{"id":157872,"date":"2026-09-04T22:18:44","date_gmt":"2026-09-04T22:18:44","guid":{"rendered":"https:\/\/iwell-guard.com\/?page_id=157872"},"modified":"2026-09-04T22:44:34","modified_gmt":"2026-09-04T22:44:34","slug":"eros","status":"publish","type":"page","link":"https:\/\/iwell-guard.com\/sk\/eros\/","title":{"rendered":"Eros"},"content":{"rendered":"\t\t
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Eros, gr\u00e9cky boh t\u00fa\u017eby<\/h1>\n

Eros (gr\u00e9cky \u1f1c\u03c1\u03c9\u03c2) je jednou z najstar\u0161\u00edch a z\u00e1rove\u0148 najpremenlivej\u0161\u00edch post\u00e1v gr\u00e9ckeho pante\u00f3nu. Ako gr\u00e9cky boh l\u00e1sky je z\u00e1rove\u0148 ch\u00e1pan\u00fd ako kozmick\u00e1 prasila. Na rozdiel od olympsk\u00fdch bohov, ktor\u00ed v Iliade a Odysei vystupuj\u00fa ako jasne vymedzen\u00e9 osoby, je Eros p\u00f4vodne sk\u00f4r kozmickou silou ne\u017e individu\u00e1lnou postavou. A\u017e v helenistickom obdob\u00ed sa usta\u013euje obraz okr\u00eddlen\u00e9ho chlapca s lukom, ktor\u00fd pozn\u00e1me z neskor\u0161ej trad\u00edcie.<\/p>

Hesiodos a Teog\u00f3nia<\/h3>

Najstar\u0161\u00edm liter\u00e1rnym prame\u0148om je Hesiodova Teog\u00f3nia (okolo 700 pred Kr.). Eros v nej patr\u00ed medzi prv\u00e9 bytosti, ktor\u00e9 vznikaj\u00fa po Chaose, spolu s Gaiou (Zemou) a Tartarom (podsvet\u00edm). Hesiodos ho popisuje ako najkraj\u0161ieho medzi nesmrte\u013en\u00fdmi bohmi, ktor\u00fd uvo\u013e\u0148uje \u00fady a zbavuje bohov i \u013eud\u00ed rozumu a rozvahy (Theog. 120, 122). T\u00e1to poz\u00edcia rob\u00ed z Erosa kozmogonick\u00fa veli\u010dinu: je silou, ktor\u00e1 umo\u017e\u0148uje spojenie a t\u00fdm v\u00f4bec sp\u00fa\u0161\u0165a \u010fal\u0161\u00ed v\u00fdvoj svetov bohov. T\u00e1to ran\u00e1 podoba sa z\u00e1sadne l\u00ed\u0161i od neskor\u0161ej person\u00e1lnej postavy boha l\u00e1sky.<\/p>

Orfick\u00e1 trad\u00edcia a Fan\u00e9s<\/h3>

V orfickej trad\u00edcii sa Eros identifikuje s Fan\u00e9tom, prabohom stvorenia, ktor\u00fd sa zrodil z kozmick\u00e9ho vajca. Orfick\u00e9 hymny (pravdepodobne 2. a\u017e 3. storo\u010die n. l.) opisuj\u00fa Erosa ako nesploden\u00e9ho prv\u00e9ho boha, tvorcu v\u0161etk\u00fdch vec\u00ed. Tento teogonick\u00fd v\u00fdklad sa rozv\u00edja s\u00fa\u010dasne s filozofick\u00fdmi \u00favahami, ktor\u00e9 ch\u00e1pu Erosa ako kozmick\u00fd sp\u00e1jaj\u00faci princ\u00edp. Do tohto diskurzu patr\u00ed aj Empedoklova koncepcia l\u00e1sky (philia) a sv\u00e1ru (neikos) ako kozmick\u00fdch z\u00e1kladn\u00fdch s\u00edl, podobne ako Plat\u00f3nova n\u00e1uka o Erosovi.<\/p>

Plat\u00f3n a filozofia Erosa<\/h3>

V Symposiu rozv\u00edja Plat\u00f3n viacvrstvov\u00fa te\u00f3riu Erosa. R\u00f4zni re\u010dn\u00edci predstavuj\u00fa odli\u0161n\u00e9 po\u0148atia: Faidros chv\u00e1li Erosa ako najstar\u0161ieho boha, Pausani\u00e1s rozli\u0161uje medzi nebesk\u00fdm a v\u0161edn\u00fdm Erosom, Aristofan\u00e9s rozpr\u00e1va m\u00fdtus o rozdelenom pra\u013eudovi, ktor\u00fd h\u013ead\u00e1 svoju ch\u00fdbaj\u00facu polovicu. Sl\u00e1vna Diotimina re\u010d, ktor\u00fa tlmo\u010d\u00ed Sokrates, opisuje Erosa ako daimona<\/span>, teda sprostredkuj\u00facu bytos\u0165 medzi \u010dlovekom a bohom, a rozv\u00edja stupnicu t\u00fa\u017eby, ktor\u00e1 st\u00fapa od telesnosti cez du\u0161u a\u017e k idei kr\u00e1sy. T\u00e1to filozofick\u00e1 koncepcia Erosa formovala plat\u00f3nsku trad\u00edciu (Plotin<\/span>, Marsilio Ficino, Pico della Mirandola) a\u017e po renesanciu.<\/p>

Eros a Afrodita<\/h3>

Popul\u00e1rna predstava sp\u00e1ja Erosa s Afroditou<\/a> ako jej synom a spolo\u010dn\u00edkom. Toto spojenie je liter\u00e1rne a\u017e neskor\u00e9: u Hesioda je Eros bez rodi\u010dov, u Hom\u00e9ra ch\u00fdba ako person\u00e1lna postava. A\u017e v helenistickej po\u00e9zii (Apoll\u00f3nios, Theokritos) sa objavuje ako detsk\u00fd syn bohyne l\u00e1sky, ktor\u00fd \u0161\u00edpom a lukom zasahuje bohov aj \u013eud\u00ed. Do tejto trad\u00edcie patr\u00ed aj obraz z Apolloniov\u00fdch Argonaut\u00edk, kde Eros zasiahne Medeu \u0161\u00edpom do srdca. Splynutie archaickej kozmickej postavy Erosa s helenistick\u00fdm chlapcom-strelcom potom dominovalo neskor\u0161iemu prij\u00edmaniu tejto postavy.<\/p>

Obrazov\u00e1 trad\u00edcia a symbolika<\/h3>

Antick\u00e1 obrazov\u00e1 trad\u00edcia zobrazuje Erosa s meniacimi sa atrib\u00fatmi. Na \u010dervenofigurov\u00fdch v\u00e1zach 5. storo\u010dia je mlad\u00fdm mu\u017eom s kr\u00eddlami, \u010dasto v spolo\u010dnosti Afrodity. Na helenistick\u00fdch reli\u00e9foch sa objavuje ako chlapec s lukom a tulcom, niekedy so zaviazan\u00fdmi o\u010dami, \u010do symbolizuje slepotu l\u00e1sky. V obdob\u00ed r\u00edmskeho cis\u00e1rstva sa Eros zlieva s Kupidom a Amorom; sarkof\u00e1gov\u00e9 reli\u00e9fy ho zobrazuj\u00fa ako sprievodcu zosnul\u00fdch. T\u00e1to obrazov\u00e1 trad\u00edcia p\u00f4sobila na\u010falej cez renesanciu a\u017e do barokovej ma\u013eby a kres\u0165anskej ikonografie anjelov, z ktorej poch\u00e1dzaj\u00fa okr\u00eddlen\u00e9 putti odvoden\u00e9 z trad\u00edcie Erosa.<\/p>

Modern\u00fd ohlas a religionistick\u00e9 zaradenie<\/h3>

V s\u00fa\u010dasnej religionistike sa Eros diskutuje predov\u0161etk\u00fdm z dvoch h\u013ead\u00edsk. Na jednej strane ako kozmogonick\u00fd princ\u00edp v predsokratovskej a orfickej spekul\u00e1cii, ktor\u00fd mo\u017eno typologicky porovn\u00e1va\u0165 s podobn\u00fdmi koncepciami in\u00fdch kult\u00far (\u010d\u00ednsky jang-jin, hinduistick\u00e1 kama, egyptsk\u00fd p\u00e1r Geb-Nut). Na druhej strane ako eticko-filozofick\u00e1 kateg\u00f3ria, ktor\u00e1 sa v plat\u00f3nsko-august\u00ednskej trad\u00edcii stala z\u00e1kladom teol\u00f3gie l\u00e1sky. C. S. Lewis v diele The Four Loves<\/em> (1960) op\u00edsal Erosa ako jeden zo \u0161tyroch druhov l\u00e1sky ved\u013ea storge, filie a agap\u00e9, \u010d\u00edm uviedol antick\u00fa diferenci\u00e1ciu do modernej teol\u00f3gie. Walter Burkert<\/span> (Gr\u00e9cke n\u00e1bo\u017eenstvo, 1977) zara\u010fuje Erosa do archaick\u00e9ho spektra bohov a zd\u00f4raz\u0148uje kozmogonick\u00fa h\u013abku Hesiodovho v\u00fdkladu.<\/p>

S\u00favisiace t\u00e9my:<\/strong> Afrodita<\/a> | Hermes<\/a> | H\u00e1des<\/a><\/p>\n

Eros v r\u00edmskej trad\u00edcii<\/h3>\n

V r\u00edmskej mytol\u00f3gii sa Eros naz\u00fdva Cupido<\/em> (t\u00fa\u017eba) alebo Amor<\/em> (l\u00e1ska) a je bli\u017e\u0161ie prepojen\u00fd s matkou Venu\u0161ou ne\u017e v star\u0161ej forme. Pr\u00edbeh o Amorovi a Psych\u00e9<\/em> z Apuleiov\u00fdch Metamorf\u00f3z<\/em> (2. storo\u010die n. l.) d\u00e1va Erosovi rozpr\u00e1va\u010dsk\u00fa h\u013abku, ktor\u00fa v gr\u00e9ckej trad\u00edcii nemal: st\u00e1va sa milencom, ktor\u00fd sa za\u013e\u00fabi do smrte\u013enej \u017eeny a po dlhej sk\u00fa\u0161ke ju pov\u00fd\u0161i medzi bohov. Tento pr\u00edbeh sa v kres\u0165anskej neskorej antike vyklad\u00e1 ako aleg\u00f3ria du\u0161e, ktor\u00fa bo\u017esk\u00e1 l\u00e1ska priv\u00e1dza k dokonalosti.<\/p>\n

Eros v modernej psychol\u00f3gii<\/h3>\n

Sigmund Freud prevzal pojem Eros od roku 1920 v diele Mimo princ\u00edpu slasti<\/em>: Eros sa st\u00e1va \u017eivotn\u00fdm pudom, ktor\u00fd p\u00f4sob\u00ed proti pudu smrti (Thanatos), silou sp\u00e1jania proti rozpadu. Tento psychoanalytick\u00fd v\u00fdklad m\u00e1 antick\u00e9 korene (Empedoklov sv\u00e1r medzi l\u00e1skou a nen\u00e1vis\u0165ou), ale d\u00e1va pojmu Eros biologick\u00fd rozmer, ktor\u00fd v antickej mytol\u00f3gii nemal. C. G. Jung roz\u0161iruje tento pojem na symbol vz\u0165ahovej sily ako takej a stavia ho ako psychologick\u00fa funkciu ved\u013ea logosu.<\/p>\n

Eros a pr\u00edbuznos\u0165 s in\u00fdmi bo\u017estvami l\u00e1sky<\/h3>\n

Eros patr\u00ed do \u0161irokej rodiny bo\u017estiev l\u00e1sky, ktor\u00e9 sa objavuj\u00fa v celej dejin\u00e1ch n\u00e1bo\u017eenstva. V mezopot\u00e1mskom pante\u00f3ne zohr\u00e1va podobn\u00fa \u00falohu Inanna\/I\u0161tar<\/em>, hoci s v\u00fdraznej\u0161ou bojovnou zlo\u017ekou. V egyptskom prostred\u00ed je \u00fastredn\u00fdm bo\u017estvom l\u00e1sky a zmyselnosti Hathor<\/em>. V germ\u00e1nskom severe mu zodpoved\u00e1 Freya<\/a> ako bohy\u0148a l\u00e1sky a m\u00e1gie. V hinduistickej trad\u00edcii nach\u00e1dzame K\u00e1mad\u00e9vu<\/em>, boha l\u00e1sky s lukom, ktor\u00fd je pozoruhodne bl\u00edzky gr\u00e9ckemu Erosovi v obrazovej trad\u00edcii a symbolike, \u010do v 19. storo\u010d\u00ed viedlo k t\u00e9ze o indoeur\u00f3pskom prabo\u017estve t\u00fa\u017eby. T\u00e1to t\u00e9za je dnes religionisticky sporn\u00e1, av\u0161ak paralely zost\u00e1vaj\u00fa n\u00e1padn\u00e9.<\/p>\n

Eros v s\u00fa\u010dasnej spiritualite<\/h3>\n

V s\u00fa\u010dasn\u00fdch novopohansk\u00fdch, novoplat\u00f3nskych a tantricky orientovan\u00fdch spiritualistick\u00fdch pr\u00fadoch sa Eros \u010dasto ch\u00e1pe ako kozmick\u00e1 sila pr\u00ed\u0165a\u017elivosti, pohyb, ktor\u00fdm sa oddelen\u00e9 uch\u00e1dza o zjednotenie. Tento v\u00fdklad je v jadre plat\u00f3nsky, ale dobre sprostredk\u00fava medzi mytickou trad\u00edciou a psychologickou sk\u00fasenos\u0165ou. V praktickej spiritualite sl\u00fa\u017ei Eros ako prostredn\u00edk medzi zmyslovou a duchovnou sk\u00fasenos\u0165ou, funkcia, ktor\u00e1 je n\u00e1znakom pr\u00edtomn\u00e1 u\u017e v plat\u00f3nskych re\u010diach Symposia.<\/p>\n

Zdroje<\/h3>\n
    \n
  • Hesiodos: Teog\u00f3nia<\/em>, vyd. Albert von Schirnding, Tusculum 1991.<\/li>\n
  • Plat\u00f3n: Symposion<\/em>, nem. preklad Reinhard Brandt, Reclam 1996.<\/li>\n
  • Apuleius: Metamorf\u00f3zy<\/em>, vyd. Edward J. Kenney, Cambridge UP 1990.<\/li>\n
  • Sigmund Freud: Mimo princ\u00edpu slasti<\/em>, Viede\u0148 1920.<\/li>\n
  • Walter Burkert: Gr\u00e9cke n\u00e1bo\u017eenstvo archaickej a klasickej epochy<\/em>, Kohlhammer 1977.<\/li>\n<\/ul>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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    Eros, gr\u00e9cky<\/strong> boh t\u00fa\u017eby, vystupuje v hesiodovskej Teog\u00f3nii ako pragodstvo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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    Eros ako pragodstvo a ako die\u0165a Afrodity<\/h2>\t\t\t\t<\/div>\n\t\t
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    Gr\u00e9cka trad\u00edcia poznala dve ve\u013emi odli\u0161n\u00e9 predstavy o Erosovi, ktor\u00e9 sa navz\u00e1jom nedaj\u00fa jednoducho zladi\u0165. Star\u0161ia, kozmogonick\u00e1 trad\u00edcia rob\u00ed z Erosa jednu z prv\u00fdch mocnost\u00ed v\u00f4bec. V Hesiodovej Teog\u00f3nii<\/em> z neskor\u00e9ho \u00f4smeho alebo skor\u00e9ho siedmeho storo\u010dia pred Kristom vznik\u00e1 Eros hne\u010f po Chaose, Gaii a Tartare. Nejde tu o p\u00f4vabn\u00fa postavi\u010dku, ale o p\u00f4vodn\u00fa, hnaciu silu, ktor\u00e1 si podma\u0148uje bohov aj \u013eud\u00ed a bez ktorej by nebolo mo\u017en\u00e9 \u017eiadne spojenie ani plodenie.<\/p>

    Aj v orfickej kozmog\u00f3nii hr\u00e1 Eros \u00falohu tvorivej moci, tam sa \u010diasto\u010dne sp\u00e1ja s menom Fan\u00e9s alebo s n\u00edm priamo spl\u00fdva, ako svietiaca bytos\u0165 vzniknut\u00e1 z vajca. Tieto kozmogonick\u00e9 predstavy o Erosovi zd\u00f4raz\u0148uj\u00fa jeho funkciu ako princ\u00edpu sp\u00e1jania, ktor\u00fd zjednocuje oddelen\u00e9 prvky svetu.<\/p>

    Mlad\u0161ia a \u013eudovo zn\u00e1mej\u0161ia trad\u00edcia rob\u00ed z Erosa syna Afrodity, \u010dasto s Aresom ako otcom. V tejto podobe je mlad\u00edckym \u010di die\u0165atsk\u00fdm spolo\u010dn\u00edkom svojej matky, ktor\u00fd lukom a \u0161\u00edpmi rozd\u00fachava l\u00e1sku. T\u00e1to verzia sa presadila najm\u00e4 v po\u00e9zii klasick\u00e9ho a helenistick\u00e9ho obdobia.<\/p>

    B\u00e1danie vid\u00ed v tejto dvojtv\u00e1rnosti nie jednoduch\u00e9 nedorozumenie, ale dve odli\u0161n\u00e9 funkcie toho ist\u00e9ho pojmu. Gr\u00e9cke slovo eros<\/em> ozna\u010duje jednak kozmick\u00fa silu vz\u00e1jomn\u00e9ho pritiahnutia, jednak individu\u00e1lnu erotick\u00fa t\u00fa\u017ebu. Mytol\u00f3gia rozvinula t\u00fato \u0161\u00edrku v\u00fdznamu do dvoch bo\u017esk\u00fdch post\u00e1v, bez toho, aby ich kedy \u00faplne zjednotila.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Eros a Psych\u00e9 u Apuleia<\/h2>\t\t\t\t<\/div>\n\t\t
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    Najzn\u00e1mej\u0161\u00ed s\u00favisl\u00fd pr\u00edbeh o Erosovi sa nenach\u00e1dza v gr\u00e9ckom, ale v latinskom texte: v rom\u00e1ne Metamorf\u00f3zy<\/em> od Apuleia z druh\u00e9ho storo\u010dia po Kristovi, zn\u00e1mom aj ako Zlat\u00fd som\u00e1rik<\/em>. Tam je pr\u00edbeh o Amorovi a Psych\u00e9 vlo\u017een\u00fd ako dlh\u0161ie r\u00e1mcov\u00e9 rozpr\u00e1vanie.<\/p>

    Psych\u00e9 je kr\u00e1\u013eovsk\u00e1 dc\u00e9ra takej kr\u00e1sy, \u017ee ju \u013eudia uctievaj\u00fa ako Afroditu. \u017diarliv\u00e1 bohy\u0148a vy\u0161le svojho syna Erosa, aby vohnal Psych\u00e9 do zahanbuj\u00facej l\u00e1sky, ale Eros sa s\u00e1m do nej za\u013e\u00fabi. Odvedie ju do skryt\u00e9ho pal\u00e1ca, nav\u0161tevuje ju v\u0161ak len v tme a zak\u00e1\u017ee jej vidie\u0165 jeho tv\u00e1r. Podnieten\u00e1 svojimi \u017eiarliv\u00fdmi sestrami Psych\u00e9 ho osvetl\u00ed lampou, ke\u010f sp\u00ed, kapka hor\u00faceho oleja ho zobud\u00ed a Eros utek\u00e1.<\/p>

    Psych\u00e9 mus\u00ed n\u00e1sledne splni\u0165 rad zdanlivo nerie\u0161ite\u013en\u00fdch \u00faloh, ktor\u00e9 jej ulo\u017e\u00ed Afrodita, medzi nimi triedenie kopy obilia a donies\u0165 vodu z nepr\u00edstupn\u00e9ho pramen\u0165a. Nakoniec zost\u00fapi aj do podsvetia. Na konci s\u00fa Eros a Psych\u00e9 spojen\u00ed medzi bohmi a Psych\u00e9 sa st\u00e1va nesmrte\u013enou.<\/p>

    B\u00e1danie tento pr\u00edbeh vykladalo mnoh\u00fdmi sp\u00f4sobmi. Gr\u00e9cke slovo psych\u00e9<\/em> znamen\u00e1 du\u0161a, preto sa pr\u00edbeh u\u017e v staroveku \u010d\u00edtal alegoricky ako cesta du\u0161e. In\u00ed zd\u00f4raz\u0148uj\u00fa jeho rozpr\u00e1vkov\u00fa \u0161trukt\u00faru s \u00falohami a pomocn\u00edkmi. Nez\u00e1visle od v\u00fdkladu sa pr\u00edbeh stal jedn\u00fdm z najvplyvnej\u0161\u00edch mot\u00edvov eur\u00f3pskeho umenia a literat\u00fary a trvalo formoval novodob\u00fd obraz Erosa.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    Eros v Plat\u00f3novom filozofickom myslen\u00ed<\/h2>\t\t\t\t<\/div>\n\t\t
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    Eros nie je len postavou mytol\u00f3gie a po\u00e9zie, ale aj centr\u00e1lnym pojmom gr\u00e9ckej filozofie. Najd\u00f4le\u017eitej\u0161ie spracovanie tejto t\u00e9my sa nach\u00e1dza v Plat\u00f3novom dial\u00f3gu Symposion<\/em> zo \u0161tvrt\u00e9ho storo\u010dia pred Kristom, kde viacero re\u010dn\u00edkov po\u010das hostiny predn\u00e1\u0161a chv\u00e1lyre\u010d\u00ed na Erosa.<\/p>

    Vrcholom je re\u010d Sokrata, ktor\u00fd reprodukuje u\u010denie ve\u0161ticke Diotimy. Eros tam nie je vykreslen\u00fd ako boh v plnom zmysle slova, ale ako daim\u00f3n<\/em>, sprostredkuj\u00faca bytos\u0165 medzi bohmi a \u013eu\u010fmi. Pod\u013ea Diotimy je Eros synom Porosa, bohatstva alebo vynaliezavosti, a Penie, chudoby. Preto nie je ani bohat\u00fd ani chudobn\u00fd, ani kr\u00e1sny ani \u0161kared\u00fd, ale je st\u00e1le v pohybe, st\u00e1le t\u00fa\u017ei.<\/p>

    Z tohto ur\u010denia Plat\u00f3n rozv\u00edja svoju zn\u00e1mu n\u00e1uku o v\u00fdstupe. Eros za\u010d\u00edna pritiahnut\u00edm k jedn\u00e9mu kr\u00e1snemu telu, ale m\u00e1 sa postupne oslobodzova\u0165: od jedn\u00e9ho tela ku kr\u00e1se v\u0161etk\u00fdch tiel, odtia\u013e ku kr\u00e1se du\u0161\u00ed, z\u00e1konov, poznania, a\u017e po nazretie samotnej Kr\u00e1sy. Eros je tak silou, ktor\u00e1 vedie \u010dloveka za hranice zmyslov\u00e9ho k poznaniu.<\/p>

    T\u00e1to filozofick\u00e1 interpret\u00e1cia dala slovu p\u00f4sobenie, ktor\u00e9 presahuje mytol\u00f3giu \u010faleko za jej r\u00e1mec. Pojem plat\u00f3nskej l\u00e1sky sa odvodzuje presne z tejto n\u00e1uky, aj ke\u010f sa v dne\u0161nom be\u017enom pou\u017e\u00edvan\u00ed \u010dasto ch\u00e1pe zjednodu\u0161ene. B\u00e1danie zd\u00f4raz\u0148uje, \u017ee Plat\u00f3n vedome preformuloval mytologick\u00e9ho Erosa, aby ho urobil plodn\u00fdm pre svoj filozofick\u00fd syst\u00e9m.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

    \n\t\t\t\t\t
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    \n\t\t\t\t\t

    Ikonografia a premeny zobrazovania Erosa<\/h2>\t\t\t\t<\/div>\n\t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t

    V\u00fdtvarn\u00e9 zobrazenie Erosa sa v priebehu gr\u00e9ckych a r\u00edmskych dej\u00edn umenia v\u00fdrazne menilo. V archaickom obdob\u00ed sa Eros zvy\u010dajne objavuje ako kr\u00e1sny mlad\u00edk, \u010dasto okr\u00eddlen\u00fd, v plnom rozkvete mladosti. Toto zobrazenie zodpoved\u00e1 jeho ran\u00e9mu kozmogonick\u00e9mu v\u00fdznamu a jeho \u00falohe mocnej, v\u00e1\u017ene branej sily.<\/p>

    V klasickom obdob\u00ed pretrv\u00e1va mlad\u00edcky typ, ale Eros sa \u010doraz viac vyskytuje ako spolo\u010dn\u00edk Afrodity a zobrazuje sa tenden\u010dne mlad\u0161\u00ed. Sl\u00e1vny soch\u00e1r Praxiteles a jeho \u0161kola prispeli k roz\u0161\u00edreniu p\u00f4vabn\u00fdch Erosov\u00fdch post\u00e1v.<\/p>

    V helenistickom obdob\u00ed nast\u00e1va rozhoduj\u00faca zmena: Eros sa st\u00e1va die\u0165a\u0165om, tu\u010dnol\u00edcim chlapcom s lukom, \u010dasto zobrazovan\u00fdm hravo alebo spiaco. Z tejto trad\u00edcie sa v r\u00edmskom umen\u00ed rozv\u00edja Amor alebo Cupido, \u010dasto v mno\u017enom po\u010dte ako cel\u00fd roj okr\u00eddlen\u00fdch chlapcov l\u00e1sky, tzv. Erotov alebo amoretiek, ktor\u00ed ob\u00fdvaj\u00fa n\u00e1stenn\u00e9 ma\u013eby, sarkof\u00e1gy a mozaiky.<\/p>

    T\u00e1to neskor\u00e1, die\u0165a\u0165ovsk\u00e1 forma najviac ovplyvnila obraz Erosa v pozad\u00ed antiky. Cez r\u00edmske umenie sa okr\u00eddlen\u00fd chlapec l\u00e1sky dostal do umenia renesancie a baroka, kde sa stal v\u0161adepr\u00edtomn\u00fdm ako putto. B\u00e1danie vid\u00ed v tejto premene z p\u00f4vodnej pramocnosti na die\u0165a\u0165ovsk\u00e9 putto postupn\u00e9 zjemnenie, ktor\u00e9 takmer \u00faplne zahalilo p\u00f4vodn\u00fa v\u00e1\u017enos\u0165 postavy. Kto chce pochopi\u0165 ran\u00e9ho, mocn\u00e9ho Erosa, mus\u00ed sa vedome vr\u00e1ti\u0165 za tento neskor\u0161\u00ed obraz.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

    \n\t\t\t\t\t
    \n\t\t\t\t
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    Ako antick\u00fd<\/em> boh l\u00e1sky Eros z\u00e1rove\u0148 predstavuje kozmick\u00fa tvoriv\u00fa silu<\/em>: u Hesioda patr\u00ed medzi najstar\u0161ie pragodstv\u00e1, zatia\u013e \u010do neskor\u0161ia po\u00e9zia z neho rob\u00ed mladistv\u00e9ho syna Afrodity.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"","protected":false},"author":3,"featured_media":3610,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_yoast_wpseo_focuskw":"Eros","_yoast_wpseo_title":"Eros, gr\u00e9cky boh l\u00e1sky a prvotnej sily | iWell Guard","_yoast_wpseo_metadesc":"Eros u H\u00e9sioda, v orfick\u00fdch hymnoch, u Plat\u00f3na a v helenistickom umen\u00ed: stvorite\u013e, daimon a 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