{"id":619,"date":"2022-06-23T21:38:27","date_gmt":"2022-06-23T21:38:27","guid":{"rendered":"https:\/\/tirinha.com\/esther-nisenthal-krinitz-no-columbus-museum-of-art\/"},"modified":"2022-06-23T21:38:27","modified_gmt":"2022-06-23T21:38:27","slug":"esther-nisenthal-krinitz-kolumbus-sanat-muzeyida","status":"publish","type":"post","link":"https:\/\/tirinha.com\/uz\/619\/esther-nisenthal-krinitz-no-columbus-museum-of-art\/","title":{"rendered":"Esther Nisenthal Krinitz Kolumbus san'at muzeyida"},"content":{"rendered":"
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\nQora va oq ranglar Xolokostning ranglari.<\/span> qora va oq rangdagi qattiqlik <\/span>Hujjatli tasvirlar shunchaki 1940-yillarda mavjud bo'lgan texnologiyalarning natijasidir.<\/span>Yumshoq, hurmatli ohanglar ham shunga mos keladi.<\/span> Go'yo rang qo'shish, allaqachon haddan tashqari ko'p tasvirlar va xotiralarga chidab bo'lmas his-tuyg'ularni uyg'otayotgandek, rangsiz kulrang tuslarda.<\/span><\/p>\n\n\n\n\n
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Ester Nisenthal Krinitz, Daryoda suzish, <\/i>1978. Zig'ir matosiga kashtachilik. San'at va xotira.
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Shuning uchun galereyaga kirganimda hayron bo'ldim Omon qolish matosi: Ester Nisenthal Krinitz san'ati <\/i>u ko'rsatmoqda <\/span>Kolumbus san'at muzeyida<\/span> <\/span>14-iyungacha. Xolokostdan omon qolganlarning xotiralarini aks ettiruvchi matolar bilan to'ldirilgan xona turli rangdagi matolar, bezaklar va kashtachilik iplari bilan tikilgan tabiatning shahar manzaralari bilan jonlanadi. Krinitz tomonidan. <\/span>Qo'lda tikilgan panellar Polsha qishlog'ining hayoti va manzarasini aks ettiradi - fonlar <\/span>bardoshli<\/span> <\/span>Natsistlar sodir etgan barcha narsalardan omon qolish uchun ularning xotirasida yetarlicha; natsistlar aslida atrofdagi dalalar va o'rmonlar bilan yashiringanga o'xshaydigan sahnalar. <\/span>
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\nDaryolar, don va bog'larning bu manzaralari yorqinligicha qoldi. <\/span>Krinitz ellik yoshida bolaligini yoza boshlaganida, dahshatlar o'limdan ham kattaroq dunyo tasvirlarida aks etgan edi, bu dunyodan faqat u va uning singlisi, butun oiladan qochib qutulgan edi.<\/span>
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\nYuqoridagi gobelen uning 1978-yilda yasagan birinchi asari edi. Unda urushdan oldingi bolalik uyi tasvirlangan. U va akasi daryoda suzishmoqda, opalari esa uni kuzatib turishadi. Qishloq aholisi o'z vazifalarini bajarish uchun kelib-ketishadi va mehribon tabiat hukmronlik qiladi. Uning uyi katta va mustahkam, qal'a kattaligida. Krinitz uni yasaganida ellik yoshda bo'lganligi muhim emas, chunki bu uning ichida hali ham tirik bo'lgan bola qoldirgan narsaning tasviridir. <\/span>
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\nBu shaxsiyat va xarakter uchun asosiy bo'lgan uy obrazi, har birimiz ma'lum darajada o'zimizda jamlagan obraz. Yuqori qismi chiziqli va tuzilgan; pastki qismi egri va ravon. Butunlik barqaror va erkin. Sodda obrazda hiyla-nayrang kam va quvnoq, filtrlanmagan ifoda mo'l-ko'l.<\/span>
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\n1970-yillarda Krinitz dastlab shunga o'xshash mavzularda bir nechta asarlar yaratgan, ular urushdan oldingi Polsha qishloqlaridagi hayot xotiralaridan olingan, yahudiylar va butparastlar yonma-yon yashagan. U matzoh tayyorlash, akasi yasagan ustunli uylarda bayram marosimlariga borish xotiralarini yozib oladi: Jamiyatning mavsumiy va diniy marosimlarining uyg'unligi bilan tartibga solingan oddiy, sanoatgacha bo'lgan, elektrgacha bo'lgan, qishloq xo'jaligi hayotining zavqi. <\/span><\/p>\n\n\n\n\n
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Ester Nisenthal Krinitz, Asalarilar meni qutqaradi.,<\/i> 1996. San'at va xotira.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Uzoq tanaffusdan so'ng, Krinitz 1990-yillarda o'z loyihasiga qaytdi va nihoyat o'smirlik davrining qorong'u tarixi va natsistlar kelishiga chuqur kirib bordi. Krinitzning bir nechta matolarida natsistlar sadizmining sharmandaliklari tasvirlangan. U bobosining soqolini kesib tashlagan askarlarni; qo'shnilari ishonmay qarab turgan paytda oilasini qurol bilan uyg'otayotganini; yahudiy o'g'il bolalarni majburiy mehnatga olib ketayotganini va u yerda charchaganlarida otib tashlanganini; va nihoyat, qo'shnilari orasidan yahudiylarni yig'ib, ularni qirg'in lagerlariga olib ketayotganini tasvirlaydi. <\/span><\/p>\n

Ester va uning o'n uch yoshli singlisi qochib ketishdi (oilaning qolgan a'zolari o'ldirildi). Ular faqat polyak tilida gaplashib va nemis tilini bilmasliklarini da'vo qilib (o'zlarining ona tili yahudiy tiliga yaqin) o'zini ko'rsatishdi. Ular yaqin atrofdagi qishloqdagi keksa juftlikka ish topish uchun o'zlarini yashirishdi. Yuqoridagi sahnada Ester chol unga ekishga ruxsat bergan bog'da ishlayapti. Bir kuni natsistlar kelib, uni so'roq qilishga harakat qilishdi. U kashta tikilgan sarlavhada shunday tushuntiradi: <\/span>

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\n\u201c1943-yil iyun oyida Grabovkada. Men ekkan bog\u201dimga g\u2018amxo\u2018rlik qilayotganimda, ikkita natsist askari paydo bo\u2018lib, men bilan gaplasha boshladi. Men ularni tushunganimni bildira olmadim, shuning uchun ular gapirganda shunchaki bosh irg\u2018adim. Meni uy bekasi qilib olgan chol fermer Dziadek yaqin atrofda qo\u2018riqlash uchun keldi, lekin asalarilar meni birinchi bo\u2018lib qutqarib qolishdi, to\u2018satdan askarlar atrofida to\u2018planishdi. Men bog\u2018dan yugurib chiqdim.\u201d<\/span>

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\nMiltiqlarni olib tashlang, yozuvni olib tashlang va bu ikki sahnani deyarli yigirma yil farq bilan, avval rassom 50 yoshda, keyin esa 70 yoshga yaqinlashganda qanday ajratib turadi? <\/span>

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\nBirinchisi, urushdan oldingi xotira juda o'ziga xos - besh aka-ukaning har biri joylashgan, uy esa esda qoladi <\/span>Bu tafsilot \u2014 lekin u afsonaviy hamdir. Bu oltin bolalikning o'chmas xotirasi. Esterning xotirasi to'rt yoki o'n to'rt yoshli hayot haqida bo'lishi mumkin. Bu farovonlik, begunohlik, barqarorlik va muhabbat xotirasi \u2014 joyning tuyg'u sifatidagi xotirasi. Ko'pgina kattalar bunday bolalik idilini eslashadi. Ammo Krinitz boshidan kechirgan to'satdan va to'liq travma bilan bu idilning uzilishini kam odam eslaydi.<\/span>

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\nUrushdan oldingi sahna aslida gobelendir. Zig'ir matoning har bir dyuymi krevel kashtalari bilan qoplangan, shuning uchun butun yuzasi tikuvlar bilan ishlangan. Sirtning har bir santimetriga rassomning qo'li tegib, o'zgartirilgan. Silalash va shakl berish g'oyalari ham shu bilan birga keladi. Bu nafaqat u eslagan sahna, balki u ixtiro qilgan sahna ham... <\/span>paydo bo'ldi, <\/i>va u eslab qolishni istaganidek ko'rinadi. U uning muallifi. <\/span>

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\nUning o'smirlik davridagi tasviri - endi qiz emas, erta voyaga yetgan - gobelen emas. Osmon, bog'ning "yer"i va boshqa bir nechta joylar oddiy mato tayanchlari. Bog' o'simliklari kashtachilik yoki applikatsiyalar bilan tikilgan; asalarilar, gullar, figuralarning tafsilotlari, lekin yuzasi unchalik ehtiyotkorlik bilan silanmagan. Birinchi rasmdan farqli o'laroq, u mukammal darajada tekislangan. Qiz hayotining bu bosqichida tartibning ahamiyati juda muhim edi. Hatto asalarilar ham uyalarida qator-qator dam olishadi. Krinitz ham bu sahnani ixtiro qilgan. U bu sahnani o'zini tetiklashtirish uchun emas, balki travmani tarqatish usuli sifatida chizgan.<\/span>

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\nRassomning ko'proq vaqti va e'tibori tasvir ostidagi mazmunli hikoyaga qaratildi, bu esa tomoshabinni aks holda nima chalg'itishi mumkinligini tushuntiradi. U tasvirni biz uning nimani his qilganini va tabiat uni qanday qo'llab-quvvatlashda davom etganini tushunishimiz uchun talqin qiladi.<\/span>

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\nIkkinchi tasvir katta travmadan omon qolgan odam o'zini qanday qilib yengib o'tishini tasavvur qilishi bilan diqqatga sazovordir. Yaxshi va yomon inson qiyofalari asosan tabiiy manzarada kichik bo'lib qoladi. U yon tomonga joylashtirilgan. U o'zining qo'rquv tuyg'ularini tabiiy landshaft bo'ylab har qanday mumkin bo'lgan his-tuyg'ularni, masalan, tuproq bilan yaralarni davolashni tarqatish orqali vositachilik qilayotganga o'xshaydi. Hatto asalarilar, uyalar atrofida aylanib, askarlar atrofida g'uvullashsa ham, rasmning umumiy sxemasida ahamiyatsiz ko'rinadi. Krinitz hikoyani aytib berish, kontekst va nuqtai nazarni nazorat qilish va o'zini kattaroq inshoot ichiga joylashtirish orqali vahima va qo'rquvni nazorat qiladi.<\/span><\/p>\n

<\/p>\n\n\n\n\n
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Esther Nisenthal Krinitz, Uylarimizni tark etishga buyruq berildi, <\/i>1993.
Kashtachilik va matolar kollaji. San'at va xotira.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u201c"\u201c<\/span>1942-yil 15-oktabr kuni ertalab bu mening oilam edi. Gestapo bizga soat 10:00 da uylarimizni tark etib, Krasnik temir yo'l stantsiyasiga boradigan yo'lda boshqa barcha yahudiylarga qo'shilishga va keyin o'limga borishga buyruq berdi.\u201d <\/span>
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\nUshbu devoriy rasm, avvalgisidan oldingi hikoya ketma-ketligida, Esterning oilasi lagerlarga surgun qilinishiga duch kelgan kun xotirasini tasvirlaydi. Bu oilaviy portret, ularning qotillari borligi bilan suyultirilmagan. Bu qizil kiyim kiygan Ester va uning singlisi qochib ketishlari kerak bo'lgan kun edi. <\/span>
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\nKrinitz yasagan o'ttiz oltita buyumdan bu tikish jihatidan eng zich bo'lmaganlaridan biridir. Orqa fon matosi asosan oddiy matodan iborat bo'lib, unga katta applikatsiya chiziqlari qo'yilgan. Tom ustida ulkan qarg'alar qarsillab turibdi, bu qora kiyim kiygan beshlik uchun yaqinlashib kelayotgan halokat ramzi. Qizil plashlarida qochib ketayotgan qizlar uchun ikkita ulkan kungaboqar gullaydi.<\/span>
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\nTo'q ranglar bu tasvirning og'riqli mazmunini anglatadi, ammo uning muhim mazmuni oila va uyning kattaligi va to'g'ridan-to'g'ri joylashuvi bilan belgilanadi. Tabiat his-tuyg'ularni yumshatmaydi yoki yashirmaydi; agar biror narsa bo'lsa, u fojiani ta'kidlaydi. Krinitz bu tasvirni ignasining minglab zarbalari bilan erkalamaydi yoki bezamaydi. Hayotining eng travmatik voqeasini - u abadiy hissiy jihatdan muzlab qolishi mumkin bo'lgan lahzani tasvirlash nuqtai nazaridan u qisqa, ammo baribir qahramonona to'g'ridan-to'g'ri. Sodda san'atda figuralarni rasmning pastki qismiga yaqinlashtirish ularni eng muhim joyga qo'yish demakdir. Bu ularni bolalar qalam rasmlarida qilganidek, yerga qo'yishdir. Bu ota-onaning devorida abadiy qoladigan rasm, qizning mehrga to'la qalbi bilan chizgan oilaning bebaho portreti. Shu paytdan boshlab Ester o'z onasi va singlisining onasi bo'ladi. Yetmish yoshida, ona va qizi, u bu qanday sodir bo'lganligi haqida hikoya qiladi. <\/span><\/p>\n\n\n\n\n
<\/td>\n<\/tr>\n
Ester Nisenthal Krinitz, Nevarasi,<\/i> 1999. Kashtachilik va mato kollaji.
San'at va xotira.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n



\nSerialning va ushbu shouning so'nggi tasvirida go'zal bog'dagi mustahkam daraxtning tanasini tekshirish uchun qo'lini ko'targan kichkina qiz tasvirlangan. Maysazor, po'stloq, gullar, qizning sochlari - hamma narsa mohirona kashta tikilgan. Ularga hamma joyda mehrli va uzoq qo'l tegadi. Krinitz o'z hikoyasini urush yillari va oilasi halok bo'lgan lagerga tashrifi orqali ketma-ket olib keldi, bu hatto sodda tikishda ham dahshatli manzara. U kul uyumlarini, gaz kameralarini, lager direktorining yonib ketgan uyini batafsil bayon qiladi va nomlaydi. Qizning o'rilgan sochlari va libosidan tashqari, puxta kataloglangan sahnada hech qanday yaltiroq narsa yo'q.<\/span><\/p>\n

Ushbu so'nggi sahnada u Bruklinda qochqinlar lagerida tanishgan eri bilan qizlari bilan uzoq umr ko'rdi va endi tabiatan xursand bo'lgan nabirasini nishonlamoqda. Uni kuzatuvchanlik bilan tasvirlashga urinish bor; u xotira changalidan va talqin yukidan haqiqiy va ishonchli hozirgi kungacha o'tdi. Qiz kichkina va yonidagi daraxt... rost<\/i> ulkan; u haqiqiy o'lchamda va taskin beruvchi his qiladi. Chegarasi yashil, matni oq: \u201c<\/span>Siz uch yoshga to'lganingizda, aziz onajon Sheine, buvingiz sizni ko'rgani keldi. Biz bog'ga bordik, u yerda siz ulkan daraxtni topdingiz. U yerda daraxtga qoyil qolganingizda yuzingizdagi ifodani hech qachon unutmayman. Buvingiz sizni juda yaxshi ko'radi.\u201d <\/span>

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\nBuvim ozod va nima bo'lishidan qat'i nazar, yana bir kichkina qizchaning kuchining bir qismi bo'lishga qasamyod qilmoqda.<\/span><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Preto e branco s\u00e3o as cores do Holocausto. o rigidez em preto e branco de imagens documentais resultam simplesmente da … <\/p>","protected":false},"author":1,"featured_media":620,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"http:\/\/4.bp.blogspot.com\/-uLZxlpyloho\/VWopY6U_CLI\/AAAAAAAAHCk\/YfIRMKgB1nk\/w1200-h630-p-k-no-nu\/02_Swimming_in_the_River.jpg","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-619","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"\nEsther Nisenthal Krinitz no Columbus Museum of Art - Tirinha.com<\/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:\/\/tirinha.com\/uz\/619\/esther-nisenthal-krinitz-kolumbus-sanat-muzeyida\/\" \/>\n<meta property=\"og:locale\" content=\"uz_UZ\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Esther Nisenthal Krinitz no Columbus Museum of Art - 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