Читать книгу Solace of Lovers. Trost der Liebenden - Helena Perena - Страница 11

In Persian the rend is an equivocal, ambiguous figure, for which there is no corresponding term in English. Hafez’ “Divan”, for example, includes the following passage: “If you want to visit me at my grave, you must be an impostor.” This suggests that the rend lives his life beyond the prevailing norms and obeys his own rules, which may well entail considerable risks – a free spirit, he operates between and often even against the conventions. The young Kurdish film artist Taher Saba strongly denies this interpretation; he sees the rend as someone “who is not sober, who finds the boundaries by pushing them back”. For Golzar the rend is someone who is neither clever nor wise, but both of these things at once. Afsoun says that Shams-e Tabrizi, Mowlana’s master and beloved soulmate, is a rend. “A kind of thief, but in a different, positive sense?” I ask. “Someone who has stolen Mowlana’s heart?” “Not just his heart,” Afsoun replies. It has to do with love. “A rend takes over your whole body, takes possession of you completely – in a way that is based on a higher respect.”

Calligraphy, Kharaqan/Semnan, November 2019 / Kalligrafie, Kharaqan/Semnan, November 2019

“The depth is outside. This can shake the foundations. Psychology, where are your terrors? The depth is outside. Only once we have devoured the entire contents of this esoteric bowl do we recognise the starting point of all art: drawing warmth from the object; recognising ourselves as a card dealt in a Tarock game of objects. With this, the by no means bottomless inner depth is exhausted. To the outside! Not as a completely incomprehensible process of letting it stand near; let it push in! Whether it is houses or stubborn opinions that seek to conceal their true origins – the eye sees, and at the same time it sees itself as part of the perceived image for the first time.”

Heimito von Doderer, Commentarii (1951–1956)