self-exami-nation (checking the measures of the paintings);to gain experience of the origin and sacral mean-ing of the Golden Section; to gain experience ofthe artwork in which evading of symmetries repre-sents a try out of all the possibilities analogous tothe Ø set of modern mathematics.

Ambience: As usual. Two projectors, photocopiesare available.

Structure of the activity1. a) In all the previous workshops we have alwaysemphasized that measures are decisive. This last(80th) one will be a kind of self-examination, howmuch we really feel it. b) A series of six slides about P. della Francesca’sBaptism of Christ, aprox. 1442, tempera and oil onwood, 167 x 116 cm, National Gallery, London, isprojected with a computer’s intervention. The slides are projectedfrom two projectors, so on the wall there are alwaystwo variations. A discussion take place and theinstructions are to note, because of self-examinationthe noticed defect/surplus or some other moment,what they feel that is not right in the painting (the changes in the sequence are: the pidgeon ismissing; the pidgeon is shifted to the left; the ratio ofthe whole is changed; the pidgeon is shifted onlyslightly towards the left; without intervention; onChrist’ body the navel is forward down. c) The par-ticipants receive the photocopied material aboutgenerating the Golden Section, and about its seman-tic interpretation for individual study (the instructorshelp never the less). While studying, we talk aboutthe Golden Section and the mythological variations;in Egypt for instance, the God Aton who in primor-dial waters gives birth to the world alone, in Christian tradition the relationbetween Father, Son and Spirit in Unity. But One isalways returning to oneself = irrationality = GoldenNumber = holy number Φ which is the numericalsymbol of creative function. The continuous propor-tion in Greek is called logos [“In the beginning wasthe Word (Logos)” - St. John’s Gospel]. But GoldenSection is not only continuous it is also an econom-ic proportion showing that the third term is an illu-sion. The Golden Section is found everywhere inNature and the basic rule is of the artworks. d) Theparticipants get photocopies of P. della Francesca’sBaptism of Christ and a photocopy where in a smallreproduction of the painting is drawn the interpreta-tion of Piero’s Golden Section interpretation of the Trinity (R. Lawrol). The participants with cal-lipers and triangles transmit the divisions - they con-trol and become aware of them. e) A projection of the same sequence of slides isshown again. False variations are rejected on thebasis of experience. Now the experience is manifest-ed; for instance the place of the navel in the wholeof the painting is so important that it cannot be shift-ed.2. a) A slide of the interior of San Lorenzo in Torinoby G. Guarini, 1666, is projected. Here we get a spe-cific detachment from the old holy measurements(see the workshops City and Architecture). We talkabout the detachment, getting away from the oldmeasures in Mannerism and Baroque and that inspite of that, great artworks are created. b) An exer-cise follows. The participants get a drawn truncatedGreek cross and the task is to curve the armstowards the inside, convexly, and to construct four

Interpretacija zlatnog reza za individualnoprou~avanje/Interpretation of Golden Sectionfor individual study

Primjena/prepoznavanje zlatnog reza uKr{tenju Piera della Francesce/The use/recognising Golden Section in Pierodella Francesca’s Baptism

Voditelj obilazi i tuma~i/The workshop leadercirculates and explains

Primjena/prepoznavanje zlatnog reza uKr{tenju Piero della Francesca/The use/recognising Golden Section in Pierodella Francesca’s Baptism

[estarom se prenose mjere/With callipers themeasurements are transmitted

Konstrukcija oblika Guarinijevog SanLorenza/Constructing the shapes of Guarini’sSan Lorenzo

Jo{ nekoliko rije~i/A few words more

Mannerism. To accept 0 as emptiness was impos-sible. Only modern mathematics thinking with thenul set thinks about all the possibilities, similar toModern art which also tries out all the possibili-ties. That is the reason why it is so difficult todefine the criteria in Modern art. Getting awayfrom the known measurements the field of all pos-sibilities is opened: the act of creation out of thevoid without any veiling occurs.

379378 0 kao praznine nije dolazilo u obzir. Tek moderna matematika, misle}i s nultim setom, misli sa svimmogu}nostima, sli~no kao {to moderna umjetnost isku{ava sve mogu}nosti. Upravo radi toga je takote{ko u modernoj umjetnosti odrediti kriterije. Udaljenje od poznatih mjera otvara polje svihmogu}nosti: ~in stvaranja iz praznine bez zastiranja.

freedom of relations, in the violation / break of theknown measurements and observe how a paintingis done in that freedom. We further talk about howthe European and Egyptian tradition started fromnumber 1. When in the 8th Century 0 (zero) camefrom India, where it was conceived as a void, andput after the number 9, in Euro-pe it was trans-formed into nothing. The Middle Ages opposedcomputing with zero for a long time. It wasaccepted only in the late Renaissance and

381PP RR OO SS LL AA VV EE CC EE LL EE BB RR AA TT II OO NN SS

Zavr{ne rije~i (voditelj i ravnateljCentra za kulturu i obrazovanjeZagreb)/Final words (workshop leaderand the headmaster of Centre of cultureand education Zagreb)

Dodjele diploma sudionicima koji suzavr{ili svih osam skupova radioni-ca/Presenting the diplomas to partici-pants who finished all the eight set ofworkshops

Studenti i sudionici slave/The students and the participants arecelebrating

RADIONICA 8+PROSLAVA.qxd

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