Tumenenud banaan ei kuulu küll ehk päris /halvaks läinud/ toidu
valda, aga mu arvates haakub oma äärmuslikul kujul (nagu keegi kunagi
kenasti sõnastas: sellisena, et näib kohe kätte võtvat ja minema
roomavat) siiski Teie imetlusväärse bläägi teemaga.
Võrrelgem seda kasvõi kaunitel natüürmortidel kujutatud kirgastes
toonides isuäratavate viljadega. Kui miski on nature morte, siis
nimelt vananev banaan, ühe... mitte just jalaga, aga, ütleme, varrega
biolagunevate jäätmete mahutis!
[blogi autori foto - tehtud Hollandis... mitte et ma kaastöid valiks aga ma ei tuvastanud banaani pilti kirjas]
Et tänapäeval pole teatavasti enam miski püha, siis võtkem tõmmata ka
blasfeemiline paralleel Dostojevski Ippoliti allpool toodud
mõlgutustega Holbeini "Haudapandud Kristuse" teemal:
‘..I suddenly called to mind a picture I had noticed at Rogojin’s in
one of his gloomiest rooms, over the door. He had pointed it out to me
himself as we walked past it, and I believe I must have stood a good
five minutes in front of it. There was nothing artistic about it, but
the picture made me feel strangely uncomfortable. It represented
Christ just taken down from the cross. It seems to me that painters as
a rule represent the Saviour, both on the cross and taken down from
it, with great beauty still upon His face. This marvellous beauty they
strive to preserve even in His moments of deepest agony and passion.
But there was no such beauty in Rogojin’s picture. This was the
presentment of a poor mangled body which had evidently suffered
unbearable anguish even before its crucifixion, full of wounds and
bruises, marks of the violence of soldiers and people, and of the
bitterness of the moment when He had fallen with the cross—all this
combined with the anguish of the actual crucifixion.
‘The face was depicted as though still suffering; as though the body,
only just dead, was still almost quivering with agony. The picture was
one of pure nature, for the face was not beautified by the artist, but
was left as it would naturally be, whosoever the sufferer, after such
anguish.
‘I know that the earliest Christian faith taught that the Saviour
suffered actually and not figuratively, and that nature was allowed
her own way even while His body was on the cross.
‘It is strange to look on this dreadful picture of the mangled corpse
of the Saviour, and to put this question to oneself: ‘Supposing that
the disciples, the future apostles, the women who had followed Him and
stood by the cross, all of whom believed in and worshipped Him —
supposing that they saw this tortured body, this face so mangled and
bleeding and bruised (and they MUST have so seen it)—how could they
have gazed upon the dreadful sight and yet have believed that He would
rise again?’
‘The thought steps in, whether one likes it or no, that death is so
terrible and so powerful, that even He who conquered it in His
miracles during life was unable to triumph over it at the last. He who
called to Lazarus, ‘Lazarus, come forth!’ and the dead man lived—He
was now Himself a prey to nature and death. Nature appears to one,
looking at this picture, as some huge, implacable, dumb monster; or
still better—a stranger simile—some enormous mechanical engine of
modern days which has seized and crushed and swallowed up a great and
invaluable Being, a Being worth nature and all her laws, worth the
whole earth, which was perhaps created merely for the sake of the
advent of that Being.
‘This blind, dumb, implacable, eternal, unreasoning force is well
shown in the picture, and the absolute subordination of all men and
things to it is so well expressed that the idea unconsciously arises
in the mind of anyone who looks at it. All those faithful people who
were gazing at the cross and its mutilated occupant must have suffered
agony of mind that evening; for they must have felt that all their
hopes and almost all their faith had been shattered at a blow. They
must have separated in terror and dread that night, though each
perhaps carried away with him one great thought which was never
eradicated from his mind for ever afterwards. If this great Teacher of
theirs could have seen Himself after the Crucifixion, how could He
have consented to mount the Cross and to die as He did? This thought
also comes into the mind of the man who gazes at this picture.
Vastukaaluks sellistele profaansetele seostele lisan ka jäädvustuse
ülevamatest sfääridest pärinevast peedisalatist. Näib, et Tartu
kaubamaja kulinaarialetti varustab Kõigekõrgem ise.
Mäda ja kõdu soovides
Teie alandlik kaastööline
myrym
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