Σάββατο, 8 Νοεμβρίου 2014

Ἀνδρέας Κάλβος, ᾨδὴ Ἕκτη. Αἱ Εὐχαί











στροφὴ πρώτη.

Τῆς θαλάσσης καλήτερα
φουσκωμένα τὰ κύματα
῾νὰ πνίξουν τὴν πατρίδα μου
ὡσὰν ἀπελπισμένην,
ἔρημον βάρκαν. 5


β´.

῾Στὴν στεριάν, ῾ς τὰ νησία
καλήτερα μίαν φλόγα
῾νὰ ἰδῶ παντοῦ χυμένην,
τρώγουσαν πόλεις, δάση,
λαοὺς καὶ ἐλπίδας. 10


γ´.

Καλήτερα, καλήτερα
διασκορπισμένοι οἱ Ἕλληνες
῾νὰ τρέχωσι τὸν κόσμον,
μὲ ἐξαπλωμένην χεῖρα
ψωμοζητοῦντες· 15


δ´.

Παρὰ προστάτας ῾νἄχωμεν.
Μὲ ποτὲ δὲν ἐθάμβωσαν
πλούτη ἢ μεγάλα ὀνόματα,
μὲ ποτὲ δὲν ἐθάμβωσαν
σκήπτρων ἀκτῖνες. 20


ε´.

Ἂν ὁπόταν πεθαίνῃ
πονηρὸς βασιλεὺς
ἔσβυν᾿ ἡ νύκτα ἕν᾿ ἄστρον,
ἤθελον μείνει ὀλίγα
οὐράνια φῶτα. 25


ς´.

Τὸ χέρι ὁποὺ προσφέρετε
ὡς προστασίας σημεῖον
εἰς ξένον ἔθνος, ἔπνιξε
καὶ πνίγει τοὺς λαούς σας,
πάλαι, καὶ ἀκόμα. 30


ζ´.

Πόσοι πατέρες δίδουσιν,
ὄχι ψωμί, φιλήματα
῾ς τὰ πεινασμένα τέκνα τους,
ἐν ᾧ λάμπουν ῾ς τὰ χείλη σας
χρυσὰ ποτήρια! 35


η´.

Ὅταν ὑπὸ τὰ σκῆπτρά σας
νέους λαοὺς καλεῖτε,
νέους ἱδρῶτας θέλετε
ἐσεῖς διὰ ῾νὰ πληρώσητε
πλουσιοπαρόχως, 40


θ´.

Τὰ ξίφη ὁποὺ φυλάγουσι
τὰ τρέμοντα βασίλειά σας,
τὰ ξίφη ὁποὺ τρομάζουσι
τὴν ἀρετήν, καὶ σφάζουσι
τοὺς λειτουργούς της. 45


ι´.

Θέλετε θησαυροὺς
πολλοὺς διὰ ῾ναγοράσητε
κρότους χειρῶν καὶ ἐπαίνους,
καὶ τ᾿ ἄπιστον θυμίαμα
τῆς κολακείας. 50


ια´.

Ἡμεῖς διὰ τὸν σταυρὸν
ἀνδρείως ὑπερμαχόμεθα
καὶ σεῖς ἐβοηθήσατε
κρυφὰ τοὺς πολεμοῦντας
σταυρὸν καὶ ἀλήθειαν. 55


ιβ´.

Διὰ ῾νὰ θεμελιώσητε
τὴν τυραννίαν τιμᾶτε
τὸν σταυρὸν εἰς τὰς πόλεις σας,
καὶ αὐτὸν ἐπολεμήσατε
εἰς τὴν Ἑλλάδα. 60


ιγ´.

Καὶ τώρα εἰς προστασίαν μας
τὰ χέρια σας ἁπλόνετε!
τραβήξετέ τα ὀπίσω·
βλέπει ὁ θεὸς καὶ ἀστράπτει
διὰ τοὺς πανούργους. 65


ιδ´.

Ὅταν τὸ δένδρον νέον
ἐβασάνιζον οἱ ἄνεμοι,
τότε βοήθειαν ἤθελεν,
ἐνδυναμώθη τώρα
φθάνει ἡ ἰσχύς του. 70


ιε´.

Τὸ ξίφος σφίγξατ᾿ Ἕλληνες -
τὰ ὀμμάτιά σας σηκώσατε -
ἰδού - εἰς τους οὐρανοὺς
προστάτης ὁ θεὸς
μόνος σας εἶναι. 75


ις´.

Καὶ ἂν ὁ θεὸς καὶ τ᾿ ἄρματα
μᾶς λείψωσι, καλήτερα
πάλιν ῾νὰ χρεμετήσωσι
῾ς τὸν Κιθαιρῶνα Τούρκων
ἄγριαι φορᾶδες. 80


ιζ´.

Παρά.... Αἴ, ὅσον εἶναι
τυφλὴ καὶ σκληροτέρα
ἡ τυραννίς, τοσοῦτον
ταχυτέρως ἀνοίγονται
σωτήριοι θύραι. 85


ιη´.

Δὲν μὲ θαμβόνει πάθος
κανένα· ἐγὼ τὴν λύραν
κτυπάω, καὶ ὁλόρθος στέκομαι
σιμὰ εἰς τοῦ μνήματός μου
τ᾿ ἀνοικτὸν στόμα. 90








 Αναπαράσταση του αγάλματος της Νέμεσης στον Ραμνούντα Αττικής, 
έργο του Αγορακρίτου, 430-420 π.Χ.









Πέμπτη, 31 Ιουλίου 2014

Cordoba to Kurdistan







marble parapet slab from Thasos, 6th cent. 
Inv. 2157 T, Museum of Archaeology, Istanbul













Cizre Ulu Cami Kapisi
The Door at Great Mosque in Cizre, Istanbul














Kirkuk









Triptolemos' travels
Γόρδυς









Πέμπτη, 3 Ιουλίου 2014

five folk pieces / häxhov * zog nit keyn mol * allt under himlens fäste







                                                                       








                                                 
                                                          **




















xAmandine





illustrations by Einar Norelius (1900-1985) and Gustaf Tenggren (1896-1970)





 *




Zog nit keyn mol


Never say this is the final road for you,
Though leaden skies may cover over days of blue.
As the hour that we longed for is so near,
Our step beats out the message: we are here!


From lands so green with palms to lands all white with snow.
We shall be coming with our anguish and our woe,
And where a spurt of our blood fell on the earth,
There our courage and our spirit have rebirth!


The early morning sun will brighten our day,
And yesterday with our foe will fade away,
But if the sun delays and in the east remains --
This song as password generations must remain.


This song was written with our blood and not with lead,
It's not a little tune that birds sing overhead,
This song a people sang amid collapsing walls,
With pistols in hand they heeded to the call.


Therefore never say the road now ends for you,
Though leaden skies may cover over days of blue.
As the hour that we longed for is so near,
Our step beats out the message: we are here!








                                
\
Eitan Altman




Daniel sings the hebrew version of the Partisans' Song
 written by Hirsch Glick (1922-1944)





 *






allt under himmelens faste









xAmandine













                                 Living in a Seashell Flower, batik ©



Κυριακή, 22 Ιουνίου 2014

Mikalojus Konstantinas Čiurlionis








Deluge - I (1904)










Finale - III (1908)










Paradise (1909)























στίχοι - μουσική: Δήμος Μούτσης
από τον δίσκο: "Για πούλημα λοιπόν" (1984)










Κυριακή, 15 Ιουνίου 2014

Αλληλουχία...





A prophet (likely Jeremiah or Isaiah) from the 
south portal of the Abbey Church of Saint Pierre, 
Moissac, France (1115-30)










The Angel of the Fifth Trumpet, an example of a Beatus manuscript




Millennialism

The most transcendental works of Beatus were his Commentaries to Apocalypse, which were copied in later centuries in manuscripts called beati, about which the Italian writer Umberto Eco said: "Their splendid images gave birth to the most relevant iconographic happening in the History of Mankind". Beatus develops in them a personal interpretation of the book of Revelation, accompanied by quotes from the Old Testament, the Church Fathers and fascinating illustrations.
In these Commentaries a new interpretation of the apocalyptic accounts is given: Babylon no longer represents the city of Rome, but Córdoba, seat of the Umayyad emirs of Al-Andalus; the Beast, once a symbol of the Roman Empire, now stands for the Islamic invaders who in this time threatened to destroy Western Christianity and who made raids on the territories of the Asturian Kingdom.
In the prologue to the second book of the Commentaries is found one of the best examples of a Mappae Mundi of the high medieval culture. The aim of this map was not to represent the world cartographically, but to serve as an illustration of the Apostles Diaspora in the first decades of Christianity. Beatus took data from the works of Saint Isidore of Seville, Ptolemy and the Holy Scripture. The world was represented as a land disc surrounded by the Ocean and divided in three parts: Asia (upper semicircle), Europe (lower left quadrant) and Africa (lower right quadrant). The Mediterranean Sea (Europe-Africa), the Nile River (Africa-Asia) and the Aegean Sea and the Bosphorus (Europa-Asia) were set as boundaries between the different continental masses.
Beatus was persuaded that the Apocalypse described in the book of Revelation was imminent, which would be followed by 1,290 years of domination by the Antichrist. Beatus followed the views of Saint Augustine whose work, The City of God, influenced the Commentaries which followed the premise that the History of the World was structured in six ages: the first five ones extended between the creation of Adam, and the Passion of Jesus, while the sixth, subsequent to Christ and contemporary to us, had to end with the unleashing of the happenings prophesied by the book of Revelation.
Millennialist movements were very common in Europe at that time: between 760 and 780 a series of cosmic phenomena caused panic among the population of Gaul; John, a visionary monk, predicted the coming of the Last Judgement during the reign of Charlemagne. In this time appeared the Apocalypse of Daniel, a Syriac text redacted during the rule of the empress Irene of Byzantium wherein wars between the Arabs, the Byzantines and the Northern peoples were prophesied. These wars would end with the coming of the Antichrist.
Events taking place in Hispania (Islamic rule, the adoptionist heresy, the gradual assimilation of the Mozarabic people...) were, for Beatus, signals of the imminent apocalyptic aeon. As Elipandus describes in his Letter from the bishops of Spania to their brothers in Gaul, the abbot of Santo Toribio went so far as to announce to his countrymen the coming of the End of Time in the Easter of the year 800. On the dawn of that day, hundreds of peasants met around the abbey of Santo Toribio, waiting terrified for the fulfilling of the prophecy. They remained in that place, without having had a bite to eat, during a day and half, until one of them, named Ordonius, exclaimed: "Let us eat and drink, so that if the End of the World comes we are full!".






Vision of the Lamb, the four cherubim and the 24 elders
  Facundus-Beatus (f. 117v)


























Luca Signorelli, "Resurrection of the Flesh" (1499-1502) 
Fresco Chapel of San Brizio, Duomo, Orvieto
















Παρασκευή, 6 Ιουνίου 2014

Andrei Rublyov





Tretyakov Gallery, Moscow





While twelfth and thirteenth century Russian iconography had evolved greatly from its modest rise as an offshoot of Byzantium, the Russian icon achieved prominence during the time of Theophanes the Greek, whose unique approach to iconography established him as a leading artist in Moscow and Novgorod. Theophanes the Greek favored a technique relying of free brush strokes, and improvisation. It was precisely this brilliant style and technique that attracted young protégés like Daniel the Black, and of course, Andrei Rublyov, to seek out apprenticeships with the great Theophanes. 

Indeed, his mentoring was significant, and when Theophanes the Greek died, his magic lived on in the hands of his young pupils, whose own skills, styles and techniques were molded by his expert guidance. Arguably, the most magnificent Russian iconographer to emerge from the school of Theophanes the Greek is, without question, Andrei Rublyov, whose masterpiece, the icon entitled The Old Testament Trinity, is hailed worldwide as the paradigm for all of Russian iconography. 

Still, long before the triumphant emergence of Rublyov, Russian iconography was divided among disparate schools of style, technique and ideology. These different schools are most often separated according to regions, or cities, and the icons of each region resonate with varied themes and characteristics. For the most part, little is known about the iconography of southern regions, like Kiev, but even if the south did not produce any great masters, Kievan icons did exist. Still, the major centers of iconography of medieval Russia were Moscow, Novgorod and Pskov. It is precisely these centers of art, religion and culture that engendered some of the most notable icon painters of the Russian Middle-Ages.










































karimberdi







"Δηλαδή πάντα υπάρχει μια λογική σεβασμού των πραγμάτων στον Ταρκόφσκυ. Και αυτό φτιάχνει την ποίηση. Είναι το πιο δύσκολο πράγμα. Γιατί η εικόνα του ποιητή που έχουμε στη Δύση είναι η εικόνα ενός ανθρώπου που είναι Θεός και κάνει τα πράγματα ό,τι θέλει, τα μεταμορφώνει. Αντίθετα εδώ έχουμε κάποιον που προσπαθεί να τα σεβαστεί, χωρίς από την άλλη να παριστάνει το σεμνότυφο.
Όσο για το θέμα του ρεαλισμού, πιστεύω ότι όλοι οι μεγάλοι κινηματογραφιστές ήταν ρεαλιστές. Αλλά ο καθένας, σηκώνοντας το βάρος της πνευματικής και πολιτιστικής παράδοσης στην οποία ανήκει δεν χάνει την επαφή του με αυτή τη ρεαλιστική βάση." 


Χρήστος Βακαλόπουλος, Η ακριβής αίσθηση του  πνευματικού στον Α. Ταρκόφσκυ (συνέντευξη), Προσεγγίσεις στη ζωή και το έργο του Α. Ταρκόφσκυ, εκδ. Δόμος, Αθήνα 1988, σελ. 31-40.











Novgorod, Holy Trinity fresco, Theophanes the Greek, 1378






Παρασκευή, 11 Απριλίου 2014

Ζει ο Αλέξανδρος; Ελληνικότητα και σύνθεση
































































Η σαρκοφάγος του Αλεξάνδρου 
4ος αι. π.Χ.
Αρχαιολογικό Μουσείο Κωνσταντινούπολης







Λαύρα των Σπηλαίων του Κιέβου (Kiev-Pechersk Lavra)
11ου - 12ου αιώνα












Εύβοια, Χαλκίδα, μαρμάρινη ανάγλυφη πλάκα
με την Ανάληψη του Αλεξάνδρου
12ος αι.























Οι ιερείς των Ιουδαίων προσφέρουν στον Αλέξανδρο χρυσό και άργυρο
Μικρογραφία από τη 'Μυθιστορία του Μ. Αλεξάνδρου'
Βενετία, Άγιος Γεώργιος των Ελλήνων, 14ος αι.











 από τη 'Μυθιστορία του Μ. Αλεξάνδρου'
Βενετία, Άγιος Γεώργιος των Ελλήνων, 14ος αι.




Περσική μικρογραφία του 15ου αι. από την Χεράτ που απεικονίζει τον Ισκαντέρ, το περσικό όνομα του Μ. Αλεξάνδρου