{"id":790002,"date":"2026-03-08T17:29:08","date_gmt":"2026-03-08T16:29:08","guid":{"rendered":"https:\/\/www.hashtag.al\/?p=790002"},"modified":"2026-03-08T17:42:06","modified_gmt":"2026-03-08T16:42:06","slug":"ode-per-ovidin-2000-vjet-art-i-frymezuar-nga-metamorfozat-ne-rijksmuseum","status":"publish","type":"post","link":"https:\/\/www.hashtag.al\/index.php\/2026\/03\/08\/ode-per-ovidin-2000-vjet-art-i-frymezuar-nga-metamorfozat-ne-rijksmuseum\/","title":{"rendered":"Ode p\u00ebr Ovidin: 2,000 vjet art i frym\u00ebzuar nga “Metamorfozat”","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"

\"\"<\/p>\n

N\u00eb fillim t\u00eb “Metamorfozave”, Ovidi u premton lexuesve t\u00eb tij bot\u00ebn: transformimet e b\u00ebra nga zotat dhe njer\u00ebzit “q\u00eb nga krijimi i par\u00eb i kozmosit e deri n\u00eb koh\u00ebt e mia”, t\u00eb formuara nga imagjinata e tij poetike. <\/span><\/p>\n

N\u00eb k\u00ebto mite dashurie dhe fati, joshjeje dhe rreziku, bukurie dhe mashtrimi, natyre dhe vdekjeje, erdhi frym\u00ebzimi m\u00eb i pasur i let\u00ebrsis\u00eb p\u00ebr artin pamor. <\/span><\/p>\n

P\u00ebrgjat\u00eb ekspozit\u00ebs spektakolare t\u00eb Rijksmuseum, “Metamorphoses”, e cila mbledh disa nga p\u00ebrgjigjet m\u00eb shpik\u00ebse dhe erotike t\u00eb artist\u00ebve m\u00eb t\u00eb m\u00ebdhenj ndaj poem\u00ebs, Ovidi mbetet “dhuntia” q\u00eb vazhdon t\u00eb jap\u00eb edhe pas 2,000 vjet\u00ebsh.<\/span><\/p>\n

“Dana\u00eb”, e zbukuruar mbi jast\u00ebk\u00eb t\u00eb fryr\u00eb, duke pritur n\u00eb ekstaz\u00eb shiun e art\u00eb t\u00eb dashnorit t\u00eb saj hyjnor, \u00ebsht\u00eb e para nga seksteti “Poesie” i Ticianit, bazuar n\u00eb skena t\u00eb ndryshme t\u00eb poem\u00ebs, q\u00eb e \u00e7uan piktur\u00ebn laike n\u00eb lart\u00ebsi shpreh\u00ebse t\u00eb pakonkurrueshme.<\/span><\/p>\n

“Jupiteri dhe Io” e Correggio-s, q\u00eb dramatizon p\u00ebrrall\u00ebn themelore t\u00eb epshit dhe mashtrimit t\u00eb Librit 1, e paraqet zotin si nj\u00eb mjegull t\u00eb err\u00ebt, t\u00eb paprekshme por me prani fizike, q\u00eb mb\u00ebshtjell nj\u00eb nimf\u00eb n\u00eb ekstaz\u00eb. Duke u luhatur mes abstraksionit dhe figuracionit, zoti-re b\u00ebhet trup\u00ebzor vet\u00ebm aty ku prek trupin e Io-s\u00eb: fytyra q\u00eb shfaqet p\u00ebr t\u00eb rr\u00ebmbyer nj\u00eb puthje, dora e tymt\u00eb mbi ij\u00ebn e saj.<\/span><\/p>\n

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\u2018Hermafroditi i Fjetur\u2019 nga Bernini, 1620<\/span><\/em><\/p><\/div>\n

Bernini vendosi nj\u00eb “Hermafrodit” antik mbi dyshekun m\u00eb jet\u00ebsor t\u00eb b\u00ebr\u00eb ndonj\u00ebher\u00eb n\u00eb mermer, dhe na ftoi t\u00eb rrotullohemi rreth tij duke par\u00eb vajz\u00ebn t\u00eb kthehet n\u00eb djal\u00eb. Rodin e projektoi veten si skulptorin e dashuruar me krijimin e tij, duke i dh\u00ebn\u00eb frym\u00eb asaj nga guri i ashp\u00ebr, n\u00eb “Pigmalioni dhe Galatea”. “Prometeu” vezak dhe i ndritsh\u00ebm i Brancusit, me fytyr\u00ebn q\u00eb ka vet\u00ebm vetull dhe hund\u00eb, evokon Titanin q\u00eb sjell drit\u00ebn dhe formon rac\u00ebn njer\u00ebzore nga balta.<\/span><\/p>\n

Ekspozita, sa seksi aq edhe erudite, dhe her\u00eb tragjike e her\u00eb komike, feston modelet antike, kryeveprat e Rilindjes dhe Barokut, si dhe rip\u00ebrpunimet moderne befasuese. T\u00eb ekspozuara bashk\u00eb n\u00eb nj\u00eb galeri, jan\u00eb paraqitja brutale e Luca Giordanos p\u00ebr p\u00ebrrall\u00ebn m\u00eb mizore t\u00eb Ovidit, satirin e rjepur t\u00eb gjall\u00eb te “Apollo dhe Marsia”, krah “Modelit t\u00eb Kuq III” t\u00eb Ren\u00e9 Magritte, ku nj\u00eb pal\u00eb \u00e7izme kthehen n\u00eb k\u00ebmb\u00eb, dhe l\u00ebkura e tyre kthehet n\u00eb mish.<\/span><\/p>\n

Nj\u00eb grupim rrezatues p\u00ebrfshin “Narcisin” e Caravaggio-s me intensitet psikologjik, t\u00eb riun e dashuruar pas vetes q\u00eb gjunj\u00ebzohet buz\u00eb pellgut, i mbyllur me pasqyrimin e tij n\u00eb nj\u00eb rreth q\u00eb shk\u00eblqen nga err\u00ebsira; nj\u00eb kok\u00eb mermeri romak t\u00eb nj\u00eb adoleshenti, me flok\u00eb t\u00eb shpupuritur dhe qepalla t\u00eb r\u00ebnda \u2014 Narcisi i Ovidit “shikon veten me habi t\u00eb heshtur dhe q\u00ebndron aty pal\u00ebvizur… si nj\u00eb statuj\u00eb e gdhendur nga mermeri i Parianit”; nj\u00eb Sixhade Millefleurs t\u00eb shekullit t\u00eb 15-t\u00eb me Narcisin; dhe, n\u00eb nj\u00eb shp\u00ebrthim t\u00eb dimrit verior, “Narcisin” e surrealistit Kor Postma pran\u00eb nj\u00eb liqeni t\u00eb ngrir\u00eb, me fytyr\u00ebn e pasqyruar n\u00eb akull t\u00eb thyer.<\/span><\/p>\n

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‘Leda\u2019 by Michele Tosini, 1560-1570<\/span><\/em><\/p><\/div>\n

N\u00eb nj\u00eb tjet\u00ebr grumbullim, nj\u00eb fluturim madh\u00ebshtor skulpturash t\u00eb Zeusit-si-mjellm\u00eb fillon n\u00eb Rom\u00ebn e shekullit t\u00eb 2-t\u00eb me nj\u00eb Leda mermeri q\u00eb mir\u00ebpret zogin n\u00eb prehrin e saj, dhe p\u00ebrfundon n\u00eb vitin 1942 me “Led\u00ebn” e Isamu Noguchi-t, me forma abstrakte t\u00eb rrumbullakosura q\u00eb rrjedhin s\u00eb bashku, trupi i saj i b\u00ebsh\u00ebm i shkrir\u00eb me pend\u00ebt e tij t\u00eb buta. <\/span><\/p>\n

Rubin\u00eb, perla t\u00eb zeza dhe sy shk\u00eblqyes vezullojn\u00eb n\u00eb piktur\u00ebn manieriste “Leda” t\u00eb Michele Torsinit. Versioni i pikturuar i Michelangelo-s ishte aq i qart\u00eb (eksplicit) saq\u00eb Ana e Austris\u00eb e shkat\u00ebrroi at\u00eb, megjith\u00ebse imitimet vazhduan t\u00eb qarkullonin. “Leda” sublime e Leonardos gjithashtu u zhduk; ajo \u00ebsht\u00eb k\u00ebtu n\u00eb kopjen m\u00eb t\u00eb rafinuar.<\/span><\/p>\n

P\u00ebr piktor\u00ebt, potenciali dinamik i nj\u00eb momenti t\u00eb transformimit fizik \u00ebsht\u00eb treguar pafund\u00ebsisht t\u00ebrheq\u00ebs, nd\u00ebrsa skulptor\u00ebt gjat\u00eb mij\u00ebvje\u00e7ar\u00ebve shijuan sfid\u00ebn e shkrirjes dhe shfaqjes s\u00eb formave. Transformimi ndodh edhe n\u00eb vet\u00eb skenografin\u00eb e shfaqjes: historit\u00eb pikturale rrjedhin n\u00eb histori t\u00eb tjera ashtu si Ovidi i thur ato p\u00ebrmes p\u00eblhur\u00ebs s\u00eb poem\u00ebs n\u00eb “carmen perpetuum”, k\u00ebng\u00eb e pand\u00ebrprer\u00eb.<\/span><\/p>\n

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Narcizi i Karavaxhios, 1597-1598<\/span><\/em><\/p><\/div>\n

Plot patos, nj\u00eb “Minotaur” romak i shekullit t\u00eb 1-t\u00eb \u2014 me kok\u00eb demi t\u00eb ulur dhe kthes\u00ebn n\u00eb form\u00eb S t\u00eb nj\u00eb trupi njer\u00ebzor \u2014 q\u00ebndron me “Seduction” (2021) t\u00eb Koen Vanmechelen, q\u00eb parodizon “Venusin e mbledhur” duke i bashkangjitur nj\u00eb fytyr\u00eb demi gjigante e pushkore. <\/span><\/p>\n

Kjo aludon n\u00eb maskimin e Jupiterit si nj\u00eb dem i bardh\u00eb p\u00ebr t\u00eb rr\u00ebmbyer princesh\u00ebn fenikase Evropa. Pik\u00ebrisht kjo sken\u00eb u thur nga Arakneja, duke regjistruar keqb\u00ebrjet seksuale t\u00eb Jupiterit n\u00eb konkursin e saj t\u00eb sixhades\u00eb me Minerv\u00ebn \u2014 e cila menj\u00ebher\u00eb e ktheu at\u00eb n\u00eb merimang\u00eb.<\/span><\/p>\n

P\u00ebrball\u00eb sixhadeve, “Arakneja dhe Minerva” e Tintoretto-s tregon hyjnesh\u00ebn duke v\u00ebzhguar me xhelozi aft\u00ebsin\u00eb e vajz\u00ebs. Versioni i Giordanos ilustron momentin kur gishtat e Araknes\u00eb kthehen n\u00eb k\u00ebmb\u00eb merimange. Mbi to varet “Spider Couple” (2003) e Louise Bourgeois.<\/span><\/p>\n

“Asgj\u00eb nuk \u00ebsht\u00eb konstante n\u00eb t\u00eb gjith\u00eb bot\u00ebn. \u00c7do gj\u00eb \u00ebsht\u00eb n\u00eb gjendje ndryshimi”, shkruan Ovidi, dhe kjo p\u00ebrfshin edhe poem\u00ebn e tij: interpretimi ndryshon me \u00e7do shekull e brez. N\u00eb 1554, heroi i Ovidit q\u00eb vret p\u00ebrbind\u00ebshat n\u00eb “Perseu me kok\u00ebn e Meduz\u00ebs” t\u00eb Benvenuto Cellinit simbolizonte triumfin e sundimtar\u00ebve Medici t\u00eb Firences.<\/span><\/p>\n

Sot, fokusi \u00ebsht\u00eb te Meduza e d\u00ebmtuar. “E njohur p\u00ebr bukurin\u00eb e saj”, ajo u kthye n\u00eb nj\u00eb gorgon\u00eb, me flok\u00ebt e saj t\u00eb harlisur q\u00eb u b\u00ebn\u00eb “gjarp\u00ebrinj zmbraps\u00ebs” si nd\u00ebshkim p\u00ebr faktin q\u00eb u p\u00ebrdhunua; n\u00eb filmin rr\u00ebqeth\u00ebs t\u00eb Juul Kraijer “Spawn” (2019), zvarranik\u00ebt zvarriten mbi t\u00eb, nj\u00eb viktim\u00eb e shp\u00ebrfytyrimit.<\/span><\/p>\n

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“Metamorfozat” p\u00ebrshkruajn\u00eb 50 p\u00ebrdhunime dhe padrejt\u00ebsi t\u00eb panum\u00ebrta t\u00eb ushtruara rast\u00ebsisht nga t\u00eb fuqishmit ndaj t\u00eb pafuqishm\u00ebve. Akteoni kthehet n\u00eb nj\u00eb dre, pastaj shqyehet nga qent\u00eb e tij, thjesht sepse hodhi nj\u00eb v\u00ebshtrim te hyjnesha Diana. <\/span><\/p>\n

Dafna shnd\u00ebrrohet n\u00eb nj\u00eb pem\u00eb dafine pasi ik\u00ebn nga zoti-p\u00ebrdhunues Apollo; paraqitja e Bernard Salomon, ku k\u00ebmb\u00ebt e saj shkrihen n\u00eb nj\u00eb trung dhe krah\u00ebt e saj shp\u00ebrthejn\u00eb n\u00eb deg\u00eb me gjethe, ishte nd\u00ebr gdhendjet n\u00eb dru me shum\u00eb ndikim n\u00eb “Metamorfozat” e ilustruara franceze t\u00eb vitit 1557.<\/span><\/p>\n

Ovidi po shkruante n\u00eb Rom\u00ebn autoritare t\u00eb Augustit, nga ku u d\u00ebbua n\u00eb vitin 8 pas Krishtit (ndoshta p\u00ebr shkak t\u00eb vepr\u00ebs “Ars Amatoria”). Por poeti u rrit gjat\u00eb luft\u00ebs civile t\u00eb Rom\u00ebs, dhe subversionet e “Metamorfozave”, paparashikueshm\u00ebria dhe terrori i rast\u00ebsish\u00ebm pasqyrojn\u00eb paq\u00ebndrueshm\u00ebrin\u00eb politike dhe sociale t\u00eb epok\u00ebs s\u00eb tij. Si eksplorim i vet\u00eb ndryshimit, poema dhe arti q\u00eb ajo provokon jan\u00eb t\u00eb pavdeksh\u00ebm.<\/span><\/p>\n

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Nj\u00eb pamje nga filmi shqet\u00ebsues i Juul Kraijer \u2018SPAWN\u2019, 2019<\/span><\/em><\/p><\/div>\n

Kjo shfaqje \u00ebsht\u00eb bashk\u00ebprodhuar me Galerin\u00eb Borghese t\u00eb Rom\u00ebs. N\u00eb koh\u00eb p\u00ebr\u00e7ar\u00ebse, ekspozita \u00ebsht\u00eb nj\u00eb model i bashk\u00ebpunimit dhe kohezionit evropian. Sa e mrekullueshme, p\u00ebr shembull, t\u00eb shoh\u00ebsh pran\u00eb nj\u00ebra-tjetr\u00ebs interpretimet jugore dhe veriore t\u00eb mitit t\u00eb Evrop\u00ebs: sken\u00ebn mesdhetare kristaline t\u00eb rr\u00ebmbimit nga Giuseppe Cesari, p\u00ebrkundrejt pastoralit barok flaman t\u00eb Jacob Jordaens me nimfa lakuriq dhe tufa bag\u00ebtish.<\/span><\/p>\n

Fjala e fundit e “Metamorfozave” \u00ebsht\u00eb “Vivam” \u2014 “Un\u00eb do t\u00eb jetoj!”. Ndon\u00ebse koha ka “pushtet mbi trupin tim”, shkruan Ovidi, “kudo ku shtrihet ndikimi i Rom\u00ebs… un\u00eb do t\u00eb flitem n\u00eb buz\u00ebt e njer\u00ebzve.” <\/span><\/p>\n

N\u00eb vizit\u00ebn time fundjav\u00ebn e kaluar, shfaqja ishte plot: \u00e7ifte q\u00eb q\u00ebndronin para pikturave t\u00eb dashuris\u00eb, prind\u00ebr q\u00eb fotografonin f\u00ebmij\u00ebt pran\u00eb cupid-\u00ebve t\u00eb Rilindjes. Intelektualisht stimuluese dhe demokratike n\u00eb t\u00ebrheqje, \u00ebsht\u00eb nj\u00eb homazh i jasht\u00ebzakonsh\u00ebm p\u00ebr nj\u00eb gj\u00eb q\u00eb nuk ndryshon: k\u00ebnaq\u00ebsia e p\u00ebrjetshme dhe mb\u00ebshtet\u00ebse e artit, shkruan FT<\/a>.<\/span><\/p>\n

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\u2018Kat\u00ebr Elementet\u2019 nga Louis Finson (1611)<\/em><\/span><\/p><\/div>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

N\u00eb fillim t\u00eb “Metamorfozave”, Ovidi u premton lexuesve t\u00eb tij bot\u00ebn: transformimet e b\u00ebra nga zotat dhe njer\u00ebzit “q\u00eb nga krijimi i par\u00eb i kozmosit e deri n\u00eb koh\u00ebt e mia”, t\u00eb formuara nga imagjinata e tij poetike. N\u00eb k\u00ebto mite dashurie dhe fati, joshjeje dhe rreziku, bukurie dhe mashtrimi, natyre dhe vdekjeje, erdhi frym\u00ebzimi […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":51,"featured_media":790005,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[53],"tags":[],"class_list":["post-790002","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fast-foodi"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/790002","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/comments?post=790002"}],"version-history":[{"count":99999,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/790002\/revisions"}],"predecessor-version":[{"id":790019,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/790002\/revisions\/790019"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/790005"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=790002"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=790002"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=790002"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}