KRK

~ak smije{na, ali za mene je ona jednoga trenutka bila
fatalna i pomogla mi razmrsiti sva ona uzbu|enja
koja sam godinama nosio u sebi promatraju}i tu
~udnu geometriju, arhitekturu i skulpturu koju je
~ovjek nesvjesno stvarao u borbi s kamenom.
Osloba|aju}i od kamena {krtu zemlju, ~ovjek ju je
istim kamenom zarobljavao, ogra|uju}i je groma-
~ama. I tako su nastale te pa~etvorine, trokuti, krugovi,
taj fantasti~ni kovitlac ritma linija i ploha. Jednom
su to `ive i radosne boje kao sunce, a drugi put
monohromne i tu`ne kao povr{ina Mjeseca. ^ovjeku se
~ini, gledaju}i te oblike, kao da stoji pred nekim
velikim zagonetnim slovima, dok sva realnost postaje
irealna… Kad sam prije mjesec dana bio u Ba{ki i
gledao Ba{}ansku plo~u i pejsa` pred sobom, sve mi je
bilo jasno. Glagoljica, to su ove male primorske njivice
i plase ogra|ene groma~ama. Samo je tako moglo nastati
to zagonetno pismo, koje utjelovljuje u sebi
tajanstveni zvuk sopila, meket ovaca i koza, i miris
bosiljka, ma`urane i magri`a…“
To otkri}e ritamske podudarnosti izme|u starog
pisma glagoljice klesane preplanulom rukom na
kamenoj plo~i i gra|enja kamene nervature groma~a
kromatski su preobra`eni u “predmet intelektualne
ljubavi” u pustolovinu u suvremenom slikarstvu. Ta
umjetnost ro|ena iz ljubavi prema egzistencijalno
oblikovanom krajoliku, glagoljici i groma~ama
sa~uvala ih je za vje~nost.
Kroz povijest u sudbinskoj neizbje`ivosti kamena
stolje}ima su ~eki} i dlijeto radosno zvonili, strpljivo i
sve~ano su u nijemi kamen klesali zagonetne znake -
glagoljska slova i rije~i, da uporno i vje~no svjedo~e i
govore.
Oton Gliha, noted in Omi{alj: “It all began in 1954
when one day this Krk landscape rutted with
groma~as appeared to me as an old table with carved
Glagolitic. This association of mine may seem odd,
even laughable, but in that moment for me it was
fatal and it helped me untangle all the excitement
which I had carried in myself for years, contemplating
this strange geometry, architecture and sculpture
which man had created unconsciously in the struggle
with the rock. Freeing from the rock the barren soil,
man captured it with this same rock, encircling it
with groma~as. Thus originated these parallelograms,
triangles, circles, this fantastic whirlwind of lines and
surfaces. On one occasion they are vivid and cheerful
colors, like the sun, on the other monochromatic and
sad like the surface of the Moon. Watching these
shapes, man has the impression that he stands in
front of some large mysterious letters while all reality
becomes unreal… When a month ago I was in Ba{ka
and saw the Tablet of Ba{ka and the landscape in
front of it, it was all clear to me. Glagolitic is the
small littoral fields and pastures encircled by
groma~as. Only thus could this puzzling alphabet
have originated, embodying the mysterious sound of
the Istrian long flute, the bleating of the sheep and
goats and the fragrance of basil, marjoram and
immortelle…
This discovery of the rhythmic coincidence between
the old Glagolitic alphabet carved by a tanned hand
on the stone tablet and the building of the stone nervature
is chromatically transformed into a “subject of
intellectual love,” into an adventure in modern painting.
Such art born out of love toward existentially
Oton Gliha, Kr~ke groma~e, 1956. god.
Oton Gliha, Krk Groma~as, 1956
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