I N D I J A R a z s t a v a J a s n a R a z s t a v l j a j o K o z a r , A n k a K r a š n a , S t a n i s l a v a S l u g a P ú d o b s k a . Kuratorka in avtorica strokovnega besedila: Galerija DLUM, Židovska ul. 10, Maribor 1 Tatjana Pregl Kobe 30. 9.– 24. 10. 2025 Indija Y e s t e r d a y Tatjana Pregl Kobe »Včeraj je zgodovina, jutri je skrivnost, danes pa je darilo - praznino, je bilo za mnoge precej odrešujoče. Nauk – Ljubi zato se imenuje sedanjost.« Ta pomenljiv citat, ki ga pogosto tudi svojega sovražnika, saj ga potrebuješ, ker te lahko uči pripisujejo Eleanor Roosevelt, nekateri viri Billu Keanu, in sočutja – je bil za marsikoga neprecenljiv. Še danes se zdi ki ga je slavno ponovil mojster Oogway v Kung Fu Panda, neverjetno, kako je Dalaj Lama učil s sovražniki sobivati je pisan na kožo treh slikark, ki so v mladosti odšle v Indijo, svoje privržence! danes pa se po petdesetih letih ozirajo nanjo. Pred tremi Ta mnogovrstnost je pritegnila tudi množico študentskih leti je bila Stanislava Sluga Púdobska ob svoji sedemdeseti subkultur. Najbolj je pritegoval občutek starosti civilizacije, razstavi, ki je bila v gradu Snežnik posvečena predvsem nekakšna brezčasnost, vrtoglava globina, nebeška višina, ne njenemu indijskemu ciklu, pobudnica spominske razstave samo barvitost, ampak tudi vonji, zvoki. In najrazličnejše na njihovo skupno potovanje v Indijo. Prav tako, kot je bila vrste duhovnosti, da lahko ljudje častijo skoraj toliko pred pol stoletja, ko so tja skupaj odšle za tri mesece. V želji bogov, kot je Indijcev samih. Seveda se je marsikdo že v po potovanju je že leta 1972, v prvem letniku Akademije New Delhiju kmalu po prihodu spraševal zakaj je sploh za likovno umetnost v Ljubljani, ob branju revije Ognjišče prišel sem? V kloaki med razpadajočimi hišami na koncu naletela na naslov slovenske misijonarke s. Marije Sreš, ki zasmetene ulice, obkoljene z berači, ki so stegovali roke za je delovala in študirala v Indiji. Po triletnem dopisovanju tujci in moledovali za bakšiš. A prevladalo je mišljenje, da sta se srečali in dozorela je odločitev za obisk Indije. Kot se da le tu doživeti ekstazo, neverjeten zanos in popolno absolventka je leta 1975 s seboj na pot povabila še študijski osvoboditev. Le tu občutiti povezave z vesoljem! Kjer te kolegici, prav tako spoznavanju sveta predani slikarki, zajame val radosti in sreče, ki mu ne veš vzroka, in bi v Jasno Kozar in Anko Krašna. Tako so vse tri prvič prišle Indiji ostal za zmeraj. tja v še intenzivnem času valov hipijevskega gibanja, ki je v Slike in risbe Jasne Kozar, Anke Krašna in Stanislave Indijo iz vsega sveta pripeljal številne mladostnike. A so jih Sluga Púdobske na tej razstavi kažejo njihove dolgoletne vodili drugi vzgibi. življenjske izkušnje, povezane z Indijo. Mladi ljudje z dolgimi lasmi in bradami, v tesno oprijetih kavbojkah na zvon in živobarvnih srajcah, nekakšni *** uporniki proti ustaljenemu načinu življenja, so se od konca Na slikarski specialki je Jasna Kozar narisala indijsko šestdesetih let prejšnjega stoletja zgrinjali v deželo indijske lepotico, nad katero profesor Gabriel Stupica ni bil modrosti in hkrati v deželo svetih krav in slonov, kjer navdušen. Kljub temu je študirala vzhodnjaške umetniške lahko še opice svobodno skačejo vsepovsod. V Indijo so stile in jih v diplomski nalogi z naslovom »Primerjava potovali tudi Beatli, ki so pošiljali sporočila o čarobni Indiji med umetnostjo vzhoda in zahoda« tudi razložila. Po Koromandiji, in vplivom nove glasbe, ki si je dovolila veliko tem, ko je bila leta 1975 skupaj s študijskima kolegicama z več svobode, je sledila množica hipijev, otrok cvetja, ki so akademije v Indiji in Nepalu, je leta 1979 sama ponovno se zavzemali za enakopraven, pravičen in preprost način odšla v Indijo, tokrat na podiplomski študij. Tam je življenja. Yesterday in druge pesmi so bile nedeklarirane ostala do leta 1983 in ves čas srkala indijsko kulturo ter himne, ki so marsikoga privabile na pot v New Delhi in po slikala akvarele. Po zaključenem magisteriju se je v Indiji svileni cesti čez gorske prelaze Hindukuša, Karakoruma in poročila z Indijcem Janakom Hutheesingom, privzela Himalaje. V takem ozračju so živeli tudi slovenski študenti njegov priimek, in nekaj let ostala tam, kasneje pa sta v nekdanji Jugoslaviji. Spokojno budistično okolje, v oba prišla v Slovenijo. Otrok nista imela. Nekaj časa sta katerem je bilo čutiti neverjeten mir in neskončno sveto živela v Mariboru pri njeni mami, potem pa v Ljubljani Indija 2 v Švicariji, kjer je obdržala atelje. Po ločitvi se je preselila vsemirja. Kače ozvezdij, ki iz večnosti stopajo na svetlečo nazaj v Maribor, čez nekaj let je mož umrl, slikarki pa je mlečno cesto, se lesketajo v luskah navideznih zrcal na ostal portret, ki ga je davno nazaj realistično asketsko, potovanju v druge plasti bivanja, v magične, mitološke. a tudi naklonjeno čutno narisala s svinčnikom na papir Vasuki, kralj nagov, je v hindujski ikonografiji običajno ( Janak Hutheesing, 1986). Čeprav je bila že med študijem upodobljen, kako se ovija okoli vratu Šive, ki naj bi ga priznano dobra risarka, pa jo je v Indiji očaralo in zasvojilo blagoslovil in nosil kot okras. Spremenjen je tudi način obilje barv, ki jih je ponujalo novo okolje ( Pavi, 1986). upodabljanja figure, ki seveda ni realistična (Merkaba, Ekspresivna barvna simbolika, ki jo je posvojila v svoji 2025). Merkaba je starodavni simbol za svetlobno telo, ki osemletni indijski izkušnji, ima v njenih delih močan omogoča prehod iz ene v drugo dimenzijo. Sestavljajo jo pomen. Vehementne poteze nakazujejo proces slikanja, trije kompleti zvezdastega tetraedra: en komplet je moški eruptivna moč pa je v skoraj podzavestnih gestah nanašanja in se vrti v levo, drugi je ženski in se vrti v desno, tretji je živih barv v osrčje same podobe, ki je impulzivna in močno nevtralen in stoji na mestu: in ko igra na sliki močno vlogo spodbujena z erotično nasladnostjo ( Indian Eksperiance, simbolika, je tudi slutena figura predstavljena z enako 1989). Čutnost v krajinskih in figuralnih podobah pogosto govorico. Zapeljiv šarm preživih barv na sliki Hazarski provokativno izziva gledalčev pogled, kar je kljub drugačni avtoportret (2025) lovi pogled, temno ozadje razkriva tehniki z akrilom in s sprejem vnesla v dosti kasneje nastalo magičnost iluzije, s katero slikarka raziskuje vprašanja o sliko Egotrip (2009). Ves čas dolgoletnega ustvarjanja svojem obstoju, o bistvu lastne identitete. Smo na koncu Jasne Kozar se v njene ekspresivne podobe tihotapijo njena to, kar ljubimo, to, čemur smo predani? Očiščeni trpljenja, mnoga fizična in duhovna potovanja (Ulica v Bombaju, grehov, ki jih nosimo? Zakopanih skrivnosti? Naslov slike 2005). Seveda se je slikarkina govorica spreminjala, ni naključen. Ime Hazarov izvira iz perzijske besede hazar, razgrajevala in dopolnjevala. V duhu občasnih sprememb ki pomeni tisoč, izvorno turško pa pomeni biti mobilen, njene vizualne govorice je pred desetletjem nastala tudi slika potovali ali tavati. Poleg tega je hazarska oblast dopuščala Hippy (2016). Ko je bila odstranjena aluzija predmetnosti, široko paleto verstev. Tudi v tem kontekstu je ta podoba je lahkost in zračnost slikovne površine lahko delovala kot slikarkina avtobiografija, popoln prikaz zadnjih petih nostalgična aluzija na njeno prvo indijsko obdobje. Čista desetletij življenja. V njenem vzdihu in izdihu je nekaj ljubezen so edina nebesa, ki so nam že tukaj na Zemlji neopisljivega, kot bi se zgodil most med takrat in zdaj, kot dosegljiva, če se le najdeta dva, ki se prav čutita. Lepše bi čas sprhnel v nič. Vse je in ni isto. izkušnje v človeškem bivanju ni. To je takrat v Indiji dobro razumela tudi Jasna Kozar. Leta 1975 se je Anka Krašna s svojima študijskima Ne glede na različnost tehnike, ki jo nedvomno dodobra kolegicama tri mesece spoznavala s tako zelo drugačno in obvlada, poglabljanje v umetniške trende v svetu in neizmerno bogato kulturo Indije ter sosednjega Nepala. nenehno izpopolnjevanje svojega slikarskega znanja, vselej Tam ni veliko risala. Nastala je tu in tam kakšna risba s upodablja to, o čemer trenutno razmišlja in kar se ji v svinčnikom (Speča Indijka, 1975), tudi kasneje, ko se je določenem življenjskem obdobju dogaja (LA-LA Land, vrnila domov k študiju, ni posegala po indijski tematiki, 2023). Na tej osnovi so nastale nove slike, v katerih ima indijskem koloritu. Intenzivna doživljanja in spoznavanja še vedno vidno vlogo hinduizem, ki ga je privzela v Indiji. so gradila njeno bit in ker pri ustvarjanju vedno izhaja Močne in neukročene barve, med katerimi se je izgubila iz sebe, iz svojega čustvovanja, razmišljanja in doživljanja, evropska kultiviranost, osvojena med akademskim je njeno bivanje v Indiji in Nepalu še kako vplivalo na študijem, so še vedno navzoče ( Bombay-Mumbay, 2025). vse njeno kasnejše ustvarjanje. Še vedno rada potuje Čistim, osnovnim barvam in sproščenim zamahom s in se udeležuje umetniških kolonij in ex-temporov. Je čopičem, pospremljenim z radostnim užitkom ustvarjanja, prejemnica mnogih javnih priznanj in nagrad, med njimi je vnesena nova razsežnost, močna mitološka poanta nagrade Zveze društev slovenskih likovnih umetnikov (Kača Vasuki, 2025). Na drgetajočih gubah neba vznikajo za življenjsko delo (2017) in Glazerjeve nagrade za drugačni svetovi iz temnih globin in brezmejnih črnin življenjsko delo v Mariboru (2025). Refleksija vrhunske 3 Indija umetnice se kaže v globokih sledeh, ki jih pušča za seboj, belo obleko zakrita ženska celopostavna figura, gledalca ko se z ustvarjalno mladostno svežino in radovednostjo soočata s spoznanjem kako v različnih družbah ženski, ki izogiba kalupom, v katere so ujeti prevladujoči trendi na ji je umrl mož, vsilijo povsem drugačno, novo identiteto področju vizualne umetnosti, ko z izjemnim poznavanjem izobčenke, nebodijetreba, mučenice. Ženske ponekod še likovnega jezika, njegovih pravil in zahtev na področju danes v Indiji doživljajo okrutnosti. A vsaj indijske oblasti slikarske umetnosti in likovne pedagogike ruši tabuje in ko hočejo povsem izkoreniniti star običaj, ko se vdove žive z lastno ikonografsko likovno govorico in z neizprosnim zažgejo na grmadi svojega pokojnega moža. Sati, kot se družbeno kritičnim pogledom ter brez strahu kaže imenuje ta hindujski običaj, je že dve stoletji prepovedan, na krivice. Angažirana dela Anke Krašna se dotikajo vendar se kljub prepovedi to na podeželju še vedno dogaja. večplastnih družbenih pojavov, vendar se slikarka pri Zdaj naj bi bile vdove namesto kot prestopnice, ki so predstavljanju teh tem izogiba spektakularnim vizualnim nameravale storiti zločin, obravnavane kot žrtve. Zgodnje pristopom in poenostavitvam političnega diskurza. Teme poroke s soglasjem dekleta ali brez njega so prav tako prikazuje večplastno in kompleksno. Večinoma nagovarja oblika nasilja, saj spodkopavajo neodvisnost milijonov z izbranimi simboli, ki jih zgolj z nekaj potezami uspe deklet (Ženinu v dar, 2025). Hinduizem ženske tretira kot prenesti v jedro zgodbe. Pogosto slike niza v cikle, nekateri sužnje in bitja brez vsakršnih pravic. Za dostojanstveno se se izrazito navezujejo na probleme žensk v svetu. Med šteje le rojstvo moškega potomca. Od ženske se pričakuje, njimi je Dnevnik gospodične Blondy (2004) in obsežnejši da bo skrbela za gospodinjstvo in ugajala svojemu možu, cikel Brez besed (2018), ki predstavlja večinoma v belo kadar koli on to zahteva, da bo rodila toliko otrok, kot si oblečene celopostavne neveste in je nadgradnja cikla iz leta jih njen mož želi ter da bo spoštovala skupnost, da bo glavo 2017, v katerem so bile upodobljene v črno odete in zakrite držala sklonjeno in se ne zaljubila (Nevesta I. in Nevesta ženske v burkah. Njena v to smer angažirana dela so bila II., 2025). Anka Krašna s svojimi novimi deli, na katerih tudi na skupinski razstavi Vedno na voljo: Feministične prav rdeča obleka simbolizira vso ne na glas izrečeno, a pozicije v vizualni umetnosti v Sloveniji (Moderna galerija, pekočo bolečino, kaže na to, da je položaj žensk v svetu še Ljubljana, 2023), ki je sporočala, da je učinek podreditve vesolja daleč od osnovnih pravic zanje in se zdi še marsikje lahko zgolj nasilje. Feministične misli sežejo na različna povsem brezizhoden. polja družbenega in osebnega, avtorice so skušale ponazoriti svoj pogled na to, kaj vse še danes bremeni ženske v svetu. Nostalgija, obuditev spomina na lastno rodbinsko Čeprav z omamo spomina izginjajo prividi, Anki Krašna preteklost, na okolje minulega otroštva in na kraje okoli zaradi let, ki so se nabrala, še ni ugasnil žar v očeh. Še snežniškega gradu, se v vsem slikarstvu Stanislave vedno drži svinčnik v roki, s čopiči nanaša barve ali sestavlja Sluga Púdobske prepleta tudi s potovanjem po Indiji in pomenljivo zamišljene objekte. Velika slika Spomin na Nepalu. Domači kraj z ostrnicami in barvitimi njivami, Nepal (2025) prikazuje še vedno živ pogled na vasi, kjer ki ga obdajajo, je zanjo neizčrpen vir slikanja. Umetniško so po dvoriščih in cestah sušili papriko. Tudi druga njena ime Púdobska si je nadela prav po svoji rojstni vasi razstavljena dela so nastala lani in letos, navezujejo pa se na Pudob v Loški dolini, kjer se je kot tretji otrok rodila njeno nekajletno tematiko problematike položaja žensk v materi Mariji in očetu Francu, ki je v ženino vas prišel iz različnih družbenih okoljih. Mnogokrat je v njenih delih Hrenovic pri Postojni. Njeno otroštvo, ki ga je preživljala obravnavana osebna bolečina, izražena skozi abstrakcijo, z dvema bratoma in s sestro, je poleg matere zaznamovala simboliko ali instalacijo. Pri tem je bil izbor barv izrazito stara mama, ki jo je s svojo razgledanostjo podpirala pomemben ne glede na tehniko ustvarjenega dela. Z pri šolanju. Na svojih likovnih delih je slikarka menjala introspekcijo skozi barve je vedno znala na svoj način vplesti različne umetniške podpise kot spoštovanje do rodne tudi gledalca v razmišljanje o izpovedni moči vsake podobe. vasi in kjer še danes živi, dokler se leta 1984 ni dokončno V njenih novih razstavljenih delih boleče prevladujeta bela odločila za vzdevek Púdobska. Zaradi nenadne bolezni v in rdeča barva. Obe sliki Vdova I. in Vdova II. (2023), otroštvu je bila prisiljena daljše obdobje ležati in mirovati. na katerih v mešani tehniki na platnu dominira po ena z Tako je že kot petletna deklica poslušala pripovedi stare Indija 4 mame o Rembrandtu, Kobilci in o Lojzetu Perku, slikarju, kar s slino. Predajala se je linijam na različnih papirjih, ki je prav tako ustvarjal v deželi ob Cerkniškem jezeru. ritmično spevnim nizanjem povezujočih črt, ponavljajočih Osnovno šolo je obiskovala v Iga vasi in kasneje v Starem se in pripovednih kot verzi in kitice v pesmih. Tako je trgu pri Ložu. Neskončno rada je brala knjige, spoznavala hlastno odpirala meje svojega horizonta: še naprej v ilustracije in tudi sama začela zgodaj in intenzivno risati. spominih živeti drugje, zbežati iz svojega ozkega sveta Še danes ve, kakšen vpliv so nanjo imele arhaične pravljice v druge dežele, na drug kontinent, med druge kulture, tedaj zelo priljubljene češke pisateljice Božene Nemcove s drugačne odnose. Poleg njenih risb in akvarelov s poti je sanjami o ljubezni, ki premaga vse ovire in predsodke, vero doma, med letoma 1975 in 2001, na temo Indije naslikala v človeško zvestobo, pogum in bratstvo, s hrepenenjem po sedemindvajset slik v oljni tehniki. Vsekakor so na večjih socialni pravičnosti. Domala vraščen je vanjo tudi spomin ali manjših slikah atraktivni Indijci s turbani, ki pred na poslikano pločevinasto škatlo, ki jo je med 2. svetovno nedoločljivimi ozadji v zamišljenih, vase poglobljenih vojno njena teta zasegla nekemu vojaku. Kot otrok jo je ob pozah dominirajo sredi vsake podobe. Najmanjša je oljna pustih dneh lahko odprla in se igrala z njeno vsebino: v slika na pozlačenem lesu (Indijec, 1976), ki v objemu njej so bile na trdih karticah številne reklame, ki nekatere ozadja aludira na bogastvo, kar nosi kasnejša podoba še danes hrani, a tudi razglednice iz vseh velikih krajev moškega s turbanom že v naslovu Bogastvo in lepota na svetu, tudi iz Kalkute, s katere se podobe slona še (1980). Vsebina ni enaka na vseh estetsko atraktivnih danes spominja. Tudi kasneje v življenju je vse počela zelo podobah, na katerih v imaginarni pokrajini dominira intenzivno. Po diplomi na Akademiji za likovno umetnost rdeča barva (Kamelar z rdečim turbanom, 1979). Leta je skupaj s slikarko Anko Krašna restavrirala freske v gradu 1978 se je v Indiji začela intenzivna industrializacija Zemono pri Vipavi in v cerkvi v Drežnici pod Krnom. V podeželja, kar je sprožalo proteste in odprt upor. Štirje Starem trgu pri Ložu pa je kasneje sama restavrirala slike postavni moški na sliki Tihi upor (1980) v tradicionalnih na velikih lesenih ploščah Božjega groba, freske v cerkvi belih oblačilih gredo naravnost proti gledalcu, iz ospredja na Babnem polju in pet velikih kopij Fortunata Berganta slike zrejo vanj kot modreci. Čeprav v prelepih barvah v cerkvi na Križni gori. Različne smeri sodobne umetnosti oblačila, ženska na sliki Žena z vrčem (1980) nima na so jo zanimale, iskala je svojo pot in ustvarila samosvojo čelu zaščitnega znaka bindi. Njen pogled je dramatičen, poetiko, navezujočo se na nenehno navzoč génius lóci, sklonjen k tlom. Slika O. B. L. 11. september 2001 čeprav je hlepela po potovanjih in spoznavanjih drugih (2001) je nedokončana. Za moškim z rdečim turbanom kultur. sta Loško polje in Snežnik, temni oblaki se trgajo, skoznje Izkušnja Indije je bila za slikarko Stanislavo Sluga zasijejo pojemajoči se sončni žarki. Seznanjena s tragedijo, Púdobsko silovita, posebno na likovnem področju. Vsi ob kateri je onemel ves svet, se je ni več dotaknila. S tem tisti svetopisemski prizori z meglicami, preprostim vaškim je bil končan tudi njen indijski cikel. življenjem domačinov ob soju oljenk ali lune, je globoko vplivalo nanjo. Povsod je skicirala in risala. Na vlaku *** (Speči na vlaku, Goa, 1975) ali ob občudovanju belih jader Indijo idealiziramo in si jo predstavljamo kakor državo, v vetru ( Jadrnica, Elephanta cave, 1975). Na ponovnem ki je zelo poduhovljena. A ta sveta država ima tudi svoje bivanju v Indiji, ko je tam ostala pol leta, je bilo več temne plati. Stališča, ki so se razvila okoli patriarhalnih priložnosti, a zelo različnih: včasih je morala risbo končati razlag verskega prepričanja, so definirala ter oblikovala skoraj v hipu (Obisk medicinske sestre Karmen, Kantalu; družbene in kulturne kontekste indijskih žensk, kar je Večerna šola za deklice, Sarkilimbi, 1978), drugič je motiv privedlo do njihovega drugorazrednega statusa, o čemer lahko natančneje ujela (Daliben in Portret s turbanom, nas seznanjajo tudi slike indijskih nevest in vdov Anke Kagramahura; Namakanje I., Vakatimba, 1978), včasih Krašna. Kljub temu, da se v Indiji že dolgo trudijo zajeziti pa so ji domačini sceno celo pripravili, tako je nastala v nasilje nad ženskami, se zdi, da le to strmo narašča. Nana Kantharii drobna risba Kameli (1978) s svinčnikom Počasi, a vendar pa se marsikaj spreminja. Ko je OZN na oker papirju, kjer si je za barvitost podobe pomagala leta 2011 razglasila 23. junij za mednarodni dan vdov, 5 Indija je bilo uradno pojasnilo kaj žalostno: da so vdove v številnih kulturah zelo ranljiva populacija, tradicionalno izpostavljena zlorabam in revščini, tako da je že samo vdovstvo treba obravnavati kot izgubo človekovih pravic. V Vrindavan južno od New Delhija prihajajo vdove iz vse Indije, zlasti iz zvezne države Zahodna Bengalija, kjer so zelo vdani Krišni. Včasih pridejo v spremstvu guruja, ki mu zaupajo. Včasih jih pripeljejo svojci, odložijo jih v ašramu ali na uličnem vogalu in se odpeljejo. Toda celo sorodniki, ki vdove ne odpeljejo od doma, ji lahko vsak dan nedvoumno kažejo, da med njimi nima več nobene vloge. Vdovo v Indiji za vekomaj bremeni nesreča, da je preživela moža. Telesno žive, a družabno mrtve se tudi same za topel obrok in osmišljeno življenje zgrinjajo vanj z avtobusi ali vlaki. Kot že toliko rodov. Tam niso v stiku z družino. Zdaj so tam med sabo družina. Epilog. Po petdesetih letih se je hipijevski duh izgubil. Zdi se, kot da ne Evropa ne ves svet danes ne znata odgovoriti na nič, naša humanost je odpovedala. Vsak hip se svet lahko za vselej uniči. Ali so vse to zares naredile zvezde? Je to res kali yuga? Je za sedanjo dobo, polno konfliktov in greha, res kriv Šiva? Nekaj, kar je takrat – pred petdesetimi leti – ponujal čas, je dokončno izgubljeno. Tudi evropski stik z Indijo. Je nastopil čas za povratek k njej in njenim temeljem? Nedvomno. Indija je kljub zaostrovanju odnosov s Pakistanom, rožljanju z atomskim orožjem in pobijanju muslimanov še naprej zibelka raziskovanja človeške energije in duha. Tako Indijo bi si želeli nazaj, četudi ni prava Indija Koromandija. Hvala vsem trem slikarkam, Jasni Kozar, Anki Krašna in Stanislavi Sluga Púdobski, ker so nas spomnile nanjo. Indija 6 Y e s t e r d a y Tatjana Pregl Kobe “Yesterday is history. Tomorrow is a mystery. Today is a Himalayas. Slovenian students in the former Yugoslavia gift, that’s why it’s called the present.” This meaningful lived in this atmosphere as well. The peaceful Buddhist quote which is often attributed to Eleanor Roosevelt or, environment, in which one could feel incredible peace by some sources, to Bill Kean, and which was famously and infinite sacred emptiness, was quite redeeming for repeated by Master Oogway in Kung Fu Panda, is tailor- many. The teaching “love even your enemy, because you made for three painters who travelled to India in their need him, because he can teach you compassion” was youth and are now, fifty years later, looking back on their invaluable to many. Even today, it seems incredible how experience. Three years ago, Stanislava Sluga Púdobska the Dalai Lama taught his followers to coexist with initiated a commemorative exhibition of their joint trip to their enemies! This diversity also attracted a multitude India, on the occasion of her 70th exhibition at Snežnik of student subcultures. What attracted them most was Castle, which was mainly dedicated to her Indian cycle. the sense of the long history of civilization, a kind of Showing India just as it was half a century ago, when timelessness, dizzying depth, heavenly heights, not only they went there together for three months. In 1972, in colorfulness, but also smells and sounds. And the most her first year at the Academy of Fine Arts in Ljubljana, diverse types of spirituality, so that people can worship while reading the magazine Ognjišče, she came across almost as many gods as there are Indians themselves. the address of Slovenian missionary Sister Marija Sreš, who worked and studied in India. After three years of Of course, many people wondered why they had come correspondence, they met and so the decision to visit India here at all soon after arriving in New Delhi. In the slums was made. As a graduate, in 1975 she invited her fellow among the dilapidated houses at the end of a littered students, Jasna Kozar and Anka Krašna, both painters street, surrounded by beggars stretching out their hands to who were also keen to explore the world, to join her on foreigners and begging for baksheesh. Still the prevailing the trip. All three arrived there for the first time during the opinion was that only here could one experience ecstasy, intense period of the hippie movement, which had brought incredible enthusiasm, and complete liberation. Only many young people from all over the world to India. But here could one feel connected to the universe! Where they were driven by other motives. Young people with long you are overcome by a wave of joy and happiness for no hair and beards, wearing tight bell-bottoms and brightly apparent reason, and you would suddenly like to stay in colored shirts, representing a kind of rebellion against India forever. The paintings and drawings by Jasna Kozar, the established way of life, flocked to the land of Indian Anka Krašna, and Stanislava Sluga Púdobska presented in wisdom and, at the same time, to the land of sacred cows this exhibition show their many years of life experiences and elephants, where even monkeys can still jump around in connection to India. freely. The Beatles also travelled to India, sending messages about the magical country and the influence of new music, *** which allowed for much more freedom and was followed In her university painting class, Jasna Kozar drew an by a crowd of hippies, flower children who advocated for Indian beauty, which her professor Gabriel Stupica was an equal, just, and simple way of life. Yesterday and other not impressed with. Nevertheless, she studied Eastern songs were an unofficial anthem that attracted many to art styles and analysed them in her thesis entitled A travel to New Delhi and along the Silk Road through the Comparison between Eastern and Western Art. After mountain passes of the Hindu Kush, Karakoram, and visiting India and Nepal in 1975 with her two classmates 7 Indija from the academy, she returned to India alone in 1979, this artistic trends and constant refinement of her painting time for postgraduate studies. She remained there until skills, she always depicts what she is currently thinking 1983, immersing herself in Indian culture and painting about and what is happening to her at a particular stage with watercolors. After completing her master’s degree, in her life (LA-LA Land, 2023). On this basis, new she married an Indian man, Janak Hutheesing, took his paintings have been created in which Hinduism, which surname, and stayed there for a few years, before they she adopted in India, still plays a prominent role. The moved to Slovenia together. They never had children. For strong and untamed colors, among which the European a while, they lived in Maribor with her mother, then in sophistication acquired during her academic studies has Ljubljana in Švicarija, where she kept her studio. After their been lost, are still present ( Bombay-Mumbay, 2025). divorce, she moved back to Maribor, and a few years later Pure, basic colors and relaxed brushstrokes, accompanied her ex husband died, leaving the painter with a portrait by the joyful pleasure of creation, are given a new that she had drawn long ago in a realistic, ascetic, but also dimension, a powerful mythological point (Vasuki Snake, affectionate and sensual style with pencil on paper (Janak 2025). Different worlds emerge from the dark depths and Hutheesing, 1986). Although she was already recognized boundless blackness of the universe on the trembling folds as being good at drawing during her studies, she was of the sky. The snakes of the constellations, stepping out enchanted and captivated by the abundance of colors of eternity onto the shining Milky Way, glisten in the offered by her new environment in India (Peacocks, 1986). scales of apparent mirrors on their journey to other layers The expressive color symbolism she adopted during her of existence, magical and mythological. Vasuki, the king eight-year experience in India has a powerful meaning of snakes, is usually depicted in Hindu iconography as in her works. Vehement strokes emphasize the process of wrapping himself around Shiva’s neck, who is supposed painting, while the eruptive power is evident in the almost to bless him and wear him as an ornament. subconscious gestures of applying vivid colors to the The way the figure is depicted has also changed, and is heart of the image itself, which is impulsive and strongly of course not realistic (Merkaba, 2025). Merkaba is an stimulated by erotic delight (Indian Experience, 1989). ancient symbol for a body of light that enables transition The sensuality shown in the landscape and figural images from one dimension to another. It consists of three sets of often provocatively challenges the viewer’s gaze, which, star-shaped tetrahedrons: one set is male and rotates to the despite the different technique with acrylic and spray left, the other is female and rotates to the right, and the paint, she brought into the much later painting Egotrip third is neutral and remains stationary. Since symbolism (2009). Throughout Jasna Kozar’s long creative career, her plays a strong role in the painting, the implied figure is also many physical and spiritual journeys have found their way represented using the same language. The seductive charm into her expressive images (Street in Bombay, 2005). Of of the vivid colors in the painting Khazarian Self-Portrait course, the painter’s visual language has changed, broken (2025) catches the eye, while the dark background reveals down, and been supplemented. In the spirit of occasional the magic of the illusion with which the painter explores changes in her visual language, the painting Hippy questions about her existence, about the essence of her (2016) was also created a decade ago. With the allusion own identity. Are we ultimately what we love, what we are to objectivity removed, the lightness and airiness of the devoted to? Cleansed of suffering, of the sins we carry? Of pictorial surface could act as a nostalgic allusion to her first buried secrets? The title of the painting is not accidental. Indian period. Pure love is the only heaven that is already The name Khazar comes from the Persian word khazar, accessible to us here on Earth, if only two people who truly which means a thousand, and originally, in the Turkish feel each other can find each other. There is none more language, meant to be mobile, to travel or to wander. In beautiful experience in human existence. Jasna Kozar also addition, the Khazar region allowed for a wide range of understood this well in India at the time. religions. In this context, too, this image is the painter’s Regardless of the diversity of techniques, which she autobiography, a complete representation of the last five undoubtedly mastered and her immersion in global decades of her life. There is something indescribable in Indija 8 her inhale and exhale as if a bridge had been built between topic were also featured in the group exhibition For Your then and now, as if time had crumbled into nothingness. Pleasure: Feminist Positions in Visual Art in Slovenia Everything is and is not the same. (Modern Gallery, Ljubljana, 2023), which conveyed the message that violence can be the only consequence of In 1975, Anka Krašna and her fellow students spent three subjugation. Feminist thoughts extend to various fields of months getting to know the very different and immensely social and personal life, and the authors have attempted rich culture of India and neighbouring Nepal. She did not to illustrate their view of what still burdens women in the draw much there. She made a few pencil drawings here world today. and there ( Sleeping Indian Woman, 1975), but even later, Although the haze of memory causes illusions to fade, when she returned home to continue her studies, she did Anka Krašna’s eyes still shine brightly despite the passing not return to Indian themes or Indian colors. Intense years. She still holds a pencil in her hand, applies paint with experiences and discoveries shaped her being, and since brushes or assembles meaningful, imaginative objects. her creativity always stems from herself, her emotions, The large painting Memory of Nepal (2025) depicts thoughts, and experiences, her stay in India and Nepal a still vivid view of villages where peppers were dried greatly influenced all her later work. She still enjoys in courtyards and on roads. Her other exhibited works traveling and participating in art colonies and ex-tempore were also created this and last year, and are related to her events. She has received numerous public recognitions and several-year-long creative exploration of the situation of awards, including the Lifetime Achievement Award from women in different social environments. Her works often the Association of Slovenian Fine Artists (2017) and the deal with personal pain, expressed through abstraction, Glazer Lifetime Achievement Award in Maribor (2025). symbolism, or installation. The choice of colors was The reflection of this outstanding artist is evident in the always particularly important, regardless of the technique deep traces she leaves behind as she avoids the molds used to create the work. With introspection realized in which the prevailing trends in the field of visual arts through colors, she has always been able to engage the are trapped, and she does so with her creative youthful viewer in her own way, reflecting on the expressive power freshness and curiosity, as she breaks down taboos with of each image. In her new exhibited works, the colors her exceptional knowledge of visual language, its rules and white and red are painfully predominant. Both Widow requirements in the field of painting and art education, I and Widow II (2023), in which a full-length female she breaks taboos, and with her own iconographic visual figure covered in white clothing dominates the canvas in a language and uncompromising socially critical view, she mixed technique, confront the viewer with the realization fearlessly points out injustices. of how, in different societies, a woman whose husband Anka Krašna’s socially engaged works touch on has died is forced to take on a completely different, new multifaceted social phenomena, but in presenting these identity as an outcast, a burden, a martyr. themes, the painter avoids spectacular visual approaches Women in some parts of India still experience cruelty and simplifications of political discourse. She presents today. But at least the Indian authorities want to completely her subjects in a multifaceted and complex manner. She eradicate the ancient custom of widows being burned mostly addresses them with selected symbols, with which alive on their deceased husbands’ funeral pyres. Sati, as she manages to convey to the core of the story with just a this Hindu custom is called, has been banned for two few strokes. She often arranges her paintings in conceptual centuries, but despite the ban, it still occurs in rural areas. cycles, some of which are strongly related to women’s issues Now, instead of being treated as criminals who intended to in the world. These include Miss Blondy’s Diary (2004) commit a crime, widows are to be treated as victims. Early and the more extensive cycle Without Words (2018), marriages, with or without the girl’s consent, are also a which depicts mostly white-clad full-length brides and is form of violence, as they undermine the independence of a continuation of the 2017 cycle, which depicted women millions of girls (A Gift to the Groom, 2025). Hinduism dressed in black and covered in burqas. Her works on this treats women as slaves and beings without any rights. 9 Indija Only the birth of a male offspring is considered dignified. it on boring days and play with its contents: it contained Women are expected to take care of the household and numerous advertisements on stiff cardboard, some of please their husbands whenever they demand it, to bear as which she still keeps today, as well as postcards from all many children as their husbands desire, and to respect the the major cities in the world, including Calcutta, whose community, keep their heads bowed, and not fall in love images of elephants she still remembers today. Later in (Bride I and Bride II, 2025). Anka Krašna, with her new life, she continued to do everything very intensely. After works in which a red dress symbolizes all that is unspoken graduating from the Academy of Fine Arts, she and the but burning with pain, shows that the position of women painter Anka Krašna restored the frescoes in Zemono in the world is still far removed from their basic rights and Castle near Vipava and the paintings on large wooden often seems completely hopeless. panels of the Holy Sepulchre in the church in Držnica under Krn. Nostalgia, the revival of memories of her own family history, In Stari trg by Lož, she painted the backdrop of the Holy the environment of her childhood, and the places around Sepulchre in the church, frescoes in the church of Babno Snežnik Castle, are intertwined with travels through India Polje, and five large copies of Fortunat Bergant’s work and Nepal in Stanislava Sluga Púdobska’s paintings. in the church on Križna mountain. She was interested Her hometown, with its sharp edges and colorful fields in various genres of contemporary art, sought her own surrounding it, is an inexhaustible source of inspiration for path, and created her own poetics, referring to the ever-her painting practice. She took the artistic name Púdobska present genius loci, even though she longed to travel from her native village of Pudob in the Loška Valley, where and learn about other cultures. The experience of India she was born as the third child to her mother Marija and was powerful for the painter Stanislava Sluga Púdobska, father Franc, who came to his wife’s village from Hrenovice especially in the field of art. All those misty biblical scenes, near Postojna. Her childhood, which she spent with two the simple village life of the locals by the light of oil lamps brothers and a sister, was marked not only by her mother or the moon, had a profound effect on her. She sketched but also by her grandmother, who supported her education and drew everywhere. On the train (The Sleeping on the with her broad-mindedness. In her artworks, the painter Train, Goa, 1975) or while admiring the white sails in the used various signatures as a sign of respect for her native wind (Sailboat, Elephanta Cave, 1975). village, where she still lives today, until she finally decided During her second stay in India, when she remained there on the pseudonym Púdobska in 1984. Due to a sudden for half a year, there were several opportunities, but they illness in her childhood, she was forced to lie down and were very different: sometimes she had to finish a drawing rest for a long period of time. Thus, as a five-year-old girl, almost instantly (Visit of Nurse Karmen, Kantalu; Evening she listened to her grandmother’s stories about Rembrandt, School for Girls, Sarkilimbi, 1978), while at other times Kobilica, and Lojze Perko, a painter who also worked in she was able to capture the motif more precisely (Daliben the region around Lake Cerknica. and Portrait with Turban, Kagramahura; Irrigation I., She attended elementary school in Iga village and later Vakatimba, 1978), and sometimes the locals even prepared in Stari trg by Lož. She loved reading books, studying the scene for her, which is how the small drawing Camels illustrations, and began drawing intensively at an early (1978) was created in Nana Kantharii with a pencil on age. Even today, she remembers the influence that the ochre paper, where she used her saliva to add color to the archaic fairy tales of the then very popular Czech writer image. She surrendered to the lines on different types Božena Němcová had on her, with their dreams of love of paper, to the rhythmically melodious sequences of that overcomes all obstacles and prejudices, their belief connecting lines, repetitive and narrative, like verses and in human loyalty, courage, and brotherhood, and their stanzas in poems. This is how she eagerly opened up the longing for social justice. She also has a vivid memory boundaries of her horizon: continuing to live elsewhere of a painted tin box that her aunt confiscated from a in her memories, escaping from her narrow world to soldier during World War II. As a child, she would open other countries, to another continent, to other cultures, Indija 10 to different relationships. In addition to her drawings and exposed to abuse and poverty, so that widowhood itself watercolors from her travels, she painted twenty-seven oil must be considered a loss of human rights. In Vrindavan, paintings on the theme of India at home between 1975 south of New Delhi, widows come from all over India, and 2001. especially from the state of West Bengal, where they are very Indians wearing turbans, who dominate the center of devoted to Krishna. Sometimes they come accompanied by each image with their pensive, introspective poses against a guru they trust. Sometimes they are brought by relatives, indeterminate backgrounds, are undoubtedly attractive who drop them off at an ashram or on a street corner and in either larger or smaller paintings. The smallest is an drive away. But even relatives who do not take widows oil painting on gilded wood (Indian, 1976), which, away from their home can show them every day that they embraced by the background, alludes to wealth, as does no longer have a role among them. In India, widows are the later image of a man with a turban in the title Wealth forever burdened by the misfortune of having outlived and Beauty (1980). The content is not the same in all their husbands. Physically alive but socially dead, they aesthetically attractive images, in which the color red flock to Vrindavan by bus or train for a warm meal and dominates the imaginary landscape (Camel Rider with a meaningful life. As did many generations before them. Red Turban, 1979). In 1978, intensive industrialisation There, they have no contact with their families. Now they of the countryside began in India, triggering protests and are family to each other. open rebellion. The four stately men in the painting Silent Rebellion (1980), dressed in traditional white clothing, Epilogue. After fifty years, the hippie spirit has been lost. walk straight towards the viewer, gazing at them from the It seems as if neither Europe nor the rest of the world foreground of the painting like wise men. Although dressed today knows how to respond to anything; our humanity in beautiful colors, the woman in the painting Woman has failed. At any moment, the world could be destroyed with a Pitcher (1980) does not have the protective bindi forever. Did the stars really cause all this? Is this really kali mark on her forehead. Her gaze is dramatic, lowered to the yuga? Is Shiva really to blame for the current era, full of ground. The painting O. B. L. September the 11th, 2001 conflict and sin? Something that time offered back then – (2001) is unfinished. Behind the man with the red turban fifty years ago – has been lost forever. This includes Europe’s are the Loško polje and Snežnik mountains, dark clouds contact with India. Has the time come to return to it and are breaking, and the fading rays of the sun shine through its foundations? Undoubtedly. Despite the escalation of them. Aware of the tragedy that has silenced the whole tensions with Pakistan, the rattling of nuclear weapons, world, she has not touched it again. This also marked the and the killing of Muslims, India remains the cradle of end of her Indian cycle. exploration of human energy and spirit. We would like to see India return to its previous allure, even if it is not really *** a magical country. Thank you to all three painters, Jasna We idealize India and imagine it as a very spiritual country. Kozar, Anka Krašna, and Stanislava Sluga Púdobska, for But this holy country also has its dark sides. Views that have reminding us of India. developed around patriarchal interpretations of religious beliefs have defined and shaped the social and cultural contexts of Indian women, leading to their second-class status, as illustrated by Anka Krašna’s paintings of Indian brides and widows. Despite long-standing efforts in India to curb violence against women, it seems to be on the rise. Slowly but surely, however, things are changing. When the UN declared June 23rd as International Widows’ Day in 2011, the official explanation was sad: widows are a very vulnerable population in many cultures, traditionally 11 Indija Jasna Kozar Rodila se je 7. marca 1952 v Murski soboti. Na Akademiji za likovno umetnost Univerze v Ljubljani je na smeri slikarstvo pri profesorjih Gabrielu Stupici in Jožetu Brumnu diplomirala leta 1975 in leta 1977 končala specialko pri profesorjih Gabrielu Stupici in Jožetu Ciuhi s teoretično magistrsko nalogo »Primerjava med umetnostmi vzhoda in zahoda«. Študij je leta 1979 nadaljevala na National Institute of Design v Ahmedabadu v Indiji leta 1979 ter se kasneje študijsko izpopolnjevala tudi v Cite des Arts v Parizu. Študijsko je veliko potovala. Imela je mnogo samostojnih razstav ter sodelovala na domačih in mednarodnih skupinskih razstavah. Bila je večkrat nagrajena. V Mariboru je vodila svojo Galerijo TriX (2010–2020). Danes je upokojena kot samozaposlena v kulturi. Je članica ZDSLU in DLUM. Živi in ustvarja v Mariboru. She was born on March the 7th, 1952, in Murska Sobota. She graduated from the Academy of Fine Arts at the University of Ljubljana in 1975, where she studied painting under professors Gabriel Stupica and Jože Brumen, and in 1977 she completed her specialization under professors Gabriel Stupica and Jože Ciuha with a theoretical master’s thesis entitled “A Comparison between Eastern and Western Arts.” She continued her studies in 1979 at the Kontakt: National Institute of Design in Ahmedabad, India, and later also Naslov: Betnavska 16, 2000 Maribor studied at the Cité des Arts in Paris. She travelled extensively during Mobilni telefon: +++386 (0)31 611 911 her studies. She has had many solo exhibitions and participated E-naslov: jasnaklara895@gmail.com in group exhibitions in Slovenia and abroad. She has received numerous awards. In Maribor, she ran her own gallery, Galerija TriX (2010–2020). Today, she is retired as a self-employed cultural worker. She is a member of ZDSLU and DLUM. She lives and works in Maribor. »Kaj nas je gnalo v Indijo? Na Akademiji za likovno umetnost smo »What drove us to India? At the Academy of Fine Arts, we drew vsak dan risali mali akt, od petih do osmih zvečer, potem pa smo small nudes every day from five to eight in the evening, then we šli v Šumi, kjer se je zbirala vsa hipijevska smetana. Kar naprej so went to Šumi, where all the hippie cream gathered. They kept potovali v Indijo in se vračali z zanimivimi zgodbami in pisanimi traveling to India and coming back with interesting stories and oblačili. Tisto poletje sem brala knjižico Kim, Rudyarda Kiplinga, colorful clothes. That summer, I read Rudyard Kipling’s book Kim, o angleškem dečku na indijski ulici. Ko me je Stana vprašala, če about an English boy on the streets of India. When Stana asked grem z njo v Indijo, sem rekla ja, saj drugače te ulice ne bi doživela. me if I would go to India with her, I said yes, because otherwise ‘Mladostna’ Indija me je močno prevzela, poročila sem se z Indijcem I would never experience those streets. ‘Youthful’ India captivated in sprejela hindujsko vero. Moje ‘indijsko’ obdobje je bilo doma me, I married an Indian man and converted to Hinduism. My lepo sprejeto predvsem zaradi močnih barv.« ‘Indian’ period was well received at home, mainly because of the strong colors.« Indija 12 Ulica v Bombaju, 2025, olje, platno, 140 cm × 65 cm Bombay Street, 2025, oil, canvas, 140 cm × 65 cm 13 Indija Hippy, 2016, akril, platno, 100 cm × 70 cm Hippy, 2016, acrylic paint, canvas, 100 cm × 70 cm Indija 14 Bombay–Mumbay, 2025, olje, platno, 110 cm × 120 cm Bombay–Mumbay, 2025, oil, canvas, 110 cm × 120 cm 15 Indija Kača Vasuki, 2025, olje, platno, 100 cm × 70 cm Vasuki Snake, 2025, oil, canvas, 100 cm × 70 cm Indija 16 Hazarski avtoportret, 2025, olje, platno, 70 cm x 60 cm Khazar self-portrait, 2025, oil, canvas, 70 cm x 60 cm 17 Indija Anka Krašna Rodila se je 30. aprila 1950 v Miklavžu na Dravskem polju. Najprej je študirala likovno pedagogiko na Univerzi v Mariboru, nato pa se je vpisala na Akademijo za likovno umetnost Univerze v Ljubljani, kjer je leta 1976 diplomirala na Oddelku za slikarstvo pri profesorju Francu Kokalju, specialko pa je končala leta 1979 pri profesorjih Gabrielu Stupici in Jožetu Ciuhi. Njen študijski čas so zaznamovala številna potovanja. Imela je več kot sto samostojnih razstav doma in v tujini. Od leta 1974 je sodelovala na številnih domačih in mednarodnih skupinskih razstavah, se udeležila mnogih likovnih kolonij in rezidenc ter bila za svoja dela večkrat nagrajena. Od leta 2001 je bila redna profesorica za risarsko in slikarsko oblikovanje na Pedagoški fakulteti v Mariboru, dokler se leta 2020 ni upokojila. Živi in ustvarja v Miklavžu na Dravskem polju pri Mariboru. She was born on April 30, 1950, in Miklavž na Dravskem polju. She first studied art education at the University of Maribor, then enrolled at the Academy of Fine Arts at the University of Ljubljana, where she graduated in 1976 from the Department of Painting under Professor Franc Kokalj, and completed her specialization in 1979 under Professors Gabriel Stupica and Jože Ciuha. Her studies were marked by numerous travels. She has had more than a hundred solo exhibitions at home and abroad. Since 1974, she has participated in Kontakt numerous domestic and international group exhibitions, attended Naslov: Ul. Zofke Kukovič 27, many art colonies and residencies, and received several awards 2204 Miklavž na Dravskem polju for her work. From 2001, she was a full professor of drawing and Mobilni telefon: +++386 (0)41 545 818 painting at the Faculty of Education in Maribor until her retirement E-naslov: krasna.anka@gmail.com in 2020. She lives and works in Miklavž na Dravskem polju. »Spomnim se, da sta v ateljeju na akademiji stali Stana in Jasna »I remember Stana and Jasna standing in the studio at the academy, in ko sem pristopila, mi je Stana povedala, da gresta v Indijo. ‘A and when I approached them, Stana told me they were going to lahko grem z vama’, je bila moja prošnja, izrečena v sekundi brez India. ‘Can I come with you?’ was my request, uttered in a second premisleka. Za pot v neznano nisem nikoli potrebovala premisleka. without hesitation. I never needed to think twice about a journey Res je bila Indija zame popolna neznanka. Tam se mi je odprl nov into the unknown. India was indeed completely unknown to me. svet, popolnoma drugačen od vsega, kar sem do takrat poznala, nič A new world opened up there, completely different from anything se ni dalo primerjati z do tedaj videnim in doživetim. Tudi me smo I had known before, nothing comparable to what I had seen and vzbujale začudenje pri domačinih, ker nismo bile ne turistke in ne experienced until then. We also aroused the curiosity of the locals hipijke. Preprosto, bila smo tri mlada dekleta, ki so se ‘zlila’ z Indijo because we were neither tourists nor hippies. We were simply three in jo ‘vsrkavala’ s vsemi čutili.« young girls who ‘merged’ with India and ‘absorbed’ it with all our senses.« Indija 18 Ženinu v dar, 2025, mešana tehnika (platno, prosojni papir, plastika, oglje, kreda, akrilne in oljne barve), 193 cm × 105 cm A Gift to the Groom, 2025, mixed media (canvas, transparent paper, plastic, charcoal, chalk, acrylic and oil paint), 193 cm × 105 cm 19 Indija Nevesta I., 2025, mešana tehnika - kolaž (platno, papir, oglje, krede, akrilne barve), 193 cm × 80 cm Bride I., 2025, mixed media - collage (canvas, paper, charcoal, chalk, acrylic paint), 193 cm × 80 cm Indija 20 Nevesta II., 2025, mešana tehnika - kolaž (platno, papir, oglje, krede, akrilne barve), 193 cm × 80 cm Bride II., 2025, mixed media - collage (canvas, paper, charcoal, chalk, acrylic paint), 193 cm × 80 cm 21 Indija Vdova I, 2024, mešana tehnika - kolaž (papir, oglje, pasteli, akrilne barve), 190 cm × 80 cm Widow I, 2024, mixed media - collage (paper, charcoal, pastels, acrylic paint), 190 cm × 80 cm Indija 22 Vdova II., 2024, mešana tehnika - kolaž (papir, oglje, krede, akrilne barve), 190 cm × 80 cm Widow II., 2024, mixed media - collage (paper, charcoal, chalk, acrylic paint), 190 cm × 80 cm 23 Indija Stanislava Sluga Púdobska Rodila se je 9. aprila 1952 v vasi Pudob, Stari trg pri Ložu. Na ljubljanski Šoli za oblikovanje je leta 1971 maturirala na oddelku za industrijsko oblikovanje, 1976 pa diplomirala iz slikarstva pri prof. Gabrijelu Stupici in prof. Špelci Čopič na Akademiji za likovno umetnost Univerze v Ljubljani. Svoje slikarsko znanje je izpopolnjevala v slikarskih kolonijah in v tujini. Eno leto je živela v Nemčiji, študijska potovanja so jo zanesla v mnoge kraje po Evropi ter v Nepal, Indijo, ki jo je prevzela s svojimi živimi barvami. Od leta 1977, ko je postala članica Zveze društev slovenskih likovnih umetnikov, je delovala kot samostojna umetnica vse do upokojitve 2012. Ukvarja se tudi z ilustracijo, oblikovanjem in portretiranjem. Pripravila je sedemdeset samostojnih in sodelovala na številnih skupinskih razstavah. Živi in ustvarja v Pudobu. She was born on April 9, 1952, in the village of Pudob, Stari trg by Lož. In 1971, she graduated from the Department of Industrial Design at the Ljubljana School of Design, and in 1976, she graduated in painting under Prof. Gabrijel Stupica and Prof. Špelca Čopič at the Academy of Fine Arts, University of Ljubljana. She perfected her painting skills in painting colonies and abroad. She lived in Germany for a year, and her study trips took her to many Kontakt places in Europe, as well as Nepal and India, which captivated her Naslov: Pudob 17, 1386 Stari trg pri Ložu with their vivid colors. Since 1977, when she became a member of Mobilni telefon: +++386 (0)31 618 894 the Association of Slovenian Fine Artists (ZDSLU), she worked as E-naslov: pudobska@gmail.com an independent artist until her retirement in 2012. She also works in illustration, design, and portraiture. She has prepared seventy solo exhibitions and participated in numerous group exhibitions. She lives and works in Pudob. »V želji po potovanju sem že v prvem letniku Akademije za »In my desire to travel, I happened to come across the address of likovno umetnost (ALU) leta 1972, ob branju revije Ognjišče, Slovenian missionary Sister Marija Sreš, who worked and studied slučajno naletela na naslov slovenske misijonarke s. Marije Sreš, in India, while reading Ognjišče magazine in my first year at ki je delovala in študirala v Indiji. Po triletnem dopisovanju sva se the Academy of Fine Arts (ALU) in 1972. After three years of srečali in dozorela je odločitev za obisk Indije. Kot absolventka ALU correspondence, we met and I decided to visit India. As a graduate leta 1975 sem povabila na pot še kolegici Anko Krašna in Jasno of the ALU in 1975, I invited my colleagues Anka Krašna and Kozar. Pri organizaciji trimesečnega potovanja nam je zelo pomagal Jasna Kozar to join me on the trip. Branko Perko was very helpful Branko Perko. Leta 1978 sva z Lojzetom Staničem na povabilo s. in organizing the three-month trip. In 1978, Lojze Stanič and I Marije Sreš pot ponovila s polletnim bivanjem v misijonu Nana repeated the trip at the invitation of Sister Marija Sreš, with a six- Kantharia v državi Gujarat. Poslej je bila vsa moja likovna dejavnost month stay at the Nana Kantharia mission in the state of Gujarat. pod vplivom te izkušnje.« From then on, all my artistic activity was influenced by this experience.« Indija 24 Namakanje, 1978, Vakatimba, svinčnik, oker papir - debel, gladek, 18,5 cm × 34 cm Irrigation, 1978, Vakatimba - pencil, ocher paper - thick, smooth, 18,5 cm × 34 cm Kameli, 1978, Nana Kantharia, svinčnik, slina - oker papir – debel, gladek, 19 cm × 27,8 cm Camels, 1978, Nana Kantharia, pencil, saliva – ochre paper – thick, smooth, 19 cm × 27,8 cm 25 Indija Kamelar z rdečim turbanom, 1979, olje, lan, 30 cm × 24 cm Camel Rider with Red Turban, 1979, oil, linen, 30 cm × 24 cm Indija 26 Tihi upor, 1980, olje, bombaž, 115 cm × 135 cm Quiet Rebellion, 1980, oil, cotton, 115 cm × 135 cm 27 Indija Žena z vrčem, 1980, olje, bombaž, 135 cm × 115 cm Woman with a Pitcher, 1980, oil, cotton, 135 cm × 115 cm Indija 28 11. september 2001, O.B.L., 2001, olje, lan, 70 cm × 95 cm September the 11th 2001, O.B.L., 2001, oil, linen, 70 cm × 95 cm 29 Indija Portret s turbanom, 1978, Kagramahura, Daliben, 1978, Kagramahura, svinčnik, svinčnik, oker papir – tanek, 26,2 cm × 22,2 cm oker papir – tanek, 26,2 cm × 22,2 cm Portrait with a Turban, 1978, Kagramahura, Daliben, 1978, Kagramahura, pencil, pencil, ochre paper – thin, 26,2 cm × 22,2 cm ochre paper – thin, 26,2 cm × 22,2 cm Indija 30 Kolofon Naslov kataloga: Indija Avtorice del na razstavi: Jasna Kozar, Anka Krašna, Stanislava Sluga Púdobska Galerija DLUM, Židovska ul. 10, Maribor, 30. 9.– 24. 10. 2025 Izdajatelj: DLUM, Trg Leona Štuklja 2, Maribor Založnik: DLUM, Maribor (zanj: Simona Šuc) Avtorica strokovnega besedila: Tatjana Pregl Kobe Oblikovanje in tehnično urejanje: Vojko Pogačar Fotografije likovnih del: osebni arhivi umetnic, za slike in risbe Stan- islave Sluge Púdobske pa Abakos d.o.o. Javni zavod Snežnik Urednica in prevajalka: Sara Nuša Golob Grabner Izid: Maribor, september, 2025 CIP - Kataložni zapis o publikaciji Vinar večera: Univerzitetna knjižnica Maribor 73/76Kozar J.(083.824) 73/76Krašna A:(083.824) 73/76Sluga Púdobska S.(083.824) KOZAR, Jasna Indija [Elektronski vir] : razstava : Galerija DLUM, Maribor, 30. 9. - 24. 10. 2025 / razstavljajo Jasna Kozar, Anka Krašna, Stanislava Sluga Púdobska ; avtorica strokovnega besedila Tatjana Pregl Kobe. - Maribor : DLUM, 2025 Način dostopa (URL): https://www.dlum.si/razstave ISBN 978-961-7255-07-2 (PDF) COBISS.SI-ID 250186755 Na naslovni strani / On the Cover: Jasna Kozar: Merkaba, 2025, akril, platno,150 cm × 100 cm Jasna Kozar: Merkaba, 2025, acrylic on canvas, 150 cm × 100 cm Anka Krašna: Spomin na Nepal, 2025, mešana tehnika (risba, oglje, olje, akril, platno), 213 cm x 265 cm (detajl) Anka Krašna: Memory of Nepal, 2025, mixed media (drawing, charcoal, oil, acrylic on canvas), 213 cm × 265 cm (detail) Stanislava Sluga Púdobska: Večerna šola za deklice, 1978, Sarkibilimbi, svinčnik, oker papir - tanek – gladek, 29 cm × 19,5 cm Stanislava Sluga Púdobska: Evening School for Girls, 1978, Sarkibilimbi, pencil, ochre paper – thin – smooth, 29 cm × 19.5 cm 31 Indija J a s n a K o z a r , A n k a K r a š n a , S t a n i s l a v a S l u g a P ú d o b s k a . Indija 32