{"id":33960,"date":"2024-05-06T01:14:25","date_gmt":"2024-05-06T04:14:25","guid":{"rendered":"https:\/\/vopus.org\/las-tres-edades\/"},"modified":"2024-05-06T12:03:18","modified_gmt":"2024-05-06T15:03:18","slug":"cele-trei-varste","status":"publish","type":"post","link":"https:\/\/vopus.org\/ro\/cele-trei-varste\/","title":{"rendered":"Cele trei v\u00e2rste"},"content":{"rendered":"\n

Mult iubi\u021bi cititori \u0219i cititoare,<\/p>\n\n\n\n

V\u0103 scriu pentru a v\u0103 trimite aceast\u0103 gravur\u0103 intitulat\u0103\u2026<\/p>\n\n\n\n

\u2026CELE TREI V\u00c2RSTE<\/strong><\/p>\n\n\n

\n
\"Cele
Cele trei v\u00e2rste sau blazon cu un calaver, \u2014
Albrecht D\u00fcrer, (1471 \u0219i 1528)<\/figcaption><\/figure><\/div>\n\n\n

Ini\u021bial, aceast\u0103 gravur\u0103 a fost numit\u0103 Blazon cu craniu<\/em><\/strong>, \u00eens\u0103 \u00een realitate semnifica\u021bia ei merge dincolo de o astfel de descriere. Gravura a fost opera ilustrului Albert D\u00fcrer<\/strong>, un pictor renascentist care a tr\u0103it \u00eentre 1471 \u0219i 1528 \u0219i a fost realizat\u0103 \u00een 1503.<\/p>\n\n\n\n

D\u00fcrer a reformulat tema memento mori<\/em><\/strong> \u00eentr-un mod str\u0103lucit de neobi\u0219nuit. Femeia \u00eembr\u0103cat\u0103 \u00een rochie de s\u0103rb\u0103toare este identificat\u0103 prin coroana ei ca mireas\u0103, dar persoana care o \u00eembr\u0103\u021bi\u0219eaz\u0103 din spate este un b\u0103rbat s\u0103lbatic. Aceast\u0103 figur\u0103 tradi\u021bional\u0103 din folclorul german este de obicei prezent\u0103 la nun\u021bi, dar scutul s\u0103u, invizibil pentru t\u00e2n\u0103r\u0103, dezv\u0103luie c\u0103 el este un substitut al mor\u021bii.<\/p>\n\n\n\n

Este foarte interesant s\u0103 vedem femeia \u00eenve\u0219m\u00e2ntat\u0103, \u00eempodobit\u0103 cu \u00eembr\u0103c\u0103mintea tipic\u0103 frumuse\u021bii tinere\u021bii. Are bucle \u00een p\u0103r \u0219i o coroan\u0103 minunat\u0103 pe cap, c\u0103ci este adev\u0103rat c\u0103 tinere\u021bea este cununa existen\u021bei noastre.<\/p>\n\n\n\n

\u00cen spatele ei vedem un s\u0103lbatic care poart\u0103 cu el un toiag pe care se sprijin\u0103<\/strong>. Aceasta este b\u0103tr\u00e2ne\u021bea noastr\u0103, iar b\u0103tr\u00e2ne\u021bea t\u00e2nje\u0219te mereu dup\u0103 timpurile tinere\u021bii. De aceea se simte atras de frumoasa t\u00e2n\u0103r\u0103 ca \u0219i cum ar vrea s\u0103 o posede.<\/p>\n\n\n\n

Acea fecioar\u0103 ia cu una dintre m\u00e2inile ei \u2500cea st\u00e2ng\u0103\u2500 o panglic\u0103 ce iese din aripile care, de altfel, traverseaz\u0103 toiagul \u00een partea de sus a acestuia. Acestea sunt aripile inspira\u021biei<\/strong>, aripile imagina\u021biei creatoare pe care nu ar trebui s\u0103 le pierdem niciodat\u0103 pentru a ne men\u021bine mereu \u00een acea v\u00e2rst\u0103 jovial\u0103 \u00een interiorul \u0219i \u00een afara noastr\u0103.<\/p>\n\n\n\n

Autorul a vrut ca noi s\u0103 putem contempla un coif \u0219i ni\u0219te flori care \u00eel \u00eenconjoar\u0103<\/strong> pentru a ne da de \u00een\u021beles c\u0103 aceste valori sacre ale tinere\u021bii trebuie ap\u0103rate cu orice pre\u021b pentru a \u021bine moartea<\/strong> departe de noi.<\/p>\n\n\n\n

Parca este simbolizat\u0103 de un scut care se sprijin\u0103 pe o carte veche. Este cartea vie\u021bii, cartea vie\u021bii noastre. Unii autori comenteaz\u0103 c\u0103 unghiul craniului de pe scut este exact cel al capului tinerei<\/strong>…..<\/p>\n\n\n\n

\u00cen aceast\u0103 gravur\u0103 putem vedea trei pietre pe p\u0103m\u00e2nt. Aceste pietre reprezint\u0103 alegoria tinere\u021bii, maturit\u0103\u021bii \u0219i b\u0103tr\u00e2ne\u021bii<\/strong>.<\/p>\n\n\n\n

B\u0103rbatul s\u0103lbatic care \u00eencearc\u0103 s\u0103 o \u00eembr\u0103\u021bi\u0219eze pe t\u00e2n\u0103ra din gravura noastr\u0103 are \u00eentr-adev\u0103r un aspect nepl\u0103cut. Este o apari\u021bie care arat\u0103 neglijen\u021ba, murd\u0103ria, degenerarea corpului nostru atunci c\u00e2nd l-am l\u0103sat s\u0103 cad\u0103 \u00een bra\u021bele entropiei \u0219i ale neglijen\u021bei<\/strong>.<\/p>\n\n\n\n

Permite\u021bi-mi s\u0103 v\u0103 trimit c\u00e2teva fraze pentru reflec\u021bie:<\/p>\n\n\n\n

\u201eTinere\u021bea \u00eentotdeauna se hr\u0103ne\u0219te cu iluzia.\u201d<\/em><\/strong>
Descartes<\/p>\n\n\n\n

\u201eTinerii sunt ca plantele: dup\u0103 primele fructe putem vedea la ce ne putem a\u0219tepta \u00een viitor.\u201d<\/em><\/strong>
Democrat<\/p>\n\n\n\n

\u201eDorin\u021bele t\u00e2n\u0103rului arat\u0103 viitoarele virtu\u021bi ale omului.\u201d<\/em><\/strong>
Cicero<\/p>\n\n\n\n

\u201eTotul trece cu adev\u0103rat, iar tinere\u021bea mai devreme dec\u00e2t toate!\u201d<\/em><\/strong>
Ruben Dario<\/p>\n\n\n\n

\u201e\u0218i-au b\u0103tut joc de un b\u0103tr\u00e2n pentru c\u0103 \u00eei pl\u0103ceau femeile tinere. Este singura modalitate \u2500spunea el\u2500 de a \u00eentineri \u0219i asta \u00ee\u0219i dore\u0219te toat\u0103 lumea.\u201d<\/em><\/strong>
Goethe<\/p>\n\n\n\n

FAC QUOD FACIENDUM EST.<\/em><\/strong>
\u2500\u2018F\u0103 ceea ce trebuie f\u0103cut.\u2019\u2500<\/p>\n\n\n\n

KWEN KHAN KHU<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Aceast\u0103 gravur\u0103 a lui Albert D\u00fcrer este o alegorie a tinere\u021bii, maturit\u0103\u021bii \u0219i b\u0103tr\u00e2ne\u021bii. Autorul vrea s\u0103 ne arate cum s\u0103 exprim\u0103m frumuse\u021bea tinere\u021bii, s\u0103 nu ne pierdem niciodat\u0103 inspira\u021bia, imagina\u021bia \u0219i s\u0103 nu c\u0103dem \u00een entropie \u0219i neglijen\u021b\u0103.<\/p>\n","protected":false},"author":4,"featured_media":33948,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[208,469],"tags":[],"contenido":[275],"fuente":[49],"pilar":[],"fase":[],"conferencia":[],"read_online":[],"author_tax":[326],"class_list":["post-33960","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mistica","category-mesaje-vm-kwen-khan-khu","contenido-articole","fuente-maestro","author_tax-v-m-kwen-khan-khu-ro"],"_links":{"self":[{"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/posts\/33960","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/comments?post=33960"}],"version-history":[{"count":1,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/posts\/33960\/revisions"}],"predecessor-version":[{"id":33962,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/posts\/33960\/revisions\/33962"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/media\/33948"}],"wp:attachment":[{"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/media?parent=33960"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/categories?post=33960"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/tags?post=33960"},{"taxonomy":"contenido","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/contenido?post=33960"},{"taxonomy":"fuente","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/fuente?post=33960"},{"taxonomy":"pilar","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/pilar?post=33960"},{"taxonomy":"fase","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/fase?post=33960"},{"taxonomy":"conferencia","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/conferencia?post=33960"},{"taxonomy":"read_online","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/read_online?post=33960"},{"taxonomy":"author_tax","embeddable":true,"href":"https:\/\/vopus.org\/ro\/wp-json\/wp\/v2\/author_tax?post=33960"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}