{"id":85,"date":"2026-03-09T15:35:14","date_gmt":"2026-03-09T14:35:14","guid":{"rendered":"https:\/\/www.alesruzicka.com\/?page_id=85"},"modified":"2026-03-27T11:16:59","modified_gmt":"2026-03-27T10:16:59","slug":"hortus","status":"publish","type":"page","link":"https:\/\/www.alesruzicka.com\/?page_id=85","title":{"rendered":"Hortus"},"content":{"rendered":"\n
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Ale\u0161 R\u016f\u017ei\u010dka<\/strong><\/p>\n\n\n\n

HORTUS<\/strong><\/p>\n\n\n\n

Ale\u0161 R\u016f\u017ei\u010dka je vyznava\u010d malby. Bezprost\u0159edn\u011b v sam\u00e9m jej\u00edm procesu kloub\u00ed jej\u00ed v\u00fdznamov\u00fd a smyslov\u00fd proud a propojuje apollinskou bd\u011blost a racionalitu s \u017eiveln\u00fdm, extravagantn\u00edm a nep\u0159edv\u00eddateln\u00fdm dion\u00fdsk\u00fdm protip\u00f3lem romantik\u016f, spojen\u00fdm se stavem opojen\u00ed. Nez\u016fst\u00e1v\u00e1 u kaligrafie energie prvotn\u00ed \u010d\u00e1ry, na velk\u00e9 plo\u0161e p\u016fsob\u00edc\u00ed velkoryse a efektn\u011b. Vzepjet\u00ed v divok\u00e9mu tanci fauna nad pl\u00e1tnem a po n\u011bm p\u0159ich\u00e1zej\u00edc\u00ed \u00fanava p\u016fsob\u00ed podobn\u011b jako n\u00e1vykov\u00e1 droga. Fyzickou expresivitu krot\u00ed skrze p\u0159\u00edtomnost sd\u011blen\u00ed konkr\u00e9tn\u00edho obsahu a balancuje tak na romantick\u00e9 vln\u011b nap\u011bt\u00ed mezi ext\u00e1z\u00ed a bd\u011blost\u00ed, p\u0159\u00edrodou a \u010dlov\u011bkem. Tahle v\u00fdstava p\u0159edstavuje prakticky sam\u00e9 nov\u00e9, nevystaven\u00e9 v\u011bci a trouf\u00e1m si \u0159\u00edct, vyzr\u00e1l\u00e9, jedny z dosud nejlep\u0161\u00edch obraz\u016f, co Ale\u0161 namaloval, jako by chytil novou vlnu.<\/p>\n\n\n\n

Rostliny jeho zahrad na velkorys\u00fdch pl\u00e1tnech i mal\u00fdch form\u00e1tech vyr\u016fstaj\u00ed z n\u00e1lad, pocit\u016f a setk\u00e1n\u00ed, jak je p\u0159in\u00e1\u0161\u00ed \u017eivot. V\u00e1\u0161e\u0148, l\u00e1ska, strach, o\u010dek\u00e1v\u00e1n\u00ed, radost, smutek. S kv\u011btinou je spojena pom\u00edjivost i nov\u00e9 vzch\u00e1zen\u00ed. Okam\u017eik prom\u011bn\u011bn\u00fd v trv\u00e1n\u00ed je z\u00e1le\u017eitost\u00ed z\u00e1ti\u0161\u00ed jako mal\u00ed\u0159sk\u00e9ho \u0159e\u0161en\u00ed vztahu \u010dlov\u011bka k smyslov\u00e9mu sv\u011btu. Pr\u00e1v\u011b na z\u00e1ti\u0161\u00edch, kter\u00e1 se jev\u00ed b\u00fdt \u017e\u00e1nrov\u011b nad\u0159azen\u00e1 t\u00e9m\u011b\u0159 cel\u00e9mu dosavadn\u00edmu R\u016f\u017ei\u010dkovu d\u00edlu, se potvrzuje v kontextu sou\u010dasn\u00fdch \u201etrend\u016f\u201c odv\u00e1\u017en\u011b konzervativn\u00ed charakter jeho tvorby. Koloristicky bohat\u00e9, hmotou pasty mnohdy ji\u017e ne malovan\u00e9, ale modelovan\u00e9 klasick\u00e9 obrazov\u00e9 kompozice jsou v\u00fdrazem autorovy bytostn\u00e9 pot\u0159eby malovat.<\/p>\n\n\n\n

Hortus – zahrada. Skute\u010dn\u00e9 zahrady, skute\u010dn\u00e1, zahl\u00e9dnut\u00e1 m\u00edsta, z\u00e1ti\u0161\u00ed. Zahrada Klarova \u00fastavu v Kr\u010di, kde Ale\u0161 u\u010d\u00ed, krokod\u00fdl \u2013 ob\u011b\u0161enec \u2013 nen\u00ed to n\u011bjak\u00fd morbidn\u00ed ritu\u00e1l, ale keramick\u00fd v\u00fdrobek student\u016f, stejn\u011b, jako podivn\u00fd m\u00fdtick\u00fd(?) pt\u00e1k z prot\u011bj\u0161\u00edho obrazu. Zahrada na Koz\u00edn\u011b u Bechyn\u011b.<\/p>\n\n\n\n

Sol\u00e1rn\u00ed lampi\u010dky, fascinuj\u00edc\u00ed d\u011bti i Ale\u0161e. Ko\u010di\u010dka, kter\u00e1 ode\u0161la. Punt\u00edk, k\u016fzle s \u010dern\u00fdm punt\u00edkem nad levou p\u0159edn\u00ed no\u017ei\u010dkou\u2026konev, pumpa, kompost\u2026<\/p>\n\n\n\n

R\u016f\u017ei\u010dkova zahrada m\u00e1 sv\u00e1 slunn\u00e1 i stinn\u00e1 m\u00edsta. Ale\u0161 je kolorista, nez\u016fst\u00e1v\u00e1 u monochromn\u00ed \u010dern\u00e9 palety. Tmav\u00e9 odst\u00edny tu a tam proz\u00e1\u0159\u00ed oran\u017eov\u00e1 \u017eivotn\u00ed s\u00edly, zapl\u00e1pol\u00e1 \u010derve\u0148 spadan\u00e9ho podzimn\u00edho list\u00ed, zajisk\u0159\u00ed smaragd zelen\u011b, Temn\u00e1 z\u00e1kout\u00ed se nepropadaj\u00ed do bezb\u0159eh\u00e9ho smutku a nejsou ani v\u00fdrazem dekadentn\u00ed man\u00fdry. \u010cern\u00e1 noc pat\u0159\u00ed do \u017eivota a nemus\u00ed m\u00edt nutn\u011b negativn\u00ed konotaci. Po temn\u00e9 noci p\u0159ich\u00e1z\u00ed sv\u011btlo.<\/p>\n\n\n\n

Lucie \u0160iklov\u00e1, \u00favodn\u00ed slovo<\/p>\n\n\n\n

11.6.2018<\/p>\n<\/blockquote>\n\n\n\n

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ALE\u0160 R\u016eZI\u010cKA\/OHNI\u0160T\u011a<\/strong><\/p>\n\n\n\n

Jako uhl\u00edk odsko\u010dit
jako rampouch se odlomit
jako k\u00e1men p\u0159evalit

Rozt\u00e1t
anebo vychladnout

Anebo
se jen neznateln\u011b obalit
zelenkav\u00fdm mechem<\/em><\/p>\n\n\n\n

(V\u00edt Janota, ze sb\u00edrky V\u00edkend v jak\u00e9msi \u0160v\u00fdcarsku)<\/p>\n\n\n\n

Do odborn\u00e9ho pov\u011bdom\u00ed se Ale\u0161 R\u016f\u017ei\u010dka uvedl v roce 2005 na IV. Zl\u00ednsk\u00e9m salonu mlad\u00fdch, kde za sv\u016fj mal\u00ed\u0159sk\u00fd cyklus Parky<\/em> z\u00edskal I. Cenu V\u00e1clava Chada. Z\u016fstal pravov\u011brn\u00fdm vyznava\u010dem malby a dnes pat\u0159\u00ed nejen v r\u00e1mci sv\u00e9 generace mezi jej\u00ed nekompromisn\u00ed a nep\u0159ehl\u00e9dnuteln\u00e9 p\u0159edstavitele. Malbu pot\u0159ebuje k \u017eivotu bezm\u00e1la stejn\u011b jako vzduch. Smyslovost\u00ed a mimo\u0159\u00e1dnou citlivost\u00ed ke zrakov\u00fdm a hmatov\u00fdm hodnot\u00e1m se dot\u00fdk\u00e1 barokn\u00edch princip\u016f podobn\u011b jako Purkyn\u011b a u\u017e\u00edv\u00e1 si koloristicky bohat\u00e9 akcenty na velk\u00fdch i vz\u00e1cn\u011bji komorn\u00edch pl\u00e1tnech. Dal\u0161\u00edm pr\u016fvodn\u00edm jevem jeho malby gesto, je\u017e zbavuje povrchnosti, po Pollockovi mnohdy u gesta sam\u00e9ho za\u010d\u00ednaj\u00edc\u00ed i kon\u010d\u00edc\u00ed. Jeho v\u00fdraz si nezakl\u00e1d\u00e1 na lehkosti a samoz\u0159ejmosti, exprese zde vych\u00e1z\u00ed z hloubky sebezpytu. Je v n\u00ed hrdost i pokora, radost i melancholie, soun\u00e1le\u017eitost s p\u0159\u00edrodou, p\u0159itak\u00e1n\u00ed \u017eivotu se v\u0161\u00edm v\u0161udy, tedy i s v\u011bdom\u00edm jeho konce tady na zemi.<\/p>\n\n\n\n

Ohni\u0161t\u011b a stud\u00e1nka. Dva uzav\u0159en\u00e9 \u00fatvary spojen\u00e9 s protich\u016fdn\u00fdmi \u017eivly ohn\u011b a vody se na obrazech Ale\u0161e R\u016f\u017ei\u010dky objevuj\u00ed od roku 2020. Roz\u0161i\u0159uj\u00ed \u0159adu osobn\u011b symbolick\u00fdch t\u00e9mat v jeho tvorb\u011b, jejich\u017e p\u016fvod se odv\u00edj\u00ed z \u017eit\u00fdch setk\u00e1n\u00ed. P\u0159edobrazy ohni\u0161\u0165 i ohrazen\u00fdch vodn\u00edch hladin poch\u00e1zej\u00ed ze skute\u010dn\u00e9ho m\u00edsta, zahrady v osad\u011b Koz\u00edn v ji\u017en\u00edch \u010cech\u00e1ch, kde mal\u00ed\u0159 nach\u00e1z\u00ed m\u00edsto usebr\u00e1n\u00ed, \u00fazdravy a inspirace. Intuitivn\u011b (spekulace je Ale\u0161ovu naturelu bytostn\u011b vzd\u00e1lena) se v posledn\u00edch dvou letech zastavuje pr\u00e1v\u011b u jez\u00edrka\/stud\u00e1nky a pot\u00e9 u zd\u00e1nliv\u011b opozitn\u00edho ohni\u0161t\u011b, a\u0165 doutnaj\u00edc\u00edho \u010di planouc\u00edho. \u201eZelen\u00e1 romantick\u00e1 exprese\u201c Ale\u0161e R\u016f\u017ei\u010dky vych\u00e1z\u00ed ze \u017ehnouc\u00edho impulzivn\u011b \u017eiveln\u00e9ho puzen\u00ed a zd\u00e1nliv\u011b protip\u00f3ln\u00e9ho melancholick\u00e9ho t\u00edhnut\u00ed k hlubin\u00e1m. Tyto vnit\u0159n\u00ed podv\u011bdom\u00e9 s\u00edly se k sob\u011b maj\u00ed podobn\u011b jako ohe\u0148 a voda. A m\u00e1me je tu, stud\u00e1nky a ohni\u0161t\u011b. Stud\u00e1nky a prameny, m\u00edsta pr\u016flom\u016f, osudov\u00fdch setk\u00e1n\u00ed, m\u00edsta omyt\u00ed a ob\u010derstven\u00ed. M\u00edsta hladin zrcadl\u00edc\u00edch i vtahuj\u00edc\u00edch. Ohni\u0161t\u011b, m\u00edsta, kolem kter\u00fdch se od prad\u00e1vna odv\u00edjel \u017eivot. Jako dnes v kuchyni. Va\u0159ilo se tu, kolem bylo teplo, p\u0159itahuj\u00edc\u00ed lidi k setk\u00e1n\u00ed, d\u00edk\u016fvzd\u00e1n\u00ed. U krbu na\u0161i pohan\u0161t\u00ed p\u0159edkov\u00e9 dokonce poh\u0159b\u00edvali, aby byli \u017eiv\u00ed a mrtv\u00ed p\u011bkn\u011b v kruhu pospolu. Uzav\u0159en\u00fd, kameny ohrani\u010den\u00fd \u00fatvar neodbytn\u011b p\u0159itahuje mal\u00ed\u0159ovu pozornost. M\u00edsto pro vodu, ale kousek vedle i pro ohe\u0148. Ohe\u0148 a voda. Tak\u00e9 tu pospolu. Oba \u017eivly vyvol\u00e1vaj\u00ed (i posv\u00e1tnou) b\u00e1ze\u0148, oba \u017eivly jsou blahod\u00e1rn\u00e9, o\u010distn\u00e9. Ale\u0161 R\u016f\u017ei\u010dka ve sv\u00fdch v\u011bnc\u00edch kamen\u016f pro ohe\u0148 \u010di vodu ve v\u00e1\u017enosti a \u00fact\u011b k t\u011bmto pro n\u011bkoho mo\u017en\u00e1 ban\u00e1ln\u00edm komponent\u00e1m zahrady buduje symbolick\u00e1 m\u00edsta dne\u0161n\u00edmu \u010dlov\u011bku pot\u0159ebn\u00e9ho ritu\u00e1lu.<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n

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Park IV, 2005, 70×50,akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Park IIII, 2005, 110×175,akryl na platne, KGVU Zlin<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Tossa (diptych), 2006, akryl na platne, 275x110eei<\/figcaption><\/figure>\n\n\n\n
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Park II, 2005, 110×175,akryl na platne, KGVU Zlin<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Park I, 2005, 110×175,akryl na platne, KGVU Zlin<\/figcaption><\/figure>\n\n\n\n
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Park Hradec II, 2005, 80×100, akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Park Hradec I, 2005, 80×100, akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Ohniste VI, 2023, akryl na platne, 170 x 105 cm<\/figcaption><\/figure>\n\n\n\n
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Ohniste V, 2024, akryl na platne, 170 x 100 cm<\/figcaption><\/figure>\n\n\n\n
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Ohniste IV, 2024, akryl na platne, 165 x 100 cm<\/figcaption><\/figure>\n\n\n\n
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Ohniste II<\/figcaption><\/figure>\n\n\n\n
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Ohniste I<\/figcaption><\/figure>\n\n\n\n
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Nova ves (z cyklu Mista), 2007, 190×140 cm ,komb.technika na platne<\/figcaption><\/figure>\n\n\n\n
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Kozin II, 2017, akryl na platne, 140 x 180 cm<\/figcaption><\/figure>\n\n\n\n
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Kozin I, 2017, akryl na platne, 140 x 180 cm<\/figcaption><\/figure>\n\n\n\n
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Kozin (z cyklu Mista), 2007, 200×130, akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Kos, 2024, kombinovana technika na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Jezirko VI, 2024, 100 x 175 cm, akryl na platne<\/figcaption><\/figure>\n\n\n\n
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Jezirko V<\/figcaption><\/figure>\n\n\n\n
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Jezirko IV<\/figcaption><\/figure>\n\n\n\n
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Jezirko III<\/figcaption><\/figure>\n\n\n\n
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Jezirko II<\/figcaption><\/figure>\n\n\n\n
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Jezirko I<\/figcaption><\/figure>\n\n\n\n
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Dub, 2024, akryl na platne, 170 x 200 cm<\/figcaption><\/figure>\n\n\n\n
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Black Star, 2018, akryl na platne, 95 x 165 cm<\/figcaption><\/figure>\n\n\n\n
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Bechyne (z cyklu Mista), 20072008, 170×130, cm, akryl na platne<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Ale\u0161 R\u016f\u017ei\u010dka HORTUS Ale\u0161 R\u016f\u017ei\u010dka je vyznava\u010d malby. Bezprost\u0159edn\u011b v sam\u00e9m jej\u00edm procesu kloub\u00ed jej\u00ed v\u00fdznamov\u00fd a smyslov\u00fd proud a propojuje […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-85","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages\/85","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=85"}],"version-history":[{"count":6,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages\/85\/revisions"}],"predecessor-version":[{"id":296,"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=\/wp\/v2\/pages\/85\/revisions\/296"}],"wp:attachment":[{"href":"https:\/\/www.alesruzicka.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=85"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}