The title “Vil\u00e1g vil\u00e1ga” (Light in the World) carries numerous interpretative possibilities. One of the most well-known lines in Hungarian literature, the etymology of the phrase \u00d3magyar M\u00e1ria siralom (The Old Hungarian Lament of Mary), still invites contemplation for today’s audience. “Vil\u00e1g vil\u00e1ga, vir\u00e1g vir\u00e1ga,” meaning the light of the world and the most beautiful of flowers. In the medieval poem, these two concepts (beauty and light) represent Christ Himself, just as, until the Renaissance, most artistic works also had a sacred function. At the same time, these words contain much more general existential meanings: What does the light of the world, or the meaning of life, represent for us? What is the spiritual or psychological thread that defines our lives? What ethical framework do we live by? Could knowledge or culture be the light of the world for us? Could art be the light of the world? Can light itself be the theme of art? Can transcendental light be represented in an abstract way? “Vil\u00e1g vil\u00e1ga” refers to inner beauty, while “vir\u00e1g vir\u00e1ga” refers to external beauty; can this dichotomy be represented through the means of art? Can light be interpreted as a critical attitude? Can light itself be the critique? The exhibitors are members of the Society of Hungarian Painters, who approach these above questions from various attitudes and perspectives.<\/p>\n\n\n\n
dr. Anna V\u00e1raljai art historian, associate professor at SZTE<\/p>\n\n\n\n