KRK

Stajati }e kao otisak pro{lih vremena u prirodi i
svjedo~iti o pro{losti sve dok ih vjetrovi i gromovi ne
sru{e, vode ne otplave ili obraste raslinje, ukoliko prije
ne postanu prepreka ~ovjeku u njegovim novim namjerama,
htijenjima i potrebama. Danas sve ~e{}e silni,
~eli~ni zubi buldo`dera nasr}u u ovaj ambijent u
kojem je neizmjeran rad ruku ~ovje~jih elementarnu
prirodu preobrazio u humanizirani pejsa`.
Djevi~anski krajolik iznad modrog mora uronjen u
pokrov plavog neba izaziva viziju u kojoj se stapaju
pro{la i sada{nja vremena. Kada prolazim me|u tim
groma~ama ili ih promatram s neke uzvi{ice uvijek me
obuzima osje}aj silnog uzbu|enja. U meni tada
odjekuje bezbroj asocijacija. U slo`enom mnogozvu~ju
otvara mi se tajna pro{losti. Davna pro{lost ~ini mi se
poput sada{njosti, a sada{njost kao pro{lost. U tom
pustom prostoru bez ljudi osje}am njihovu prisutnost,
pri~injavaju mi se njihovi glasovi, pjesma, molitva,
kletva. Jasno vidim brojna lica kr~kih te`aka i pastira
i{ibana burom i izbrazdana posolicom. Razabirem kao
grumen kamena `uljevit dlan svoga oca, ~ujem uspavanku
djetinjstva i jecaj pogrebnog zvona, a groma~e
nad`ivljuju ~ovjeka i nara{taje i govore dubokom
mudro{}u ako znamo slu{ati i gledati.
Ovo je tlo napinjalo znati`elju, izo{trilo ljudsku i
umjetni~ku senzibilnost, postalo inspiracija, ~uvstveno
i likovno ishodi{te.
Sve {to je nekada bilo vrijedno prezira preokrenulo
se u neslu}eno bogatstvo. Nadahnut drevnim znakom
vremena i stvarala~kim tragom ~ovjeka svjetski priznati
slikar kr~kog pejsa`a i kr~kih goma~a Oton Gliha
zapisao je u Omi{lju: “A sve je po~elo 1954. godine,
kada mi se jednoga dana taj kr~ki pejsa` izbrazdan
groma~ama pri~inio kao neka stara plo~a klesane
glagoljice. Mo`e ta moja asocijacija izgledati ~udna,
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peasants and shepherds and their countless strikes of
the pick, crowbar and hoe against the rock. They will
stand as an imprint of times passed and testify of the
past until they are leveled by the winds and thunders,
washed away by water or overgrown with vegetation
or they become an obstacle for man in his new intentions,
desires and needs. Today with increasing frequency
the mighty steel fangs of bulldozers intrude
upon this landscape in which infinite labor of human
hands has turned elementary nature into a humanized
landscape.
The virgin landscape above the blue seas immersed
into the cover of the blue skies prompts a vision in
which the past and the present merge. When I pass by
these groma~as or watch them from elevated ground,
I am always overtaken by extreme excitement. Countless
associations echo in me. In the complex polyphony,
the secret of the past unravels for me. Ancient past
seems to me present and the present times the past. In
this desolate space without people I feel their presence,
their voices, song, prayer and curse appear to me. I can
clearly see numerous faces of the Krk peasants and
shepherds swept by the winds and furrowed by the
salt. I make out the palms of my father callous like a
stone lump, I hear the childhood lullaby and the sobs
of funeral bells. Groma~as, however, outlive man and
generations and they speak with great wisdom if we
know how to listen and watch.
This soil has strained the curiosity, sharpened the
human and artistic sensibility, become an inspiration,
an emotional and artistic point of departure. Everything
that used to be worthy of scorn turned into
unsurmised wealth. Inspired by the ancient sign of
time and human creativity, the world acknowledged
painter of the Krk landscape and the Krk groma~as,