1616. .

Sy naqelo bh Slov& i slov& b$ kh Bogu i Bogy bh slov s$e bh

iskoni k$ Bogu
( 1372, )



,,,

 ,
, .
, ,
. , , , ,
,
. ,
,
,
. ,
,
, .
,
,
,
, , ,
.
, ,
,
.
,
, ,
,
,
, , ,
.
,
,
,

.
, ,

, ,
,
.

.

 , ,

1. ,
, .

,
(CERN)2 .
, ,
,
,
, ,
- .
, ,
.
3

4.
, : ,
.
1

, (), : ,
(), : ,
; ,
, ,
.
2

Organisation Europenne pour la Recherche Nuclaire (CERN),

,
, ; 1954.
,
(LHC),

.
3

(Black Holes and baby Universes

and Other Essays by Stephen Hawking), ,

( , , ,
, 2002.)
4

,
. , .
, ,
. . ,
.

 1
1929. , , ,

, , .
, , -


.
,
, ,
. ,
,
, , (
) ,
, ,
,
:
,
. ,
, ,
, ,
, ,
,
. , ,
, ,
. ,
,
.

,
. ,
, ,
. ,
. , ,
1

, Edwin Powell Hubble (1889-1953.)

;
, 1926. .
.

 ,
,
, ,
.
,
,
, ,
, 1,

. ,
, ,

,
. , ,
,

.

, ,
,
,

, , . ,
,
.
,

, , , . ,
1

( :
,
), ,
,
, .

.
(, -, ,
), .
,
, , ,
, .

 ,
,
.
.
,
, .

.
,
, ,

,
.
, ,
,
, 1.

.
,
, , ,
,
.
,
. , ,

, ,
, , .
,
,
, :
, ,
,
, , ,
, , ,
.


,
1

, . (2003.). , (. 7). : .

 , .
,

,


. ,
,
, , , ,
.

- , ,
. ,
,

.
.

, .

, , ,
,
,
,
. , conditio sine qua non,
, , .
,
,
.
, ,
, . ,
,
, ,
, ,
,
1.
1

... ,
, . ,
(.9:17, , ..).

 ,
, 1.

. : , ,
, .
- .
, : ,
, , . ,
,
, .
,

, ,

, .

, ,
.
, ,
,
,
,
. ,

, , .
,
. , ,
, , 2.
1
,
., ,
, ,
, . (. ,
, , .. 1-3, . 1983. 19).
2

, . .

...
: () (),
( ), ( ),
( ). ;

10

 ,
. ,
,
.
. ,
, ,
. ,
, , .

, ,
, .1
.
.
j , ,

(,
...)

, , - . ,
,
, ,
, 2
. ,
, ,
,

.

, , , (
), ,
res () (. , , , , ,
-, 1994.. . 126).
1

, ,
, . ( ,
, ,
, 1997.. . 127).
2

,
, .
. , .. : ... ( )
, . (.
, , /, 1995. . 118).

11

 , ,
, ,
, ,
, .
, ,

,
.


, , , ,
. ,
, ,
, .

.


. ,
, ,
,
,
.
,
.
, , ,
, ,
. , ,
, , , ,
, .
. ,
, ,
. ,
.
,

, . ,
,

12

 , ,
,
.
, 787.
,
. , ,
, ,
, , ,
, .
, , .
,
,
, ,
, ,
, .
,
. ,
, ,
,
. .
. ,

1992.

13

Predrag Ristich, Kolach, Beograd, 2009

While many artists consider science dry and many scientists
find arts contaminated With arbitramess, the case of sacral objects
designer, architect Predrag Ristic chalenges both opinions. His position
is determined by the very nature of his profession, since architecture
appears both technique and art at the same time. The aticle expounds
authors long-term dichotomic attitude concerning religion, which in
many respect appears both unorthodox and inovative. The essay may
be read as a sort of mystical teaching. The author has conceived a
provocative picture of religious experience, making use of mathematical
and physical notions in explaining the
inner logic of the religious structure. By arguing that rational
(scientific) and irrational (religious) idioms have much in common, he
tries to set up a deductive scheme in expounding the religious content
of Christian church, with explicite refering to Euclide, as a paradigm od
the deductive method. His emphasis is on the (Serb) orthodox
dogmatics and religious practice, but comparison with Roman catholic
dogmatics as a contrast is made throughout the essay. An interesting
feature of the approach is the discrete appearence of the Old-Slavic
religious spirit, what reflects author'e (subconcious?) awareness of his
ethnic roots. The essay starts from Old-Slavic customs and deities, but
they both fade away along the article, illustrating, albeit unintentionally,
the time evolution of the religious idiom on Serb soil.
Scientists would find a number ofinprecisions in making use of
hard-science notions, but it is inevitable for any intermediary subject.
The author has succeded in fusing several formaly disparate subjects
into an organic whole and the essay reads as an inspired contribution to
the answer to the question what are similarities and what are
differences between hard science and religious dogmatics. The
underlying religious dogmatics concerning the rules in designing sacral
objects will surely help layman to appreciate the inner structure of
orthodox chruches. His interpretations of a number of clerical dogmas
may seem too bold, but they provide an unexpected angle of view of
what is usually considered as a mere collection of clerical recepies,
without underlying logic. Of course, it is the matter of the readers'
ideological background to accept or not author's approach, but the final
impression is surellly with the taste of an inspired originality.
Professor Petar Grujic, PhD

14

15


1616. .

Sy naqelo bh Slov& i slov& b$ kh Bogu i Bogy bh slov s$e bh

iskoni k$ Bogu
( 1372, )

16

 .
)

(.

.

.
.
(

17

 ,
( (1680-1749),
, 1996. . 380.)

1.

.
.
. , , ,

, .

,
,
. ,

.
,

. , ,

, ,
. ,
, -
.

18

2.

,

19


, - VI


.

. 4 6
.
.

20

,
. ,


1937.
1941.

(,
)


.

. ,

,
.
.
,

. ,
, (1932-1970)

,
. ( )

21

:
1.
2.
3.
4.
5.
6.
7.

- -

1957. .

.
,
,
,

.

.

22

23

3. *
Simion estin u meros uden.
Evklid
( .)

3.1

,
, ,
.

,
,
, , (
).
,
.


,
.

, ,
,
*

24

 .
.
,
, - ,
, ,

.
, , ,
, .

.

3. 2 -

.
, .
, .
, , ,
,
,
,
, .
, ,
( ).

25

3.3

- ,
.
- . I
,
. ,
, , .
, .

,

26

3.4 -

,
.

- - .
,

27

. ,
. ( ;
, , ,
, - - .)

3. 5 V -

.

, ,

. , ,
,
.
III,
, ,
,
, ,
; ,

. ,
,

28

 ,
, .
20 . 12 ,
,
, ,
.

3.6

,
VIII
.
,

29

 ,
.
.
,
, ,
,
. , ,
.

.

3.7
, ,
,
,
, ,
. -
, ,
. ,
, , , ,
, ,
( ).
, , .
, .
, , ,
, - .
, - BIGBANG,
, , ,
, ,
.
.

3.8

,
. :
, (-1943) : .

30


,
, , ,
, V- ,
.
,
,
,
.
,
,
. ,
, ,
, , .

, /
,
.

,


.

31

 ( ) 4

- ,
.
-

32


(1932-1970)

.
33

34

 1800

1975

35

 ,, 3.710
1984

36

, .
.
. ,
: ,

.
,
.

.
,
- .

37

.


.

.

38

39

40

41

42

4.1 -

-
, , ,
,
. .
, .
, .
. ,
.

43


. , ,
, , ,
. ,
,

( ),
, , -
.
(Unschrfe
Relation ) .

.
,
.

, ..

4.2
, ,
.
-
,


, . .

: , ,
.

. ,
, , ,
.

44

 ,

.

, ,

- .
,

, - -,

,
.
3

big beng-
. ,
.

5.

. ,
, .
,
, .
, ,

. -,
- ,
, ,
, .
, V , ,
,

45

 ,
,
, -
.
.
,
..
,
.
,
( . ),
, , .

5.1
,
;
, . ,
, .
, ,
, .
, (soft ware)
, (hard ware)
-.

5.2 ,
!

5. 3 - ; (apero)
46

 ,
, . , ,
.
IV .

(arh); ( ),
.

.
()
()
() 300.000 /.,
,
, , , , ,
. ,
, .

5.4 - ;

, ,

.

, (. . horzo - ; ). .
. ,
, ,
.
, () ,
, , ,
, ,
( ).
, , ,
, , - .
,
- - (
).
,

47

300.000 /., ,
; .

5.5 -

, , ,
,
, ,
.
.
, ,
, .
, , ,
() () - .

5. 6 V -
.
,
, , , ,
, ,
, .
, .

; .
,
.

48

 , -

.
: ,
; ,

49

 ;
.

, ,
,
, ,
.

50

6.

,
,
. ,
, .
, , ,
:
( ). ,
- ,
.
, ,
. ,
,
. , ,
, ,
. ,
, , (
), ,
,
( )
, ,
(; Unschrfe
Relation).
,
- agap. I,
,
.
, ,
, ,

,
.

51

7.
-

, - , ,
,
, . ,
.
, VIII
,
,
, ,
1/n, n , ,
, , .

, ,
,
,
.
,
(),
.
,
,
,
. ,
, ,
,
; .

, , , ,
, ,
, .
,
, ,
, ,
, , ,
( ).

52

 ,
, ,
,
.

. ,
,

,
,
.

.
,
;
,
,
, . .
,
.
,
, , -
,
, ,
,
,
, ,
, .



,
, ,
,
,
. ,
, - ,
.
,

53


.
IV

I . ,
,

.

( )

54

8.

. ,
, (*
) (-11/(),
.

.

.
,
.
.
,
. , ,
. ,
,
.
, ,
, .
,
12 .
,
.
,
,
,
.

55

56

( V .)

57

 

(- )

1972. . (= = )
58

59

.1 ( )

,
25.000 ,
.
.

60

8.2 ()

,
-, .

61

8.3 ( )

(
)

62

 ,
, 5.600 ,
. , ,
,
( 8.000 , ,
,

, ,
,
,
,
. .

,
.
,
,

, . ,
. (4 )
2 (2),
(3 ) 3
(3). 12
-
(5 ) 5 (5). (),
, - ,
.

,
,
. ,

. (
), ,

.

63

(* ),

64

9. -

750-

( -,
-) , ,

65

 ,

.

, (
).
( ),
( ), ( V).
, (
),
,
- ,
.
,
, ,
, ,

.
, . ,

, , .
-
() - , , ,
, ,

66

10.1
,
, , ,
,
, - .
,
, , ,
, ,
.
() ,
, ()
, ,

.

67

, ,
,
. ,
;
() -
.
, ,
,
. .
,
, , .
, ,
( ).
. ,
,

, .

10.2 V
:
68

 -

-
, . , .
- ,
( ).

. - ,
- .

, .

() ,
, ,
. -
, ,
. ,

69

 , , ,
,
.

, ,
.
,
, ,
.


.
,

, .
, , .
.
(),
. - ,
, VII ,
.

70

10.3
:

..

...

, , .
,
- , ,
, () - (
).
. -
.
, ,
, ,
. , ,
. , ,
, , ,
.
, -,
- ,
. -
, , , -

71

 .
, ,
, .

10.4 :
,
()

. , ,
, .
( 1).
,
,
-, ,
:
, , ,

( ).
, ,
, , ,
. , ,
. - , - ,

.
,
-
,
. I
, ,
. ,
, -
.

72

... () ...
-,
, VII
, ,
: ... .
, ,

.
, , .

(, )
.
,
() ,
, -

73

Rad blagodatna Marie, Gospody s$ tobo}

,
,

.
.
,
.
. :
.
, -

,
.

74





,
, ,
.




(Unschrfe Raltion Schrdinger)

.
,
.

75


,
, ,

, ,
, , ,
. ,
,
; ,
.
.
,
, .
,


. , ,

,
? , ,
,
.
.
,
.

,
.

.

( ) .

.
, ,
!

,

76



.

,
.
.
, ,
,
, , ,
.
. ,
,
.
,


,
.
V
( )
1.
()
2. ()


(Unschrferelation)

,

Schrdinger's Cat (
)
,
.

.
,
,
.

77

 ,
,
,
,
, ,
.
,
,

.
?
,
V
; ,
()
, .
:
, 109.

. 6 .
.
1. : !
2. .
3. .
4. .
5. .
6. , .

78



. ,
.



(1897-1968).


.
:

-
1 3 2

.
.
. . , , ......
( ),
!

79


?
.

.

.

. ,
. ,
.
, :
. /
/



.
, ,
-.
,
,
.
,
, . ,

,
. ,
, , .
, .

.
,
. .
,
.
,
,
- . ,

80

 ,
.
,
,
- 2004.


.
, .


19 2008. .
.

( 1999)
''''.
( 1984) 1986
, .
1974-77
2000
:
(
)
1
) ( - 8. 1973. . ,,
; ,,
,, .)
2
)
; , ; .
.

81

 1974.

.
( 1862-1943)

(..)
*

,, .1)
,
. ,, ,
; .
,
. ,
,, .

,, :
,

( 18, 15).
,, ,
(98, 7). ,,, - ,
,
2000, 1969. .

,, ...

( : , ,
, )
2) :
3. ,
.
2. .
. . .
" (. 2, 42).
,
.

82


( )

( )
, , .

.
: ,
. ,
, ,, .
,, ,
, ?
( , 38).
.
.
.
.
,
.
(
). .
x
.


,
() .
.
,
.

V W.
P Q.
,
, .
.
, .
, P Q.
: . .

83

 ;
.
, ; .
.
,
. : ,
. , ".
.
. ,
,
,
.
,
, , , .
.



, .
, .
,
.

W .
, ,
, .

. ,
.
V,
.
V

V ,
. ,
,
.

84

,, : ,
.
,
; .
. , ,
, ,

,
. ,
,
.

, ,
. P .

- .
.

. ,
.
,,
. ,
,
.
. , .
, .

( ),
.
.

-.
,
.

. , .
.
, :.
, .
.

85

 . ,
.
V

, .
,
. P
.
, .
,
.
, .
,

. ,
.
:
,, ,
,
.
, ,
,
.

1. .
2. .
3. .
4. .

1. .
2. .
4. .
,, ,
; ,
( 3,19).

86

Mathematics is the rule of the game which is played on paper

by leans of sensless symbols. - David Hilbert .(1862-1943)
GENESIS is the rule of the game which is played by a sensless
breaking of the bread.
GENESIS
(from the lecture - of the action, given on March 8, 1973 at
theTribune of the Youth (Tribuna mladih) in Novi Sad; Show-piece
of the exhibition Experiments organized by the Association for
Applied Arts in Serbia, and of the exhibition Xerox in Zagreb.
In the beginning God created the Heaven and the earth.
The earth was without structural life, an explosion of the
parent element in the universe. and the earth was without form and
void; and darkness was upon the face of the deep; And the spirit of
God moved upon the face of the waters. Darkness - those are the
dark caves in the universe, upon which magnetic clouds are moving,
this is the fluctuation of the -fluidum of the ether. The total of fluidic
being is created, seed sown in the universe. The access to the
parent element from man's point of view is reflected in the Psalms of

87

David: Then the channels of water were seen, and the foundations of
the world were discovered at thy rebuke. O Lord, at the blast of the
breath of thy nostrils (Psalm 18,15) Let the sea roar, and the
fullness thereof; the world, and they that dwell therein. (98,7)
Solaris, the planet-ocean of Stanislaw Lem, is a potential
description of such a substance, as well as my work Studentski
negapolis 2000 (Students' megapolis 2000) dating from 1969.
These works contain a prophecy of the future in the sense of In the
beginning there was the future.
*paradigma- special kina of mental and physical exercise as means of
revelation; to act to elevante mentally, to take pains, to exert
oneself.
Paradigma of the Genesis
(By the same author action by Lepenski vir performed in
Graz, Belgrade, Novi Sad and Rome) .
The cult of the Paradigma* Genesis is carried out:
1) with a piece of threat or a thin string and a shapeless mass
- clay mixed with water.
2) with a loaf of bread and a knife. ....And they continued
stedfastly in the apostles' doctrine and fellowship, and in breaking of
bread, and in prayers (The Acts of the Apostles, 2,42)
The actions are performed as drama. The action: a prayer service and genesis.
I. PARADIGMA
(played in the dark)
Plot of the Act
A lumb of earth (clay aixed with water), or a leaf of bread is
held in one hand, a piece of thread or a knife in the other.
Reflection over fhe Event
There are a substance with a threedimensional expansion and
a thread. Water ana earth had been mixed; the result was a fluid
shapeless substance, neither hard nor soft. The fluid were those
parent waters waters on the face of which the spirit of God moved,
and all this was in the darkness upon the face of the deep. Who
can number the clouds in wisdon? or who can stay the bottles of

88

heaven, when the dust groweth into hardness, and the clods cleave
fast together? (Book of Job, Chapter 38)
There exists what is in the middle.
The mechanise! of, the creation is a mechanism of the
incessant mean or division. The fluidal state lies in the middle between
the solid and the radiating state. It has the greatest communication
faculty In.its nature, living existence is a plasma, from which we
eminate and to which we return Here a crista1lization and a radiation
of the spirit take place (according to the system founded by Ivan
Tabakovich, member of our Academy of Sience) This is also, why the
spirit of God coved upon the waters. Stanislaw Lem calls this giant
substance a giant brain and the highest goal of existence the total
of all beings.
II. PARADIGMA
Plot of the Act
The piece of thread is steched out between the two hands,
then one lies down on the floor; the lumb of earth (the bread) is
placed on the bare breast. Then, with the aid of the thread, the
substance is cut in two, like leavening. The loaf is placed on a board
and cut up, then the bread is crusted to pieces on the breast.
Reflections over the Event
There are two bodies, V and W
There are two plains - P and Q.
Just like the boundaries of a shapeless body, the boundaries
of the plain are not defined, although they are precisely fixed
somewhere . Two plains form the first two faces of the body.
Only now the terns for seeing and observing something for
the first time have been created, because this something has a face. A
face has its shady side, too, and those are the plains marked P and Q.
And God said. Let there be light: and there was light. And
God saw the light, that is was good: and God devided the light from
the darkness. The face is light, the shady side is dark; The shady side
is not good. This is the first boundary defined, which originated from
the priaary darkness. This is the first evening of the shady side of the
prohibition, and it will be followed.by the first morning, the first day
will begin. And hence; And God called the light Day, and the darkness
he called Night. And the evening and the morning were the first day.
The night signifies sonething completely different from the
darkness upon the face of the deep. The deep is not defined by

89

anything. The darkness is not the shady side of the deep, it is its
concrete component, it is the all embracing quantity that does not
exist, a quantity that is nothing, because it has not yet appeared in
the light of the day.
This quantity is not good yet, it is not even night which could
be called good. in fact, it does not exist at all. We can readily remove
it from the sense of the genesis.
III. PARADIGMA
Plot of the Act
We take one half of the body of clay or bread in the left hand,
and hold the other half in the right one. With the left hand we throw
the body behind us, or put it aside, at least. Then we hold again the
second half of the body in the left hand, and the thread the cutting
edge - in the right one .
Reflections over the Event
One half of the body W disappears in the dark. In cortrast to
the first act, however, the reaaining body A has a face and is
illuminated so that everyone can follow this action. The first act was a
secret in the dark, only followed by the instigator, like the untouchable
artist and author. He is the sole witness of this action, all the other
spectators are only a consequence. Proof for this action is the
face of the body V which has come to light, or even more, the body of
tne author himself, who emerges slowly from the dark.
IV. PARADIGMA
Plot of the Act
We take the body V - made of clay or bread - and one end of
the thread in the left hand. With the right hand we tighten the other
end of the thread and cut, devide, the body V into two halves or the
half of the body in two quarters.
And God said. Let there be a firmament in the midst of the
waters, and let it devide the waters fron the waters. And God made
the firmament, and devided the waters which were under the
firmament from the waters above the firmament: and it was so. And
God called the firmament Heaven. And the evening and the morning
were the second day .
As this action has been carried out in the light, and with
everyone present, and as the dead body has been cast away, and only
the living half of clear water was remained, we can define this half as

90

water that is and as water that isn't. We do not throw away this
second half or the quarter, we only put it out of range, but not out of
sight.
Reflections over the Event
Two margins are appearing here now, two lines - a and b, as
front and back side of the line. Under the firmament the horizon
stands out. This is the separating line between doming and evening
and the end of the wide sea, which passes over into heaven at the
horizon. Thus, water is the prerequisite for life on earth and heaven
for the life of God.
From the total being of the waters above the firmament the
breath of the spirit of God came down to could the clay, a body
develops as part of the spirit. Now it is clear, why In the begining
God created Heaven and earth. At this moment. the horizon is not
defined as line, or circle, or arc, as it can be any circular edge
embracing something. The line can be said to expand something,
because the thread expands. From now on, however, God is not
visible any longer..He stays on heaven or is somehow seen indirectly.
Thus, the genesis cannot take place in the light of the day (it is a
secret in the mercy of God), but only in the light of the Heaven, from
which the sun shines.
The genesis now passes from the dark into the light. The
question of light of darkness remains an internal question in God or
the personal matter of the author's or artist's creative liberty. God
himself decides, whether something is in the dark or in the light,
because he is the sole witness of the secret of the genesis in the dark.
Thus, light is a symbol which is put in competition with the creative
artist. It shines for us, but it must be outside of us. If this light is
intersected. we tumble into the gulf of the deep in the dark.
Thus, it is impossible to reach God, but can can be reached
through God. Gcd must always appear, where there are human
beings, i.e. men must be creators-artists. In the absence of man, the
presence of art cannot be proved. But wherever man searches for
God, he will find him.
V. PARADIGMA
Plot of the Act
We take the quarter of the body and cut it in two eighths.We
obtain two points - A and B, one being male, the other female. Before
the body has been cut,

91

there was only one point with a front and a back side. Only by
deviding the tody to an eighth one gets to the male and the female
point, in which man is created or born. These two points open the
absolute possibility of proving God's existence or proving the genesis.
Thus. the genesis can be explained and proved, or commenced . The
evidence vanishes in the dark, if the ladder of the genesis is climbed
up or down, but as a ray of hope there remains the true body that
cannot be explained save by the body of God, whom we receive in the
consecrated bread as the Host of Christ. Hence it says in the Hymn to
St. Cyrill; Through your words and speeches, oh wise Cyrill, you
traversed marvellously the deep, and through your good faith in the
cold winter you entered the calm of the supreme domiciles.
Even if thereby the body can be explained, it cannot be
created, as every point of the body is not this very point cf ours, but
every point of ours is a part of the body.
DEDUCTIVE GENESIS OF THE EUCLIDIAN ELEMENTS.
1. There is a finite body.
2. A section of a body is a plain.
3. The section of two planes is a straight line.
4. The section of two lines is a point.
INDUCTIVE GENESIS OF THE EUCLIDIAN ELEMENTS.
Two points define the line.
Three points define the plain. .
Four points define the space.
In the sweet of thy face shalt thou eat bread, till thou return
unto the ground; for out of it wast thou taken: for dust thou art, and
unto dust shalt thou return. (Genesis 3,19)
Predrag Ristich Graz 1974

92

93

,

.
,
()
,
, .

` .
, .

94

95

96


- -
,

97


, , ,

98

99

,
. ,
,
,
,
.
.
,
. ,
. .

.

100

101

1965


.

.

, .



,
,

, ,
.
,
, .
, .

102

0 ,
1/n,
- n -. ,

.
, .

ALLE PUNKTE BERHREN SICH

Zu Euklicd s Zeiten gestattete die Begrenzheit .des

Horizonts keine grosere Sehweite bei der Verrolung
gleichlaufender Linien, die sich - so weit man nie
verfolgen konnte - einander weder nherten noch sich
konfrentierten.

Erst im vorigen Jahrhundert erweiteren sich die

Sehkreise bis zum Kosmos, in dessen Tiefe sich die, einst
parallelen Geraden berhren.

Die unendliche Tiefe hat sich heutzutage bereits so weit

geffnet, das wir uns schon ber die schwarzen Lcher
der Anti-Welt neigen knnen, in welche unwiederruflich
alle Begriffe strzen.

Darum stelle ich neue Axiome und eine neue Geometrie

auf Die bisherige Entwicklunc; der Axiome knnte auf das
Axiom des Weges zwischen Punkten zurckgefhrt
v/erden. So ist der krzeste Weg.zwischen zwei Punkten
nach.

Euklid, eine Gerade nach Lobatschewsky eine Kurve

103


und nach der neuen .Geometrie stelle ich frei das Axiom
auf, dass es keinen Weg; zwischen welchen immer
Punkten gibt, weil sich alle Punkte berhren
und weil Punkte berhaupt nicht teilbar sind,

So wurde nach Lbatschews-ky .Rhmanns Geometrie

krumm, sie behielt; jedoch das Mass bei. Die neue
Geometrie hingegen, hat das Mass verloren, denn ihr
Horizont ist grsse als die erste Undundshkeit.

Auf den Wellen des Unendlichen werden alle Wege

nicht nur, gekrmmt sonder sie. kehren auch zurck.

Die Null, Mittelpunkt des klassischen Koordinaten

Systems, ist nicht nur der Limes der Dichte l/n sondern sie
befindet sich im Zentrum der Dichte einer natrlichen
Zahlenreihe - n -. So der Mittelpunkt der Welt in der
Menge aller Kennen, und diese Menge ist wieder absolut
leer.Ihre Leere ist grsser als die Nichtigkeit der Nll.

In diesem Koordinatensystem lsst sich nichts mssen,

es kann jedoch alles berhrt werden,
.
Predrag Ristitsch, Graz 1975.

. . -

104



24. 2011.
,
.


,
.
,
,
,

.
. ,
,
,



.
,


.


, -.
,

105

. .

.
,
,

,
, .

.

.

.

400
.

106





.
. 300 .
,
. ,
,

.

.
, ( ) ,

.

, ,

( )
, ...
, . ,

( ),
.

,
, .

.

.
, .

.
.

107


, :
.
,
1956.
- ,
, - -
1955.
The homilies of patriarch of Constantinipolis, Homly X by cyril
Mango, Harvard University press, Cambridge 1958
,
,, , 3/1977
,
- ,,

Leksikon ikonografije, liturgike i simbolike zapadnog kranstva

,,Liber Zagreb 1985.
, , ,, ,
1951.
,
,, 1982.
, 1981.
, I ,,
1977.
William Taylor Hostetter,jr
, Windows 95

108


1. 1953.
. , ,
, , , ,
, , .

.

. ,

.
2. (1932-1970)
. .
,
.
(1964.),
,
1970, ,
2005.
.
3. (330-275 ) ,
. ,
, .
.
, , .
400 .
Kolac.
4. (1793-1856)
.

.
,
.
,

. ,
.

109

 (1260-1332) .
II ,
,
,
. , , ,
, .
6. (1282-1321) ,
. .
: .
( ), ,
, , .
, . .
,
.
, II,
.
7. (1711-1787)- , ,
, . ,
, , , , .

. , ,
.
( )

.
, ,
.

,
.
.
8. (470-360 .) ,
.
,
.
,
() , .
, .
, , ,
5.

110

 ,
13 .
9. (1645-1727) , ,
, .
,

.

.
.

. .
.
10. (1872-1970) , ,
, , , ,
. .

.
.
,
,
,

,
. .
,
.
.
. 1950.
. , , .
11. (1862-1943)

.
(
). , 23
- .

.
,
.
, .
12. (1901-1976) ,
.

111

 1931.
.

( ,
)
.


.
,
, .
.
21.
( ) (1290-1348)
, .
, III
.

,
. , ,

.


.
,
, .
22. ,
. .

.
.
23.
.
,
.
,
.
.

112

24.
, . ,
.
.
, .

.
25. , (858-867; 877-886)

.
.
,
.
,
,

.
( )

.
26. . ,

. ,
, .
.
27 - (1310-1371). ,

, ,...
, ,
. ,
: .

. -

.

113

 -
.
,
- .

1769. ,
100 . .

114

115




.
,
. ,
,

.
,
,,.
, 2/3 .
.
,
. ,
.
,

,
.
, ,


.

.
,
,
.

,
, .
.


.

116

. 1931. .
1956.
,
1980. ().
,
.
.
,
.
.

( ), (
), (),
(),
(), ,
, , , . ,

.
, ( ,
, ,
,
.)
( , , .).
II
(), -
.

117

118

119

120

121

122

 1966

123

124

, 12 1992

125

 1953

126

127

128

129

130

131

132

133

134

135