Ogledalo vizuelne umetnosti - Izdavaštvo - Monografije i CD

Cena: 4700,00 din

Tvrd povez, format: 33x24cm, 271 strana, ilustrovano
Jezik: srpski i engleski

Sadržaj:

Milan Komnenić: Osvojena vedrina ili slavopoj tragičnim snagama života
Kritički napisi o delu Ljubodraga Jankovića Jaleta
Izbor tekstova iz knjige Miloša Jevtića: Oblici Ljubodraga Jankovića
Biografija
Bibliografija
izdavač: Radionica duše

Ono što slikar nosi u sebi kao konstantnu vrednost jeste sadržaj slike. To je, u stvari, nekad mutna, a nekad jasna predstava onoga što želi da izrazi kroz određenu formu. To je stalno čuđenje i divljenje pred prirodom i životom, otkriveno u detinjstvu, negovano u mladosti, brušeno u zrelim godinama, sa stalno pothranjivanom potrebom za iskazom tih stanja i osećanja svet. Tako je čovek, kao inkarnacija čuda, čak čudesnog, dobio i još uvek ima centralno mesto u mojim preokupacijama, uz stalne promene i dodatke flore i faune, kao ambijenta njegove egzistencije. Mislim da će ovo i dalje biti polje moga interesovanja, jer predstavlja nesaglediv izbor za modifikaciju oblika, prostora i atmosfere.

Ljubodrag Janković Jale

KA SPIRITUALNOJ SVETLOSTI

Da bi nešto postalo svetlost ili sa njom uspostavilo sklad, prethodno mora ublažiti ili posve odstraniti svoju materijalnost, dakle biti sažeto i uvedeno u poredak znakova. Takav je svetlosni rukopis, u svakom izražavanju duha, pa dakle i u slikarstvu. Jaletova svetlost je donekle apstraktna u svojoj difuznosti, bez izvorišta i pravca.
Slučaj je hteo da naš jezik ima gotovo podudarne izraze: svetlost i svetost. Slikari jesu mistici svetlosti. Možda nije preterano reći da svetlost predstavlja sinonim slikarstva. Jevanđeljska reč koja je posvedočila svetlost nastavila se u ikoni koja materijalizuje svetost. Središte ikone je svakako u oreolu, ne samo time što svetlost oreola okružuje glavu Boga ili sveca, nego zato što bi bez te svetlosti sakralno spalo na profano. U tome vidim jaz između ikone i zapadnog slikarstva. Ikona izražava lik, ali lik kao svetlost i svetost lika. Ona nije rađena po modelu nego po veri. Remek-dela renesanse obiluju primerima gde se na madonama daju prepoznati fizionomije slikarevih modela. Ikona teži da naslika duh, dok zapadno slikarstvo itekako drži do tvari.
Hrišćanstvo je utvrdilo postavku da svetlost predstavlja atribut Boga. Ona je zamena za njegovo ime «koje se ne izgovara uzalud». Božanski Logos je odenut u « nedostupnu svetlost». O tome kazuju sveti oci, ponajviše Grigorije Palama. Jale je baštinio vizantijske kocepcije prikazivanja lika na freskama, mozaicima i ikonama. Ne zaboravimo da je on u svojim ranim godinama konzervirao i restaurirao freske u ohridskoj crkvi Svete Sofije. Otuda je valjda onu gospodstvenu posnost koju imaju podloge fresaka preuzeo i utkao u svoja dela. Jale slika svetlost koja ne pada spolja na predmete nego emanira iz njih. Briznuvši iznutra svetlost obliva sve što je u vidokrugu ili na horizontu gde se zbiva «prizor slike». Pri tom nema posebnog izvora svetlosti. Do jednostavnosti i odmerenosti Jale je stigao u dugom vremenskom luku, uporno se razvijajući u naznačenom duhovnom vidokrugu. Kada je sedamdesetih godina prošlog veka, napustivši melanholični enterijer, «iskoračio» u plein air, smelo je proširio repertoar simboličkih formi. Tada je njegova paleta zadobila čarobnu svetlost, a slike je ozarila vedrina. U njima su se pomešali zanosi i melanholija velikih sanjara. Svet prepun čarolija, vilinski vilajet na razmeđi sna i jave, sa prizvucima zaumnog, onostranog, mističnog i mitskog, zaokupio je Jaleta i njegovu imaginaciju učinio lirskom. Otada će se on kretati od zanosa do trezvenoumlja.
Varirajući raznolike tonalitete i svetlosne valere, brižljivo birane i strogo definisane, Jale ispoljava nadarenost ali i plemenitost, gotovo arkadijsku blagost i toplinu.
Maltene svakoj njegovoj slici pristoji onaj usklik iz akatista: «Raduj se!» U njegovom slikarstvu nema cinizma, čak ni ironije. Umeće mu je diskretno i posredno, kakvo susrećemo kod vezilja i tkalja. Njemu je potrebno nešto izazovnije od stvarnosti: sama zbiljnost i upitanost pred njom. Jer, da bi stvorio ono što još ne postoji, slikar ne sme da se zadovolji onim što postoji. Iskazivati vrednosan sud o Jaletovim slikama - možda je zaludan posao.Trudio sam se da ne upadnem u takvu zamku. One su ponajmanje stvorene radi prosuđivanja. Slike su lozinke. Zahvaljujući njima, s radošću sam stupao u neslućene zone sanjarenja, spoznajući barem deo onoga što nas okružuje, fascinira, određuje i konačno nadživljava.

Milan Komnenić

O DELU LJUBODRAGA JANKOVIĆA JALETA

«Prinudno življenje u pandemonijumu koji je sagradio sopstvenim rukama i istovremeno večna nostalgija za povratkom kolevki majke Prirode – jesu jedini plodovi imaginacije Ljubodraga Jankovića... Utočišta, sazdana od hladne lepote kristala ili bujnih eksplozija lišća, žilica, semenja i vlati jesu utočišta ljudi – Jankovićevih sinonima za žrtvu, žrtvu života».

Živojin Pavlović (1965)

«(LJ.J.) je slikar prizora i atmosfere koja oscilira od košmara jave do nestvarnosti sna...Naglašenoj literarnoj komponenti, koja se sastoji u dočaravanju atmosfere kataklizme, egzistencijalne otuđenosti i pustoši, sve ubedljivije se pridružuje i čvršće prožima likovno-izvođačko majstorstvo i pikturalna osetljivost.»

Siniša Vuković (1972)

«Ljudska bića ogoljena od elementarnih formi su stamena, kao od granita isklesana i odišu snagom i samodovoljnošću u punoj osamljenosti, čak i kada su okruženi sebi sličnima. Njihova smirenost puna dostojanstva je prkos smrti i nestajanju. Uprkos tragičnoj viziji života, ljudi na Jaletovim slikama i crtežima nisu spremni da uteknu iz njega. Okamenjeni kao da su postali deo neogranskog sveta koji je nadišao kratkotrajni ljudski vek.
Čudna bića Jaletove fantazije žive u nestvarnom svetu sazdanom po njihovoj meri. Iako bilje čuva neka prisećanja na prirodne oblike, ono je neprepoznatljivo. Njegova bolesna bujnost još više naglašava trajnu datost ljudskih oblika na slikama. U tom svetu čudnog i izmišljenog nađu se ponekad i kristali – hladni, jasno ocrtanih kontura, nametljivo pravilnih oblika. Tim svojstvima oni se rvu na slikama sa neukrotivim klijanjem beživotne flore, čini se, pred nama menja svoje oblike...»

Sreten Petković (1988)

«Svoja ogromna, monumentalna platna Jale svodi na male skulpture visine od dvadesetak santimetara...Ne moraju dimenzije da budu gigantske da bi delo zračilo monumentalnošću. To jesu njegove slike i crteži koje je preneo u drugi materijal. One bi, po svom sklopu, tom drugom materijalu više odgovarale. I u tome je veličina ovog autora. Uspeo je da jedan čisto vajrski zahvat pretoči u dvodimenzionalni slikarski poduhvat, pa da ga zatim prevede u trodimenzionalni skulptorski. Njegove figure su i na platnu imale sve odlike koje poseduju i u ovim malim formama. Poetika je potpuno ista.»

Vasilije B. Sujić (2004)

ENGLISH VERSION

Contents:
Milan Komnenich: Serenity attained or a hymn to the tragic forces of life
About the works of Ljubodrag Jankovich Jale
Aspects of Ljubodrag Jankovich Jale
Biography
Bibliography

Publisher: Radionica duše

The contents of a painting is what a painter within himself as a constant value. This is, in fact, a sometimes murky, sometimes clear notion of what he wishes to express through a particular form. It is continuous amazement at and admiration for nature and life, discovered in childhood, natured in youth, sharpened in maturity, with a constantly stirred need for expressing these states and sentiments of the world. In this way, man as an incarnation of wonder, even of the miraculous, took, and still has a central place in my preoccupations, with constant changes and additions of flora and fauna as the milieu of his existence. I think this terrain will remain within the scope of my interests in the future, as it represents an unforeseeable source of the modification of space and atmosphere.

Ljubodrag Jankovich Jale

TOWARDS SPIRITUAL LIGHT

For something to become light, or to establish harmony with it, it must first reduce, or completely get rid of its materialness, which means being compact and instated in the order of signs. This is what light’s handwriting is like, in every expression of its soul, and accordingly it is also the same in painting. Jale’s light is to a certain extent abstract in its diffusiveness, without source or direction.
Chance determined that the Serbian language has two almost identical expressions: svetlost and svetost – light and sanctity. Painters are certainly mystics of light. Perhaps it would not be an exaggeration to say that light is actually a synonym for painting. The word of the evangelist that bore witness to light is augmented in the icon, which materializes sanctity. The centre of an icon is without doubt in the aureole, not simply because the light of the aureole encircles the head of God or a saint, but because without that light, the sacral would be reduced to the profane. In this I see a chasm between the icon and western painting. An icon represents the figure, but the figure as svetlost and svetost - both the light and the sanctity of the figure. An icon is not made from a model, but from faith. Among the masterpieces of the Renaissance there are copious examples of the Madonna displaying the recognizable physiognomy of the painter’s model. An icon strives to represent the soul, while western painting is blatantly embedded in matter. Christianity has confirmed the assumption that light represents an attribute of God. It is a substitute for His name “which is not to be taken in vain”. The Divine Logos is clothed in “unapproachable light”. This is promulgated by the holy fathers, above all by Gregory Palama. Jale has hinted at Byzantine concepts of presenting figures on frescoes, mosaics and icons. Let us not forget that in his early years he conserved and restored frescoes in the church of St. Sophia in Ohrid. That is probably where he acquired that dignified austereness that characterizes the surface of icons and that he weaves into his works. Jale paints light that does not fall on the exterior of objects, but instead emanates from them. Streaming out from the inside, the light soaks everything in view and also on the horizon, where the ‘scene of the painting’ takes place. Apart from this, there is no particular source of light. Jale reached his simplicity and steadiness over a long period of time, developing persistently within the spiritual perspective we have been talking about. When, in the 1970s, abandoning the melancholic interior and ‘stepping out’ into plain air, he daringly widened his repertoire of symbolic forms. At that time, his palette took on a magical light, and his paintings shone with sublimeness. The exuberance and melancholy of the great dreamers blended together in them. Jale immersed himself in a world full of magic - fairy realms on the borderline of dreams and consciousness, with undertones of the sapient and otherworldly, the mystical and mythical, which made his imagination lyrical. From that moment he would move on from exuberance to sagacious sobriety. By varying heterogeneous tonalities and shades of light, vigilantly selected and strictly defined, Jale demonstrates his talent but also his integrity, and his almost Arcadian gentleness and warmth.
That call from the akatist: “Be joyful!” applies to almost every one of his paintings. There is no cynicism in his works - in fact there is not even irony. His skill is discreet and indirect, like the skill we come across in weaving and embroidery. He needs something more challenging than reality: he has to question what is behind reality itself. To make a worthwhile assessment of Jale’s paintings is perhaps a futile task. I have attempted to avoid falling into such a trap. They have been created least of all in order to be judged. His pictures are passwords. Thanks to them, I have stepped joyfully into unimaginable zones of the world of dreams, assimilating at least part of what surrounds us, fascinates us, defines us and finally outlives us.

Milan Komnenich

ABOUT THE WORKS OF LJUBODRAG JANKOVICH JALE

«Being forced to live in a pandemonium which he has created with his own hands and at the same time feeling everlasting nostalgia for a return to Mother Nature's cradle – are the unique fruits of Ljubodrag Jankovich's imagination...His retreats, built with the cold beauty of crystal or the dense explosion of leaves, roots, seeds and blades of grass are without doubt retreats for Man - Jankovich's synonyms for sacrifice, the sacrifice of life.»

Zivojin Pavlovich (1965)

«(LJ.J.) is a painter of scenes and atmosphere which oscillate between the nightmare of reality and the unreality of dreams...The accentuated literary components, which consist of conjuring up the atmosphere of a cataclysm, existential alienation and chaos, are more and more convincingly joined and densely permeated by his mastery of the visual and expressive as well as by his pictorial sensitivity»

Sinisa Vukovich (1972)

«The human beings stripped of their basic form are unyielding, as if carved out of granite, and exude strength and self-sufistiency in total seclusion, even when they are surrounded by their like. Their tranquility pervaded with dignity defies death and evanescence. In spite of their tragic vision of life, the people in Jale's paintings and drawings are not prepared to escape from it. They are calcified, as if they have became part of an inorganic world that has superceded man's brief lifetime.

The strange creatures of Jale's fantasy live in an unreal world created to meet their requirement. Although the planets still have some semblance of their natural form, they are unrecognizable. Their ailing luxuriance gives greater emphasis to the enduring substance of the human forms in his paintings. In this world of the unfamiliar and imagined, crystals occasionally appear, cold, with clearly outlined contours and intrusively symmetrical shapes. Using these attributes, they wrestle in the pictures with the uncontrollable proliferation of lifeless flora which, it seems, changes shape before our very eyes.»

Sreten Petkovich (1988)

«Jale reduces his vast and monumental canvas to small sculptures twenty centimeters in height. The dimensions do not have to be gigantic for the work to radiate monumentality. They are his paintings and drawings which he has metamorphosed into another material. According to their structure, they would be more suited to the other material. Here lies this author's greatness. He has succeeded in transforming a purely sculptor's undertaking into a two-dimensional painter's one, only then to transpose it into a three-dimensional sculptural one. The figures on his canvas have all the characteristics they possess in these small formats. The poetics are exactly the same.

Vasilije B. Sujich (2004)