{"id":6746,"date":"2019-06-04T11:23:01","date_gmt":"2019-06-04T11:23:01","guid":{"rendered":"https:\/\/www.verba.lv\/exhibitions\/epistulae-2019\/"},"modified":"2023-08-01T10:00:28","modified_gmt":"2023-08-01T10:00:28","slug":"epistulae-2019","status":"publish","type":"page","link":"https:\/\/www.verba.lv\/lv\/izstades\/epistulae-2019\/","title":{"rendered":"EPISTULAE izst\u0101d\u0113 ORNAMENTA II 2019"},"content":{"rendered":"

EPISTULAE, 2019<\/strong><\/p>\n

Kolekcijas pamat\u0101 ir iespaidi, kas radu\u0161ies lasot romie\u0161u dzejnieka Ov\u012bdija “V\u0113stules no Ponta” un “Skumj\u0101s el\u0113\u0123ijas”, ko vi\u0146\u0161 sarakst\u012bjis atrodoties izs\u016bt\u012bjum\u0101. M\u016bsu \u0113ras pirmajos gados, dzejnieks tika izs\u016bt\u012bts trimd\u0101 uz Tomis pils\u0113tu pie Meln\u0101s j\u016bras (m\u016bsdienu Konstancu Rum\u0101nij\u0101) , kur vi\u0146\u0161 ar\u012b beidza savu dz\u012bvi. Visas Ov\u012bdija s\u0101pes, zaud\u0113jumi un netaisn\u012bguma saj\u016bta iemiesoti vi\u0146a p\u0113d\u0113j\u0101s po\u0113m\u0101s. Bet vienlaic\u012bgi taj\u0101s redzam ar\u012b gara sp\u0113ku, \u00a0gatav\u012bbu c\u012bn\u012bties ar naid\u012bgo apk\u0101rtni, cer\u012bbu uz atbr\u012bvo\u0161anos un iek\u0161\u0113jo br\u012bv\u012bbu un p\u0101rliec\u012bbu par to, ka dzej\u0101 iemiesot\u0101s s\u0101pes paliks v\u0113stur\u0113 un dzej\u0101 m\u016b\u017e\u012bgi. Un taj\u0101 ir milz\u012bga v\u0113rt\u012bba un uzvara.<\/p>\n

Kaklarotu kolekcija no caursp\u012bd\u012bgiem un gandr\u012bz neapstr\u0101d\u0101tiem top\u0101ziem, akvamar\u012bniem un kvarciem, kuros iegrav\u0113ta Ov\u012bdija dzeja, tika rad\u012bta \u012bpa\u0161i instal\u0101cijai Nacion\u0101laj\u0101 arheolo\u0123iskaj\u0101 muzej\u0101 Adrij\u0101 (It\u0101lij\u0101) 2019. gad\u0101. Tur t\u0101 tika ekspon\u0113ta kop\u0101 ar seno romie\u0161u stikla traukiem, kas dat\u0113ti ar m\u016bsu \u0113ras pirmo gadsimtu. Katrai rotai tika izv\u0113l\u0113ts atbilsto\u0161s trauks un \u0161\u012b ideja sasaucas ar trad\u012bciju j\u016br\u0101 stikla pudel\u0113s s\u016bt\u012bt v\u0113stules n\u0101kamaj\u0101m paaudz\u0113m.\u00a0Caursp\u012bd\u012bg\u0101s kaklarotas ir k\u0101 sastingu\u0161i bargu stihiju \u016bde\u0146i, caur kuriem dzejnieks, risk\u0113jot ar savu dz\u012bv\u012bbu, tika l\u012bdz noteiktajai trimdas lok\u0101cijai, vai k\u0101 ledus gabali, kas p\u0101rsteidz Ov\u012bdiju zieme\u013cos, vai k\u0101 sastingu\u0161as asaras, kas p\u0101rv\u0113rstas par po\u0113m\u0101m. T\u0101 ir saruna par trausl\u0101 un stipr\u0101, pl\u016bsto\u0161\u0101 un nekust\u012bg\u0101, m\u016b\u017e\u012bg\u0101 un p\u0101rejo\u0161\u0101 p\u0101rv\u0113rt\u012bb\u0101m.\u00a0Ov\u012bdija atkl\u0101smes sasniedz m\u016bs cauri gadsimtiem, t\u0101s dod mums mierin\u0101jumu un cer\u012bbu. M\u0113s saprotam, ka neesam vieni sav\u0101 vientul\u012bb\u0101, m\u016bsu s\u0101pes nav nekas jauns, ta\u010du m\u0101ksla ir t\u0101s z\u0101les, kas vienm\u0113r dzied\u0113 pasaules br\u016bces un saglab\u0101 trausl\u0101s civiliz\u0101cijas v\u0113rt\u012bbas cauri laikiem.<\/p>\n

Izst\u0101des:
\n2021.gada 8.oktobris l\u012bdz 10.novembris, m\u0101kslas galerija “Lalabeyou”, Madride, Sp\u0101nija
\n2020.gada 12.decembris l\u012bdz 2021.gada 13.febru\u0101ris, m\u0101kslas galerija “Allisages”, Lille, Francija
\n2019.gada 12.maijs l\u012bdz 24.oktobris, Adrijas Nacion\u0101lais Arheolo\u0123ijas Muzejs, Adrija, It\u0101lija<\/p>\n

\"verba-biblioteca-veneziana-exhibition-venice\" <\/div> <\/div> <\/div>
\"verba-ovidio-ornamenta-adria\"
“I often converse with you, often enjoy your converse. Then ’tis hard to say how happy I am, how bright I think that hour. Then, if you can credit it, I con- ceive myself harboured in heaven’s abode, dwelling with the blessed gods. Again when I have returned hither I leave behind heaven and the gods above.” Ovid, “Letters from the Black Sea”, book III \/ 5 (aquamarine, plexiglass, resina) \/ “\u0422\u043e \u044f \u0432\u043d\u0438\u043c\u0430\u044e \u0442\u0435\u0431\u0435, \u0442\u043e \u044f \u0441 \u0442\u043e\u0431\u043e\u044e \u0433\u043e\u0432\u043e\u0440\u044e. \u041a\u0430\u043a \u043c\u043d\u0435 \u0431\u044b\u0432\u0430\u0435\u0442 \u0442\u043e\u0433\u0434\u0430 \u0445\u043e\u0440\u043e\u0448\u043e, \u043f\u0435\u0440\u0435\u0434\u0430\u0442\u044c \u044f \u043d\u0435 \u0432 \u0441\u0438\u043b\u0430\u0445; \u0421\u0430\u043c\u044b\u043c\u0438 \u0441\u0432\u0435\u0442\u043b\u044b\u043c\u0438 \u043c\u043d\u0435 \u043a\u0430\u0436\u0443\u0442\u0441\u044f \u044d\u0442\u0438 \u0447\u0430\u0441\u044b. \u0412\u0435\u0440\u0438\u0448\u044c \u043b\u0438, \u043c\u043d\u0438\u0442\u0441\u044f \u0442\u043e\u0433\u0434\u0430, \u0447\u0442\u043e \u044f \u043e\u0447\u0443\u0442\u0438\u043b\u0441\u044f \u043d\u0430 \u043d\u0435\u0431\u0435, \u0427\u0442\u043e \u043f\u043e\u043b\u0443\u0447\u0438\u043b \u044f \u0443\u0434\u0435\u043b \u0432 \u0441\u043e\u043d\u043c\u0435 \u0431\u043b\u0430\u0436\u0435\u043d\u043d\u044b\u0445 \u0431\u043e\u0433\u043e\u0432.” \u041e\u0432\u0438\u0434\u0438\u0439, \u201c\u041f\u0438\u0441\u044c\u043c\u0430 \u0441 \u041f\u043e\u043d\u0442\u0430\u201d, \u043a\u043d\u0438\u0433\u0430 III \/ 5 (\u0430\u043a\u0432\u0430\u043c\u0430\u0440\u0438\u043d, \u043e\u0440\u0433\u0430\u043d\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0441\u0442\u0435\u043a\u043b\u043e, \u0440\u0435\u0437\u0438\u043d\u0430) \/ \u201cMi e\u2019difficile il dire quanto allora io goda, e quanto al mio spirito sia lieta quell\u2019ora. Se alquanto mi credi parmi allora di essere accolto in cielo, e conversare cogli Dii beati.\u201d Ovidio \u201cLettere dal Ponto\u201d, libro III \/ 5 (aquamarina, plexiglass, resina) <\/div> <\/div> <\/div>
\"epistulae-anna-fanigina-ovidio\" <\/div>
\"verba-ovidio-ornamenta-adria-glass\"
At the exhibition all necklaces are inspired and presented together with the objects of the ancient glass. Translucent blue blown glass balsamarium with a handle. Roman age (1st century AD); necropolis of Ca \u2019Cima. \/ \u041d\u0430 \u0432\u044b\u0441\u0442\u0430\u0432\u043a\u0435 \u0443\u043a\u0440\u0430\u0448\u0435\u043d\u0438\u044f \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u043b\u0435\u043d\u044b \u0432\u043c\u0435\u0441\u0442\u0435 \u0441 \u043f\u0440\u0435\u0434\u043c\u0435\u0442\u0430\u043c\u0438 \u0430\u043d\u0442\u0438\u0447\u043d\u043e\u0433\u043e \u0441\u0442\u0435\u043a\u043b\u0430. \u041f\u043e\u043b\u0443\u043f\u0440\u043e\u0437\u0440\u0430\u0447\u043d\u044b\u0439 \u0433\u043e\u043b\u0443\u0431\u043e\u0439 \u0431\u0430\u043b\u044c\u0437\u0430\u043c\u0430\u0440\u0438\u0439 \u0438\u0437 \u0434\u0443\u0442\u043e\u0433\u043e \u0441\u0442\u0435\u043a\u043b\u0430 \u0441 \u0440\u0443\u0447\u043a\u043e\u0439. \u0414\u0440\u0435\u0432\u043d\u0438\u0439 \u0420\u0438\u043c, 1 \u0432\u0435\u043a \u043d.\u044d., \u043d\u0435\u043a\u0440\u043e\u043f\u043e\u043b\u044c Ca\u2019 Cima. \/ Balsamario a bottiglia monoansata in vetro soffiato di colore azzurro traslucido. Et\u00e0 romana (I sec. d.C.); necropoli di Ca\u2019 Cima. <\/div> <\/div> <\/div> <\/div>
\"verba-epistulae-ovid-adria-topaz\"
“Every letter that you have read in my whole book was formed by me during the troubled days of my journey. Either the Adriatic saw me writing these words in the midst of his waters, while I shivered in cold December.” Ovid, “Sorrows”, book I \/ 11 (topaz, plexiglass, resina) \/ “\u0412\u0441\u0435 \u0434\u043e \u043f\u043e\u0441\u043b\u0435\u0434\u043d\u0435\u0439 \u0441\u0442\u0440\u043e\u043a\u0438, \u0447\u0442\u043e \u043f\u0440\u043e\u0447\u0442\u0435\u0448\u044c \u0442\u044b \u0432 \u043a\u043d\u0438\u0436\u0435\u0447\u043a\u0435 \u044d\u0442\u043e\u0439, \u0412\u0441\u0435 \u043d\u0430\u043f\u0438\u0441\u0430\u043d\u043e \u043c\u043d\u043e\u0439 \u0432 \u0442\u0440\u0443\u0434\u043d\u044b\u0445 \u0442\u0440\u0435\u0432\u043e\u0433\u0430\u0445 \u043f\u0443\u0442\u0438. \u0412\u0438\u0434\u0435\u043b\u0430 \u0410\u0434\u0440\u0438\u044f \u043d\u0430\u0441, \u043a\u043e\u0433\u0434\u0430 \u0441\u0440\u0435\u0434\u044c \u043e\u0442\u043a\u0440\u044b\u0442\u043e\u0433\u043e \u043c\u043e\u0440\u044f \u042f \u0432 \u043b\u0435\u0434\u044f\u043d\u043e\u043c \u0434\u0435\u043a\u0430\u0431\u0440\u0435 \u0434\u0440\u043e\u0433 \u0434\u043e \u043a\u043e\u0441\u0442\u0435\u0439 \u0438 \u043f\u0438\u0441\u0430\u043b.” \u041e\u0432\u0438\u0434\u0438\u0439, “\u0421\u043a\u043e\u0440\u0431\u043d\u044b\u0435 \u044d\u043b\u0435\u0433\u0438\u0438”, \u043a\u043d\u0438\u0433\u0430 I \/ 11 (\u0442\u043e\u043f\u0430\u0437, \u043e\u0440\u0433\u0430\u043d\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0441\u0442\u0435\u043a\u043b\u043e, \u0440\u0435\u0437\u0438\u043d\u0430) \/ \u201cOgni lettera che tu hai letto in tutto il mio piccolo libro, io l\u2019ho scritta durante i giorni angosciati del viaggio. O questi versi mi vide scrivere in mezzo alle sue onde l\u2019Adriatico, mentre tremavo al freddo di dicembre.\u201d Ovidio \u201cTristezze\u201d, libro I \/ 11 (topazo, plexiglass, resina) <\/div> <\/div>
\"verba-ovid-ornamenta-exhibition\"
Pear-shaped unguentarium (small glass bottle) in green blown glass. Roman Age (I-II century AD); Adria, Italy, Bocchi collection. \/ \u0411\u0430\u043b\u044c\u0437\u0430\u043c\u0430\u0440\u0438\u0439 \u0433\u0440\u0443\u0448\u0435\u0432\u0438\u0434\u043d\u043e\u0439 \u0444\u043e\u0440\u043c\u044b \u0438\u0437 \u0437\u0435\u043b\u0451\u043d\u043e\u0433\u043e \u0441\u0442\u0435\u043a\u043b\u0430, \u0441\u0434\u0435\u043b\u0430\u043d\u043d\u044b\u0439 \u0432 \u0442\u0435\u0445\u043d\u0438\u043a\u0435 \u0432\u044b\u0434\u0443\u0432\u0430\u043d\u0438\u044f. \u0420\u0438\u043c\u0441\u043a\u0430\u044f \u044d\u043f\u043e\u0445\u0430 (1-2 \u0432\u0435\u043a \u043d.\u044d.); \u0410\u0434\u0440\u0438\u044f, \u0418\u0442\u0430\u043b\u0438\u044f, \u043a\u043e\u043b\u043b\u0435\u043a\u0446\u0438\u044f \u0411\u043e\u043a\u043a\u0438. \/ Balsamario a corpo piriforme in vetro soffiato verde chiaro Et\u00e0 romana (I-II sec. d.C.); Adria, Italia, collezione Bocchi. <\/div> <\/div> <\/div>
\"verba-ovid-necklace-epistulae\"
“Beyond are the Bosporus and the Tanais l and the Scythian marshes and the scattered names of a region hardly known at all. Farther still is nothing but a cold that forbids habitation. Alas ! how near to me is the margin of the world ! But my father- land is far away, far my dearest wife, and all that after these two was once sweet to me. Yet even so these things are present, though I cannot touch them; to my mind all are visible.” Ovid, “Sorrows”, book III \/4 (topaz, plexiglass, resina) \/ “\u0414\u0430\u043b\u044c\u00ad\u0448\u0435 \u2014 \u0411\u043e\u0441\u00ad\u0444\u043e\u0440, \u0422\u0430\u043d\u0430\u0438\u0441, \u041a\u0438\u043c\u00ad\u043c\u0435\u00ad\u0440\u0438\u0439\u00ad\u0441\u043a\u043e\u0439 \u0421\u043a\u0438\u00ad\u0444\u0438\u0438 \u0442\u043e\u043f\u0438, \u0415\u043b\u0435 \u0437\u043d\u0430\u00ad\u043a\u043e\u00ad\u043c\u044b\u0435 \u043d\u0430\u043c \u0445\u043e\u0442\u044c \u043f\u043e \u043d\u0430\u0437\u0432\u0430\u00ad\u043d\u044c\u044e \u043c\u0435\u0441\u0442\u0430; \u0410 \u0443\u0436 \u0437\u0430 \u043d\u0438\u043c\u0438 \u2014 \u043d\u0438\u0447\u0442\u043e: \u0442\u043e\u043b\u044c\u00ad\u043a\u043e \u0445\u043e\u043b\u043e\u0434, \u043c\u0440\u0430\u043a \u0438 \u0431\u0435\u0437\u00ad\u043b\u044e\u00ad\u0434\u044c\u0435. \u0413\u043e\u0440\u0435! \u041a\u0430\u043a \u0431\u043b\u0438\u0437\u00ad\u043a\u043e \u043f\u0440\u043e\u00ad\u043b\u0435\u0433 \u043a\u0440\u0443\u00ad\u0433\u0430 \u0437\u0435\u043c\u00ad\u043d\u043e\u00ad\u0433\u043e \u043f\u0440\u0435\u00ad\u0434\u0435\u043b! \u0420\u043e\u0434\u0438\u00ad\u043d\u0430 \u0442\u0430\u043a \u0434\u0430\u043b\u0435\u00ad\u043a\u043e! \u0414\u0430\u043b\u0435\u00ad\u043a\u043e \u0436\u0435\u043d\u0430 \u0434\u043e\u0440\u043e\u00ad\u0433\u0430\u044f, \u0412\u0441\u0435, \u0447\u0442\u043e \u0432 \u043c\u0438\u0440\u0435 \u0446\u0435\u043d\u0438\u043b, \u0447\u0435\u043c \u0434\u043e\u0440\u043e\u00ad\u0436\u0438\u043b, \u2014 \u0434\u0430\u043b\u0435\u00ad\u043a\u043e! \u041e\u0442\u043d\u044f\u00ad\u0442\u043e \u0432\u0441\u0435, \u043d\u043e \u0442\u0430\u043a, \u0447\u0442\u043e \u0445\u043e\u0442\u044f \u0440\u0443\u043a\u043e\u0439 \u043d\u0435 \u0434\u043e\u0441\u0442\u0430\u00ad\u043d\u0435\u0448\u044c, \u041e\u0442\u043d\u044f\u00ad\u0442\u043e\u0435 \u043c\u043e\u0433\u0443 \u0432\u0438\u0434\u0435\u0442\u044c \u043e\u0447\u0430\u00ad\u043c\u0438 \u0434\u0443\u0448\u0438.” \u041e\u0432\u0438\u0434\u0438\u0439 \u201c\u0421\u043a\u043e\u0440\u0431\u043d\u044b\u0435 \u044d\u043b\u0435\u0433\u0438\u0438\u201d \u041a\u043d\u0438\u0433\u0430 III \/4 (\u0442\u043e\u043f\u0430\u0437, \u043e\u0440\u0433\u0441\u0442\u0435\u043a\u043b\u043e, \u0441\u043c\u043e\u043b\u0430) \/ Oltre non resta che il Bosforo, il Tanai e la scitica palude e pochi nomi di localit\u00e0 appena note. Pi\u00f9 avanti nulla vi \u00e8 se non l’inabitabile freddo. Ahim\u00e8, come mi \u00e8 vicino l’ultimo lembo del mondo! Lontana invece \u00e8 la patria, lontana la carissima consorte, e tutto ci\u00f2 che, dopo di loro, mi era dolce. Queste cose tuttavia sono cos\u00ec presenti, che se non posso toccarle col corpo, tutte le posso contemplare con l\u2019animo. Ovidio \u201cTristezze\u201d, libro III \/ 4 \/ “Bosporos et Tanais superant Scythiaeque paludes uix satis et noti nomina pauca loci. ulterius nihil est nisi non habitabile frigus. Heu quam uicina est ultima terra mihi! At longe patria est, longe carissima coniunx, quicquid et haec nobis post duo dulce fuit. Sic tamen haec adsunt, ut quae contingere non est corpore: sunt animo cuncta uidenda meo.” Ovidio <\/div> <\/div> <\/div> <\/div>
\"epistulae-ovidio-anna-fanigina-collection\" <\/div> <\/div>
\"verba-epistulae-necklace-ovid\"
Colorless blown glass balm balsamarium. Roman age (first half I century AD); Adria, collection Bocchi. \/ \u0411\u0430\u043b\u044c\u0437\u0430\u043c\u0430\u0440\u0438\u0439 \u0438\u0437 \u0434\u0443\u0442\u043e\u0433\u043e \u0431\u0435\u0441\u0446\u0432\u0435\u0442\u043d\u043e\u0433\u043e \u0441\u0442\u0435\u043a\u043b\u0430. \u0420\u0438\u043c\u0441\u043a\u0430\u044f \u044d\u043f\u043e\u0445\u0430 (\u043f\u0435\u0440\u0432\u0430\u044f \u043f\u043e\u043b\u043e\u0432\u0438\u043d\u0430 I \u0432.\u043d.\u044d.); \u0410\u0434\u0440\u0438\u044f, \u043a\u043e\u043b\u043b\u0435\u043a\u0446\u0438\u044f \u0411\u043e\u043a\u043a\u0438. \/ Balsamario a corpo sferoidale in vetro soffiato incolore Et\u00e0 romana (prima met\u00e0 I sec. d.C.); Adria, collezione Bocchi. <\/div> <\/div> <\/div>
\"ovidio-anna-fanigina-brooch\"
”When I had passed in my course the Isthmus with its two seas and had taken the second ship of my journey into exile, my writing of verses amid the wild roar of the sea brought wonder, I think, to the Aegean Cyclades.\u2019’ <\/div> <\/div> <\/div> <\/div>
\"anna_fanigina-ovidio-epustulae-exhibition-ornamenta\"
“that the yielding air might give way before my rapid flight and I might on a sudden behold the sweet soil of my native land, the faces in my lonely home, my loyal friends, and foremost of all the dear features of my wife” Ovid “Sorrows”, book III \/ 8;7 (rose quartz) “\u0427\u0442\u043e\u0431\u044b \u0440\u0430\u0437\u0434\u0432\u0438\u043d\u0443\u0442\u044c, \u043b\u0435\u0442\u044f, \u0432\u043e\u0437\u0434\u0443\u0448\u043d\u044b\u0435 \u043b\u0435\u0433\u043a\u0438\u0435 \u0441\u0442\u0440\u0443\u0438, \u0427\u0442\u043e\u0431\u044b \u0443\u0432\u0438\u0434\u0435\u043b \u044f \u0432\u043d\u043e\u0432\u044c \u043c\u0438\u043b\u0443\u044e \u0437\u0435\u043c\u043b\u044e \u043e\u0442\u0446\u043e\u0432, \u0414\u0430\u043b\u044c\u043d\u0438\u0439 \u043f\u043e\u043a\u0438\u043d\u0443\u0442\u044b\u0439 \u0434\u043e\u043c, \u0438 \u0434\u0440\u0443\u0437\u0435\u0439, \u043d\u0435 \u0437\u0430\u0431\u044b\u0432\u0448\u0438\u0445 \u043e \u0434\u0440\u0443\u0433\u0435, \u0418 \u043d\u0430\u043a\u043e\u043d\u0435\u0446, \u043d\u0430\u043a\u043e\u043d\u0435\u0446, \u043c\u0438\u043b\u0443\u044e \u0441\u0435\u0440\u0434\u0446\u0443 \u0436\u0435\u043d\u0443!” \u041e\u0432\u0438\u0434\u0438\u0439 \u201c\u0421\u043a\u043e\u0440\u0431\u043d\u044b\u0435 \u044d\u043b\u0435\u0433\u0438\u0438\u201d, \u043a\u043d\u0438\u0433\u0430 III \/ 8; 7 (\u0440\u043e\u0437\u043e\u0432\u044b\u0439 \u043a\u0432\u0430\u0440\u0446) <\/div> <\/div> <\/div>
\"verba-OVIDIO-ornamenta-adria\" <\/div> <\/div> <\/div>
\"verba-pendant-aquamarine-ovid-epistulae\"
“Whatever I say shall pass to the setting sun from its rising and the East shall bear witness to the voice of the West. Across the land, across deep waters I shall be heard, and mighty shall be the cry of my lament.” Ovid, “Sorrows” Book IV\/9 \/ (aquamarine, plexiglass, resina) “Ibit ad occasum quicquid dicemus ob ortu, testis et Hesperiae vocis Eous erit. Trans ego tellurem, trans altas audiar undas, et gemitus vox est magna futura mei” Ovidio “Tristia”, book IV\/9; \/ (acquamarina, plexiglass, resina) “\u0427\u0442\u043e \u043d\u0438 \u0441\u043a\u0430\u0436\u0443, \u043f\u043e\u043b\u0435\u0442\u0438\u0442 \u0434\u0430\u043b\u0435\u043a\u043e \u043d\u0430 \u0432\u043e\u0441\u0442\u043e\u043a \u0438 \u043d\u0430 \u0437\u0430\u043f\u0430\u0434, \u0412 \u0441\u0442\u0440\u0430\u043d\u0430\u0445 \u0432\u043e\u0441\u0445\u043e\u0434\u0430 \u0432\u043d\u0438\u043c\u0430\u0442\u044c \u0431\u0443\u0434\u0443\u0442 \u0437\u0430\u043a\u0430\u0442\u043d\u044b\u043c \u0441\u043b\u043e\u0432\u0430\u043c, \u0411\u0443\u0434\u0443 \u0441\u043a\u0432\u043e\u0437\u044c \u0442\u043e\u043b\u0449\u0443 \u0437\u0435\u043c\u043b\u0438 \u0438 \u0441\u043a\u0432\u043e\u0437\u044c \u0433\u043b\u0443\u0431\u0438 \u043c\u043e\u0440\u0441\u043a\u0438\u0435 \u0443\u0441\u043b\u044b\u0448\u0430\u043d, \u041e\u0442\u0437\u0432\u0443\u043a\u043e\u043c \u0433\u0440\u043e\u043c\u043a\u0438\u043c \u0432 \u0432\u0435\u043a\u0430\u0445 \u043a\u0430\u0436\u0434\u044b\u0439 \u043e\u0442\u0434\u0430\u0441\u0442\u0441\u044f \u043c\u043e\u0439 \u0441\u0442\u043e\u043d.” \u041e\u0432\u0438\u0434\u0438\u0439 \u201c\u0421\u043a\u043e\u0440\u0431\u043d\u044b\u0435 \u044d\u043b\u0435\u0433\u0438\u0438\u201d \u041a\u043d\u0438\u0433\u0430 IV\/9 \/ (\u0430\u043a\u0432\u0430\u043c\u0430\u0440\u0438\u043d, \u043e\u0440\u0433\u0430\u043d\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0441\u0442\u0435\u043a\u043b\u043e, \u0440\u0435\u0437\u0438\u043d\u0430) \u201cArriver\u00e0 all\u2019occaso tutto ci\u00f2 che io dir\u00f2 dall\u2019oriente, e testimone sar\u00e0 E\u00f2o di ci\u00f2 che avr\u00e0 detto l\u2019Esperia; oltre la terra, oltre gli abissi delle acque sar\u00f2 udito, e l\u2019eco del mio gemito si far\u00e0 sempre pi\u00f9 grande.” Ovidio \u201cTristezze\u201d, libro IV\/9 \/ (acquamarina, plexiglass, resina) <\/div> <\/div> <\/div>
\"verba-necklaces-ovid-epistulae-adria\" <\/div>
\"epistulae-ovidio-9-anna-fanigina-verba\" <\/div> <\/div> <\/div>
\"epistulae-anna-fanigina-collection-exhibition\" <\/div>
\"verba-adria-ovid-exhibition-ornamenta\" <\/div> <\/div>
\"verba-ornamenta-epistulae-ovid-collection\" <\/div> <\/div> <\/div>
\"verba-epistulae-ovid-adria\" <\/div> <\/div>
\"verba-exhibition-adria-ornamenta\" <\/div> <\/div> <\/div> <\/div>\n","protected":false},"excerpt":{"rendered":"

EPISTULAE, 2019 Kolekcijas pamat\u0101 ir iespaidi, kas radu\u0161ies lasot romie\u0161u dzejnieka Ov\u012bdija “V\u0113stules no Ponta” un “Skumj\u0101s el\u0113\u0123ijas”, ko vi\u0146\u0161 sarakst\u012bjis atrodoties izs\u016bt\u012bjum\u0101. M\u016bsu \u0113ras pirmajos gados, dzejnieks tika izs\u016bt\u012bts trimd\u0101 uz Tomis pils\u0113tu pie Meln\u0101s j\u016bras (m\u016bsdienu Konstancu Rum\u0101nij\u0101) , kur vi\u0146\u0161 ar\u012b beidza savu dz\u012bvi. Visas Ov\u012bdija s\u0101pes, zaud\u0113jumi un netaisn\u012bguma saj\u016bta iemiesoti […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":6744,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false},"aioseo_notices":[],"jetpack_shortlink":"https:\/\/wp.me\/P41l5H-1KO","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/pages\/6746"}],"collection":[{"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/comments?post=6746"}],"version-history":[{"count":15,"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/pages\/6746\/revisions"}],"predecessor-version":[{"id":11015,"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/pages\/6746\/revisions\/11015"}],"up":[{"embeddable":true,"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/pages\/6744"}],"wp:attachment":[{"href":"https:\/\/www.verba.lv\/lv\/wp-json\/wp\/v2\/media?parent=6746"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}