{"id":403,"date":"2011-05-08T07:54:45","date_gmt":"2011-05-08T07:54:45","guid":{"rendered":"http:\/\/judit.landthaller.hu\/?page_id=403"},"modified":"2021-10-07T07:36:25","modified_gmt":"2021-10-07T07:36:25","slug":"media","status":"publish","type":"page","link":"https:\/\/landthaller.hu\/?page_id=403","title":{"rendered":"Publik\u00e1ci\u00f3 \/ Publication"},"content":{"rendered":"

Landthaller Judit sz\u00ednes fot\u00f3kkal indult, mint mai vil\u00e1gunk digit\u00e1lis lehet\u0151s\u00e9gei k\u00f6z\u00f6tt csaknem mindenki. Azut\u00e1n a sz\u00ednek alatt, vagy ink\u00e1bb a sz\u00ednekbe rejtetten megmutatkozott sz\u00e1m\u00e1ra a val\u00f3s\u00e1g egy m\u00e1sik r\u00e9tege, amit tiszt\u00e1n csak a fekete-feh\u00e9r k\u00e9pekben lehet f\u00f6lfedezni. Az emberi szem nem k\u00e9pes “fekete-feh\u00e9rben l\u00e1tni”, j\u00f3llehet a vil\u00e1gnak – mindennek, ami az embert k\u00f6r\u00fclveszi – van egy sz\u00ednek alatti, sz\u00ednekbe rejtett r\u00e9tege is.<\/span><\/p>\n

Landthaller Juditn\u00e1l a fekete-feh\u00e9r fotogr\u00e1fia teh\u00e1t nem valamif\u00e9le egyszer\u0171s\u00f6d\u00e9s v\u00e9geredm\u00e9nye. \u00c9pp ellenkez\u0151leg, egy olyan dimenzi\u00f3 bemutat\u00e1s\u00e1nak m\u00f3dja \u00e9s lehet\u0151s\u00e9ge, amely m\u00e1s m\u00f3don \u00e9s m\u00e1s eszk\u00f6z\u00f6kkel nem k\u00f6zel\u00edthet\u0151 meg, s melynek bemutat\u00e1sa v\u00e9gs\u0151 soron a fotogr\u00e1fia saj\u00e1tos, csak a fotogr\u00e1fia \u00e1ltal v\u00e9gigvihet\u0151 feladata, szinte k\u00f6teless\u00e9ge, hiszen ezzel vil\u00e1gk\u00e9p\u00fcnket, a vil\u00e1gr\u00f3l val\u00f3 gondolkod\u00e1sunkat gazdag\u00edtja.<\/p>\n

A ki\u00e1ll\u00edtott k\u00e9pek a hagyom\u00e1nyos, anal\u00f3g<\/em> technik\u00e1val k\u00e9sz\u00fcltek.\u00a0 H\u00e1rom csoportba sorol\u00f3dnak: T\u00f6bbs\u00e9g\u00fck bizonyos geometrikus <\/em>l\u00e1t\u00e1s – \u00e9s \u00e1br\u00e1zol\u00e1s – m\u00f3dot t\u00fckr\u00f6z. Egy m\u00e1sik csoport a v\u00e9gtelenre be\u00e1ll\u00edtott ember \u00e1lland\u00f3 keres\u00e9s\u00e9t<\/em>, k\u00edv\u00e1ncsis\u00e1g\u00e1t, mindig t\u00f6bbre \u00e9s \u00fajra v\u00e1gy\u00f3d\u00e1s\u00e1t fejezi ki. V\u00e9g\u00fcl harmadikk\u00e9nt itt vannak a sz\u00ednes<\/em> k\u00e9pek is, hiszen ez a fekete-feh\u00e9r \u00e1br\u00e1zol\u00e1s nem jelenti semminek a megtagad\u00e1s\u00e1t, legf\u0151k\u00e9ppen annak a csod\u00e1nak a megtagad\u00e1s\u00e1t nem, ami a sz\u00ednek vil\u00e1ga.<\/p>\n

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Geometria – Homometria<\/figcaption><\/figure>\n

A geometria\/homometria <\/em>n\u00e9vvel ki\u00e1ll\u00edtott k\u00e9pek tartalma – elnagyoltan \u00e9s kiss\u00e9 k\u00f6zhelyesen – \u00edgy \u00edrhat\u00f3 le: az ember helye a vil\u00e1gban. <\/em>E t\u00e9m\u00e1t sokan \u00e9s sokf\u00e9lek\u00e9ppen megfogalmazt\u00e1k, \u00e1br\u00e1zolt\u00e1k. Itt \u00e9s most, Landthaller Judit fot\u00f3in, a vil\u00e1g geometrikus form\u00e1kban jelenik meg: k\u00f6r\u00f6k, ov\u00e1lisok, p\u00e1rhuzamos \u00e9s egym\u00e1st metsz\u0151 vonalak, n\u00e9gysz\u00f6gek, szimmetria, aranymetszetek stb. \u00c9s a geometrikus elemek k\u00f6z\u00f6tt – felett, azokat uralva vagy benn\u00fck \u00e9pp elveszve – mindig jelen van az ember: egy eg\u00e9szen m\u00e1s, ugyanakkor szint\u00e9n geometrikus elemeket hordoz\u00f3, homometrikus <\/em>egyed. E kett\u0151 – a geometria <\/em> \u00e9s a homometria<\/em> – ar\u00e1nya, egym\u00e1sra hat\u00e1sa \u00e9s egym\u00e1sra utalts\u00e1ga adja a k\u00e9pek mondanival\u00f3j\u00e1t: jelz\u00e9st az emberr\u0151l \u00e9s vil\u00e1gunkr\u00f3l.<\/p>\n

Mit jelent az ember sz\u00e1m\u00e1ra az artikul\u00e1lts\u00e1g, a geometria? K\u00f6rnyezet\u00e9nek tagolts\u00e1ga? Ritk\u00e1n gondolunk erre: mag\u00e1t a t\u00e1j\u00e9koz\u00f3d\u00e1st, a dolgok felfoghat\u00f3s\u00e1g\u00e1t. A v\u00e9gtelenhez nincs emberi m\u00e9rce. A v\u00e9gtelent a geometrikus elemek biztos\u00edtotta tagolts\u00e1g, artikul\u00e1lts\u00e1g teszi sz\u00e1munkra felfoghat\u00f3v\u00e1, emberm\u00e9rt\u00e9k\u0171v\u00e9 – homometrikuss\u00e1<\/em>.\u00a0 A vonal, a k\u00f6r, a pont \u00e9s az \u00f6sszes t\u00f6bbi egyszer\u0171 \u00e9s \u00f6sszetett geometriai forma egyszerre elv\u00e1laszt \u00e9s \u00f6sszek\u00f6t, \u00faj \u00f6sszef\u00fcgg\u00e9seket \u00e9s \u00faj r\u00e9szleteket teremt. K\u00f6zben a figyelmes n\u00e9z\u0151ben \u00e1temeli a l\u00e1tv\u00e1nyt az egyedib\u0151l a mind \u00e1ltal\u00e1nosabbhoz, v\u00e9g\u00fcl a mindenben felismerhet\u0151\u00a0 l\u00e1thatatlanhoz – \u00e9s Egy-hez.<\/p>\n

Ugyanakkor az emberben – \u00f6nmag\u00e1ban – is megtal\u00e1lhat\u00f3 ez a tagolts\u00e1g. Benne a geometria messze t\u00f6bb, mint a k\u00f6r\u00fcl\u00f6tte l\u00e9v\u0151 vil\u00e1g b\u00e1rmely l\u00e9tez\u0151j\u00e9ben, ez\u00e9rt j\u00f3 \u00f6n\u00e1ll\u00f3 sz\u00f3val jel\u00f6lni ezt az emberi geometri\u00e1t: homometria<\/em>. A sz\u00f3 tartalm\u00e1nak meg\u00e9rt\u00e9se ig\u00e9nyel bizonyos humoros\/j\u00e1t\u00e9kos megk\u00f6zel\u00edt\u00e9st: hajland\u00f3s\u00e1got a szokatlannal, a “m\u00e1ssal” val\u00f3 azonosul\u00e1sra.<\/p>\n

Maga a sz\u00f3 – “homometria”a “geometri\u00e1ra” r\u00edmel\u0151 sz\u00f3j\u00e1t\u00e9k. A tudom\u00e1nyos \u00e9letben a sz\u00f3 az \u00e9l\u0151 \u00e9s az \u00e9lettelen vil\u00e1g hat\u00e1r\u00e1n l\u00e9v\u0151, egyszer\u0171 l\u00e9nyek\/n\u00f6v\u00e9nyek genus-fogalma. M\u00e1r emiatt is k\u00f6lcs\u00f6n\u00f6zhet\u0151nek l\u00e1tszik annak a hat\u00e1rjelens\u00e9gnek a jel\u00f6l\u00e9s\u00e9re, amely a geometria \u00e9s az ember kapcsolat\u00e1ban, dial\u00f3gus\u00e1ban fedezhet\u0151 f\u00f6l.<\/p>\n

Mindk\u00e9t sz\u00f3 –\u00a0 homometria\/geometria – gy\u00f6ker\u00e9ben ott van a f\u00f6ld<\/em>, a mitol\u00f3gia szerint Gea<\/em> f\u00f6ldanya gyermeke, illetve a humus <\/em>(latin),<\/em> melyb\u0151l a homo<\/em>, az ember v\u00e9tetett. S mindk\u00e9t sz\u00f3ban a metrum<\/em> utal a f\u00f6ld \u00e9s az ember tagolts\u00e1g\u00e1ra, artikul\u00e1lts\u00e1g\u00e1ra. Geometria \u00e9s homometria egym\u00e1sra \u00e9p\u00fcl, hat egym\u00e1sra, a ki\u00e1ll\u00edtott k\u00e9peken egy\u00fctt adja egy-egy k\u00e9p harm\u00f3ni\u00e1j\u00e1t, koncepci\u00f3j\u00e1t.<\/p>\n

Ez a geometrikus <\/em>l\u00e1t\u00e1s- \u00e9s \u00e1br\u00e1zol\u00e1s-m\u00f3d az \u0151si (n\u00e9p)m\u0171v\u00e9szeteknek is saj\u00e1tja volt. Ennek ma m\u00e1r csak az eredetit meg\u0151rz\u0151 cs\u00e1ng\u00f3, szerencs\u00e9sebb esetben indi\u00e1n sz\u0151ttesek, keleti arab stb. text\u00edli\u00e1k a tan\u00fai. \u00dagy t\u0171nik, a vil\u00e1gnak ezt a geometrikus\u00a0 artikul\u00e1lts\u00e1g\u00e1t az els\u0151 id\u0151kt\u0151l ismerte minden kult\u00fara embere: kiolvasta \u00e9l\u0151 \u00e9s \u00e9lettelen k\u00f6rnyezet\u00e9b\u0151l, belesz\u0151tte text\u00edli\u00e1iba, d\u00edsz\u00edtette vele kicsi vil\u00e1g\u00e1t.<\/p>\n

Ezek a geometrikus “elemek”\u00a0 – szimmetria, aszimmetria, aranymetszetek… harm\u00f3nia \u00e9s a diszharm\u00f3nia… – k\u00f6nnyen f\u00f6lfedezhet\u0151k az emberben: mind k\u00fcls\u0151 megjelen\u00e9s\u00e9ben, mind\u00a0 bels\u0151 anat\u00f3mi\u00e1j\u00e1ban, eg\u00e9szen a DNS-spir\u00e1lig, mely a teremtett vil\u00e1g val\u00f3sz\u00edn\u0171 legszebb geometriai form\u00e1ja. Ezen t\u00falmen\u0151en azonban az emberben van egy m\u00e1sik “geometrikus” artikul\u00e1lts\u00e1g is, ami a szellemi, lelki jelens\u00e9gekben, a gondolkod\u00e1s\u00e1ban \u00e9rhet\u0151 utol. Ma nem sok id\u0151t hagyunk magunknak arra, hogy e bels\u0151 geometri\u00e1ra komolyabban odafigyelj\u00fcnk, de ett\u0151l ez m\u00e9g l\u00e9tezik a lelki jelens\u00e9gek spir\u00e1lszer\u0171 v\u00e1ltoz\u00e1saiban, bels\u0151 pontok \u00e9s hat\u00e1rok, p\u00e1rhuzamok \u00e9s t\u00fckr\u00f6z\u0151d\u00e9sek (szembes\u00fcl\u00e9seink), 180 fokos fordulataink \u00e9s “megk\u00f6vesedett” mozd\u00edthatatlans\u00e1gunk … meg\u00e9l\u00e9s\u00e9ben.\u00a0 Mindennek j\u00f3 \u00e9s megfelel\u0151 t\u00fckre a k\u00fclvil\u00e1g – s benne a k\u00f6vek – geometri\u00e1ja.\u00a0 E kett\u0151, ember \u00e9s k\u00fclvil\u00e1g artikul\u00e1lts\u00e1ga kommunik\u00e1l egym\u00e1ssal: a ki\u00e1ll\u00edtott k\u00e9peken mintha megsz\u00f3laln\u00e1nak a k\u00f6vek. Mintha az el\u0151bb sorolt bels\u0151, lelki jelens\u00e9gekre tereln\u00e9k a figyelm\u00fcnket.<\/p>\n

M\u00edg a r\u00e9gebbi id\u0151kben a minden l\u00e9tez\u0151ben megtal\u00e1lhat\u00f3 geometrikus tagolts\u00e1got az ember sz\u00e1m\u00e1ra els\u0151sorban a term\u00e9szet k\u00f6zvet\u00edtette – a csigah\u00e1z, a vir\u00e1gok szirma, a falevelek erezete, a toboz aranymetszetes rendje, a m\u00e9hek hatsz\u00f6g\u0171 sejt\u00e9p\u00edtm\u00e9nyei stb. -, addig a mai ember, a mind nagyobb ar\u00e1nyban v\u00e1rosiasod\u00f3 ember t\u00f6bbnyire a k\u00f6vekben tal\u00e1lkozik vele. Assisi Ferenc \u00e9s Padovai Antal m\u00e9g a madarakkal \u00e9s a halakkal besz\u00e9lgetett. Nek\u00fcnk meg kell tanulnunk a k\u00f6vek \u00fczenet\u00e9t \u00e9rteni. Meg kell tanulnunk a k\u00f6vek geometri\u00e1j\u00e1b\u00f3l eljutni az egyedib\u0151l a mind \u00e1ltal\u00e1nosabbhoz, a l\u00e1tv\u00e1nyb\u00f3l a mindenben felismerhet\u0151 l\u00e1thatatlanhoz – \u00e9s Egy-hez.<\/p>\n

De az\u00e9rt is fontos ismern\u00fcnk a k\u00f6vek nyelv\u00e9t, mert az embernek van hatalma ahhoz, hogy besz\u00e9d\u00fcket alak\u00edtsa: sz\u00edntiszt\u00e1n tov\u00e1bbadja, vagy torz\u00edtsa. A term\u00e9szet v\u00e1ltozatlanul \u0151rzi a maga geometrikus rendj\u00e9t:\u00a0 ma a vir\u00e1gszirom ugyanolyan \u00f6t-, hat-, nyolcsz\u00f6g?rajzolat\u00fa, mint az els\u0151 vir\u00e1g volt a kezdetek kezdet\u00e9n, a m\u00e9hek ugyanolyan sejteket \u00e9p\u00edtenek … mint els\u0151 r\u00f6pt\u00fckkor… V\u00e1ltozatlanul \u00e9s v\u00e1ltoztathatatlanul hordozz\u00e1k az Alkot\u00f3 k\u00e9zjegy\u00e9t. Ez az Alkot\u00f3 – aki osztatlan \u00e9s oszthatatlan -, amikor alkotott, a maga bels\u0151 harm\u00f3ni\u00e1j\u00e1t sz\u00e9tosztotta, sz\u00e9t-artikul\u00e1lta a teremtm\u00e9nyei k\u00f6z\u00f6tt. Minden, ami geometria, \u00fagy keletkezett, hogy az Alkot\u00f3 elhelyezte az \u00e9gen a Napot, az pedig elind\u00edtotta a sugarait. Ezzel l\u00e9trej\u00f6tt az a k\u00e9t geometriai forma, amely minden tov\u00e1bbinak alapja: a k\u00f6r<\/em> \u00e9s az egyenes<\/em>. Minden m\u00e1s – term\u00e9szetes \u00e9s ember \u00e1ltal alkotott – geometrikus form\u00e1ban ezek vari\u00e1l\u00f3dnak. Ez \u0151rz\u0151d\u00f6tt meg a term\u00e9szet minden apr\u00f3 \u00e9s nagyobb harm\u00f3ni\u00e1j\u00e1ban; \u00e9s l\u00e9pett tov\u00e1bb az ember alkotta m\u00e1sodik term\u00e9szetbe.<\/p>\n

Az ember viszont, amikor alkot, amikor h\u00e1zakat \u00e9s tereket \u00e9p\u00edt, ezt a minden l\u00e9tez\u0151ben megtal\u00e1lhat\u00f3 geometri\u00e1t szabadon<\/em> birtokolja \u00e9s alkalmazza. Ami azt jelenti: kedve szerint \u00e9p\u00edt vagy rombol, gazdag\u00edt vagy elszeg\u00e9ny\u00edt. Amint ugyanis egy harmonikus, gy\u00f6ny\u00f6r\u0171en fel\u00e9p\u00edtett, k\u00f6z\u00e9pkori vagy renesz\u00e1nsz t\u00e9r, utca, v\u00e1r, torony stb. alkalmas arra, hogy tov\u00e1bb\u00edtsa \u00e9s gyarap\u00edtsa a rendet a szeml\u00e9l\u0151d\u0151 emberben, \u00fagy mai – itt-ott kusza, diz\u00e1jn-\u00f6tletekt\u0151l zs\u00fafolt – tereink \u00e9s f\u0151utc\u00e1ink n\u00f6velni tudj\u00e1k a sz\u00e9tsz\u00f3r\u00f3d\u00e1st.\u00a0 A k\u00f6vekb\u0151l \u00e9p\u00edtett vil\u00e1g az ember alkotta rendet – vagy rendetlens\u00e9get – t\u00fckr\u00f6zi. \u00c9s ahhoz k\u00e9pest, hogy ma mennyire k\u00f6r\u00fclfog minket, v\u00e1roslak\u00f3kat a k\u0151- \u00e9s betonrengeteg, alig gondolunk arra, hogy \u00fagy kellene a geometrikus form\u00e1kat haszn\u00e1lnunk \u00e9s bel\u0151l\u00fck \u00e9p\u00edtkezn\u00fcnk, hogy j\u00f3l \u00e9rezz\u00fck magunkat k\u00f6z\u00f6tt\u00fck; f\u0151k\u00e9nt pedig legyen kedv\u00fcnk \u00e1tvenni \u00e9s ut\u00e1nozni a benn\u00fck elrejtett rendet, szab\u00e1lyoss\u00e1got, harm\u00f3ni\u00e1t. Hiszen a k\u00f6vek (\u00e9p\u00fcletek, terek, utc\u00e1k) harm\u00f3ni\u00e1ja k\u00e9pes megszerettetni az emberrel a rendet; a sz\u00e9p geometrikus t\u00e9r \u00e9s alakzat a maga szigor\u00fa hat\u00e1raival \u00e9s m\u00e9rhet? form\u00e1ival k\u00e9pes vonz\u00f3v\u00e1 tenni a t\u00f6rv\u00e9nyt, <\/em>melynek szimb\u00f3lumak\u00e9nt is felfoghat\u00f3.<\/p>\n

Az ember geometri\u00e1ja viszont az ember szabads\u00e1g\u00e1nak<\/em> is jelk\u00e9pe. Annak a bels\u0151 szabads\u00e1gnak, mely nem korl\u00e1tlan, vannak hat\u00e1rai, ugyanakkor ez a szabads\u00e1g minden t\u00f6rv\u00e9ny \u00e9s szab\u00e1ly k\u00f6zepette is l\u00e9tezik, elvehetetlen az embert\u0151l, ha csak maga az ember el nem veti mag\u00e1t\u00f3l.<\/p>\n

A ki\u00e1ll\u00edtott k\u00e9pek e kett\u0151, a t\u00f6rv\u00e9nyben meg\u00e9lt szabads\u00e1g \u00e9s a szabadon v\u00e1llalt t\u00f6rv\u00e9ny kapcsolat\u00e1t – egym\u00e1sban- \u00e9s egym\u00e1s\u00e9rt-val\u00f3s\u00e1g\u00e1t is kifejezik. Mondanival\u00f3juk szerint teh\u00e1t az ember helye a vil\u00e1gban a t\u00f6rv\u00e9ny<\/em>, melyet az emberi m\u00e9lt\u00f3s\u00e1gban birtokolt szabads\u00e1g tesz \u00e9lhet\u0151v\u00e9 \u00e9s k\u00f6nny\u0171v\u00e9, illetve az ember helye a vil\u00e1gban a szabads\u00e1g<\/em>, melyet a t\u00f6rv\u00e9ny hat\u00e1rol, artikul\u00e1l.<\/p>\n

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Keres\u00e9s<\/figcaption><\/figure>\n

A k\u00e9pek kisebb csoportja – Keres\u00e9s <\/em>c\u00edmmel – az ember \u00e9s az \u0151t meghalad\u00f3 Ismeretlen<\/em> dial\u00f3gus\u00e1r\u00f3l sz\u00f3l. Az ember a v\u00e9gtelenben keresi \u00f6nmag\u00e1t \u00e9s a m\u00e1sikat, a t\u00e1rsat… K\u00f6zben vakon ny\u00fal egy vak vil\u00e1g fel\u00e9. \u00d6nmag\u00e1t sem ismeri – honnan ismern\u00e9 azt, akit keres…? \u00c9s a t\u00e9r, ahol \u00e9l, mennyire az \u00f6v\u00e9? A pont, ahova eljutott, valaminek a v\u00e9ge vagy a kezdete?<\/p>\n

\u00d6szt\u00f6n\u00f6sen az \u00e9g fel\u00e9 t\u00e1rja a karjait: a legszembet\u0171n\u0151bb “eg\u00e9szen m\u00e1s” fel\u00e9. \u0150, az\u00a0 artikul\u00e1lt l\u00e9tez\u0151 a v\u00e9gtelennek t\u0171n\u0151 artikul\u00e1latlans\u00e1g fel\u00e9: ha \u00f6nmag\u00e1hoz k\u00e9pest\u00a0m\u00e1st \/t\u00f6bbet keres, akkor annak valahol ott fenn, \u00f6nmaga felett kell lennie; felt\u00e9ve, hogy keres\u00e9s\u00e9nek t\u00e1rgya val\u00f3ban m\u00e9lt\u00f3 hozz\u00e1, keres\u0151h\u00f6z.<\/p>\n

A sz\u00e9tt\u00e1rt ujjak a keres\u0151 ember jellegzetes gesztusa. Ami nem l\u00e1that\u00f3, ahhoz a vak – \u00e9s bizonyos szint felett mind vakok vagyunk –\u00a0 kiny\u00fajtott karral, merev ujjakkal k\u00f6zeledik, ezzel mintegy cs\u00f6kkentve a t\u00e1vols\u00e1got, egy\u00fattal t\u00e1vol tartva mag\u00e1t\u00f3l az ismeretlenb\u0151l k\u00f6vetkez\u0151 esetleges vesz\u00e9lyeket. A feh\u00e9r botnak t\u00f6bbnyire csak az utc\u00e1n, meghat\u00e1rozott c\u00e9l fel\u00e9 haladva van rendeltet\u00e9se. Ismert k\u00f6rnyezetben nincs sz\u00fcks\u00e9g r\u00e1: l\u00e1gy, mozg\u00e9kony teny\u00e9rrel \u00e9s ujjakkal el\u00e9rhet\u0151, “megismerhet” minden. \u00c9s min\u00e9l ismeretlenebb a k\u00f6rnyezet, a kiny\u00fajtott kar \u00e9s ujjak ann\u00e1l messzebbr\u0151l szeretn\u00e9nek biztos inform\u00e1ci\u00f3t szerezni r\u00f3la. Az igazi megismer\u00e9st sz\u00e1munkra a saj\u00e1t kez\u00fcnk k\u00f6zvet\u00edti.<\/p>\n

\u00c9s az ilyen keres\u00e9sre mintha \u00e9rkezne is valamilyen v\u00e1lasz: a magasb\u00f3l kiny\u00fal\u00f3 kar \u00e9s ujj a Megsz\u00f3l\u00edtott<\/em> v\u00e1lasza. Ez a dial\u00f3gus legink\u00e1bb Michelangelo \u00c1d\u00e1m teremt\u00e9se<\/em> c. k\u00e9p\u00e9r\u0151l ismert. De ugyanennek a k\u00e9pe a k\u0151t\u00e1bl\u00e1ra \u00edr\u00f3 ujj, az \u00c1brah\u00e1mot vezet\u0151 kar \u00e9s a Nebukadnez\u00e1r \u00edt\u00e9let\u00e9t a falra rajzol\u00f3 ujj (Men\u00e9 tek\u00e9l ufarszin\/… k\u00f6nny\u0171nek tal\u00e1ltatt\u00e1l…).\u00a0 V\u00e9g\u00fcl van, amikor \u00fagy t\u0171nik, nincs v\u00e1lasz: csend<\/em> van. A T (Tau) alak\u00fa keresztre f\u00fcggesztett tarisznya – a Csend c. k\u00e9pen – a keres\u00e9s\u00e9ben \u00e9pp egyed\u00fcl maradt ember mag\u00e1ny\u00e1nak kifejez\u0151je.<\/p>\n

Olykor pedig f\u00e9nyek k\u00f6z\u00f6tt kell keresg\u00e9lni: Damaszkusz fel\u00e9 <\/em>haladva vajon melyik az igazi f\u00e9ny, \u00e9s melyik a ma szipork\u00e1z\u00f3, holnap hom\u00e1lyba vesz\u0151? A k\u00e9rd\u00e9st a fotogr\u00e1fia is f\u00f6lteheti, mint most \u00e9pp ezen a ki\u00e1ll\u00edt\u00e1son.<\/p>\n

Dr. Csaba Gy\u00f6rgyn\u00e9<\/p>\n

Angol ford\u00edt\u00e1s: Tengerdi Tibor<\/p>\n

\u00a0<\/span><\/p>\n

[box]\n

As nearly all photographers in our digital world, Judit Landthaller started her career with colour photographs. Later on, however, she discovered another layer of reality underneath, or perhaps hidden within, colours, a layer whose pure essence can only be discerned in black-and-white photography. While the human eye is incapable of perception in ‘black and white’, a layer of our world, i.e. everything that surrounds us, is hidden beneath or within colours. Rather than the result of a simplification process, Judit Landthaller’s black-and-white photographs are therefore the means of manifesting an otherwise inaccessible dimension, the manifestation of which is, after all, the task or even the duty of photography, something no other art is capable of.<\/p>\n

The photographs in this exhibition can be classified into three groups: Most are the reflections of a certain geometrical vision and representation. Another group of pictures give expression to a continuous quest, i.e. the inquisitiveness of a human being tuned to infinity, the ongoing aspiration for something more, something new. Finally, there are colour photographs, as her black-and-white technique is certainly not a denial of anything, least of all a refusal of the miracle of the world of colours.<\/p>\n

\"\"<\/a>
Geometry – Homometry<\/figcaption><\/figure>\n

The message of the photographs exhibited under the title Geometry\/Homometry could be summed up, roughly and as a bit of a clich\u00e9, as: man’s place in the world. That theme has been formulated or depicted by many, in a number of ways. In Judit Landthaller’s pictures, here and now, the world is depicted in geometric forms: circles, parallel and intersecting lines, squares, symmetry, golden sections, etc. However, among or above, dominating these geometric elements or lost in them, there is always a human being: a homometric individual, completely different and yet also carrying geometric features. The message of her photos, these observations about the world and humankind, derive from the proportion, mutual influence and communion of geometry and homometry.<\/p>\n

What is the meaning, for a human being, of articulation and geometry, i.e. the articulation of his or her environment? It is orientation itself, i.e. the conceivability of things. There is no human scale to infinity. After all, it is the very articulation afforded by geometric elements that makes infinity conceivable to man, downsizing it to a human scale ? made homometric, as it were. It is the function of lines, circles, points and all other, simple and complex, geometric shapes to separate and connect at the same time, creating new relationships and new details. Meanwhile, if you watch closely, they transfer what you see from the level of the specific to the increasingly general, ultimately arriving at the One, invisible and omnipresent at the same time.<\/p>\n

Since our inner geometry greatly transcends that of anything else in the surrounding world, it is appropriate to propose an independent term, homometry, for human geometry. A kind of humorous or playful approach is certainly required in order to grasp the meaning of the term.<\/p>\n

The word ?homometry? is a play on words, rhyming with ?geometry?. Inscience, the term is used to denote simple life forms on the borderlineof the living and the inanimate worlds. That alone would make itsuitable to designate the borderline phenomenon discernible in therelationship and dialogue of geometry and humanity. The roots of the twowords go back respectively to Earth, the child of the Earth Mother Geaaccording to mythology, and humus (Latin), of which man (homo) wastaken. In both words, metrum indicates articulation. Geometry andhomometry are based on and influence each other, together constitutingthe harmony and the idea of each photograph.<\/p>\n

Such geometric vision and portrayal is familiar from ancient (folk)arts, preserved in Cs\u00e1ng\u00f3 and, at best, some Native American, Oriental,Arabic etc. textiles. Apparently, this kind of articulation and thegeometric sections of the world used to be known to people of allcultures from the earliest days. They were perceived in animate andinanimate beings, interwoven in textiles and used as the decoration of atiny human world.<\/p>\n

In humans, these geometric ‘elements’ – symmetry and asymmetry, goldensections… harmony and disharmony… ? are easy to discern in both ourexternal appearance and internal anatomy, down to the DNA spiral,probably the most beautiful geometrical model of creation. In additionto that, however, there is another type of ‘geometric’ articulationinherent to mankind, perceptible in our mental and spiritual phenomena,in human thought. While today’s bustling world hardly allows one to giveserious thought to them, they nevertheless exist, as the spiral-likemutations of spiritual phenomena, points and boundaries, parallels andreflections (encounters), our U-turns and ‘petrified’ immobility… etc.The geometry of the outside world, including that of stones, is afitting portrayal.<\/p>\n

There is a communication between the articulation of man and of theoutside world: it appears as though stones spoke to us in thesephotographs, drawing viewers’ attention to the inner, spiritualphenomena mentioned above.<\/p>\n

While in the old days, people experienced this ubiquitous geometricarticulation primarily in nature, i.e. in shells, flower-petals, theveins of leaves, the perfect proportions of pine-cones, or in thehexagonal cell structures of bees, the increasingly urban man of ourmodern age will encounter it mostly in stones. Francis of Assisi andAnthony of Padua used to talk to the birds and the fish. Our task is tolearn to understand the message of stones. We need to learn how to getfrom the specific to the increasingly general, from a particular sightto the ubiquitous and invisible One.<\/p>\n

Yet there is another important reason we should understand the languageof stones. Man also has the power to shape and to pass on their speechin its pure form or distorted.<\/p>\n

Nature has preserved its geometric order invariably: today, flowerpetals have the same pentagonal, hexagonal or octagonal designs as thefirst flowers and bees still build the same type of cells as did thefirst bees in the world… They invariably carry the mark of theirCreator. During creation, this undivided and indivisible Creatordistributed and articulated his inner harmony between his creatures. Allgeometry began by the Creator putting the Sun in the sky and Sunlaunching its beams. This begot the two geometric forms, the circle andthe line, that constitute the basis for all the rest. Their variationsare repeated in all geometric forms, whether natural or man-made. Theyhave been preserved in all tiny and bigger harmonies of nature.<\/p>\n

On the other hand, when people create, i.e. construct buildings andspaces, they possess and apply that ubiquitous geometry at will.However, they must be aware that this may equally lead to building ordestruction, improvement or impoverishment.<\/p>\n

While a harmonious, beautifully erected medieval or Renaissance square,street, castle or turret is suitable to transmit to and augment anexisting order in a reflecting and contemplating person, our modernsquares and main streets, often tangled and teeming with design ideas,may increase confusion.<\/p>\n

Stones reflect man-made order ? or disorder. Considering the extent thatwe, city-dwellers, are surrounded by stone and concrete, we hardly givethought to the need that geometric shapes should be used (inarchitecture) in a way to enable us to feel comfortable among them and,first of all, to wish to adopt and to imitate their inherent order,regularity and harmony.<\/p>\n

After all, the harmony of stones (buildings, squares and streets) canendear order to man; with their strict boundaries and measurable forms,spaces and shapes of lovely geometric proportions can endear law, ofwhich it is a symbol, to humans.<\/p>\n

Human geometry, however, is also the symbol of human freedom, an innerfreedom not without bounds, still which exists, despite all laws andrules, and which cannot be taken away from man unless cast away byhimself. The relationship of freedom existing in law and law accepted atone?s free will is also expressed in these photographs. Returning tothe basic question, they convey the message that man?s place in theworld is in law, lightened by freedom bestowed upon us by human dignityand in freedom, confined and articulated by law.<\/p>\n

\"\"<\/a>
Quest<\/figcaption><\/figure>\n

A minor group of photographs, entitled Quest, are about the dialoguebetween man and a greater Unknown. While human beings search forthemselves and for the Other, for a companion, in the infinite, theyblindly reach out toward a world that is equally blind. They don’t know who they are – how would they know who they are looking for? And howmuch do they own the very space they inhabit? Is the point one hasarrived at the end or the beginning of something?<\/p>\n

Instinctively, one reaches out an arm to the sky, something evidently socompletely different: an articulated being reaching toward aninarticulate and seemingly infinite sky: if one wants to find somethingdifferent from himself, there it has got to be.<\/p>\n

And as though a kind of response arrived: outspread fingers are atypical gesture of seeking. One tends to approach the invisible withoutstretched arms and rigid fingers, reducing distance, as it were,while keeping any harm resulting from the unknown at a distance. For themost part, a white stick has no use unless when moving toward aspecific destination. The more familiar the surroundings, the softer andmore nimble are the palms and fingers of a blind person as he or shemoves about. And the more unfamiliar the environment, they more he orshe will wait for feedback in the manner depicted in the first photo ofthe Quest cycle. Since, in a certain regard, we are all blind, cognitionis really achieved by our own hands.<\/p>\n

And as if a kind of response truly arrived: the arm and finger stretcheddown from above is the depiction of the answer of the One spoken to.That dialogue is familiar to most from Michelangelo’s fresco Creation ofAdam. Yet the finger writing on the stone tablet, the arm guidingAbraham or the finger drawing Nebuchadnezzar’s sentence (Mene, Tekel,u-Pharsin\/… and found wanting) on the wall are depictions of the samedialogue.<\/p>\n

Finally, the picture entitled ‘Silence’, depicting a satchel hangingfrom a T-shaped (Tau) cross, is an expression of the solitude of manleft alone during his quest.[\/box]\n

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Landthaller Judit sz\u00ednes fot\u00f3kkal indult, mint mai vil\u00e1gunk digit\u00e1lis lehet\u0151s\u00e9gei k\u00f6z\u00f6tt csaknem mindenki. Azut\u00e1n a sz\u00ednek alatt, vagy ink\u00e1bb a sz\u00ednekbe rejtetten megmutatkozott sz\u00e1m\u00e1ra a val\u00f3s\u00e1g egy m\u00e1sik r\u00e9tege, amit tiszt\u00e1n csak a fekete-feh\u00e9r k\u00e9pekben lehet f\u00f6lfedezni. Az emberi szem nem k\u00e9pes “fekete-feh\u00e9rben l\u00e1tni”, j\u00f3llehet a vil\u00e1gnak – mindennek, ami az embert k\u00f6r\u00fclveszi – van […]\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages\/403"}],"collection":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/landthaller.hu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=403"}],"version-history":[{"count":85,"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages\/403\/revisions"}],"predecessor-version":[{"id":4473,"href":"https:\/\/landthaller.hu\/index.php?rest_route=\/wp\/v2\/pages\/403\/revisions\/4473"}],"wp:attachment":[{"href":"https:\/\/landthaller.hu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=403"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}