{"id":12741,"date":"2018-10-19T16:42:20","date_gmt":"2018-10-19T16:42:20","guid":{"rendered":"http:\/\/www.shqiperia.com\/blog\/?p=12741"},"modified":"2018-10-19T16:42:20","modified_gmt":"2018-10-19T16:42:20","slug":"kur-marubi-ngjyente-fotografite-bardhezi","status":"publish","type":"post","link":"https:\/\/www.shqiperia.com\/blog\/kur-marubi-ngjyente-fotografite-bardhezi\/","title":{"rendered":"Kur Marubi ngjyente fotografit\u00eb bardhezi.-"},"content":{"rendered":"

\"\"<\/p>\n

Kur Marubi ngjyente fotografit\u00eb bardhezi.-<\/strong><\/p>\n

– Nga Gazta Shqip.<\/p>\n

Padyshim \u00ebsht\u00eb nj\u00eb lloj befasie t\u00eb shoh\u00ebsh fotografit\u00eb e Marubit, me ngjyra, nd\u00ebrkoh\u00eb q\u00eb shum\u00eb prej tyre i ke par\u00eb n\u00eb bardh e zi. N\u00eb fakt nj\u00eb numr i vog\u00ebl pllakash fotografike \u00abdaguerreotype\u00bb kan\u00eb mbetur nga trash\u00ebgimia e Marubit dhe q\u00eb nuk jan\u00eb gj\u00eb tjet\u00ebr ve\u00e7 fotografi t\u00eb ngjyrosura, t\u00eb cilat sot na l\u00ebn\u00eb nj\u00eb mbres\u00eb t\u00eb ve\u00e7ant\u00eb kur ato i ke n\u00eb duar. Para disa muajsh, me mikun tim piktor Bujar Luca, ishim n\u00eb galerin\u00eb e Serge Plantureux n\u00eb bulevardin Haussman t\u00eb Parisit, i cili \u00ebsht\u00eb nj\u00eb njoh\u00ebs i mir\u00eb i fotografis\u00eb s\u00eb vjet\u00ebr dhe nj\u00eb artist q\u00eb merret me zbulimin, identifikimin dhe shitjen e fotografive shum\u00eb t\u00eb vjetra, por t\u00eb nj\u00eb r\u00ebnd\u00ebsie t\u00eb ve\u00e7ant\u00eb historike, si ka ndodhur para dy vitesh me nj\u00eb fotografi t\u00eb panjohur t\u00eb poetit t\u00eb famsh\u00ebm Charles Baudelaire apo nj\u00eb fotografi t\u00eb panjohur t\u00eb Van Gogh.<\/p>\n

\"\"<\/p>\n

Serge Plantureux na tregoi at\u00eb dit\u00eb se kishte gjetur disa pllaka t\u00eb tilla t\u00eb Marubit tek nj\u00eb koleksionist rus q\u00eb ishin n\u00eb shitje (tashm\u00eb ai i ka shitur). Kureshtar rreth k\u00ebtyre fotografive, nisa t\u00eb k\u00ebrkoja edhe p\u00ebrmes internetit dhe nj\u00eb serie fotografish t\u00eb ekspozuar para dy vitesh ne sitin e tij (rreth 25 pllaka xhami t\u00eb ngjyrosura) ato m\u00eb shfaq\u00ebn nj\u00eb an\u00eb t\u00eb re t\u00eb fondit t\u00eb Marubit q\u00eb ndryshe nga ajo q\u00eb isha m\u00ebsuar m\u00eb par\u00eb (duke pohuar se asnj\u00ebher\u00eb nuk kam punuar rreth k\u00ebtij fondi n\u00eb Shkod\u00ebr dhe se nuk jam aspak nj\u00eb specialist i tyre).<\/p>\n

Q\u00eb n\u00eb fillim dua t\u00eb pohoj se pavar\u00ebsisht nga puna e b\u00ebr\u00eb mbi k\u00ebto pllaka fotografike n\u00eb qelq p\u00ebr ngjyrosjen e tyre, merita artistike e Marub\u00ebve mbetet gjithnj\u00eb n\u00eb bardh e zi, ku shprehet gjith\u00eb arti i tyre rreth ndri\u00e7imit, kapjes s\u00eb karakterit, kompozimit, m\u00ebnyr\u00ebs s\u00eb fotografimit, etj. Megjithat\u00eb jemi kureshtar\u00eb t\u00eb dim\u00eb se kur ekzakt\u00ebsisht Pietro Marubi e filloi k\u00ebt\u00eb aventur\u00eb t\u00eb ngjyrosjes s\u00eb pllakave fotografike, p\u00ebrse dhe cila ishte nxitja e k\u00ebtij pro\u00e7edimi? \u00c7\u2019thon\u00eb regjistrat e fotografit, pra t\u00eb fototek\u00ebs dhe sa vite vazhdoi ky pro\u00e7edim, a kishte fotografi historike, pra personazhesh t\u00eb njohur, a ekzistojn\u00eb ende pllaka t\u00eb tilla n\u00eb k\u00ebt\u00eb fond dhe n\u00ebse jo, deri kur i gjejm\u00eb n\u00eb regjistra gjurm\u00ebt e tyre. Vall\u00eb ngjarjet pas viteve \u201990 kan\u00eb sjell\u00eb l\u00ebvizje t\u00eb fondit?\u2026 Sidoqoft\u00eb, n\u00ebse pllaka t\u00eb tilla ekzistojn\u00eb ende nj\u00eb studim duhet nd\u00ebrmarr\u00eb p\u00ebr t\u00eb patur nj\u00eb vizion t\u00eb p\u00ebrgjithsh\u00ebm rreth k\u00ebsaj veprimtarie q\u00eb p\u00ebrs\u00ebri b\u00ebn pjes\u00eb n\u00eb veprimtarin\u00eb artistike t\u00eb Pietro Marubit dhe ndoshta dhe t\u00eb Kel Marubit.<\/p>\n

\"\"<\/p>\n

Dhe kjo sepse nuk \u00ebsht\u00eb fjala thjesht p\u00ebr fondin por edhe p\u00ebr t\u00eb demostruar se Marubi ishte nj\u00eb artist i dimensionit europian q\u00eb ecte nj\u00ebkoh\u00ebsisht me pro\u00e7edimet e reja fotografike n\u00eb Europ\u00eb. K\u00ebt\u00eb e tregojn\u00eb jo vet\u00ebm marr\u00ebdh\u00ebniet treg\u00ebtare rreth blerjes s\u00eb pllakave t\u00eb xhamit t\u00eb fabrikave e v\u00ebllez\u00ebrve Lumi\u00e8re por dhe n\u00eb specializimin e Kel Marubit n\u00eb vitin 1927 n\u00eb Paris n\u00eb ateliet\u00eb profesionale t\u00eb asaj kohe p\u00ebr t\u00eb m\u00ebsuar jo vet\u00ebm teknologjit\u00eb e pro\u00e7edimet e reja por dhe artin e fotografimit.<\/p>\n

Fotografit\u00eb e para me ngjyra n\u00eb Franc\u00eb datojn\u00eb q\u00eb n\u00eb vitin 1850, si\u00e7 jan\u00eb ato \u00abdaguerreotype\u00bb t\u00eb Nadar. Por ai q\u00eb futi nj\u00eb eksperienc\u00eb t\u00eb re t\u00eb ngjyrimit t\u00eb pllakave fotografike, ishte nj\u00eb prift anglez Wallace Nutting, i cili fotografonte peizazhe dhe ky pasion e shtyu q\u00eb n\u00eb vitin 1904 t\u2019i ngjyroste pllakat e xhamit. M\u00eb pas ai hapi nj\u00eb studio dhe u b\u00eb nj\u00eb nga studiot q\u00eb shiti m\u00eb shum\u00eb fotografi t\u00eb ngjyrosura n\u00eb historin\u00eb e fotografis\u00eb bot\u00ebrore, meq\u00eb shpesh, njer\u00ebzit kishin d\u00ebshir\u00eb t\u00eb kishin fotografit\u00eb e tyre t\u00eb dasmave n\u00eb ngjyra.<\/p>\n

Pro\u00e7edimi teknik mbi ngjyrosjen e pllak\u00ebs fotografike t\u00eb Louis Daguerre b\u00ebhej mbi sip\u00ebrfaqen e rrafsh\u00ebt t\u00eb lyer me nj\u00eb shtres\u00eb argjendi dhe q\u00eb ekspozohej n\u00eb drit\u00eb p\u00ebrmes aparatit fotografik. Pastaj kjo pllak\u00eb ngjyrosej sip\u00ebr me ngjyra anhiline (q\u00eb p\u00ebrdoreshin p\u00ebr tekstile) apo t\u00eb tipit t\u00eb akuarelit. Sidoqoft\u00eb, periudha e k\u00ebtyre pllakave fotografike me ngjyra \u00ebsht\u00eb e fillimit t\u00eb shekullit XX, koh\u00eb kur n\u00eb Europ\u00eb filloi prodhimi i tyre n\u00eb mas\u00eb apo m\u00eb par\u00eb. Vall\u00eb ka ndodhur n\u00eb koh\u00ebn q\u00eb Kol\u00eb Idromeno, piktor, bashk\u00ebpunonte me Pietro Marubi?\u2026<\/p>\n

Patenta e fotografis\u00eb e shkruar pas k\u00ebtyre pllakave t\u00eb ngjyrosura, (ku p\u00ebrpara shkruhet posht\u00eb fotografis\u00eb \u00abFormato \u2013 P. Marubbi \u2013 Gabinetto\u00bb<\/em>) na jep nj\u00eb koh\u00eb t\u00eb pap\u00ebrcaktuar fort mir\u00eb: ajo \u00ebsht\u00eb e shkruar n\u00eb gjuh\u00ebn osmane dhe lexohet emri i Pietro Marubit (me shkronja otomane), fjala \u00abfougrafie\u00bb si dhe fjala \u00abdrashkodra\u00bb e shkruar n\u00eb form\u00ebn otomane. Fotografit\u00eb me ngjyra t\u00eb Pietro Marubit na sjellin imazhe plot drit\u00eb dhe me ngjyrat e kostumeve t\u00eb mal\u00ebsor\u00ebve. Me kalimin e koh\u00ebs, k\u00ebto pllaka, (p\u00ebrgjith\u00ebsisht nj\u00eb figur\u00eb, grua apo burr\u00eb, me kostum malsor, apo dhe t\u00eb dy, me n\u00eb sfond nj\u00eb dekor natyre, nj\u00eb karrige, etj) si\u00e7 i shohim, jan\u00eb t\u00eb g\u00ebrvishtura por megjithat\u00eb ato ruajn\u00eb imazhe q\u00eb ne i kemi par\u00eb n\u00eb bardh\u00eb e zi dhe nj\u00eb krahasim i till\u00eb \u00ebsht\u00eb leht\u00eb ta b\u00ebsh, madje identike.<\/p>\n

Shkodra e koh\u00ebs s\u00eb Pietro Marubit duhet t\u00eb ket\u00eb qen\u00eb nj\u00eb qytet mjaft piktoresk si\u00e7 p\u00ebrshkruhet dhe n\u00eb shum\u00eb nga librat e udh\u00ebtar\u00ebve francez\u00eb t\u00eb shekullit XIX q\u00eb kam patur rastin t\u2019i lexoj: sht\u00ebpit\u00eb tradiconale, kopshtijet dhe oborret, larmia e kostumeve qytetare dhe mal\u00ebsore, grat\u00eb shkodrane me shamit\u00eb e tyre plot ngjyra: ok\u00ebr, jeshile, roz\u00eb\u2026 Vall\u00eb ve\u00e7 k\u00ebtyre portreteve, personazheve n\u00ebse mund t\u2019i quajm\u00eb k\u00ebshtu thjesht p\u00ebr t\u2019i p\u00ebrcakuar, a ka punuar Pietro Marubi mbi pllakat e xhamit n\u00eb bardh e zi\u2026 a i ka ngjyrosur vet\u00ebm ai, me \u00e7far\u00eb solucionesh, ngjyra tekstili apo bojra vaji, uji, pastele, akuarele, etj, vall\u00eb ngjyrosja \u00ebsht\u00eb b\u00ebr\u00eb n\u00eb nj\u00eb shtres\u00eb t\u00eb trash\u00eb apo thjesht\u00eb \u00ebsht\u00eb vendosur si gjurm\u00eb p\u00ebr ta l\u00ebn\u00eb sip\u00ebrfaqen e l\u00ebmuar t\u00eb xhamit po t\u00eb l\u00ebmuar?<\/p>\n

\"\" \"\"<\/p>\n

Shum\u00eb pik\u00ebpyetje mbeten ende rreth fondit Marubi, ve\u00e7an\u00ebrisht p\u00ebr periudh\u00ebn e par\u00eb, t\u00eb Pietro Marubit. Fotografia e mal\u00ebsores n\u00eb studion e tij me thithat jasht\u00eb \u00ebsht\u00eb nj\u00eb vep\u00ebr m\u00eb vete, po k\u00ebshtu adoleshentja cigane me gjinj t\u00eb xhveshur. A \u00ebsht\u00eb tentuar Marubi, si europian q\u00eb ishte, rreth nudos n\u00eb fotografi? A ka par\u00eb ndokush fotografi t\u00eb tilla apo n\u00ebse ka patur me par\u00eb, mos jan\u00eb asgj\u00ebsuar ato p\u00ebr t\u00eb mos patur telashe me regjimin totalitar?<\/p>\n

Sidoqoft\u00eb, k\u00ebto fotgrafi me ngjyra na sjellin nj\u00eb freski dhe nj\u00eb an\u00eb tjet\u00ebr (vall\u00eb t\u00eb panjohur?) t\u00eb fondit Marubi\u2026 Marub\u00ebt nuk rreshtin t\u00eb na befasojn\u00eb me artin e tyre dhe kjo padyshim \u00ebsht\u00eb merita e t\u00eb parit t\u00eb Marub\u00ebve, Pietro Marubi, fotografit q\u00eb gjat\u00eb gjith\u00eb koh\u00ebs s\u00eb tij si artist-fotograf, ishte i lidhur pazgjidhshm\u00ebrisht me modernitetin, pasi si n\u00eb shprehit\u00eb e tij artistike ashtu dhe n\u00eb pro\u00e7edimet teknike, ai ishte modern dhe n\u00eb vazhd\u00ebn e progreseve fotografike europiane.<\/p>\n

N\u00eb k\u00ebt\u00eb kuptim, Pietro Marubi ishte p\u00ebr Shqip\u00ebrin\u00eb si\u00e7 ishte Nadar p\u00ebr Franc\u00ebn. Disa studime q\u00eb m\u00eb shum\u00eb anojn\u00eb n\u00eb an\u00ebn historike dhe m\u00eb pak n\u00eb at\u00eb semiologjike dhe t\u00eb gjuh\u00ebs s\u00eb fotografis\u00eb, pra n\u00eb at\u00eb q\u00eb ndodh kur analizojm\u00eb artin, si\u00e7 analizojm\u00eb veprat e nj\u00eb nj\u00eb Da Vin\u00e7i, Raffaello, apo Rembrandt, Goya, t\u00eb modern\u00ebve, etj, pasi shum\u00eb nga fotografit\u00eb e Marubit meritojn\u00eb studime t\u00eb ve\u00e7anta t\u00eb estetik\u00ebs s\u00eb artit.<\/p>\n

Nga: Luan Rama<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Kur Marubi ngjyente fotografit\u00eb bardhezi.- – Nga Gazta Shqip. Padyshim \u00ebsht\u00eb nj\u00eb lloj befasie t\u00eb shoh\u00ebsh fotografit\u00eb e Marubit, me ngjyra, nd\u00ebrkoh\u00eb q\u00eb shum\u00eb prej tyre i ke par\u00eb n\u00eb bardh e zi. N\u00eb fakt nj\u00eb numr i vog\u00ebl pllakash fotografike \u00abdaguerreotype\u00bb kan\u00eb mbetur nga trash\u00ebgimia e Marubit dhe q\u00eb nuk jan\u00eb gj\u00eb tjet\u00ebr ve\u00e7 […]<\/p>\n","protected":false},"author":9,"featured_media":12742,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[85,10,86],"tags":[],"class_list":["post-12741","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-histori","category-kultura","category-trashegimi-kulturore"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.shqiperia.com\/blog\/wp-content\/uploads\/2018\/10\/43614573_176814449832952_911490981897961472_n.jpg?fit=420%2C242&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5Z6wp-3jv","jetpack-related-posts":[{"id":100111,"url":"https:\/\/www.shqiperia.com\/blog\/e-shnderroi-shtepine-ne-berat-ne-muze-artizania-tefta-qose-500-kostume-popullore-puna-e-nje-jete\/","url_meta":{"origin":12741,"position":0},"title":"E shnd\u00ebrroi sht\u00ebpin\u00eb n\u00eb Berat n\u00eb muze, artizania Tefta Qose: – 500 kostume popullore, puna e nj\u00eb jete","author":"Kurt Farka","date":"May 11, 2026","format":false,"excerpt":"11 Mars 2026 N\u00eb nj\u00eb koh\u00eb kur shum\u00eb tradita rrezikojn\u00eb t\u00eb harrohen, Tefta Qose vazhdon t\u00eb mbaj\u00eb gjall\u00eb artin e krijimit t\u00eb veshjeve popullore. 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