\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. <\/b><\/p>
Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0<\/b><\/p>
Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0<\/b>teologick\u00e9,<\/span>\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f a proces\u016f a podm\u00edn\u011bn\u00e9 antropologicky, historicky, zem\u011bpisn\u011b a jinak. Kruh spolu s dal\u0161\u00edmi geometrick\u00fdmi symboly zobecn\u011bl a stal se sou\u010d\u00e1st\u00ed um\u011bleck\u00e9ho vyjad\u0159ov\u00e1n\u00ed.<\/b><\/p> Kruhov\u00fd motiv se stal obsahovou a form\u00e1ln\u00ed sou\u010d\u00e1st\u00ed um\u011bleck\u00fdch d\u011bl, a to zejm\u00e9na novodob\u00fdch v\u00fdtvarn\u00fdch d\u011bl. Tv\u016frci na sv\u00fdch d\u00edlech zakl\u00e1daj\u00ed estetick\u00fd k\u00e1non: propor\u010dn\u00ed modul, kompozici, filozofick\u00e9, psychologick\u00e9 a jin\u00e9 v\u00fdznamov\u00e9 vrstvy.<\/p> Kruh ve v\u00fdtvarn\u00e9m um\u011bn\u00ed m\u016f\u017ee zobrazovat obecn\u011b platn\u00e9 definice kruhu:\u00a0„symbol univerza, uzav\u0159enosti, v\u011b\u010dnosti bez za\u010d\u00e1tku a konce, n\u00e1vratnost kosmick\u00e9ho d\u011bn\u00ed, klidu bez nap\u011bt\u00ed a bez dynamiky…“\u00a0 <\/em>Kruhy a kru\u017enice se ov\u0161em ve v\u00fdtvarn\u00e9m um\u011bn\u00ed objevuj\u00ed je\u0161t\u011b v dal\u0161\u00edch v\u00fdznamech, kter\u00e9 \u010dasto samotn\u00fdmi um\u011blci nejsou exaktn\u011b vysv\u011btleny. M\u016f\u017ee se jednat o kompozi\u010dn\u00ed sch\u00e9ma, zjednodu\u0161en\u00ed, komparaci, \u010di ur\u010den\u00ed znaku, co\u017e se tak\u00e9 m\u016f\u017ee sv\u00fdm zp\u016fsobem vztahovat ke konkr\u00e9tn\u00edmu zobrazen\u00ed kruhu jako symbolu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
V\u00e1clav Bo\u0161t\u00edk<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
Eva Hesse<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n V\u00e1clav Bo\u0161t\u00edk<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Eva Hesse<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Paul-Klee-v\u00fd\u0159ez.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n V\u00e1clav Bo\u0161t\u00edk<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Eva Hesse<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Giovanni-Pintori.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n V\u00e1clav Bo\u0161t\u00edk<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Eva Hesse<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/V\u00e1clav-Bo\u0161t\u00edk.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Eva Hesse<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Poul-Gern\u00e9s.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Eva Hesse<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Eva-Hesse.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Kenneth-Noland.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n Zden\u011bk S\u00fdkora<\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Zden\u011bk-S\u00fdkora.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Kv\u011bta-Pacovsk\u00e1.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Milan-Grygar-v\u00fd\u0159ez.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Rodchenko.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n \r\n \r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Sonya-Delaunay.jpg\"){kind=link}
![<\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n \r\n \r\n \t \r\n \t\r\n <\/h3>\r\n \r\n <\/div>\r\n \r\n <\/div>\r\n \r\n \r\n <\/div>\r\n \r\n\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t\t<\/div>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t„Kulatej\u0161\u00ed ne\u017e Giottovo kolo.“<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKulat\u00ed mist\u0159i:\u00a0<\/strong>Bylo by obt\u00ed\u017en\u00fdm \u00fakolem, mo\u017en\u00e1 snad nemo\u017en\u00fdm, vyjmenovat v\u0161echny v\u00fdtvarn\u00e9 um\u011blce, jejich\u017e tvorba se op\u00edr\u00e1 o kruh. Nicm\u00e9n\u011b je mo\u017en\u00e9 na konkr\u00e9tn\u00edch um\u011blc\u00edch, uk\u00e1zat odli\u0161n\u00e9 principy.\u00a0<\/p>Byl to s\u00e1m velk\u00fd Giotto di Bondone<\/strong>, kter\u00fd \u00fadajn\u011b nakreslil na k\u00e1men \u010dervenou barvou dokonal\u00fd kruh od ruky, aby tak dok\u00e1zal svou zru\u010dnost \u0159\u00edmsk\u00e9mu pape\u017ei Bonif\u00e1ci VIII. O v\u00edce jak dv\u011b stalet\u00ed d\u00e9le umis\u0165uje velk\u00fd\u00a0Leonardo da Vinci<\/strong> Vitruvi\u00e1nsk\u00e9ho mu\u017ee<\/em> do kru\u017enice a Michelangelo Buenarotti<\/strong> maluje do tonda, obrazu kruhov\u00e9ho form\u00e1tu,\u00a0Madonnu Doni.<\/em>\u00a0<\/p>V 19. stolet\u00ed hled\u00e1 mal\u00ed\u0159 Paul C\u00e9zanne<\/strong> n\u011bjak\u00e9 univerzum, kter\u00e9 by dok\u00e1zalo dokonale vystihnout podstatu zobrazovan\u00fdch v\u011bc\u00ed, zejm\u00e9na p\u0159\u00edrody. Odm\u00edt\u00e1 u\u017e povrchn\u011b zobrazovat viditeln\u00e9 v\u011bci, ale chce jej\u00edm zobrazov\u00e1n\u00edm nach\u00e1zet jejich vnit\u0159n\u00ed sv\u011bt, jejich podstatu. S pomoc\u00ed stereometrick\u00fdch tvar\u016f, kter\u00e9 maj\u00ed podtrhnout trojrozm\u011brnost zobrazovan\u00e9ho, nach\u00e1z\u00ed \u0159\u00e1d, kter\u00fd m\u00e1 ko\u0159eny v matematice a geometrii. Tento \u0159\u00e1d dok\u00e1\u017ee vl\u00e1dnout k\u00fd\u017eenou harmonii, po kter\u00e9 C\u00e9zanne a jin\u00ed modern\u00ed mal\u00ed\u0159i tou\u017e\u00ed.<\/p>Jsou to nap\u0159\u00edklad kubist\u00e9<\/strong>, kte\u0159\u00ed usiluj\u00ed o uchopen\u00ed reality komplexn\u011b. Vstupuj\u00ed my\u0161lenkami do vnit\u0159n\u00ed konstrukce reality. Hledaj\u00ed \u00fasil\u00ed, kter\u00e9 utv\u00e1\u0159\u00ed onu skute\u010dnost, a d\u00edky kter\u00e9 souvis\u00ed s podstatou, univerzem. Obrazy jsou \u010d\u00edm d\u00e1l t\u00edm v\u00edce subjektivn\u011bj\u0161\u00ed, \u010d\u00edm\u017e dost\u00e1vaj\u00ed nov\u00fd, znakov\u011b symbolick\u00fd v\u00fdznam. Kubist\u00e9 vytv\u00e1\u0159ej\u00ed konkr\u00e9tn\u00ed, nov\u011b stvo\u0159enou skute\u010dnost. Ony nov\u00e9 formy zrcadl\u00edc\u00ed nov\u00fd sv\u011bt, zalo\u017een\u00fd na geometrii.<\/p>Kruhem a barvou jsou ve stolet\u00ed dvac\u00e1t\u00e9m fascinov\u00e1ni tak\u00e9 man\u017eel\u00e9 Delaunayovi.<\/strong> Experimenty s barvou naz\u00fdvan\u00e9 „simultismem“<\/em> vych\u00e1zeli ze studie simult\u00e1nn\u00edch kontrast\u016f barev francouzsk\u00e9ho chemika Michaela Eug\u00e9na Chevreila.<\/em> D\u016fmysln\u00e9 m\u00edsen\u00ed prim\u00e1rn\u00edch, sekund\u00e1rn\u00edch, terci\u00e1ln\u00edch, komplement\u00e1rn\u00edch \u010di aditivn\u00edch barev, vyvol\u00e1vaj\u00ed v pod\u00e1n\u00ed man\u017eel\u016f Delaunayov\u00fdch vibrace, dojmy pohybu i zvuku. T\u00edmto zp\u016fsobem nechali vzniknout v\u00fdtvarn\u00e9mu stylu zvan\u00fd orfimus. Pl\u00e1tna vynikaj\u00ed v\u00ed\u0159iv\u00fdmi barevn\u00fdmi rytmy sv\u011btla a zvuk\u016f, vlo\u017een\u00fdch do spir\u00e1l a kruh\u016f.\u00a0<\/p>Zat\u00edmco Victor Vasarely, <\/strong>p\u016fvodem ma\u010farsk\u00fd mal\u00ed\u0159,\u00a0na sv\u00fdch pl\u00e1tnech zachycoval zejm\u00e9na optick\u00e9 klamy. Je pr\u016fkopn\u00edkem tzv. op-artu,<\/em> tedy zrakov\u00e9ho um\u011bn\u00ed. Pracoval pouze s geometrick\u00fdmi formami, kter\u00e9 modifikoval pomoc\u00ed sv\u011btla a barvy anebo si pohr\u00e1val s perspektivou. A to za \u00fa\u010delem dosa\u017een\u00ed zrakov\u00e9ho klamu – iluze pohybu.\u00a0<\/p>Pro d\u00edlo abstraktn\u00ed mal\u00ed\u0159e\u00a0Kennetha Nolanda<\/strong> jsou typick\u00e9 obrazy soust\u0159ed\u011bn\u00fdch kruh\u016f \u010di elips, malovan\u00e9 z\u00e1kladn\u00edmi barvami. Na jeho obrazech jsou vylou\u010deny v\u0161echny asociace s figurativn\u00edmi prvky. Jeho d\u00edlo zna\u010dn\u011b poznamenal Mark Rothko a Barmnett Newman<\/em><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tKruhem se v um\u011bn\u00ed dvac\u00e1t\u00e9ho a jednadvac\u00e1t\u00e9ho stolet\u00ed zab\u00fdvalo mnoho dal\u0161\u00edch mal\u00ed\u0159\u016f a mal\u00ed\u0159ek: Rodchenko, Poul Gern\u00e9s, Auguste Herbin, Eva Hesse, So Lewitt, Frank Stella, Richard Serra, Vassily Kandinskij, Sylvia Mangold \u010di Juan Mir\u00f3<\/strong>.\u00a0\u00a0<\/p><\/blockquote><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tSpecifick\u00fdm jevem je\u00a0 um\u011bn\u00ed kruhu a v\u00fdtvarn\u00e9ho um\u011bn\u00ed ve vztahu k um\u011bn\u00ed druh\u00e9 poloviny 20. stolet\u00ed v \u010ceskoslovensku. V tomto obdob\u00ed hledala \u0159ada tv\u016frc\u016f – v\u00fdtvarn\u00fdch um\u011blc\u016f inspiraci a snad i \u00fat\u011bchu v geometrick\u00fd tvarech:<\/p>Zd\u011bnek S\u00fdkora<\/strong>, kter\u00fd se sna\u017eil ve sv\u00fdch pl\u00e1tnech doc\u00edlit rytmu, kontrastu nebo souladu, a to zejm\u00e9na s kruhov\u00fdmi prvky, zalo\u017een\u00fdch na opakov\u00e1n\u00ed a variabilit\u011b.\u00a0 V\u00e1clav Bo\u0161t\u00edk,<\/strong> hledal v nejjednodu\u0161\u0161\u00edch tvarech hodnotu nemateri\u00e1ln\u00ed povahy. Tyto geometrick\u00e9 tvary jsou pak nositeli hlubok\u00fdch obsah\u016f.\u00a0<\/p>Jan Kub\u00ed\u010dek<\/strong> \u010dasto sl\u00fdch\u00e1val, \u017ee to co d\u011bl\u00e1, je geometrie, ale nebyla to geometrie, jen pou\u017e\u00edval prvky, kter\u00e9 vyh\u00e1zej\u00ed z geometrie, abych ud\u011blal n\u011bco jin\u00e9ho, a to Um\u011bn\u00ed.\u00a0<\/p>Hugo Demartini,<\/strong> pracoval ve sv\u00fdch d\u00edlech s n\u00e1hodou. R\u00e1d objevoval zaklet\u00e9 tvary utajen\u00e9 ve st\u00ednech vlastn\u00ed imaginace a prop\u016fj\u010doval jim \u0159\u00e1d.\u00a0<\/p>Karel Malich<\/strong> ve sv\u00fdch objektech a kresb\u00e1ch zobrazuje kontakt s nadpozemsk\u00fdm sv\u011btem.\u00a0<\/p>A nakonec pr\u00e1ce\u00a0man\u017eel\u016f Milana Grygara a Kv\u011bty Pacovsk\u00e9<\/strong>, kte\u0159\u00ed tvo\u0159\u00ed odd\u011blen\u011b, je podle m\u00e9ho n\u00e1zoru, velk\u00fdm, doposud nedostate\u010dn\u011b docen\u011bn\u00fdm d\u00edlem. Milan Grygar<\/strong> od 60. let experimentuje s malbou a hudbou. Je autorem kruhov\u00fdch otisk\u016f nejr\u016fzn\u011bj\u0161\u00edch n\u00e1stroj\u016f, kdy nap\u0159\u00edklad\u00a0 pomoc\u00ed barvy sleduje pohyb d\u011btsk\u00e9 hry „k\u00e1\u010da“. D\u00edlo jeho man\u017eelky Kv\u011bty Pacovsk\u00e9<\/strong> je pln\u00e9 kontrast\u016f a syt\u00fdch barev. Dlouhodob\u011b se zaj\u00edm\u00e1 o geometrii, zobrazuje tak architekturu a v\u011bci kolem sebe, je autorkou d\u011bl na pomez\u00ed socha\u0159stv\u00ed a mal\u00ed\u0159stv\u00ed. Z\u00e1rove\u0148 se v\u011bnuje ilustraci kr\u00e1sn\u00fdch knih pro d\u011bti, kter\u00e9 vych\u00e1zej\u00ed od 80. let 20. stolet\u00ed zejm\u00e9na v zahrani\u010d\u00ed. Kruh v jej\u00edm d\u00edle m\u00e1 v\u00fdznamn\u00e9 zastoupen\u00ed a jsou to pravd\u011bpodobn\u011b jej\u00ed d\u00edla, kter\u00e1 m\u011b p\u0159ivedla k oblib\u011b kruhu…<\/strong><\/p>Kruh nen\u00ed jen mystick\u00fd symbol, je to fascinuj\u00edc\u00ed a inspiruj\u00edc\u00ed tvar, kter\u00fd je t\u0159eba rozv\u00edjet tak\u00e9 v discipl\u00edn\u011b designu.\u00a0<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Um\u011bn\u00ed kruhu ve v\u00fdtvarn\u00e9m um\u011bn\u00ed. Um\u011bn\u00edm kruhu, se zab\u00fdvali nejr\u016fzn\u011bj\u0161\u00ed v\u00fdtvarn\u00ed um\u011blci nap\u0159\u00ed\u010d stalet\u00edmi. Kruh, vyu\u017e\u00edvali jako symbol nebo jako obrazovou formu. Mnohdy se v\u0161ak jeho funkce prol\u00ednaj\u00ed.\u00a0 Kruh, jako\u017eto geometrick\u00fd symbol, kter\u00fd je vyj\u00e1d\u0159en geometrick\u00fdm obrazcem, vyobrazuje kosmogonick\u00e9, kosmologick\u00e9, filozofick\u00e9, magick\u00e9, mystick\u00e9, etick\u00e9,\u00a0teologick\u00e9,\u00a0spole\u010densk\u00e9 aj. p\u0159edstavy. k Ty jsou odvozeny z matematick\u00fdch z\u00e1konitost\u00ed struktur skute\u010dnosti, jejich jev\u016f …<\/p>\n","protected":false},"author":2,"featured_media":1444,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30],"tags":[],"jetpack_featured_media_url":"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/mistri_kulati.jpg","_links":{"self":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424"}],"collection":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/comments?post=1424"}],"version-history":[{"count":22,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions"}],"predecessor-version":[{"id":2457,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/posts\/1424\/revisions\/2457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media\/1444"}],"wp:attachment":[{"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/media?parent=1424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/categories?post=1424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cirkumo.cz\/wp-json\/wp\/v2\/tags?post=1424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.cirkumo.cz\/wp-content\/uploads\/2019\/02\/Victor-Vasarely.jpg\"){kind=link}