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SV JETLOST GLAGOLJICE

2. - 26. StudenOGA 2011.


H R V AT S K A U G L ATA G L A G O L J I C A

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A (az) 1

E (jest) 6

I (iže) 10

B (buki) 2

Ž (živite) 7

I (i) 20

V (vidi) 3

DZ (dzelo) 8

Đ (đerv) 30

G (glagole) 4

Z (zemlja) 9

K (kako) 40

D (dobro) 5

M (mislite) 60

L (ljudi) 50


N (naš) 70

O (on) 80

P (pokoj) 90

H (hir) 600

w (ot) 700

R (rci) 100

S (slovo) 200

T (trdo) 300

U (uk) 400

F (frt) 500

Č (črv) 1000

Š (ša) 2000

Ć, ŠĆ (šća) 800

C (ci) 900

(jer) 3000

J (je) 30

JE, JA (jat) 4000

Ju (jus) 5000

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Sve živo, živo je zbog svjetlosti. Na prvim stranicama Biblije, nakon što je još sve bilo u neredu, Bog stvori svjetlost, i razdvoji svjetlost od tame, dan od noći. Tako počinje put svega živoga. Opsesija svjetlošću opsesija je životom. Od početaka oganj, vatra, plamen ne samo da daju svjetlost, nego mijenjaju narav tvari i elemenata: vodu pretvaraju u paru, drveće u pepeo, rude u kovine, glinu u ciglu i opeku, ali i u lonac, zdjelu, čašu. A zatim pomažu da se skuha ili ispeče hrana: kruh, meso, mlijeko. Tako hrana postaje zdrava, ukusna i trajna. Kakav li je bio radostan trenutak kad je nastao grumen stakla, a zatim i zrno za ukras, čaša za piće, ravno staklo da danje svjetlo može osvijetliti nastambu. Uz domaće ognjište prenosila su se znanja, pričale su se priče, pjevale junačke pjesme, a zatim i čitale knjige koje su oblikovale mlade i stare za hrabrost, dobrotu, pravednost i ustrajnost u dobru. Svjetlo uljanice ili voštanice ne samo da je odgonilo tamu nego je produžavalo dan za rad, druženje i radost. Velik broj rukopisa napisan je nekoć davno, u noćnom miru, uz svjetiljku koja je napisanom davala obilježja svjetline, optimizma, širinu znanja i spoznanja. Kad su uljanice i voštanice zamijenjene karbitnim lampama i petrolejkama, opasnost od požara doma, kuće, staje, sela i grada se povećala, te je zato toliko vatrogasnih društava u našim krajevima („pompjeri“) kojima je zadaća bila čuvati dobra i živote. Kakav preokret kad je krajem XIX. i početkom XX. stoljeća opasnu otvorenu svjelost, vatru svjetla, zamijenila svjetlost zatvorena u staklenu jabuku ili krušku. Žarulja - tako je od početka bilo njezino ime - jer je žareća nit u zatvorenoj kugli širila na sve strane jarku i jasnu svjetlost – bila je moćnija

od lojanice i voštanice, bila je bezopasna, nije trošila kisik, njome nije moglo doći do požara. Vatrogasci su postali pučki muzičari. Radni se dan produžio na tri smjene, radnici nisu padali u nesvjest zbog potrošenog kisika, a novine su se tiskale noću da bi, kao svjež kruh, do čitalaca došle svježe, ujutro. U toj evoluciji i revoluciji udomljene svjetlosti neprolazne su zasluge i našijenca, modernoga Prometeja, Nikole Tesle. I likovna umjetnost se uključila u tu svečanost svjetla. U svečanim dvoranama, u kazalištima, u crkvama, a zatim i na ulicama, svjetlost je ušla u svaki kutić, nudeći optimizam života, nove vizure u prostoru s ljudima i spomenicima, sa kućama i stablima na ulicama, sa slikama kipovima u crkvama, namještajem u domu. Nije stoga čudno da je Louis Comfort Tiffany početkom XX. st. upravo na tragu toga tehnološkoga napretka izradio svoje svjetiljke u trendu onovremene umjetnosti – secesije. Kao da je želio, htio, i uspio svjetlost davnih vitraja iz katedrala dovesti u mnoge domove u kojima se raznobojna i raznovrsna svjetlost širila ne samo po domu, stanu, sobi, nego i u dušama koje su uživale dar obojenoga svjetla. Ta – Bog je stvarao svijet u bojama. Supružnici Željka i Boris Rogić u svom studiju u Rijeci prihvatili su izazov da u stilu secesije, na način L. C. Tiffanyja, izrađuju stolne i stojeće svjetiljke. Posloživši stakla – raznobojna i različite veličine – u gustoj metalnoj mreži, izveli su mnoge umjetnine. Taj njihov rad, koji je sličan vještini europskih manirista, odličnih majstora umijeća i obrta bio je prepoznat kao vrhunsko dostignuće primijenjene


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umjetnosti. Rogići su krenuli i dalje – od replike prema slobodnoj interpretaciji domaćih umjetnina, posebice pletera i tropleta. Tako je Tiffanyjeva svjetiljka udomaćena i prihvaćena kao proizvod našeg podneblja.

umnu svjetlost, onu zraku duhovnoga svjetla koja kroz oči prolazi u područje uma, a zatim u srce. Kao lijepa i zavodljiva zagonetka, a slova kao staklena zrna za jedno složeno i sveobuhvatno viđenje naše prošlosti, naše kulture i pismenosti.

U obnovi i poljepšavanju crkava uvijek se posebna pozornost posvećivala prozorima. Nakon gotike i njezina oživljavanja u XIX. i XX. st. novi su zamah toj igri svjetla i sjene dali hrvatski slikari i spretni obrtnici. I Rogići su u toj obnovi stare umjetnosti i umijeća sudjelovali, ali na poseban način – glagoljskim slovima u rasteru šarenoga i veseloga svjetla. Lako je to bilo očekivati; ta glagoljicom smo označeni, njom je oblikovana hrvatska pisana kultura, od zapisa na kamenu i na freskama do rukopisnih i tiskanih knjiga.

Kad su Sveta Braća, Konstantin Ćiril i njegov stariji brat Metod krenuli među Slavene, da na njihovu jeziku i novom pismu donesu svjetlo spoznaje i navještaj ljubavi, jer to je Evanđelje, bili su svjesni da Slavenima donose Svjetlo Istine. Isus je sebe nazvao Svjetlom, Putom i Istinom. Središnje slovo njihovoga novog pisma koje je osmislio („dizajnirao“) sv. Ćiril bilo je Slovo - - ono se upravo tako i zove. Slovo nosi u sebi svu dubinu teologije i filozofije – ono ima iste odrednice sadržaja kao grčka riječ Logos – λó oç, latinski Verbum, današnjim našim jezikom Riječ. A Slovo je u starom jeziku značilo Um, Razum, ali ono je i Druga Božanska Osoba, tj. Isus Krist. No i Slaveni svoje nacionalno ime vezuju uz riječ Slovo, jer sloviti znači govoriti, govorom, riječima se sporazumijevati. Slovjeni, naime, slove, govore i govorom se među sobom raspoznavaju kao braća u jednome jeziku. Glagoljsko slovo Slovo kako ga je sv. Ćiril osmislio i grafički oblikovao - - taj je znak-slovo sastavljeno od kruga i trokuta. Krug označava puninu Božanstva, trokut simbolizira Presveto Trojstvo. Prvo slovo Ćirilove azbuke zove se Az, a to znači Ja – isprva je to bio znak križa, a zatim je dobilo petljice na poprečnoj gredi : prihvaćajući kršćanstvo, naime, mi ga prihvaćamo kao osobe, svjesno i razložno, izgovarajući „Ja“, ja osobno. Ja sam označen križem, ja ga nosim, ja se za njegov plod – ljubav prema svemu stvorenju – borim. Znak za sljedeće slovo je . Zove se Buky, a u sebi sadrži također oznake Božanstva u Trojstvu, jer se križamo govoreći imena Presvetoga Trojstva, a tada se križalo s tri prsta. Kao osobno svjedočanstvo, kasnije kod nas i kao znak prisege,

Rogići žive u gradu koji je bio snažno prožet glagoljskom baštinom. U crkvama u Rijeci misili su popovi glagoljaši, pjevao je na hrvatskom jeziku pobožan puk, a u Velikom tjednu riječke su bratovštine organizirale dramske predstave, crkvena prikazanja. Jedan biskup, Šimun Kožičić Benja, rodom Zadranin, utemeljio je sredinom XVI. st. u svom domu u Rijeci glagoljsku tiskaru, u kojoj je i sam radio. Tada iz Uracha, iz Njemačke, na Rijeku stižu i knjige hrvatskih protestanata. Na Trsatu, ponad Rijeke, franjevci čuvaju svetište Naše Gospe Trsatske, na mjestu gdje je jedno vrijeme kućica iz Nazareta našla svoju sigurnost. A zatim je na rukama anđela prenesena u Loreto, u Italiju. Pobožni su hodočasnici svake godine dolazili na Trsat i u Loreto, na posvećeno tlo gdje se Sveta Obitelj borila s nedaćama svakodnevnice, radujući se svakom danu, koji se najavljuje zorom, svjetlom, pjevom ptica, to jest radošću. Zašto je Rogiće privukla glagoljica? Zašto su, dok su minuciozno slagali stakalca za tiffanyjevske svjetiljke pomišljali na glagoljicu, kao na


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snažnog pristajanja uz istinito svjedočanstvo. Sama pak riječ Buky označavala je Knjigu, tj. Sveto pismo, ali i slovo kojim se piše. U dubini spoznaje ona znači Bog, ali Božje se ime ne treba spominjati uzalud i nepotrebno. Tako redom: slovo kojim započinje Isusovo ime obrnuti lik znaka za slovo Slovo - . Inicijalno, veliko na nekoliko likovnih razina ponavlja znak Presvetoga Trojstva, istinitoga Božanstva. Tim su svetim slovima glagoljice supružnici Rogići, Željka i Boris, posvetili svoju osobitu i osobnu pozornost. I u tehnološkom postupku, koji je Rogićima izazov, nova glagoljska slova izašla su iz njihova laboratorija veselija, prozračnija, neobičnija. Tu su novinu postigli postupkom staklene fuzije, staklenoga slijevanja – to je postupak kojim se spajaju obrađeni komadići stakla u cjelinu. U tom postupku toplina („vatra“) od raspršene razlikosti oblikuje cjelovitost različitoga. Više nije potrebna mreža koja će različitost održavati u ukupnosti. Ona je vatrom, uprvo toplinom koja staklo čini podatnim, tekućim oblikujući nove vizualne (i oblikovne) cjeline. Kao što je za Rogiće bio velik izazov napraviti tiffanyjevske svjetiljke, kao proizvod primijenjene umjetnosti i vrhunskoga obrta, takav je novi izazov na koji se Rogići već godinama spremaju. To je svečenost glagoljice. Sigurno će posebnu pozornost privući svjetiljke ukrašene glagoljskim slovima. Glagoljica kao svjetlost. Svjetlo kao glagoljica.

Uz velike projekte u slavu i čast slova kao znaka mudrosti i međusobnoga sporazumijevanja pismom, i jedn mali, skromniji segment za ljubitelje lijepoga – dar za sjećanje, suvenir. Na podlošcima za čaše, različite boje, sa slobodno posloženim slovima, izveli su cijelu glagoljsku azbuku. Kažemo azbuka zato što glagoljska slova imaju svoje ime i naziv i započinju s az, buki, vĕdi... Cijeli niz prvih slova glasi: Az’, buky, vĕdĕ, glagoljon, dobrĕ, jest’, živĕti, zĕlo, zemlja – što znači: Ja znajući slova govorim da je veoma dobro živjeti na zemlji! Uz radost koju pruža lijepo oblikovana čaša, i dobro piće u njoj, i podložak se udružuje u radosti druženja, prijateljevanja, razgovora, ali i sagledavanja temelja iz kojih raste radost života i življenja, zajedno sa znanjem o ljepoti koja – kad ju prihvatimo - obuhvaća i preplavljuje sva naša osjetila: vid, okus, miris, dodir. Serija od sedam pločica, podložaka, s glagoljskim slovima pohranjena je u krasno oblikovanom drvenom kovčežiću, s poklopcem na kojemu je brončana okrugla pločica s glagoljskim slovima, u obliku kako su zasvjedočena u prvoj našoj tiskanoj knjizi, najljepšoj našoj inkunabuli, Misalu iz 1483. godine. Držeći taj kovčežić u rukama misao sama leti na one znamenite riječi o kutiji olovnih slova kojim završava Krležin roman Banket u Blitvi: „Kutija olovnih slova, a to nije mnogo (...), ali je jedino što je čovjek do danas izumio kao oružje u obranu svog ljudskog ponosa.“ Glagoljska slova Rogićevih vidljiv su i glasan znak protiv zaborava da nas je pismo, knjige, zapisano branilo i čuvalo kroz stoljaća, da nas je riječ zapisana našim jezikom podržavala i držala u ljudskom i narodnom dostojanstvu. Kroz stoljeća do danas. Josip Bratulić


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All things alive are alive because of light. In the first pages of the Bible, after everything had been in chaos, God created light, and separated light from darkness, night from day. Thus began the path of all life. Obsession with light is an obsession with life. From the beginning of time fire and flame not only give light but they also change the character of matter and of the elements: they turn water into steam, trees into ashes, ore into metal, and clay into brick, as well as into pot, bowl, and beaker. And then they help bake and boil the food: bread, milk, meat. So the food becomes healthy, tasteful and imperishable. What joyful moments they must have been when the first nugget of glass was made, a bead for decoration, a drinking beaker, and flat glass so that daylight can illuminate the dwelling. By the hearth knowledge was transmitted, stories were told, heroic poems were sung, and books were read which educated the young and the old in courage, goodness, righteousness and persistence in good deeds. The light of the oil lamp or the wax candle did not only drive away darkness but it also lengthened the day for work, companionship and joy. A long time ago many a manuscript was written in the still of the night by a lamp informing the writing with the characteristics of brightness, optimism, and a breadth of erudition and insight. After oil lamps and candles were replaced by carbide lamps and petroleum lamps, there increased the risk of fire in homes, stables, villages and towns, which explains the large numbers of firefighter companies in our parts (pompjeri), who were in charge of protecting lives and property. What a turning point ensued when at the turn of the 20th century

the dangerous open light, the light of fire, was replaced by light contained in pear-shaped or apple-shaped glass. The light bulb contained a thread in a closed glass bulb that spread a bright and clear light in all directions; it was more powerful than tallow candles and wax candles, it was safe, it did not consume oxygen, and it could not cause a fire. Firefighters became folk musicians. The workday stretched into three shifts; workers did not faint for lack of oxygen, and newspapers were printed at night so that they could get to their readers in the morning, like freshly baked bread. In this evolution and revolution of domesticated light enduring tribute goes to our man Nikola Tesla, a modern Prometheus. Art also took part in this festival of light. In hallowed halls, theatres, churches, and in the streets, light entered every corner to bring the optimism of life, new perspectives on spaces filled with people and monuments, houses and trees lining streets, paintings and sculptures in churches, and furniture in homes. It is no wonder then that at the outset of the 20th century Louis Comfort Tiffany made, following these technological developments, his lamps in the manner of the art style of the day, Art Nouveau. It is as if he aspired, intended and succeeded in bringing the light of ancient stained glass from cathedrals into the many homes in which the light of many colours and many kinds spread not only throughout the home, the apartment, the room, but also in the souls that relished the gift of coloured light. After all, God created the world in colour.


In their workshop in Rijeka, the wife and husband Željka and Boris Rogić took on the challenge of making table lamps and standing lamps in the Art Nouveau style, after the manner of L.C. Tiffany. Arranging glasses of many colours and sizes into dense metal grids they produced many pieces of artwork. Their work, resembling the accomplishments of European mannerists, great masters of arts and crafts, is recognized as a great accomplishment of applied art. The Rogićs moved on as well, from making replicas to a free interpretation of domestic art traditions, especially Croatian pleter (three-strand pattern). In this way the Tiffany lamp becomes accepted as a product of our part of the world. Church restoration and decoration always involved a special attention to windows. Following the revival of Gothic art in the 19th and 20th centuries a new contribution to this interplay of light and shadow was given by Croatian painters and skillful artisans. The Rogićs have taken part in this renaissance of an old form of art and crafts, but in a special way-using Glagolitic signs within the framework of multicoloured and joyful light. This was easily expected: after all we are characterized by the Glagolitic: it has formed Croatian written culture, from stone and fresco inscriptions to manuscripts and printed books. The Rogićs live in a city intensely permeated by the Glagolitic heritage. At Rijeka churches masses were served by Glagolitic priests, songs were sung in Croatian by the pious folk, and during the Holy Week Rijeka fraternities staged dramatic performances, church mystery plays. The Zadar-born bishop Šimun Kožičić Benja founded in the middle of the 16th century a Glagolitic printing house in his Rijeka home, in


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which he worked himself. At that time books by Croatian Protestants reached Rijeka from Urach in Germany. At Trsat above Rijeka the Franciscans care for the sanctuary of Our Lady of Trsat, where the Holy House from Nazareth was kept in safety for a time, after which it was taken on the hands of angels to Loreto. Pious pilgrims made pilgrimages every year to Trsat and Loreto, to the consecrated ground where the Holy Family coped with the troubles of everyday life, meeting with joy every new day, which is heralded by the dawn, by light, by bird song, that is, by joy. Why are the Rogićs drawn to the Glagolitic? Because they, while meticulously arranging pieces of glass for their Tiffany lamps, thought of the Glagolitic as the light of the mind, that beam of spiritual light that goes through the eyes into the region of the mind, and then of the heart, or as a beautiful and seductive riddle, its letters small pieces of glass combining into a complex and comprehensive view of our history, culture and literacy. When the Holy Brothers Constantine Cyril and his older brother Methodius set out among the Slavs to bring the light of knowledge and the promise of love that is the Gospel in their own language and in a new script, they were aware that they were bringing the Light of Truth to the Slavs. Jesus referred to himself as the Way, the Truth and the Light. The central character of their script designed by St. Cyril was the Slovo which is precisely called that. This character carries within itself all the depth of theology and philosophy; it has the same elements of meaning as the Greek word Logos (λó oç), or the Latin Verbum, or in the language of today Word. And Slovo in the old language meant mind, reason, but also the second divine

person, or Jesus Christ. But, the Slavs also associate their national name with the word Slovo, for sloviti means to speak, to communicate in words and language. Namely, the Slovjeni (Slavs) speak the language (they slove) and recognize through speech one another as brothers in one language. The Glagolitic character of slovo , as designed and graphically shaped by St. Cyril, consists of a circle and a triangle. The circle signifies the fullness of Divinity, and the triangle symbolizes the Holy Trinity. The first character of Cyril’s script , is named Az, meaning I. At first it was the sign of the cross which then received additional elements on the horizontal line ; namely, accepting Christianity, we accept it as persons, consciously and with reason, pronouncing “I”, I personally. I am marked by the cross, I bear the cross, I fight for the fruit of the cross—love of all creation. The sign of the next character is . Its name is Buky, and it also contains the characteristics of Divinity in Trinity, since we cross ourselves pronouncing the names of the Holy Trinity, and at that time one crossed oneself with three fingers. This was done as a personal testimony, and later in our parts as a sign of pledging, a strong acceptance of truthful testimony. The word Buky itself denotes the Book, that is the Holy Scripture, but also the script it is written in. In the depth of knowledge it denotes God (Bog), but God’s name should not be taken in vain. And so in order: the character with which the name of Jesus begins is a reverse shape of the character for slovo . Initially, the capital repeated on several levels repeated the sign of the Holy Trinity, the true Divinity. It is to these sacred characters that Željka and Boris Rogić dedicated a very special and a very personal attention. In the technological procedure, which the Rogićs took on as a challenge, the Glagolitic


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characters came out of their lab more joyful, airier, more unusual. They accomplished this innovation by using the method of glass fusion, a procedure of melding finished pieces of glass into a whole. In this technique heat (“fire”) changes dispersed diversity into a wholeness of the diverse. This no longer requires a mesh to keep the diverse pieces together. New visual and design shapes are formed by the heat of fire that makes glass pliable. Just as making Tiffany lamps as a product of applied art and high quality craft had been a challenge for the Rogićs, so there was also a new challenge that they have been preparing for years to take on. That is the festival of the Glagolitic. Lamps decorated with Glagolitic characters will certainly be especially attractive. The Glagolitic as light. Light as the Glagolitic. Along with the big projects celebrating and honouring the letter as a symbol of wisdom and mutual communication through language, there will also be a smaller, more modest segment for those who appreciate the beautiful—a gift for keepsakes, a souvenir. Coasters for beakers done in different colours are decorated with characters of the entire Glagolitic azbuka (alphabet). We say azbuka because each Glagolitic character has a name and an appellation, beginning with, az, buki, vedi, …The initial sequence of characters is as follows: Az’, buky,vede,glagoljon,dobre,jest’,živeti,zelo,zemlja,whichmeans:I

knowing the characters say that it is very good to live on the land! In addition to the joy afforded by a beautifully shaped glass, and the drink in it, the coaster too contributes to the joy of living, socializing, companionship and conversation, but also to the understanding of the foundations from which spring the joys of living and the knowledge of the beauty which, once we accept it, encompasses and overwhelms our senses: sight, taste, smell, touch. A set of seven coasters with Glagolitic characters is stored in a beautifully shaped wooden case, with a lid containing a round bronze plate with Glagolitic characters, of the same design as the ones recorded in our first printed book and our most beautiful incunabula, the 1483 Missal. Holding this case in hands the mind flies by itself to those memorable words about a box of lead characters which are the finishing words of Miroslav Krleža’s novel Banket u Blitvi: “A box of lead characters, and that is not much (…), but it is the only thing man has invented until today as a weapon for the defence of his human pride.” The Glagolitic characters of the Rogićs are a visible and vocal sign against forgetting that script, book, writing have defended and guarded us over centuries, and that the word written in our language has maintained and supported us in our human and national dignity. Over centuries all the way to the present. Josip Bratulić


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Ž eljka i B oris R ogić Kumičićeva 41a, 51000 Rijeka, Hrvatska tel: 051 21 86 86, 051 31 51 04, 051 43 12 31 e-mail: boris@atelierrogic.hr zeljka@atelierrogic.hr www.atelierrogic.hr

Izdavač - Publisher Atelier Rogić Za izdavača - For the Publisher Boris Rogić Urednik - Editor Boris Rogić Predgovori u katalogu - Catalogue prefaced by dr.sc. Josip Bratulić, akademik Prijevod na engleski - English translation Borislav Knežević Fotografija - Photography Dalibor Marinković Ilustracija - Illustration naslovna strana kataloga Dalibor Marinković Digitalna obrada fotografija Dalibor Marinković Grafičko oblikovanje knjižnog bloka - Booklet graphic design Anja Zambelli/Design strategist Tisak - printed by Tisak Zambelli CIP zapis dostupan u računalnom katalogu Sveučilišne knjižnice Rijeka pod brojem 121001086 ISBN 978-953-98330-7-5

Profile for Rijekamgr

Svjetlost glagoljice / Studio Rogić  

Katalog izložbe, 2011.

Svjetlost glagoljice / Studio Rogić  

Katalog izložbe, 2011.

Profile for rijekamgr
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