{"id":52140,"date":"2020-03-02T23:08:12","date_gmt":"2020-03-02T22:08:12","guid":{"rendered":"https:\/\/fjala.info\/?p=52140"},"modified":"2020-03-02T23:08:12","modified_gmt":"2020-03-02T22:08:12","slug":"nje-pasardhes-i-onufrit-te-madh","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/nje-pasardhes-i-onufrit-te-madh\/","title":{"rendered":"NJ\u00cb PASARDH\u00cbS I ONUFRIT T\u00cb MADH"},"content":{"rendered":"

Me rastin e vdekjes s\u00eb nj\u00ebrit nd\u00ebr ikonograf\u00ebt tan\u00eb m\u00eb t\u00eb shquar, Josif Droboniku<\/strong>t<\/p><\/blockquote>\n

Bised\u00eb me piktorin e ikonografin Josif Droboniku<\/strong>, q\u00eb jeton dhe vepron nd\u00ebr arb\u00ebresh\u00ebt e Kalabris\u00eb, Itali<\/em><\/p>\n

(N\u00eb vend t\u00eb In memoriam, po botojm\u00eb k\u00ebt\u00eb bised\u00eb t\u00eb b\u00ebr\u00eb n\u00eb shkurt t\u00eb vitit 2003<\/em>)<\/p>\n

N\u00eb ngulimin arb\u00ebresh, n\u00eb Ung\u00ebr (Lungro), rreth 70 kilometra larg Kozenc\u00ebs, tash dymb\u00ebdhjet\u00eb vjet jeton dhe krijon piktori dhe ikonografi, Josif Droboniku nga Fieri i Shqip\u00ebris\u00eb. Gjat\u00eb k\u00ebsaj kohe punoi n\u00eb 43 kisha arb\u00ebreshe dhe jo arb\u00ebreshe, duke krijuar nj\u00eb varg veprash artistike t\u00eb nj\u00eb r\u00ebnd\u00ebsie dhe vlere t\u00eb madhe. Puna e tij artistike e frytshme dhe e nj\u00eb niveli t\u00eb lart\u00eb si dhe lidhja shpirt\u00ebrore me veprat artistike t\u00eb Onufrit t\u00eb famsh\u00ebm, t\u00eb cilin e mban si drejtues shpirt\u00ebror dhe artistik n\u00eb veprimtarin\u00eb e tij, d\u00ebshmon se ai shkon gjurm\u00ebve t\u00eb Onufrit t\u00eb madh. D\u00ebshmi m\u00eb e drejtp\u00ebrdrejt\u00eb e k\u00ebsaj jan\u00eb veprat q\u00eb ka krijuar deri m\u00eb tash. Dor\u00eb e djatht\u00eb n\u00eb pun\u00ebn e tij \u00ebsht\u00eb gruaja, Lilana, nd\u00ebrsa dy vajzat, Mirlinda dhe Alba, jan\u00eb duke u shkolluar n\u00eb Rom\u00eb dhe n\u00eb nj\u00eb t\u00eb ardhme duhet t\u2019u bashkohen prind\u00ebrve n\u00eb k\u00ebt\u00eb pun\u00eb. Josifi n\u00eb nj\u00eb t\u00eb ardhshme do t\u00eb hap\u00eb edhe nj\u00eb shkoll\u00eb p\u00ebr p\u00ebrgatitjen e t\u00eb rinjve n\u00eb artin e mozaikut e t\u00eb ikonave.<\/p>\n

P\u00ebr ta njohur lexuesin e revist\u00ebs me pun\u00ebn e tij t\u00eb deritashme, b\u00ebm\u00eb k\u00ebt\u00eb bised\u00eb.<\/p>\n

0 Ju keni lindur n\u00eb Fier. Sa ka l\u00ebn\u00eb gjurm\u00eb vendlindja dhe bota e saj n\u00eb pun\u00ebn dhe n\u00eb shpirtin tuaj prej artisti?<\/em><\/p>\n

– Vendlindja ime, Fieri, gjendet n\u00eb nj\u00eb rreth, brenda t\u00eb cilit p\u00ebrfshihet edhe qyteti i vjet\u00ebr i Apolonis\u00eb, q\u00eb akoma vizitohet nga turist\u00ebt. N\u00eb at\u00eb qend\u00ebr ka lindur n\u00ebna ime dhe ky ka qen\u00eb motivi q\u00eb aty kam shkuar shpesh. N\u00eb Apoloni ka pasur mozaik\u00eb t\u00eb shumt\u00eb, q\u00eb m\u00eb t\u00ebrhiqnin dhe k\u00ebshtu lindi dhe pasioni p\u00ebr kultur\u00ebn vizive, p\u00ebr artin figurativ, p\u00ebr mozaikun n\u00eb ve\u00e7anti. P\u00ebrve\u00e7 k\u00ebsaj ka qen\u00eb edhe nj\u00eb arsye tjet\u00ebr: babai im ka qen\u00eb shum\u00eb fetar, ishte ikonomat i Kish\u00ebs s\u00eb Sh\u00ebn Llirit. Ai kishte marr\u00ebdh\u00ebnie miq\u00ebsore me nj\u00eb ikonograf q\u00eb quhej Todi. K\u00ebto kan\u00eb qen\u00eb dhe k\u00ebto mbaj mend nga f\u00ebmij\u00ebria p\u00ebr sa i p\u00ebrket asaj q\u00eb lidhet me pun\u00ebn time t\u00eb m\u00ebpastajme.<\/p>\n

0 Jeni specializuar n\u00eb piktur\u00ebn monumentale. Si \u00ebsht\u00eb shprehur kjo n\u00eb formimin dhe n\u00eb pun\u00ebn tuaj krijuese t\u00eb m\u00ebpastajme, ve\u00e7mas n\u00eb fush\u00ebn e ikonave e t\u00eb mozaik\u00ebve?<\/em><\/p>\n

– Si mozaiku, si piktura murale, si afresku si ikona jan\u00eb deg\u00eb t\u00eb piktur\u00ebs monumentale. Duke m\u00ebsuar p\u00ebr k\u00ebto n\u00eb shkoll\u00eb, kjo gj\u00eb m\u00eb ka ndihmuar shum\u00eb p\u00ebr p\u00ebrgatitjen profesionale, sidomos p\u00ebr m\u00ebsimin e artit t\u00eb ikonave e mozaik\u00ebve. Pra, n\u00eb shkoll\u00eb m\u00ebsuan p\u00ebr pun\u00ebt kryesore: p\u00ebr gjuh\u00ebn dhe p\u00ebr teknik\u00ebn e piktur\u00ebs monumentale.<\/p>\n

0 Cilat ishin punimet e para n\u00eb fush\u00ebn e artit dhe kur filluan ato?<\/em><\/p>\n

– Si edhe t\u00eb rinjt\u00eb e tjer\u00eb, punimet e para kan\u00eb qen\u00eb t\u00eb lidhura me Sk\u00ebnderbeun. Ishte edhe nj\u00eb shenj\u00eb patriotizmi. Ato filluan n\u00eb shkoll\u00eb.<\/p>\n

0 Para se t\u00eb kalonit n\u00eb Itali ju kishit b\u00ebr\u00eb nj\u00eb p\u00ebrvoj\u00eb n\u00eb fush\u00ebn e artit. N\u00eb cilat ekspozita kishit marr\u00eb pjes\u00eb dhe sa ndikuan ato n\u00eb pun\u00eb tuaj t\u00eb m\u00ebtejshme?<\/em><\/p>\n

– N\u00eb Shqip\u00ebri, p\u00ebrgjith\u00ebsisht, n\u00eb at\u00eb koh\u00eb organizoheshin ekspozita kolektive dhe un\u00eb kam qen\u00eb pjes\u00ebmarr\u00ebs pothuajse i p\u00ebrhersh\u00ebm. Pjesa m\u00eb me pesh\u00eb, si kontribut dhe v\u00ebllim dhe si cil\u00ebsi, ishin punimet q\u00eb b\u00ebheshin jasht\u00eb aktivitetit t\u00eb ekspozitave. Rasti i Peshkopis\u00eb, mozaiku i Muzeut komb\u00ebtar ose n\u00eb Lushnje, k\u00ebto jan\u00eb piktura, jan\u00eb afreske t\u00eb aplikuara, jan\u00eb mozaik\u00eb t\u00eb aplikuar brenda piktur\u00ebs monumentale. K\u00ebshtu, ky aktivitet jasht\u00eb ekspozitave kishte nj\u00eb pesh\u00eb m\u00eb t\u00eb madhe personale dhe artistike. Nj\u00eb piktur\u00eb n\u00eb ekspozit\u00eb nuk dihet ku p\u00ebrfundon, kurse nj\u00eb mozaik, fjala vjen, \u00ebsht\u00eb i destinuar t\u00eb jet\u00eb n\u00eb nj\u00eb vend t\u00eb caktuar, t\u00eb themi p\u00ebr gjithmon\u00eb. K\u00ebtu q\u00ebndron p\u00ebrgjegj\u00ebsia dhe detyra e artit monumental.<\/p>\n

0 Nga gjith\u00eb kjo pun\u00eb e b\u00ebr\u00eb n\u00eb Shqip\u00ebri, sidomos n\u00eb Tiran\u00eb, \u00e7ka do t\u00eb ve\u00e7onit nga mozaik\u00ebt e b\u00ebra atje?<\/em><\/p>\n

– Nga mozaik\u00ebt do t\u2019i kisha dalluar dy q\u00eb jan\u00eb m\u00eb t\u00eb r\u00ebnd\u00ebsish\u00ebm: ai n\u00eb fasad\u00ebn e Muzeut komb\u00ebtar (vep\u00ebr e pes\u00eb autor\u00ebve) dhe nj\u00eb mozaik q\u00eb un\u00eb ia kam dedikuar Lidhjes s\u00eb Prizrenit. \u00cbsht\u00eb nj\u00eb emblem\u00eb dhe tash nuk e di se ku \u00ebsht\u00eb. Aty kan\u00eb qen\u00eb portretet e figurave kryesore te Lidhjes.<\/p>\n

0 \u00c7\u2019far\u00eb paraqesin p\u00ebr ju sot mozaik\u00ebt e b\u00ebr\u00eb n\u00eb Lushnje, n\u00eb Peshkopi, n\u00eb Tiran\u00eb, sidomos n\u00eb Pallatin e kultur\u00ebs dhe n\u00eb Muzeun komb\u00ebtar t\u00eb Tiran\u00ebs?<\/em><\/p>\n

– Nj\u00eb pjes\u00eb t\u00eb aktivitetit tim. N\u00eb nj\u00eb kuad\u00ebr m\u00eb t\u00eb madh ishin reflektim i asaj jete q\u00eb kalonin atje me t\u00eb mirat dhe me k\u00ebqijat e saj.<\/p>\n

0 Nje vep\u00ebr arti e shenjt\u00eb ose fetare k\u00ebrkon p\u00ebrkushtim t\u00eb shumt\u00eb. \u00c7ka do t\u00eb thot\u00eb t\u00eb b\u00ebsh nj\u00eb afresk, nj\u00eb ikon\u00eb ose nj\u00eb mozaik t\u00eb shenjt\u00eb?<\/em><\/p>\n

– Kur flasim p\u00ebr nj\u00eb vep\u00ebr t\u00eb shenjt\u00eb artistike duhet th\u00ebn\u00eb se, fjala vjen, t\u00eb gjith\u00eb kan\u00eb t\u00eb drejt\u00eb t\u00eb b\u00ebjn\u00eb nj\u00eb ikon\u00eb, kurse ne q\u00eb kemi mbaruar nj\u00eb lloj shkolle dhe t\u00eb them, kemi k\u00ebnduar n\u00eb korin e profesionist\u00ebve, e kemi v\u00ebshtir\u00eb t\u00eb lejojm\u00eb t\u00eb krijohet di\u00e7ka q\u00eb profesionalisht e cenon at\u00eb art. N\u00eb k\u00ebt\u00eb pun\u00eb kryesorja \u00ebsht\u00eb: duhet t\u00eb zbatohet edhe nj\u00eb lloj besnik\u00ebrie ndaj p\u00ebrvoj\u00ebs s\u00eb shekujve n\u00eb artin fetar, edhe nj\u00eb lloj ndjeshm\u00ebrie p\u00ebr at\u00eb q\u00eb b\u00ebn. Duke ia shtuar k\u00ebsaj edhe profesionizmin, patjet\u00ebr q\u00eb vepra q\u00eb krijon do t\u00eb ket\u00eb nj\u00eb rezultat pozitiv.<\/p>\n

0 \u00c7ka \u00ebsht\u00eb e shenjt\u00eb n\u00eb nj\u00eb vep\u00ebr t\u00eb k\u00ebtill\u00eb t\u00eb krijuar?<\/em><\/p>\n

– I shenjt\u00eb \u00ebsht\u00eb subjekti i nj\u00eb vepre, i shenjt\u00eb \u00ebsht\u00eb mesazhi dhe shenjt\u00ebrimi i saj b\u00ebhet mbasi ti t\u00eb kesh mbaruar pun\u00ebn; \u00ebsht\u00eb dikush tjet\u00ebr q\u00eb at\u00eb e shenjt\u00ebron: \u00ebsht\u00eb bekimi q\u00eb i jep peshkopi ose nj\u00eb person kishtar me p\u00ebrgjegj\u00ebsi m\u00eb t\u00eb lart\u00eb. Un\u00eb nuk mund ta shenjt\u00ebroj nj\u00eb vep\u00ebr.<\/p>\n

0 Sa frym\u00eb e aft\u00ebsi t\u00eb m\u00ebvet\u00ebsishme (origjinale) d\u00ebshmon autori n\u00eb veprat e karakterit t\u00eb k\u00ebtill\u00eb. Me nj\u00eb fjal\u00eb, cil\u00ebt jan\u00eb p\u00ebrb\u00ebr\u00ebsit (elementet) q\u00eb shprehin origjinalitetin e krijuesit n\u00eb veprat e k\u00ebtilla?<\/em><\/p>\n

– K\u00ebto jan\u00eb \u00e7\u00ebshtje t\u00eb komplikuara, sidomos kur flasim p\u00ebr artin fetar. \u00c7\u00ebshtja e par\u00eb: duke qen\u00eb k\u00ebto kanune, skena n\u00eb kuptimin e mir\u00eb t\u00eb fjal\u00ebs, \u00ebsht\u00eb shum\u00eb e v\u00ebshtir\u00eb q\u00eb vizualisht spektatori ose besimtari kur shikon nj\u00eb ikon\u00eb ose nj\u00eb mozaik, t\u00eb dij\u00eb t\u00eb dalloj\u00eb sakt\u00ebsish se kjo \u00ebsht\u00eb ikon\u00eb e k\u00ebtij ose e atij autori. Pjesa q\u00eb e b\u00ebn nj\u00eb ikon\u00eb t\u00eb cil\u00ebsohet ose t\u00eb p\u00ebrcaktohet e k\u00ebtij ose e atij krijuesi jan\u00eb disa elemente q\u00eb secili artist i shpreh brenda modelit p\u00ebrkat\u00ebs. \u00c7do artist ka ve\u00e7antit\u00eb e veta profesionale, q\u00eb d\u00ebshmohen n\u00eb komponim, n\u00eb ngjyra, n\u00eb teknik\u00eb etj. K\u00ebshtu, gjat\u00eb pun\u00ebs artisti, dashur e padashur, shpreh ndjenjat e veta, bot\u00ebn e tij t\u00eb brendshme. Kjo e b\u00ebn pun\u00ebn e nj\u00eb artisti t\u00eb dallohet nga puna e tjetrit. P\u00ebr k\u00ebt\u00eb arsye, ikonografi yn\u00eb i madh, Onufri, pik\u00ebrisht me t\u00eb kuqen e tij u shk\u00ebput prej t\u00eb gjith\u00eb t\u00eb tjer\u00ebve. Edhe detajin e ka q\u00ebndisur n\u00eb maksimumin e tij.<\/p>\n

Ndoshta n\u00eb k\u00ebt\u00eb kontekst duhet p\u00ebrmendur di\u00e7ka rreth pun\u00ebs sime \u00ebsht\u00eb p\u00ebrpjekja q\u00eb t\u00eb kompozoj e t\u00eb vizatoj n\u00eb m\u00ebnyr\u00eb profesionale nj\u00eb subjekt t\u00eb dh\u00ebn\u00eb n\u00eb nj\u00eb vend t\u00eb caktuar ose n\u00eb nj\u00eb kuad\u00ebr t\u00eb nj\u00eb ikone t\u00eb caktuar. Kjo ndoshta \u00ebsht\u00eb di\u00e7ka q\u00eb, mendoj, duhet t\u00eb merret e imja; dometh\u00ebn\u00eb kompozicioni i nj\u00eb skene n\u00eb \u00e7far\u00ebdo lloj formati dhe n\u00eb \u00e7far\u00ebdo lloj sip\u00ebrfaqeje q\u00eb realizohet. Pra, k\u00ebtu b\u00ebhet fjal\u00eb p\u00ebr aft\u00ebsin\u00eb q\u00eb t\u2019ia jap\u00ebsh nj\u00eb ikone ose nj\u00eb mozaiku ting\u00ebllimin t\u00ebnd; dometh\u00ebn\u00eb konstrukti, proporcioni, vizatimi, impostimi i sken\u00ebs n\u00eb nj\u00eb kuadrat dhe n\u00eb nj\u00eb vend t\u00eb caktuar. Kjo, mendoj, \u00ebsht\u00eb arma m\u00eb e fort\u00eb si linj\u00eb profesionale.<\/p>\n

0 Sa \u00ebsht\u00eb i r\u00ebnd\u00ebsish\u00ebm n\u00eb k\u00ebt\u00eb pun\u00eb krijuese i ashtuquajturi \u201cfrym\u00ebzim antik\u201d, p\u00ebrkat\u00ebsisht njohja thell\u00ebsore e tradit\u00ebs paraprake?<\/em><\/p>\n

– Njohja thell\u00ebsore e tradit\u00ebs paraprake ose si\u00e7 thoni ju \u201cfrym\u00ebzim antik\u201d \u00ebsht\u00eb nj\u00eb element i r\u00ebnd\u00ebsish\u00ebm. Kjo duket si abstrakte, por nj\u00ebkoh\u00ebsisht \u00ebsht\u00eb edhe konkrete. \u00cbsht\u00eb ndryshe t\u00eb specializohesh p\u00ebr disa dit\u00eb e muaj, e ndryshe t\u00eb njoh\u00ebsh tradit\u00ebn, t\u00eb kaluar\u00ebn. Ky \u00ebsht\u00eb nj\u00eb ushqim i vazhduesh\u00ebm. Si nj\u00eb letrar q\u00eb m\u00ebson nga paraardh\u00ebsit, ashtu edhe nj\u00eb piktor dhe nj\u00eb ikonograf m\u00ebson nga e kaluara. Ne kemi fatin e madh q\u00eb, si\u00e7 e thash\u00eb, jo vet\u00ebm n\u00eb Apoloni, n\u00eb Durr\u00ebs, n\u00eb Butrint e n\u00eb vende t\u00eb tjera t\u00eb vendit ton\u00eb kemi shum\u00eb mozaik\u00eb, por kemi Onufrin q\u00eb \u00ebsht\u00eb nj\u00eb mjesht\u00ebr i madh, q\u00eb ka l\u00ebshuar drit\u00eb arti n\u00eb gjith\u00eb bot\u00ebn.<\/p>\n

0 A ekziston ndonj\u00eb autor – artist q\u00eb ka ndikuar n\u00eb bot\u00ebn dhe n\u00eb pun\u00ebn tuaj artistike?<\/em><\/p>\n

– Me vones\u00eb kam arritur t\u00eb shk\u00ebpus nga ajo q\u00eb vjen nga historia, jo vet\u00ebm ajo shqiptare, por edhe bot\u00ebrore, mjeshtrin ton\u00eb t\u00eb madh, Onufrin. Ky ka qen\u00eb ai q\u00eb mua m\u00eb ka b\u00ebr\u00eb dhe m\u00eb b\u00ebn t\u00eb ndihem gjithmon\u00eb modest karshi \u00e7do lloji imazhi fetar q\u00eb b\u00ebj. Onufri \u00ebsht\u00eb nj\u00eb pasqyr\u00eb q\u00eb m\u00eb tregon rrug\u00ebn time. Me nj\u00eb fjal\u00eb, ai m\u00eb sh\u00ebrben si nj\u00eb mjesht\u00ebr q\u00eb t\u00eb drejton edhe p\u00ebr gabimet, edhe p\u00ebr at\u00eb q\u00eb arrin ti n\u00eb pun\u00ebn t\u00ebnde. Sa m\u00eb shum\u00eb kalon koha, aq m\u00eb shum\u00eb e ndjej se ai \u00ebsht\u00eb nj\u00ebmend nj\u00eb mjesht\u00ebr i madh.<\/p>\n

0 Sa kan\u00eb komunikuar veprat e Onufrit gjat\u00eb koh\u00ebs s\u00eb diktatur\u00ebs dhe ju si i keni p\u00ebrjetuar dhe shijuar ato?<\/em><\/p>\n

– Veprat e tij gjendeshin n\u00ebp\u00ebr kisha. M\u00ebnyra se si ato komunikonin me shikuesin, kjo \u00ebsht\u00eb histori m\u00eb vete. Arti bizantin dhe Onufri ishin tep\u00ebr t\u00eb p\u00ebr\u00e7muara p\u00ebr arsye se destinacioni i tyre, q\u00eb ishte besimi i popullit dhe kishat, ku do t\u00eb vendoseshin k\u00ebto ikona ishin t\u00eb mbyllura n\u00eb Shqip\u00ebri ose t\u00eb shkat\u00ebrruara. K\u00ebshtu, Onufri si personazh ka ekzistuar vet\u00ebm n\u00ebp\u00ebr letra, n\u00ebp\u00ebr botime tep\u00ebr t\u00eb kufizuara ose t\u00eb trajtuara jo me r\u00ebnd\u00ebsin\u00eb q\u00eb i takonte atij. Me fjal\u00eb t\u00eb tjer\u00eb, veprat e tij nuk merreshin e nuk \u00e7moheshin seriozisht. Si t\u00eb tilla ato nuk dep\u00ebrtonin n\u00eb opinion. K\u00ebshtu, n\u00eb shkoll\u00eb veprat e tij nuk merreshin si shembull dhe me at\u00eb jet\u00eb t\u00eb kufizuar ishte shum\u00eb e v\u00ebshtir\u00eb q\u00eb t\u00eb komunikoje me mjesht\u00ebrin\u00eb e lart\u00eb t\u00eb k\u00ebtij piktori.<\/p>\n

0 \u00c7ka mendoni, Onufri ishte i madh p\u00ebr shkak t\u00eb temave q\u00eb trajtonte ose p\u00ebr shkak t\u00eb teknik\u00ebs q\u00eb p\u00ebrdorte, p\u00ebr shkak t\u00eb p\u00ebrdorimit mjesht\u00ebror t\u00eb ngjyrave?<\/em><\/p>\n

– Jan\u00eb t\u00eb gjitha k\u00ebto q\u00eb p\u00ebrmendet, me p\u00ebrjashtim t\u00eb s\u00eb par\u00ebs. E para \u00ebsht\u00eb e parapar\u00eb p\u00ebr t\u00eb gjith\u00eb ne. Ai dallohet p\u00ebr teknik\u00eb, p\u00ebr shpirtin dhe p\u00ebr aft\u00ebsin\u00eb e tij t\u00eb fort\u00eb si dhe p\u00ebr talentin e tij t\u00eb madh. Natyrisht edhe p\u00ebr nj\u00eb besim t\u00eb fort\u00eb n\u00eb Zotin.<\/p>\n

0 \u00c7far\u00eb r\u00ebnd\u00ebsie ka p\u00ebr origjinalitetin e nj\u00eb afresku, nj\u00eb ikone ose nj\u00eb mozaiku \u201cvall\u00ebzimi\u201d ose \u201cloja\u201d e hije – drit\u00ebs dhe e ngjyrave?<\/em><\/p>\n

– N\u00eb artin bizantin nuk ekziston drit\u00eb dhe hije. Ekziston err\u00ebsir\u00eb edhe drit\u00eb. Dometh\u00ebn\u00eb, ti nisesh nga ngjyrat m\u00eb t\u00eb errta dhe me tri – kat\u00ebr duar ngjyrash m\u00eb t\u00eb \u00e7elura arrin te maksimumi i drit\u00ebs. Po jo se objekti l\u00ebshon drit\u00eb. Ai nuk l\u00ebshon drit\u00eb. N\u00eb artin bizantin nuk ekziston drita dhe perspektiva \u00ebsht\u00eb e kund\u00ebrt. Ne, q\u00eb shohim objektin, ne shohim perspektiv\u00ebn q\u00eb vjen nga prapa deri tek sip\u00ebrfaqja e objektit; \u00ebsht\u00eb e kund\u00ebrta e perspektiv\u00ebs.<\/p>\n

0 Mos dometh\u00ebn\u00eb se pik\u00ebsynim \u00ebsht\u00eb err\u00ebsira?<\/em><\/p>\n

– Nuk \u00ebsht\u00eb pik\u00ebsynim err\u00ebsira. K\u00ebto nuk jan\u00eb personazhe reale. Ky \u00ebsht\u00eb ndryshimi midis nj\u00eb pikture fetare e artit bizantin p\u00ebrball\u00eb nj\u00eb pikture t\u00eb nj\u00eb arti tjet\u00ebr fetar, katolik ose \u00e7far\u00ebdo. N\u00eb nj\u00eb piktur\u00eb n\u00eb nj\u00eb kish\u00eb katolike, Krishti b\u00ebhet i bukur, b\u00ebhet m\u00eb flok\u00eb t\u00eb verdh\u00eb, Sh\u00ebn M\u00ebria b\u00ebhet m\u00eb sy boj\u00ebqielli; shprehen t\u00eb gjitha reflekset e mundshme q\u00eb kap fantazia e piktorit. N\u00eb artin bizantin drita ekziston si drit\u00eb, n\u00eb kuptimin e zbardhjes s\u00eb sfondit t\u00eb art\u00eb, kjo \u00ebsht\u00eb drita. Po nuk ka hije. Personazhet nuk kan\u00eb hije. Ata jan\u00eb n\u00eb nj\u00eb sfond t\u00eb art\u00eb dhe ky sfond i art\u00eb \u00ebsht\u00eb drita q\u00eb vjen nga qielli.<\/p>\n

0 Nga viti 1990 jetoni dhe veproni n\u00eb Itali, n\u00eb mesin e arb\u00ebresh\u00ebve t\u00eb Kalabris\u00eb. Cilat ishin pun\u00ebt e para dhe ku i b\u00ebr\u00ebt ato?<\/em><\/p>\n

– Punimet e para i kemi b\u00ebr\u00eb me gruan time Lilan\u00ebn n\u00eb ngulimin arb\u00ebresh, Ferm\u00eb, pastaj n\u00eb Sh\u00ebn Benedhit. N\u00eb Ferm\u00eb nuk jemi kthyer m\u00eb, n\u00eb Sh\u00ebn Benedhit, po, ku, mbas dhjet\u00eb vjet\u00ebsh, kemi b\u00ebr\u00eb nj\u00eb mozaik. M\u00eb von\u00eb kemi b\u00ebr\u00eb punime t\u00eb ndryshme n\u00eb shum\u00eb kishat arb\u00ebreshe dhe jo vet\u00ebm arb\u00ebreshe. Jan\u00eb 43 kisha ku kemi punuar.<\/p>\n

0 A ndikoi dhe a ndikon bota arb\u00ebreshe n\u00eb pun\u00ebn tuaj prej artisti?<\/em><\/p>\n

– Ndikon p\u00ebr arsye se ekziston arb\u00ebreshi, ekziston riti bizantin. E p\u00ebr rrjedhoj\u00eb jan\u00eb edhe kishat q\u00eb mbrojn\u00eb dhe d\u00ebshmojn\u00eb k\u00ebt\u00eb rit. Duke qen\u00eb k\u00ebto kisha, at\u00ebher\u00eb kan\u00eb nevoj\u00eb p\u00ebr ikona. Ikona si art bizantin \u00ebsht\u00eb manifestim shpirt\u00ebror artistik i arb\u00ebreshit.<\/p>\n

0 Keni b\u00ebr\u00eb nj\u00eb varg veprash vlerash t\u00eb r\u00ebnd\u00ebsishme: piktura t\u00eb m\u00ebdha muri, afreske, ikona, mozaik\u00eb. \u00c7ka do t\u00eb kishit ve\u00e7uar, qoft\u00eb p\u00ebr koh\u00ebn q\u00eb ua keni kushtuar, qoft\u00eb p\u00ebr pasurin\u00eb shpirt\u00ebrore q\u00eb keni derdhur – shprehur n\u00eb to?<\/em><\/p>\n

– Pun\u00ebn q\u00eb e mbaruam n\u00eb fund t\u00eb vitit t\u00eb kaluar: Gjyqin e p\u00ebrbotsh\u00ebm n\u00eb Katedralen e Sh\u00ebn Kollit n\u00eb Ungr\u00ebr; nj\u00eb pun\u00eb shum\u00eb e gjat\u00eb, shum\u00eb e madhe dhe me shum\u00eb p\u00ebrgjegj\u00ebsi. Po n\u00eb k\u00ebt\u00eb Katedrale kemi b\u00ebr\u00eb edhe kupol\u00ebn, q\u00eb ka qen\u00eb nj\u00eb ballafaqim shum\u00eb i fort\u00eb n\u00eb kuptimin artistik. Me k\u00ebto pun\u00eb edhe fillon njohja m\u00eb e mir\u00ebfillt\u00eb e pun\u00ebs sime.<\/p>\n

0 Sa hap\u00ebsir\u00eb kap mozaiku i Gjyqit t\u00eb p\u00ebrbotsh\u00ebm n\u00eb Katedralen e Ungr\u00ebs?<\/em><\/p>\n

– Jan\u00eb rreth 90 metra katror\u00eb mozaik. Po p\u00ebrmend me ket\u00eb rast se vet\u00ebm n\u00eb Katedralen e Ungr\u00ebs jan\u00eb realizuar 400 metra katror\u00eb mozaik\u00eb t\u00eb artit bizantin.<\/p>\n

0 A mund t\u2019i ve\u00e7oni dy – tri ekspozita m\u00eb t\u00eb r\u00ebnd\u00ebsishme n\u00eb Itali?<\/em><\/p>\n

– Nj\u00eb ekspozit\u00eb, ku me t\u00eb v\u00ebrtet\u00eb kemi ndjer\u00eb nj\u00eb k\u00ebnaq\u00ebsi profesionale, ka qen\u00eb organizuar para kat\u00ebr vjet\u00ebsh nga provinca e Katanxar\u00ebs, ku kemi qen\u00eb t\u00eb ftuar nga presidenti, q\u00eb ishte me origjin\u00eb arb\u00ebreshe. Ishte interesante p\u00ebr arsye se aty u prezantuan pun\u00ebt q\u00eb ishin b\u00ebr\u00eb n\u00eb laborator dhe ato t\u00eb b\u00ebra n\u00eb kisha t\u00eb ndryshme. Kjo i p\u00ebrket periudh\u00ebs s\u00eb fundit. Nga periudha e par\u00eb, dometh\u00ebn\u00eb m\u00eb 1991, po p\u00ebrmend ekspozit\u00ebn e organizuar n\u00eb Ferm\u00eb, ku i paraqita edhe disa punime, q\u00eb i kisha sjell\u00eb nga Shqip\u00ebria.<\/p>\n

0 N\u00eb krijimin dhe kryerjen e veprave tuaja artistike dor\u00eb e djatht\u00eb \u00ebsht\u00eb gruaja juaj, Lilana. Si p\u00ebrmbajt\u00ebsohet apo si shprehet dhe \u00e7far\u00eb r\u00ebnd\u00ebsie ka ky bashk\u00ebpunim?<\/em><\/p>\n

– N\u00ebse do t\u00eb flisja me gjuh\u00ebn e notave, at\u00ebher\u00eb duhet t\u00eb p\u00ebrmend maksimumin. E kam v\u00ebshtir\u00eb t\u00eb gjej fjal\u00ebt q\u00eb do ta shprehnin r\u00ebnd\u00ebsin\u00eb e k\u00ebtij bashk\u00ebpunimi. Jo pse Lilana n\u00eb k\u00ebt\u00eb \u00e7ast \u00ebsht\u00eb e pranishme k\u00ebtu, por ka qen\u00eb dhe \u00ebsht\u00eb nj\u00eb ndihm\u00eb shum\u00eb e madhe. E pse un\u00eb i firmos ato me emrin tim, kjo, dashur e padashur, n\u00ebnkupton nj\u00eb form\u00eb egoizmi. Nuk mund t\u00eb them p\u00ebrqindjen e pun\u00ebs s\u00eb secilit prej nesh, pra, nuk dihet ku fillon e ku mbaron p\u00ebrqindja e pun\u00ebs sime dhe dora e Lilan\u00ebs. S\u00eb k\u00ebndejmi, me pun\u00ebn q\u00eb b\u00ebn, ajo edhe mund t\u00eb firmoste veprat q\u00eb i b\u00ebjm\u00eb s\u00eb bashku. I k\u00ebtill\u00eb \u00ebsht\u00eb kontributi i saj n\u00eb pun\u00ebt q\u00eb b\u00ebjm\u00eb.<\/p>\n

0 \u00c7far\u00eb dometh\u00ebnie dhe \u00e7far\u00eb q\u00ebllimi ka formimi i institucionit \u201cArberart\u201d?<\/em><\/p>\n

– Arb\u00ebr art \u00ebsht\u00eb nj\u00eb sintez\u00eb e historis\u00eb s\u00eb familjes sime. U b\u00ebn\u00eb m\u00eb se dymb\u00ebdhjet\u00eb vjet, duke qen\u00eb mes arb\u00ebresh\u00ebve. P\u00ebr italian\u00ebt edhe un\u00eb, n\u00eb nj\u00eb kuptim, quhem arb\u00ebresh (Albanesi). Ata kur thon\u00eb arb\u00ebresh, nuk e b\u00ebjn\u00eb dallimin me shqiptar\u00ebt e Shqip\u00ebris\u00eb ose t\u00eb trojeve t\u00eb tjera shqiptare jasht\u00eb kufirit politik. Pra, fjala arb\u00ebr dhe art, shpreh mir\u00ebfilli k\u00ebt\u00eb sintez\u00eb t\u00eb aktivitetit ton\u00eb. Shqiponja, si simbol, \u00ebsht\u00eb shqiptare, m\u00eb sakt\u00eb e Kastriot\u00ebve. E para se t\u00eb ishte e Kastriot\u00ebve ishte e tradit\u00ebs bizantine. K\u00ebshtu, n\u00eb k\u00ebt\u00eb shenj\u00eb, \u00ebsht\u00eb edhe arbri, edhe shqiponja, edhe sfondi kuq e zi, edhe arti bizantin.<\/p>\n

0 Cilat jan\u00eb planet tuaja p\u00ebr k\u00ebt\u00eb vit?<\/em><\/p>\n

– Do t\u00eb plot\u00ebsojm\u00eb ato pun\u00eb q\u00eb kan\u00eb mbetur pa u p\u00ebrmbushur n\u00eb disa kisha arb\u00ebreshe, meqen\u00ebse mozaiku i p\u00ebrmendur i b\u00ebr\u00eb n\u00eb Katedralen e Ungr\u00ebs, na i kishte shtyr\u00eb disa pun\u00eb. Deri kah mesi i vitit duhet t\u00eb mbarojm\u00eb ikonostastin n\u00eb nj\u00eb kish\u00eb t\u00eb re q\u00eb \u00ebsht\u00eb nd\u00ebrtuar koh\u00ebve t\u00eb fundit n\u00eb Ung\u00ebr, kryesuar nga peshkopi, Erkole Lupina\u00e7i. Pos k\u00ebsaj duhet t\u00eb mbarojm\u00eb nj\u00eb ikon\u00eb t\u00eb Sh\u00ebn Josifit n\u00eb katundin e \u00c7iftit, pastaj nj\u00eb piktur\u00eb tjet\u00ebr murale t\u00eb Zotit Krisht n\u00eb Rexho Kalabria, tri ikona n\u00eb Sardenj\u00eb, edhe disa pun\u00eb q\u00eb pritet t\u2019i rimarrin n\u00eb kish\u00ebn e Sh\u00ebn Kostantinit (n\u00eb Bazilikat\u00eb). Po punojm\u00eb edhe n\u00eb p\u00ebrgatitjen e nj\u00eb katalogu dhe nj\u00eb siti internet. Po p\u00ebrmend k\u00ebtu edhe nj\u00eb gj\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb pun\u00ebs son\u00eb: k\u00ebt\u00eb vit hapim nj\u00eb pik\u00eb tjet\u00ebr ekspozimi n\u00eb Altomonte, ku mendojm\u00eb t\u00eb krijojm\u00eb nj\u00eb shkoll\u00eb p\u00ebr p\u00ebrgatitjen e t\u00eb rinjve p\u00ebr artin e mozaikut. Altomonte \u00ebsht\u00eb nj\u00eb qend\u00ebr turistike e r\u00ebnd\u00ebsishme n\u00eb Kalabri, me muze, amfiteat\u00ebr dhe me institucione t\u00eb tjera t\u00eb r\u00ebnd\u00ebsishme q\u00eb merren me kultur\u00eb dhe m\u00eb art. N\u00eb nj\u00eb hap\u00ebsir\u00eb t\u00eb mjaft t\u00eb gjer\u00eb e t\u00eb p\u00ebrshtatshme, ngjitur me muzeun, do t\u00eb jet\u00eb nj\u00eb ekspozit\u00eb e p\u00ebrhershme, p\u00ebr t\u00eb mos i th\u00ebn\u00eb nj\u00eb galeri e p\u00ebrhershme e pun\u00ebs son\u00eb.<\/p>\n

\u00c7far\u00eb jan\u00eb gjasat e organizimit t\u00eb ndonj\u00eb ekspozit\u00eb n\u00eb Shqip\u00ebri ose n\u00eb Kosov\u00eb?<\/em><\/p>\n

P\u00ebr pun\u00ebn e hapjes s\u00eb ndonj\u00eb ekspozite n\u00eb Tiran\u00eb dhe n\u00eb Prishtin\u00eb nuk kam menduar. Ndoshta vitin q\u00eb vjen mund t\u00eb mendohet m\u00eb p\u00ebraf\u00ebr rreth k\u00ebsaj. P\u00ebr pun\u00eb t\u00eb till\u00eb duhet p\u00ebrgatitje. N\u00ebse do t\u00eb k\u00ebrkohet nj\u00eb aktivitet i k\u00ebtill\u00eb, pse t\u00eb mos b\u00ebhet. Njeriu, pra edhe krijuesi, kudo q\u00eb t\u00eb ndodhet, \u00ebsht\u00eb i lidhur me njeriun e tij, me bot\u00ebn dhe me kultur\u00ebn q\u00eb i p\u00ebrket. P\u00ebr k\u00ebt\u00eb arsye prezantimi i veprave para njer\u00ebzve t\u00eb bot\u00ebs s\u00eb tij \u00ebsht\u00eb nj\u00eb prehje dhe k\u00ebnaq\u00ebsi shpirt\u00ebrore ngush\u00eblluese.<\/p>\n

Ung\u00ebr, m\u00eb 9 shkurt 2003<\/em><\/p>\n

Bised\u00ebn e b\u00ebri
\nLABINOT BERISHA<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Me rastin e vdekjes s\u00eb nj\u00ebrit nd\u00ebr ikonograf\u00ebt tan\u00eb m\u00eb t\u00eb shquar, Josif Drobonikut Bised\u00eb me piktorin e ikonografin Josif Droboniku, q\u00eb jeton dhe vepron nd\u00ebr arb\u00ebresh\u00ebt e Kalabris\u00eb, Itali (N\u00eb vend t\u00eb In memoriam, po botojm\u00eb k\u00ebt\u00eb bised\u00eb t\u00eb b\u00ebr\u00eb n\u00eb shkurt t\u00eb vitit 2003) N\u00eb ngulimin arb\u00ebresh, n\u00eb Ung\u00ebr (Lungro), rreth 70 kilometra […]<\/p>\n","protected":false},"author":1,"featured_media":52141,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,35],"tags":[],"class_list":["post-52140","post","type-post","status-publish","format-standard","has-post-thumbnail","category-intervista","category-kulture"],"yoast_head":"\nNJ\u00cb PASARDH\u00cbS I ONUFRIT T\u00cb MADH - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/nje-pasardhes-i-onufrit-te-madh\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"NJ\u00cb PASARDH\u00cbS I ONUFRIT T\u00cb MADH - 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