Posts Tagged ‘Malta’
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Stepping through the Forbidden City’s gate
For many years, I read several features and watched various documentaries regarding the Forbidden City in Beijing. However, once I found myself in front of Wumen, its main entrance, I simply stood there in silence and awe.
At an altitude of 38 metres, this area, which is also known as the Meridian Gate, is the highest section of the Forbidden City. Its imposing nature with five towers looking upon this square gave me shivers especially when I recalled that here, in the old days, the captured prisoners-of-war used to be presented to the emperor, whereas those sentenced for capital punishment were executed.
As originally intended by those who constructed this site, I felt small and bewildered in the presence of such magnitude and as I stepped further through the gate, I felt thankful that nowadays this is only a tourist site.
The Forbidden City was built to serve as the emperors’ royal palace. Within it, the emperors of the Ming and Qing dynasties carried out their administration and lived together with their families. In fact, this site was used as the residence of 24 emperors until the last one, Aisin Gioro Puyi, emperor of the Qing Dynasty, abdicated in 1911.Emperor Chengzu of the Ming Dynasty started the construction of this city in 1406 and its completion took 14 years. Around 100,000 skilled technicians and millions of labourers were involved in this architectural masterpiece.
Most of this magnificent palatial complex was built from wood and it is the largest wooden cluster in existence in the world today. Other material used included white marble from Fangshan which is situated in the limits of Beijing, and granite from Hebei Province.
It was not easy to ship these stones to the city since there was no machinery at the time. Yet the Chinese succeeded to conclude this outstanding project by carrying this material on wooden rollers during summer and by sprinkling the roads with water in mid-winter in order to make an ice-path which could ease transportation. Water for the latter use was made available by digging out a well every half kilometer.
Eventually, the whole city covered an area of 720,000 square metres and within it, one could find numerous palaces, pavilions, squares and gardens. In all, 9,999.5 structures were built; the half room accommodates only a staircase.
It is interesting to note that the emperor could not have 10,000 rooms in his city since it was believed that the deity emperor Hade had that amount of structures in his Heavenly Palace. Therefore, out of respect, his son, who was the emperor on earth, could not have a residence as spacious as that of his father. Meanwhile, this huge amount of rooms in the Forbidden City was intended to prolong the life of the earthly emperor.Along the centuries, various parts of this ancient city were restored or rebuilt. However, its basic form and layout remains in the original state. In fact, its structures are spread out in an orderly manner alongside the central axis line which goes through from south to north. Moreover, its layout indicates the feudal hierarchy and reflects the traditional philosophy of yin-yang and the Five Elements.
The Forbidden City is surrounded by 10 meter high walls and at each of its four corners there is a tower. Outside these walls, a 52 meter wide moat full of water encircles the city in order to strengthen its defense system.
Thousands of tourists from various countries visit this site daily and yet the grandeur of this place is so amazing that its space seems unable to ever be exhausted.
The largest square in the Forbidden City is Taihe Dian and it has an area of 30,000 square metres. On its four sides, one finds a number of bronze vats which used to be filled with water in order to prevent fire. Water was provided by the Inner Golden Water River which ran across this section of the city. Moreover, this river had the function of draining off rain water and to decorate the square.On the other hand, in the square which lies in front of the Gate of Supreme Harmony, visitors can observe the hall wherein the emperors administered their power, held ceremonies and summoned ministers. In this outer court, there is also the largest pair of lions in the whole city; the male has a ball under his paw, whereas the female plays with a cub.
Curiously, in the Forbidden City, there is also the Palace of Abstinence wherein the emperor stayed and fasted for three days before he celebrated the sacrificial ceremony to the heaven and earth.
Contrarily, other areas within this magnificent city were intended to appease the emperor’s pleasures; including numerous structures reserved for his concubines.
These concubines were selected amongst the most attractive females and were expected to dedicate their lives in order to please their emperor. Yet not all these concubines had the chance to sleep with the emperor; some only once, some not at all.Surely, those who did not succeed to attract the emperor’s interest were disregarded in a corner of the palace but they were never allowed to marry anybody else. Therefore, the main aim of these imperial concubines was the opportunity to bear a child of the emperor so that they could acquire more power. Indeed, that concubine whose son managed to become the next emperor was even given the title of Empress Dowager.
Due to the massive size of this city, it is impossible to visit it all. Nonetheless, I believe that I have seen enough to impress me and to leave a memorable imprint on my mind.
The exquisite designs and colours which were used in its construction are truly fascinating and marvelous. Likewise, the ancient furniture and decorations which adorn its palaces and halls are unique and superb.
When this city was still in vigour, no one was allowed to enter into it without a permit. That is why, it is known as the Forbidden City. Yet in 1925, when the Qing Dynasty was over, this site was turned into a museum and in fact today, this city is also known as the Palace Museum.
Within this period, around one million relics were collected from this city and many of them are exhibited in its illustrious halls. These artifacts include objects made from wood, bronze, pottery and porcelain that were designed by skilled artists during the Ming and Qing Dynasties. Other masterpieces comprise precious artworks, sculptures and numerous other treasures.
Meanwhile, the Imperial Garden which lies at the end of the city is another attractive facet of this place. In ancient days, this was a private retreat for the imperial family and the imperial concubines.
There are around twenty architectural structures in this garden which include pavilions, rooms, towers and halls. Each one of these bears a different style and is arranged symmetrically in hierarchical order.Rare flowers and trees were planted in this garden, some of which still survive today. This place was also adorned with a pond full of fish in order to create a sense of harmony and peace.
One of the most renowned sections in this garden is Duixiushan; an artifical hill built of Taihu Lake Rocks of varying shapes. Its centre was formed into a cave and two stairways spiral up to the top from its southern and eastern sides. The imperial family used to climb up this hill to reach the Pavilion of Imperial View which sits at the top in order to enjoy the spectacular scenery during significant celebrations.
In 1961 this city was included in the List of the Historical Monuments and Cultural Relics under State Protection and due restoration and preservation took place. In 1987, UNESCO inscribed the Forbidden City as a World Heritage Site.
(This article was published in the Travel Supplement of the Sunday Times of Malta dated 15 February 2015)
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IL-KARNIVAL TRAĠIKU TAL-1823
Dan l-aħħar, għaddiet ġrajja minn għala widnejja li qatt ma kont smajtha qabel. Tikkonċerna traġedja li seħħet fil-Karnival tal-1823, fil-ġurnata tat-11 ta’ Frar, li fiha, għadd kbir ta’ tfal mietu ġewwa l-Kunvent tal-Franġiskani, fil-Belt Valletta.Iddeċidejt li nistħarreġ dan ir-rakkont aktar fil-fond sakemm irnexxieli nsib id-dettalji kollha ta’ dan l-inċident miġburin fl-arkivji tal-Librerija Nazzjonali tal-Belt. Inizzjalment, l-aħbar ta’ din it-traġedja twasslet permezz ta’ nota li nkitbet mis-Segretarju Prinċipali tal-Gvern, Richard Plasket, fil-Malta Government Gazette (Num. 557) tal-14 ta’ Frar 1823, fejn dan fosthom informa illi kienet qed issir inkjesta dwar dan il-każ. Sussegwentement, id-dettalji kollha tniżżlu f’Suppliment (paġni 3391 -2) marbut mal-istess ġurnal li jġib l-istess data msemmija hawn fuq.
F’din il-kitba dettaljata tiegħu, Plasket jinkludi informazzjoni li waslet għandu minn tagħrif tal-Arċisqof ta’ Malta, minn evidenza ta’ persuni li dehru quddiem il-Maġistrat tal-Pulizija (li kienu jinkludu kemm familjari tal-vittmi u anki individwi oħra li kienu preżenti waqt dan l-inċident), u kif ukoll minn rapport mediku relatat mal-każ.
Huwa jibda billi jagħti sfond lil din il-ġrajja, hekk kif isemmi illi f’dawk l-aħħar snin, f’Malta, kienet nibtet id-drawwa illi fil-ġranet finali tal-Karnival, kienu jinġabru għadd ta’ subien tal-età bejn it-8 u l-15 il-sena li kienu ġejjin mill-klassi baxxa tal-inħawi tal-Belt u tat-Tliet Ibliet (Birgu, Isla u Bormla). Dawn it-tfal, li kienu jipparteċipaw għal din l-attività minn jeddhom, kienu jinġabru f’purċissjoni u jittieħdu l-Furjana jew f’xi inħawi oħra fejn wara li jisimgħu quddiesa, huma kienu jirċievu xi ħobż u frott. Dan l-ikel kien jiġi provdut permezz ta’ ftehim li kien isir bejn il-gvern u xi benefatturi oħra. L-għan prinċipali wara din l-attività kien li jżomm lit-tfal protetti mill-ġlied u mill-konfużjoni tal-Karnival li kien ikun hemm f’dak il-perjodu fl-ibliet imsemmija. L-arranġament ta’ din il-purċissjoni kien jaqa’ taħt ir-responsabbiltà tad-Diretturi Ekkleżjastiċi tal-Istituzzjoni li kienet tgħallem il-Katekiżmu.
Infatti, jidher illi fl-10 ta’ Frar 1823, skont din it-tradizzjoni, xi tfal kienu ttieħdu jisimgħu quddiesa l-Furjana u mbagħad kienu twasslu lejn il-Knisja ta’ Ġieżu l-Belt Valletta fejn hemmhekk ġew irregalati xi ħobż u frott, mingħajr ma nqala’ l-ebda inċident.
Iżda dan il-pjan sfratta għal kollox l-għada, meta akkost li din l-attività kienet mistennija li tirrepeti ruħha bla problemi, sensiela ta’ żbalji, wasslu għal traġedja kbira li ħadd qatt ma kien basar li għad tiġri.
Għall-ewwel, fil-11 ta’ Frar 1823, kollox kien miexi ħarir u kif suppost. It-tfal inġabru bħas-soltu u ttieħdu jisimgħu quddiesa l-Furjana. Madanakollu, did-darba, iċ-ċerimonja damet ma ntemmet siegħa aktar mis-soltu u għalhekk meta dawn it-tfal twasslu sal-Knisja ta’ Ġieżu, il-festeġġjamenti tal-Karnival kienu laħqu spiċċaw. B’hekk, il-wasla tagħhom ħabtet mal-ħin meta n-nies li kienu qed jieħdu sehem fil-briju tal-Karnival, bdew jirritornaw lejn djarhom. U l-bużillis inqala’ meta numru ta’ tfal u adulti oħra li saru jafu b’din l-attività f’Ta’ Ġieżu, tħalltu baxx baxx mat-tfal l-oħra bil-ħsieb li jieħdu xi ħaġa anki huma.Issa, skont il-pjanijiet tas-soltu, is-subien kienu mistennija jidħlu mill-bieb tas-sagristija tal-Kunvent ta’ Ġieżu u kellhom joħorġu mill-bieb ta’ faċċata li kien jagħti għal Triq Sant’Ursula, fejn hemmhekk, huma kienu jirċievu l-ħobż u l-frott. Sabiex jiġi evitat illi ċertu tfal jidħlu dabtejn, huma kienu jitħallew jistennew f’kuritur u l-bieb tas-sagristija kien jingħalaq warajhom.
Però ġara li f’din il-ġurnata, il-bieb tas-sagristija tħalla miftuħ aktar mis-soltu minħabba li kienu qed jistennew lit-tfal ġejjin mill-Furjana, b’konsegwenza illi nies oħra, apparti t-tfal tas-soltu, baqgħu deħlin. B’hekk, minflok madwar mitt tifel, kif kien ikun hemm fi drabi oħra, inġabar ammont ħafna akbar ta’ nies u din il-folla bdiet kull ma tmur timbotta lit-tfal li kien hemm aktar il-quddiem. Dawn bdew jingħafsu kontra bieb li kien jinżamm nofsu magħluq, biex it-tfal joħorġu minnu wieħed wieħed.
Hekk kif sar il-ħin, min kien responsabbli milli jagħlaq il-bieb tas-sagristija, sakkar din id-daħla u peress li kien qabad jidlam, dan ma ntebaħx li kienet daħlet miġemgħa mhux mistennija. Biex tgħarraq is-sitwazzjoni, lampa li s-soltu kienet titħalla mixgħula f’dan il-kuritur, għal xi raġuni ntfiet, u b’hekk kulħadd spiċċa fi dlam taqtgħu b’sikkina.
Hekk kif sabu ruħhom fid-dlam, in-nies bdew jimbuttaw lil xulxin biex joħorġu mill-bieb l-ieħor, u t-tfal li kienu l-eqreb tal-bieb l-ieħor, tgerrbu fit-tmien tarġiet li kienu jinsabu biswit l-entratura, u waqgħu fuq xulxin. B’hekk, l-uniku bieb minn fejn setgħu joħorġu, kompla jiġi mbarrat u minħabba li dan kien jinfetaħ il-ġewwa, aktar żdied il-paniku.
L-individwi li kienu fuq barra jqassmu l-ħobż u l-frott lit-tfal ma damux ma bdew jisimgħu t-twerżiq tat-tfal l-oħra li nqabdu f’dak is-saram. L-għajjat wasal anki s’għand il-ġirien tal-madwar u minnufih in-nies ħarġu sabiex jaraw x’ġara u biex jagħtu l-għajnuna. Naturalment, huma ppruvaw jiftħu n-nofs l-ieħor tal-bieb li kien jagħtu fuq Triq Sant’Ursula iżda dan ma seta’ jinfetaħ b’xejn peress li kellu t-tfal mixħutin fuqu. Għalhekk, xi wħud ġrew lejn is-sagristija biex isibu ċ-ċavetta tal-bieb l-ieħor u meta għamlu dan, huma daħlu minn fost in-nies li kien hemm fil-kuritur sabiex jilliberaw lit-tfal mill-bieb ta’ wara. Iżda, sfortunatament, għal ċerti tfal, kien diġà tard wisq!Infatti, numru ta’ tfal inħarrġu barra t-triq mejta, oħrajn b’ħass ħażin kbir fuqhom u oħrajn fi stat pjuttost ħażin. Eventwalment instab illi 110 tifel tal-età bejn it-8 u l-15 il-sena kienu mietu fgati billi ġew magħfusa fi spazju żgħir jew minħabba li ntrifsu waqt il-konfużjoni li nqalgħet.
Skont il-Lutenent Gvernatur, mill-inkjesta li saret u mill-informazzjoni li nġabret, ġie konkluż li dan kien inċident sfortunat li ġie kkawżat minħabba d-dewmien fiċ-ċerimonja tal-Furjana li ta lok lil dawk li kienu qed jiċċelebraw il-Karnival sabiex jingħaqdu ma’ dawn it-tfal. Kaġun ieħor kien in-nuqqas ta’ dawl fl-imsemmi kuritur li ċertament kompla żied fil-mortalità. Iżda, finalment ħadd ma ġie akkużat bil-mewt ta’ dawn it-tfal peress li xejn ma kien sar bi ħsieb ħażin li joħloq din it-traġedja.
Plasket kompla jsemmi kif f’dik il-ġurnata kerha, kulħadd kien ikkollabora biex jgħin kif jista’; anki l-familjari tal-vittmi li ħallew lill-pulizija u lis-suldati jaħdmu sabiex isalvaw kemm jistgħu individwi. Huwa faħħar ukoll lill-ġirien li għamlu minn kollox biex jagħtu daqqa t’id f’dak kollu li kien hemm bżonn.
Ma naqasx li jirringrazzja wkoll lit-tobba u lill-infermieri li kienu ġrew lejn il-post biex jagħtu l-għajnuna malli semgħu bl-aħbar. Huwa wera l-gratitudni tiegħu anki lejn l-uffiċjali tal-Pulizija u lejn il-membri tar-Reġiment Royal Malta Fencibleli kienu mmexxija mill-Kaptan tagħhom, il-Kulunell Markiż Giuseppe De Piro. Bis-saħħa ta’ dawn kollha, Plasket ikkonkluda, il-konsegwenzi ta’ din it-traġedja tnaqqsu drastikament.
Għall-ewwel bqajt bla kliem, inħares siekta lejn dawn iż-żewġ paġni antiki li kienu qed jitfgħu dawl fuq is-soċjetà Maltija ta’ dak iż-żmien u fuq il-faqar li kienu għaddejjin minnu wħud mill-Maltin. Ma stajtx ma nixxukkjax ruħi u nħoss għal dak l-għadd kbir ta’ familji, li f’jiem suppost ta’ ferħ u daħk bla tarf tal-Karnival, spiċċaw jgħixu ħabta w sabta din it-traġedja tal-waħx!Xi ħaġa ġegħlitni nkompli nfittex u nixtarr din l-informazzjoni ħalli nsir naf kemm jista’ jkun dwar dak li seħħ. Għaldaqstant, tkellimt mal-ħabib tiegħi, il-Markiż Nicholas De Piro li mill-ewwel rama jgħinni billi għaddieli l-informazzjoni li kellu ħalli nkomplu nibnu din l-istorja.
Fil-fatt, huwa pprovdini b’immaġni tal-antenat tiegħu, il-Markiż Giuseppe De Piro li dakinhar tal-inċident, kien qed imexxi lir-reġiment tas-suldati tar-Royal Malta Fencible. Barra minn hekk, huwa għaddieli wkoll ritratt tal-Ġeneral Sir George Whitmore flimkien ma’ illustrazzjoni antika li probabbilment turi din it-traġedja, li pinġha l-ġeneral stess, peress li hu kien qed iservi f’pajjiżna f’dak il-perjodu.
Għalaqt din ir-riċerka tiegħi billi mort infittex ukoll il-Knisja ta’ Ġieżu ħalli nara b’għajnejja fejn kien sar dan il-fatt. U hemm, 192 sena wara, hekk kif ironikament fil-Belt kienu qed jippreparaw għall-Karnival tal-2015, bħal deherli li fil-bogħod, smajt it-twerżiq tal-imsejkna tfal…
(Dan l-artiklu ġie ppubblikat fit-Torċa tal-15 ta’ Frar 2015)
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IL-KULURI TAĊ-ĊINA (1 Parti) Il-Belt Ipprojbita
Riċentement, bħala rikonoxxenza għal numru ta’ artikli li ktibt fit-Torċa dwar iċ-Ċina, iċ-Ċentru Kulturali taċ-Ċina f’Malta rrakkommanda lill-Ministeru Kulturali f’Beijing sabiex jistedinni nżur lil pajjiżhom. U f’ħin bla waqt, sibt ruħi naqta’ xewqa kbira li kelli li nara liċ-Ċina u li nsir naf aħjar lil niesha.
Tlajt iċ-Ċina flimkien ma’ erbgħa Maltin oħra: Anna Maria Gilson mid-Dipartiment tal-Edukazzjoni, il-fotografi Wistin Baldacchino u Mary Attard, u l-artista Ray Axiaq. Qattgħajna tnax il-ġurnata mill-isbaħ niskopru l-bliet ta’ Beijing u Shanghai. Il-ġranet għaddew bħal ħolma u mn’Alla li ħadt kwantità kbira ta’ ritratti u ta’ filmati, għax kieku ma kontx nemmen li kont tassew hemmhekk.
Dokumentarju u Esebizzjoni Artistika dwar iċ-Ċina
Meta rritornajna lura Malta, iċ-Ċentru Kulturali taċ-Ċina f’pajjiżna talabna nagħmlu preżentazzjoni lill-membri tiegħu sabiex naqsmu magħhom l-esperjenza tagħna.
Jiena pproduċejt dokumentarju ta’ madwar siegħa bl-isem Travelogue: The Colours of China li issa jista’ jiġi segwit fuq Youtube permezz ta’ dan il-link: https://www.youtube.com/watch?v=HlHIDVjYzGQ
Min-naħa l-oħra, sħabi tellgħu esebizzjoni ta’ ritratti u xogħolijiet artistiċi fil-Gallerija tal-Arti taċ-Ċentru Kulturali taċ-Ċina li jinsab f’173, Triq Melita l-Belt. Din il-wirja bl-isem ta’ Chinoiserie II se ddum miftuħa sad-9 ta’ Jannar 2015.
Ħafna minn dawk li jafuni u partikolarment dawk li qatt ma żaru liċ-Ċina, ħajjruni sabiex nikteb sensiela ta’ artikli dwar din l-esperjenza tiegħi. L-Editur Prinċipali tat-Torċa, Sandro Mangion, laqa’ mill-ewwel din il-proposta u għalhekk, minn din il-ġimgħa, se nkun qed naqsam magħkom dak li jiena skoprejt waqt iż-żjara tiegħi fiċ-Ċina.
Id-daħla tal-Belt Ipprojbita
Iddeċidejt li niddedika l-ewwel artiklu lill-Belt Ipprojbita…. Kont ilni s-snin naqra u nara d-dokumentarji dwarha. Imma nassigurakhom li hekk kif sibt ruħi fil-wesgħa ta’ quddiem id-daħla prinċipali tagħha li ġġib l-isem ta’ Wumen jew Il-Kanċell tal-Meridjan, bqajt bla kliem. Għaldaqstant, nista’ nimmaġina x’kienu jħossu dawk il-priġunieri tal-gwerra li kienu jinġiebu f’dan il-post sabiex jiġu ppreżentati lill-Imperatur jew dawk l-imsejkna li kienu jingħataw il-piena kapitali proprju f’dan il-lwog.
L-ogħli tal-binja ta’ din id-daħla jilħaq it-38 metru u infatti hija l-ogħla struttura fil-Belt Ipprojbita. Nistqarr li bla ma trid, tħossok imċekken ħdejn dak il-kobor kollu u hekk kif tibda ddawwar rasek u tilmaħ ħames torrijiet jgħassu fuqek minn kull naħa, bilkemm jagħtik li titniffes. U dan meta għadek barra….
Il-funzjoni ta’ din il-belt
Il-Belt Ipprojbita kienet tintuża bħala l-Palazz Irjali minn fejn l-imperaturi kienu jamministraw il-pajjiż u wkoll jgħixu flimkien mal-familji tagħhom fi żmien id-Dinastiji Ming u Qing. Infatti, għal madwar 500 sena, hija serviet bħala r-residenza ta’ 24 imperatur sakemm finalment Aisin Gioro Puyi, l-aħħar imperatur tad-Dinastija Qing, abdika fl-1911.
Din il-belt bdiet tinbena fl-1406 mill-Imperatur Chengzu tad-Dinastija Ming u ħadet 14 il-sena biex tlestiet. Ħadmu fuqha mal-100,000 tekniku u miljuni ta’ ħaddiema. Dan il-kumpless inbena mill-injam u huwa l-akbar wieħed tax-xorta tiegħu fid-dinja.
Intuża wkoll għadd ta’ rħam abjad li nġieb minn Fangshan li jinsab fil-limiti ta’ Beijing u anki ammont kbir ta’ granit mill-Provinċja Hebei. F’dawk il-perjodi, ma kienx faċli biex dan il-materjal jitwassal sa dan il-lwog minħabba li ma kienx jeżisti l-makkinarju adatt. Madanakollu, iċ-Ċiniżi rnexxielhom iwettqu dan il-proġett grandjuż billi ġarrew il-ġebel fuq rombli tal-injam matul l-istaġun tas-Sajf, filwaqt li fl-istaġun bikri tax-xitwa, huma ħaffru bjar kull nofs kilometru u minnhom tellgħu l-ilma li kienu jxerrdu mal-art sabiex dan isir silġ u jżerżqu l-ġebel fuqu.
9,999.5 binja
L-art li nbient fuqha din il-belt tkopri l-arja ta’ 720,000 metru kwadru u għandha forma rettangolari. Fuqha nbnew palazzi, paviljuni, pjazez u ġonna mill-ifjen u b’kollox, wieħed isib 9,999.5 struttura fejn l-iżgħar waħda, tesa’ biss taraġ tal-injam.
M’hemmx 10,000 struttura minħabba li f’dak iż-żmien, iċ-Ċiniżi kienu jemmnu li l-imperatur alla Hade kellu dan l-ammont ta’ kmamar fil-Palazz tal-Ġenna u għalhekk l-imperatur ta’ din l-art, li kien meqjus bħala ibnu, b’rispett, ma setax ikollu palazz kbir daqs ta’ missieru. Ta’ min isemmi li dawn il-kmamar kollha kienu maħsuba biex itawwlu kemm jista’ jkun il-ħajja tal-imperatur.
Il-kobor ta’ din il-belt
Matul is-snin, partijiet mill-Belt Ipprojbita ġew restawrati jew mibnija mill-ġdid iżda t-tqassim oriġinali tagħha dejjem inżamm. Fil-fatt, l-istrutturi tagħha nbnew b’mod ordnat fuq ass ċentrali li jaqsam bejn il-parti tat-tramuntana u dik tan-nofsinhar. Dawn il-partijiet jirriflettu il-filosofija tradizzjonali tal-yin u l-yang u tal-Ħames Elementi filwaqt li jindikaw ukoll il-ġerarkija fewdali.
Ħitan ta’ 10 metri jdawwru l-belt kollha u f’kull kantuniera wieħed isib torri tal-għassa. Foss wiesgħa 52 metru mimli bl-ilma, jdawwar dawn il-ħitan fuq in-naħa ta’ barra sabiex b’hekk dan il-lwog ikun protett aħjar.
Mhux ta’ b’xejn li jingħad li dan il-lwog huwa wieħed mill-aktar imfittxija mit-turisti għax qatt ma rajt daqstant nies ta’ kull pajjiż deħlin f’post wieħed f’ħajti! Infatti, f’ħin minnhom saħansitra ltqajna ma’ grupp turisti Maltin. Iżda ħaġa tal-iskantament, din il-belt tant hi kbira, li jirnexxielha tibla’ lil kulħadd ġewwa fiha bla ma tintela’ qatt.
L-akbar pjazza fil-Belt Ipprojbita hija Taihe Dian u għandha arja ta’ 30,000 metru kwadru. Fiha għadek issib ammont ta’ kontenituri kbar tal-bronż li kienu jimtlew bl-ilma bħala protezzjoni kontra n-nar. L-ilma kien jiġi provdut permezz ta’ xmara li ġiet mgħoddija minn naħa minnhom tal-palazz. Fl-istess ħin, din ix-xmara kienet tilqa’ fiha wkoll l-ilma li kien jinġabar fil-post wara xi ħalba xita, apparti milli kienet isservi wkoll bħala dekorazzjoni arkitettonika, l-aktar minħabba l-pontijiet sbieħ li trikkbu fuqha.
Min-naħa l-oħra, fi pjazza magħrufa bħala l-Kanċell tal-Armonija Suprema wieħed isib il-binja li quddiemha l-imperatur kien iħaddem il-poter tiegħu, itella’ ċerimonji u jilqa’ l-ministri tiegħu. Hawnhekk, wieħed isib ukoll l-ikbar statwi ta’ par iljuni fil-belt kollha fejn l-iljun maskili għandu ballun taħt idejh filwaqt li dik femminili tidher tilgħab ma’ ferħ ta’ ljun.
Is-sagrifiċċji u l-pjaċiri tal-imperatur
Fatt kurjuż huwa illi f’din il-belt, wieħed isib ukoll il-Palazz tal-Astinenza, magħruf hekk minħabba li fih l-imperatur kien jinġabar matul il-perjodu meta huwa kien ikollu jsum għal tliet ijiem qabel iwettaq iċ-ċerimonja sagrifikali lis-sema u lill-art.
Naturalment, l-imperatur kellu wkoll lok għall-pjaċiri, fosthom id-dritt għall-ammont kbir ta’ konkubini li kienu jgħixu ġewwa din il-belt. Dawn il-konkubini kienu jkunu tfajliet sbieħ li jintagħżlu biex jagħtu gost bil-preżenza tagħhom lill-imperatur. Iżda mhux kull konkubina kienet torqod b’mod regolari mal-imperatur, tant li kien hemm min minnhom jesperjenza dan darba f’għomru jew qatt! Il-bużillis kien li ġaladarba tfajla tkun konkubina, f’każ li l-imperatur ma jieħux grazzja magħha, din kienet titwarrab f’rokna tal-belt u tiġi njorata, iżda ma titħalla qatt tiżżewweġ lil ħaddieħor! L-uniku skop ta’ dawn il-konkubini kien li jirnexxielhom ikollhom wild mill-imperatur għax b’hekk huma kienu jitilgħu ‘l fuq fil-ġerarkija u jiżdidilhom il-poter tagħhom. Infatti dik il-konkubina li binha jirnexxielu jilħaq imperatur wara l-mewt ta’ missieru kienet saħansitra ssir l-Imperatriċi Armla.
Miljun oġġett prezzjuż
Minħabba l-kobor enormi ta’ din il-belt, mhux possibbli li taraha kollha iżda ċertament għajnejk għandhom biżżejjed fuqhiex jitpaxxew b’dak li tilħaq tara. L-irfinar tad-diżinji fl-injam tal-binjiet u d-dekorazzjonijiet b’kuluri mill-isbaħ huma meravilja fihom infishom. Daqstant ieħor huma sbieħ l-oġġetti li l-kmamar huma mżejjna bihom.
Meta din il-belt kienet għadha tiffunzjona, ħadd ma seta’ jidħol fiha mingħajr permess u għalhekk hija magħrufa bħala l-Belt Ipprojbita. Imma wara li ntemmet id-Dinastija Qing, fl-1925, dan il-lwog ġie stabbilit bħala mużew tant li llum hemm min isibu wkoll bħala l-Mużew tal-Palazz. Intant, minn din il-belt, inġabru madwar miljun oġġett prezzjuz li ġew esebiti fis-swali tagħha. Dawn jikkonsistu f’oġġetti maħduma mill-bronż u mill-fuħħar, arti u tradizzjonijiet tad-Dinastiji Ming u Qing, arloġġi, tpinġijiet, skulturi u teżori oħra.
Fl-1961 din il-belt kienet waħda mill-lwogi li ntagħżlu biex jiġu kkonservati u preservati bħala parti mill-wirt kulturali tal-pajjiż. Fl-1987, il-UNESCO għarrfitu bħala Wirt Kulturali Dinji.
Il-Ġnien Imperjali
Fuq in-naħa ta’ wara tagħha, din il-belt tinkludi wkoll il-Ġnien Imperjali li fih kienu jistrieħu l-Imperatur u l-familja tiegħu flimkien mal-konkubini.
Hemm madwar 20 struttura ġewwa dan il-ġnien, fosthom paviljuni, kmamar, torrijiet u swali. Kollha ghandhom l-istil distint tagħhom u kollha ġew mibnija b’mod simmetriku u f’ordni ta’ ġerarkija.
Għadd ta’ pjanti u siġar tħawwlu f’dan il-lwog, b’uħud minnhom evidentement illum jgħoddu żmien żemżem. Inbniet ukoll vaska sabiex tinħoloq atmosfera ta’ serenità u paċi.
Barra minn hekk, f’naħa minnhom, issawwret għolja artifiċjali bil-blat tal-Għadira Taihu. Fin-nofs tagħha ġie ffurmat għar, mentri fil-ġnub ttellgħu turġien li jwasslu sal-quċċata. Hemmhekk l-imperatur flimkien mal-familja tiegħu kienu jitilgħu waqt ċelebrazzjonijiet partikolari sabiex igawdu x-xenarju mill-isbaħ tal-inħawi li toffri din l-għolja.
(Dan l-artiklu ġie ppubblikat fis-sensiela IL-KULURI TAĊ-ĊINA (L-1 Parti) fit-Torċa tal-4 ta’ Jannar 2015)
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Il-kartolini postali Maltin
Kont ilni nixtieq niltaqa’ ma’ Chev. Dr. Anthony J. Abela Medici minħabba li għal bosta snin, huwa kien id-Direttur tal-Laboratorju Xjentifiku Forensiku tal-Pulizija ta’ Malta. Madanakollu, hekk kif dil-ġimgħa rnexxieli nisraqlu siegħa, minflok dwar il-forensika, sibt ruħi nitkellem miegħu dwar passjoni kbira li daħlet f’ħajtu qajla qajla filwaqt li hu kien qiegħed isegwi passatemp ieħor.
Iffissat dwar l-istorja postali ta’ Malta
“Minn mindu kont żgħir kont iffissat dwar l-istorja postali ta’ Malta,” stqarr mill-ewwel Abela Medici. “Iz-ziju ta’ ommi kien jiġbor il-bolol u ħajjarni biex nibda nġemmagħhom jien ukoll. Dak iż-żmien, niftakar li Godwin Said kien ħareġ l-ewwel katalogu żgħir bi tliet fuljetti tal-marki postali tal-irħula u xtrajthom. U fost il-listi li kien fihom, nilmaħ dik ta’ Ħad-Dingli; ir-raħal li jien trabbejt fih man-nanna u maz-zijiet.”
“Fl-1964 kelli 14 il-sena u tħajjart nixtri l-ewwel bolla komuni iżda li kellha t-timbru ta’ Ħad-Dingli. Kienet tiswa erbatax il-xelin u għamilt sena u nofs inġemmgħa l-flus għaliha, sakemm fl-aħħar xtrajtha. Imbagħad dort għat-timbri l-oħra u maż-żmient, għaqqadt kollezzjoni kbira mhux ħażin. Biex insibhom, kont indur in-negozjanti kollha tal-bolol li kien hemm il-Belt. Dak iż-żmien kien hemm ħafna għalkemm illum ma baqa’ ħadd minnhom.”
Il-fieri tal-filatelija u l-kartolini postali
Il-kollezzjoni kompliet tiżdied u tespandi sakemm darba minnhom, huwa sar jaf bil-fieri tal-filatelija li kienu jittellgħu f’pajjiżna.
“Bdejna mmorru jien u l-mara nfittxu għal timbri differenti tal-posta ta’ Malta,” kompla jirrakkonta Abela Medici. “Issa dawn it-timbri ħafna minnhom kont issibhom fuq il-kartolini li kienu jkunu f’pakketti sħaħ. Min jaf kemm il-darba kelli nixtri pakkett sabiex nakkwista timbru wieħed li kien jinteressani! B’hekk ftit ftit, bla ma oriġinarjament kelli l-ħsieb, sibt ruħi niġbor kwantità kbira ta’ kartolini li finalment anki huma ħadu l-forma ta’ kollezzjoni u għalhekk bdejt nikkatalogahom.”
Minn dawn il-kartolini, huwa sab ruħu wkoll jinteressa ruħu fl-istorja ta’ pajjiżna, tant li huwa wettaq riċerka sfieqa, partikolarment fejn tidħol il-filatelija.
Katalogi tal-kartolini postali
“Meta fl-2008 bdejt naħseb biex nirtira, uliedi ħajjruni biex nibda nippubblika r-riċerka li kont għamilt ħalli b’hekk ix-xogħol kollu li għamilt matul diversi snin ma jtirx mar-riħ.”
Hekk tnissel l-ewwel volum ta’ Abela Medici fejn jidħlu dawn il-kartolini: Maltese Picture Postcards: The Definitive Catalogue (Volume 1: The Early Years 1898 – 1906).
“Għalkemm forsi ħafna minna jgħoddu l-kartolini bħala xi ħaġa komuni, fir-realtà, huma jiffurmaw parti mill-istorja viżiva ta’ pajjiżna. Kif spjega sewwa Dr Giovanni Bonello fl-introduzzjoni ta’ dan il-ktieb, dawn il-kartolini jipprovdu riserva sinifikanti ferm ta’ xbiehat ta’ niesna, tal-kultura tagħna u ta’ pajjiżna illi probabbli, li kieku ma kienx għal dan il-mezz ta’ kommunikazzjoni, kienu jintilfu kompletament. Barra minn hekk, għal ħafna minn dawk li għexu fil-perjodu ta’ qabel l-Ewwel Gwerra Dinjija, il-kartolini kienu l-uniku mod kif wieħed seta’ jara xeni ta’ pajjiżi oħra, speċjalment dawk li kienu pjuttost diffiċli biex iżżurhom,” spjegali.
L-ewwel kartolina postali
“Fatt interessanti huwa illi l-ewwel kartolina postali ħarġet fuq rakkomandazzjoni ta’ Dr Emanuel Herrmann, li kien Kanċillier tal-Ministeru tal-Kummerċ Awstrijakk. Huwa ssuġġerixxa din l-idea f’artiklu tiegħu li ġie ppubblikat fl-1969 u hekk kif il-gvern tal-imperu Awstrijo-Ungeriż aċċettaha, bdew jiġu stampati dawn il-kartolini li ħarġu għaċ-ċirkulazzjoni. Ma għaddiex wisq żmien biex tħajjru pajjiżi oħra u b’hekk bdiet din id-drawwa li jintbagħtu l-kartolini. Ftit ftit, in-nies bidlet din id-drawwa f’passatemp hekk kif ħabta u sabta, nibtu bosta kolletturi u l-kartolini bdew jiġu stampati fi kwantitajiet kbar. Hekk jew hekk kienet ferm irħas li tibgħat kartolina milli li tibgħat ittra bl-envelop.”
L-ewwel xbieha ta’ Malta li ġiet użata bħala kartolina
“L-ewwel stampa li nafu biha s’issa bi xbieha ta’ Malta li ġiet użata bħala kartolina, ġiet impustatata fl-1872 u kienet turi xena tal-Port il-Kbir. Din l-istampa kienet tifforma parti minn serje ta’ ritratti li ġew ippubblikati minn kumpanija tat-tbaħħir fl-1857.”
“Min-naħa l-oħra, l-Uffiċċju Postali ta’ Malta ġie trasferit lill-gvern kolonjali lokali f’Jannar tal-1885 u l-awtoritajiet postali Maltin ħarġu l-ewwel kartolini postali fl-istess xahar. Dawn kienu juru xbieha ta’ ras ir-Reġina Vittorja.”
Kartolini jgħinu biex tiġi rkuprata l-istorja
Qallibt dan il-katalogu b’interess hekk kif bdejt nara dawn il-kartolini b’għajnejn oħra. Fhimt illi ktieb bħal dan ma kienx iservi biss għall-kollezzjonisti u n-negozjanti tal-kartolini postali imma anki għal dawk li kellhom interess fl-istorja u fis-soċjetà Maltija.
“Għandek tkun taf li mhux darba u tnejn li dawn ix-xbiehat għenu sabiex tiġi rkuprata l-istorja ta’ pajjiżna, ngħidu aħna fejn jidħol ir-restawr ta’ xi bini antik,” għarrafni Abela Medici. “Każ minnhom kien dak tal-funtana li tinsab ir-Rabat Malta, filwaqt li eżempju ieħor kien il-proġett ta’ Biagio Steps fejn kien hemm il-ħtieġa li jiġi kkonfermat kif kienu t-twieqi oriġinali tal-post li kienu waqgħu waqt il-gwerra.”
Ħadt gost nifli x-xeni Maltin li kienu jidhru fuq dawn il-kartolini ta’ dari hekk kif bdejt inqabbilhom ma’ dawk ta’ llum. Uħud għarafthom imma oħrajn ilhom snin li għosfru mill-ambjent Malti u għaldaqstant, apprezzajt il-kartolini aktar u aktar għax kieku ma kien ikolli qatt iċ-ċans li narahom b’għajnejja.
Meta ntebaħ bl-entużjażmu tiegħi, Abela Medici beda jurini partijiet mill-kollezzjoni tiegħu ta’ kartolini li llum tlaħħaq il-fuq minn 40,000 kartolina!
“Ħassejtni obbligat li naqsam dak kollu li rnexxieli niġbor u niskopri flimkien mal-pubbliku,” huwa stqarr. “Permezz ta’ din il-kollezzjoni vasta, ħarġu kartolini antiki ferm li qatt ma kienu ddokumentati qabel. M’għandix dubju li hemm ħafna individwi li se jsibu din il-kollezzjoni utli jew interessanti għalihom, speċjalment dawk li japprezzaw il-Melitensia.”
Abela Medici poġġieli f’idejja t-tieni volum li għadu kif ħareġ – Maltese Picture Postcards: The Definitive Catalogue (Volume 2: The Divided Backs 1904-1914 (A-G)).
“Wara tant ħidma, issa lestejt ukoll it-tieni volum. U hekk kif kiteb Dr William Zammit fl-introduzzjoni ta’ dan il-ktieb, din il-pubblikazzjoni dokumentata b’riċerka dettaljata, mill-llum il-quddiem se tibda tifforma parti mill-memorja kollettiva nazzjonali ta’ pajjiżna għall-ġenerazzjonijiet li jmiss.”
Infatti l-kartolini maqsuma fi stampi, diżinji, pitturi u ritratti li ħarġu matul is-snin imsemmija jservu bħala vetrina ħelwa ta’ dak kollu li jagħmilna Maltin.
Kien impossibbli li nara l-kartolini kollha minħabba l-ammont kbir li għandu Abela Medici u għalhekk se jkolli nistenna l-pubblikazzjoni tal-volumi li jmiss. Min jaf jekk hux il-volumi kollha, bħat-tnejn li diġà ħarġu, hux ser ikunu ddedikati lil Snoopy, il-kelb tiegħu li ma telaqx għal mument wieħed lil sidu u li għal siegħat twal akkumpanjah matul dan ix-xogħol tiegħu.
(Dan l-artiklu ġie ppubblikat fis-sensiela KOBOR IL-MALTI (29 Parti) fit-Torċa tal-21 ta’ Diċembru 2014)
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A Traditional Crib
“The setting up of a crib during the Christmas season has become a worldwide tradition. However probably, few are aware that by doing this, they are reproducing a custom that was originated by St Francis D’Assisi in the 13th century,” told me Francesca Cannavò, the Curator of the Nativity Museum which is located in the crypt of St Augustine’s Church in Old Mint Street, Valletta.
“The main aim of this museum is to promote a deeper understanding and meaning regarding the nativity of Jesus and how this sacred event has been represented artistically during all these years by various artists,” explained Andrea Consalvo Rifici, the marketing manager.
Indeed, during these last months, the ambience of this huge crypt has been completely transformed into a landscape which instills the perception of being absorbed back in time, right to the period of this holy nativity.
“We want the visitors to walk around this place and to meditate about what was happenning in the days before baby Jesus was born and also what took place soon after.”
Various panels with interesting information accompany the visitors throughout this journey which takes them deep within the old crypt in search of the revelation of the Christmas story. Meanwhile, heavenly music engages the visitors and immerses them into the sanctity of this experience.
“In the old days, many of the people were uneducated and so they could not read the scriptures. Therefore, the Church set up various plays and commissioned many paintings in order to create a visual narrative with which the people could comprehend certain episodes in Jesus’ life.”
In fact, beautiful reproductions of renowned artistic works that portray the nativity scene compliment and enhance the significance of this museum, as the visitors can enjoy and absorb the different interpretations that were effected by remarkable painters such as Leonardo da Vinci, Giotto, Tiziano, Rubens, Botticelli, Carvaggio, Fra Angelico, and Hugo van der Goes.
“It is believed that these representations of the nativity have inspired St Francis of Assisi to compose the first crib which he set up in a cave. Eventually, this idea was so much appreciated by the people that they decided to produce their own cribs in order to possess the blessed nativity scene within their homes. As years passed, people continued to develop this concept by designing new ways of expressing this remarkable episode.”
A circular room within this crypt has been selected to present a set of artistic scenes which manifest the main events that are relative to the birth of Jesus; such as that of the Annunciation, the dream of Joseph, Mary’s visit to a pregnant elder Elizabeth, the search to find a place for Mary to give birth and the hasty escape to Egypt.
“These set ups have been designed in Sicily in order to decorate this museum. The figurines were made by Vincenzo Velardita in Caltagirone whereas the scenography was realized by Gigi Genovese in Catania. We tried to keep these scenes as simple as possible in order to reflect the modest nature that Jesus Himself chose for his own birthplace.”
Certainly, the principal attraction in this nativity museum is the huge crib with its numerous mechanical figures.
“This crib is the work of Salvatore Milazzo from Caltagirone. We are proud to say that it has been admired in several countries and that it has received various prestigious awards. This year, we decided to introduce it to Malta because we are aware that the Maltese people are deeply devoted to the nativity of Jesus. Moreover, we wanted to share our Sicilian culture with the Maltese people since there are many similarities between our culture and traditions.”
Milazzo’s work is definitely a work of art as it embraces within it all the skill of the renowned Caltagirone masters of this trade. The forty square metre crib has been decorated with a typical Sicilian country lansdcape of the 1800s which includes also a number of workshops of trades which do not exist any longer.
Meanwhile, this museum incorporates within it also a number of locally made cribs that were provided by members of Friends of the Crib (Malta).
Interestingly, this nativity museum which has opened its doors for the public in November will not close after the Christmas season and it will remain available to visitors all throughout the year.
“The concept behind the creation of this nativity museum in Malta is to heighten the experience of Valletta 2018 both to local and to foreign visitors, by blending together the culture of this island and that of Sicily.”
(This article was published in CHRISTMAS TIMES Magazine which was issued with The Times of Malta dated 13th December 2014)
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L-Album tal-Priġunieri tal-Gwerra
Ġurnata minnhom, ġewwa l-binja tal-Arkivji Nazzjonali ta’ Malta fir-Rabat, tfaċċat mara anzjana mill-Kanada. F’idejha kellha xi dokumenti, fosthom album ta’ missierha li kien imur lura għall-Ewwel Gwerra Dinjija. Hi xtaqet tkun taf jekk l-arkivisti tagħna kienux isibu xi interess fl-oġġetti li ġabet magħha. Stenniet b’attenzjoni biex tara r-reazzjoni tal-arkivista. U hekk kif dan beda jqalleb il-paġni, għajnejh xegħlu…..
George H Salter
Missier Marylyn Peringer kien George H Salter. Huwa kien Ingliż u matul il-perjodu tal-Ewwel Gwerra Dinjija, kien jifforma parti mill-armata Brittanika. Xogħolu ġabu Malta meta huwa ngħata r-responsabbiltà li jieħu ħsieb il-Kampijiet tal-Priġunieri tal-Gwerra li nfetħu f’pajjiżna. Fost id-dmirijiet tiegħu, huwa kien iżomm rendikont tal-flus li kienu jirċievu l-priġunieri mingħand qrabathom u ħbiebhom u mbagħad kien jgħaddihomlhom għall-użu tagħhom.
Mir-rimarki li ħallewlu wħud mill-priġunieri fl-album tiegħu, fosthom il-Prinċep von Hohenzollern, jidher li Salter kien bniedem ġust f’xogħolu. Għall-kuntrarju, uffiċċjali oħrajn kienu jabbużaw mir-rati tal-kambju meta kienu jbiddlulhom il-flus, filwaqt li numru ieħor kienu jitolbuhom kummissoni esorbitanti biex jaqduhom.
Malta – in-Ners tal-Mediterran
Għalkemm Malta ma nvolvietx ruħha direttament f’din il-gwerra, xorta waħda hija kellha rwoli sinifikanti mmens. Fosthom diversi binjiet pubbliċi ġew mibdula fi sptarijiet sabiex pajjiżna jirċievi għadd ta’ suldati midruba. Infatti, għall-ħabta ta’ Jannar 1916, f’Malta kien hawn madwar 20,000 sodda mqassma fi 28 sit għal dan il-għan. Mhux ta’ b’xejn li f’dan iż-żmien, pajjiżna sar magħruf bħala in-Ners tal-Mediterran.
Malta tilqa’ l-priġunieri tal-gwerra
Sehem ieħor li ngħata lil pajjiżna kien illi jilqa’ fih il-priġunieri tal-gwerra li kienu qed jinqabdu waqt l-attakki. B’hekk f’Malta bdew jinfetħu diversi Kampijiet tal-Priġunieri fosthom fil-Forti Verdala, f’San Klement, f’San Salvatore u fil-Polverista.
Fatt interessanti huwa illi flimkien mal-priġunieri li kien hemm fil-Kamp ta’ Verdala, fis-7 ta’ Mejju 1917, ingħaqad ukoll Dr Enrico Mizzi, li snin wara sar Prim Ministru ta’ Malta, minħabba li kien favur it-Taljani. Huwa nżamm f’dan il-post sat-13 t’Awwissu 1917 sakemm ittella’ ġuri.
Priġunier ieħor kien il-Ġermaniż Karl Doenitz. Huwa ntbagħat fil-kamp ta’ Verdala wara li l-U Boat tiegħu UB 68, li tagħha kien il-kmandant, għerqet fit-3 t’Ottubru 1918 lejn in-naħa tax-xlokk ta’ Sqallija. Skont dokumenti li rrefera magħhom Giovanni Bonello, jidher li Doenitz kellu karattru pjuttost riservat u ta’ ftit kliem. Fil-kamp kien waqa’ f’dipressjoni akuta għax bħal donnu li kien daħħalha f’rasu li l-U-Boat intilfet minħabba xi żball li għamel hu. Intant, aktar tard fit-Tieni Gwerra Dinjija, Doenitz laħaq Gran Ammirall u wara s-suwiċidju ta’ Hitler, kien huwa li sar il-Kanċillier tat-Tielet Reich.
L-album ta’ Salter
Għalkemm f’diversi kotba nsibu informazzjoni dettaljata dwar dak li seħħ matul dawn il-gwerer, l-album ta’ Salter serva bħala mezz sinifikanti sabiex jitfa’ dawl fuq dak li kien qed jiġri f’dawn il-Kampijiet tal-Gwerra, partikolarment fejn tidħol ir-relazzjoni tal-uffiċċjali tal-armata ma’ dawn il-priġunieri.
Fost il-paġni tiegħu, wieħed isib għadd ta’ kummenti b’lingwi differenti, firem, diżinji u tpinġijiet. Mill-kitba tal-priġunieri, wieħed jista’ jinnota li għalkemm dawn kienu ġejjin minn pajjiżi, kulturi u livelli tas-soċjetà differenti, huma kienu jaqsmu l-istess fehmiet fejn tidħol ix-xewqa kbira li jirritornaw lejn pajjiżhom u lejn djarhom, in-niket minħabba li nħonqot il-libertà tagħhom u d-dwejjaq peress li fil-kampijiet ma tantx kien hemm wisq x’tagħmel.
Fatt ieħor interessanti li wieħed jista’ jsegwi huwa kif żvolġiet ħajjet dawn il-priġunieri li ġew maqbuda u sfurzati jgħixu flimkien f’dawn il-kampijiet ma’ nies li ma kienux jafu, filwaqt li għadd ta’ suldati oħra minn pajjiżhom kienu qed jiġġieldu u jitqatlu matul il-gwerra.
Dawn in-narrazzjonijiet flimkien ma’ għadd ta’ informazzjoni, illustrazzjonijiet u dettalji oħra siewja, inġabru mill-Arkivji Nazzjonali ta’ Malta ġewwa l-ktieb li ġie ppubblikat dan l-aħħar bl-isem ‘The Salter Album: Encounters in Malta’s Prisoner of War Camps 1940 – 1920′.
Il-ġrajja tal-koppja Salter
Waqt it-tnhedija ta’ dan il-ktieb, attendiet ukoll bint Salter li llum għandha 78 sena. Naturalment, ħtaft l-opportunità sabiex nisma’ ġrajjietha direttament minn għandha. Wara kollox, ħajjet Marylyn hija marbuta mill-qrib ma’ pajjiżna minħabba li ommha kienet Maltija.
Infatti, il-ġrajja ta’ omm Marylyn ġiet ukoll irrakkuntata u nkluża f’dan il-ktieb, hekk kif permezz ta’ awtobijografija li hija ħalliet li bintha, din setgħet tgħaddi aktar informazzjoni lill-arkivji tagħna.
Kien fl-1917 meta Mary Tabone applikat sabiex tibda taħdem fil-Kamp tal-Priġunieri tal-Gwerra ġewwa Verdala u wara li qagħdet għall-eżami meħtieġ, hija u tfajla oħra ntagħżlu meta ġew l-ewwel fir-riżultati. Iżda hawnhekk inqala’ l-bużillis hekk kif uħud mill-Maltin tkażaw kif kien qed jingħata x-xogħol lin-nisa meta kien hemm tant irġiel tal-familja li kellhom bżonn jaħdmu. Tant tqajjmet polemika illi wara li dawn iż-żewġ tfajliet ġew aċċettati, ħarġet regola ġdida li għal dan ix-xogħol, irġiel biss setgħu japplikaw.
Sadanittant, Mary sabet ruħha taħdem flimkien ma’ Salter li b’paċenzja kbira ħarriġha f’xogħolha. It-tfajla ma damitx ma nġibdet lejn dan ir-raġel tant ġentili u tal-galbu li kien iħobb il-mużika bħalha. U meta ntebħet li hu ma kienx qed joħroġ ma’ sħabu meta dawn kienu jmorru jixorbu fil-ħwienet tax-xorb, darba minnhom, hija stednitu għall-ikel ħalli jiltaqa’ mal-familja tagħha.
Hekk bdiet din il-ħbiberija bejn dawn it-tnejn u ftit ftit dawn bdew jinġibdu lejn xulxin. Madanakollu, huma kellhom iżommu l-emozzjonijiet tagħhom mistura f’qalbhom minħabba li Salter kien miżżewweġ u kien jinsab waħdu hawn Malta peress li martu ma xtaqitx takkumpanjah fi gżiritna.
Is-snin gerrbu u l-gwerra ntemmet. U hekk kif bosta nies madwar Malta bdew jiċċelebraw, qalb Mary infniet hekk kif f’tebqa t’għajn, wara li għalaq il-Kamp tal-Priġunieri tal-Gwerra, hija tilfet xogħolha u anki lil Salter li kellu jħalli lil pajjiżna.
Ħajjet dawn iż-żewġ individwi kompliet għaddejjha separatament għal bosta snin fejn Mary żżewġet Malti li kien jgħix l-Amerika u telgħet tgħix hemmhekk. Iżda wara sena, hija sfat armla minħabba li żewġha miet f’inċident. Xi żmien wara mietet ukoll mart Salter wara marda li kellha.
B’mod jew ieħor, id-destin reġa’ laqqa’ lil dawn it-tnejn flimkien u huma ntebħu li kienu għadhom jinħabbu, tant li żżewġu wara ftit. Minn dan iż-żwieġ twieldet Marylyn u ħajjet il-koppja kienet sabiħa, sakemm bdiet it-Tieni Gwerra Dinjija li firdithom mill-ġdid, did-darba, għal dejjem.
Dan ġara wara li Mary u bintha telqu lejn l-Amerika meta l-Ingilterra sofriet l-ewwel bombardament, filwaqt li Salter baqa’ f’pajjiżu biex jgħin f’din il-gwerra li reġgħet inqalgħet. Iżda fl-1942, huwa miet bit-tuberkolożi u Marylyn sfat orfni ta’ sitt snin.
Xi ġranet wara, ommha Mary rċeviet l-affarijiet li kien ħallha żewġha warajh, fosthom dan l-album b’tant rikordji. Kien hemm li hija bdiet tirrakkonta lil bintha dwar il-ġrajja tagħha u ta’ żewġha.
L-awtobijografija ta’ Mary Salter
Għadda ż-żmien u Mary iddeċidiet li tikteb l-awtobijografija tagħha sabiex tħalli rikordju ta’ dak li għaddiet minnu. Meta lestietha, ittantat kemm il-darba biex tippubblikaha imma qatt ma rnexxielha. Finalment, hija rregalat dan ix-xogħol lil bintha waqt ċelebrazzjoni ta’ għeluq sninha u sena wara l-omm mietet wara li daħlet għal operazzjoni u ma ħarġitx ħajja mill-isptar.
“Min jaf kemm tkun kuntenta ommi li kieku kellha tara dan il-ktieb li fih jinkludi l-ġrajja tagħha flimkien ma’ dik ta’ missieri u dak li għaddew minnu fil-Kampijiet tal-priġunieri tal-Gwerra,” qaltli Marylyn b’tonn nostalġiku.
Kien tassew mument sinifikanti meta Marylyn irregalat kopja ta’ dan il-ktieb lill-Ambaxxatur tal-Ġermanja, Klaus-Peter Brandes, li apparti li attenda għal din il-funzjoni, huwa għen ukoll sabiex dan il-proġett seta’ jitwettaq.
(Dan l-artiklu ġie ppubblikat fis-sensiela KOBOR IL-MALTI (27 Parti) fit-Torċa tat-30 ta’ Novembru 2014)
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Mitluf wara l-ħin
Ix-xitan ma jaħti xejn
Qatt innutajtu li bosta drabi, l-arloġġi tal-knejjes ma jaqblux bejniethom? Meta darba staqsejt dwar dan, xi ħadd semmieli t-tradizzjoni li tgħid li dak kien ġest li jsir apposta biex iħawwad lix-xitan, sabiex jekk dan jersaq lejn il-knisja, ma jkollux idea liema wieħed minnhom kien il-ħin it-tajjeb.
“Kollha ħmerijiet dawk!” ħatafni mill-ewwel Stephen Zammit, espert fil-qasam tal-arloġġi. “Li kieku naqbad insemmilek dwar l-għidut żbaljat li nisma’, lanqas nieqaf!”
“Mela għandek tkun taf li meta kienu jsiru żewġ kampnari fi knisja, l-arluġġar ma kienx jagħmel żewġ magni, imma magna waħda. Għaldaqstant, meta kien jitpoġġa arloġġ fuq il-kampnar l-ieħor, dan kien isir biss għall-bilanċ tal-estetika. Infatti, bosta drabi l-minutieri tal-arloġġ l-ieħor kienu jkunu biss miżbugħa fuq il-ħajt u ġeneralment dawn kienu juru nofsinhar.”
L-arloġġ tal-Mużew Marittimu
Qatta’ ħamiem inħasdet, tgerrxet u taret il-bogħod hekk kif ħabta u sabta, mill-kampnar li konna ħdejh, bdew ħerġin moti sbieħ u sodi.
“Xi ġmiel hux?” staqsini Stephen hekk kif rama jgħodd bil-mod id-daqq tal-qniepen. Il-ħoss waqaf eżatt kif waqaf jgħodd hu.
“Dak nafu bl-amment jien,” qalli hekk kif beda jispjegali x-xogħol li kien wettaq fuq l-arloġġ li jinsab fuq il-bejt tal-bini tal-Mużew Marittimu li jinsab il-Birgu.
“Oriġinarjament, dan l-arloġġ li nħadem fid-19 il-seklu, kien jinsab ġewwa kampnar żgħir li kien iħares fuq Baċir Numru 1. Imbagħad, wara li tmexxa għal hawn, l-uċuħ ta’ dan l-arloġġ bdew jagħtu fuq Bormla, l-Isla u l-Belt Valletta.”
Mitluf wara l-arloġġi sa minn ċkunitu
“L-ewwel interess fl-arloġġi tqanqal fija meta bdejt immur nisma’ l-quddies fil-knisja ta’ Ħ’Attard. Ta’ tifel li kont, affaxxinajt ruħi bl-arloġġ li kien hemm fil-kampnar,” beda jirrakkuntali Stephen.
“Imbagħad, meta kelli madwar 11 il-sena, tħajjart nibda nsewwi l-iżveljarini li kienu jaħdmu bil-ħabel. Kull wieħed li kont insib wieqaf kont niftħu u noqgħod ninnutah sabiex nipprova nifhem għaliex ma kienx qed jaħdem. Ftit ftit bdejt nintebaħ bil-partijiet li ma kienux f’posthom jew li jkunu tkissru. Hekk kif kont nagħraf li kien hemm xi parti miksura, kont immur nordnaha mingħand aġent tal-ispare parts tal-arloġġi li kien hemm il-Belt. U meta din tasal, kont nara li npoġġiha f’postha u l-arloġġ jerġa’ jaħdem.”
Minn hemm ma damx ma dar għall-arloġġi tal-idejn, li għalkemm kienu iżgħar u b’hekk kien jeħtiġielhom iktar attenzjoni, xorta waħda sab irkaptu tagħhom. Stqarr li kienet l-hena tiegħu meta kien jerġa’ jisma’ t-tektik regolari ta’ arloġġ li ma kienx jaħdem għax b’hekk kien iħoss li reġa’ tah il-ħajja.
Involut fl-arloġġi tal-knejjes b’mod aċċidentali
Is-snin gerrbu u Stephen kompla jinvolvi ruħu f’din is-sengħa tat-tiswija tal-arloġġi.
Ġara li darba minnhom, ir-Reverendu Kanonku Louis Suban, li dak iż-żmien kien il-Kappillan tal-Imsida, iltaqa’ maz-ziju ta’ Stephen fejn fosthom qallu kemm xtaq isib lil xi ħadd li kien kapaċi jsewwielu l-arloġġ antik tal-parroċċa li nħadem fit-18 il-seklu.
“Zijuwi rrakkommandani għalkemm ma qallux li jien kont in-neputi tiegħu u l-kappillan ikkuntattjani. Min-naħa tiegħi, ħassejtni tassew eċitat li kont ser naħdem fuq arloġġ daqstant antik. Mort narah u sibt li kellu xi partijiet li kienu ddeterjoraw biż-żmien. U wara li bdiltlu u rranġajtlu dak li kien hemm bżonn, dan l-arloġġ prezzjuż reġa’ beda jaħdem u hekk għadu s’issa!” qalli kburi.
L-arluġġara Maltin ta’ dari
“Inzerta li Fr. Suban għandu interess fl-arloġġi minħabba li l-antenati tiegħu kienu jagħmluhom. Infatti kienu huma li ħadmu l-arloġġi tal-parroċċa ta’ Marsaxlokk u ta’ Ħal-Safi. Inċidentalment xi familjari tiegħu ħadmu anki fuq dan l-arloġġ,” spjegli Stephen hekk kif ħareġ ċavetta mill-but u daħħalni fil-kampnar sabiex nara mill-qrib l-istruttura tal-mekkaniżmu tal-arloġġ.
Qatt ma rajt magna daqstant kbira ta’ arloġġ u f’għajnejja dehret pjuttost ikkumplikata. Intant, fuq parti minn dan il-mekkaniżmu stajt nara l-firma mnaqqxa – Brothers Suban. Malta. 1896.
“Ġeneralment, kemm l-arluġġara u kif ukoll dawk li jagħmlu xogħol ta’ tiswija fuqhom kienu jħallu marka apposta sabiex jiddokumentaw xogħolhom,” fehemni Stephen hekk kif ipponta subgħajh lejn firma oħra.
Did-darba kien hemm miktub: Matthew Dutton. London. 1810.
“B’dan il-mod insibu min bena s-sistema oriġinali, meta u fejn. Permezz ta’ dawn l-indikazzjonijiet, sirt konxju minn kemm kellna arluġġara u nies li jsewwu l-arloġġi matul dawn l-aħħar sekli f’pajjiżna. Imma sfortunatament, mhux kulħadd kien iħalli l-firma tiegħu u b’hekk, għalkemm ikun ċar li min ħadem l-arloġġ kien Malti, ma jkollniex idea dwar min kien eżatt.”
Stephen kompla jfehemni dwar kemm iħossu ddiżappuntat meta jisma’ lil ċerti persuni jitkellmu dejjem fuq l-istess arluġġara, bħallikieku ma kienx hemm oħrajn ukoll.
“Ngħidu aħna, ħafna jsemmu lil Michelangelo Sapiano peress li hu kien tassew prolifiku fil-qasam tal-arloġġi. Però dan inzerta għex fi żmien meta kien hawn għatx kbir għall-arloġġi u hu għaraf jisfrutta l-opportunità. Infatti, Sapiano ħadem madwar 21 arloġġ ta’ diversi parroċċi f’Malta, inkluż dak ta’ Ħal-Luqa.”
“Jiena ħdimt fuq l-arloġġ li hemm Ħal-Luqa ta’ Sapiano u hemmhekk rajt b’għajnejja u missejt b’idejja l-inġenjosità li kellu dal-bniedem. Immeraviljajt ruħi hekk kif bdejt nifli s-sistema li ħadem fil-mekkaniżmu ta’ dan l-arloġġ sabiex biha jirregola tliet minutieri tal-ħin u waħda li turi d-data.”
Madanakollu, skont Stephen, Sapiano tħarreġ f’din is-sengħa mal-familja Tanti li mmanifatturaw madwar sebgħa arloġġi tal-knejjes, fosthom dak tal-Qrendi u ta’ Ħal-Tarxien. Però dawn ftit li xejn qatt issemmew.
“U mhux dawk biss. Hemm ħafna aktar arluġġara Maltin li ma nitkellmux dwarhom. Fosthom hemm Demanuele li ħadem l-arloġġ tal-parroċċa ta’ Ħaż-Żabbar, Muscat li mmanifattura l-arloġġ taċ-Ċitadella t’Għawdex u ċertu Gauci li ftit nafu dwaru.”
Il-mekkaniżmu tal-arloġġi
Għal dawn l-aħħar tletin sena, Stephen kellu l-opportunità li jaħdem fuq l-arloġġi ta’ diversi parroċċi u lwogi oħra u għalhekk biż-żmien, huwa rabba’ istint naturali ta’ kif jagħraf bejn ix-xogħol ta’ arluġġar u ieħor. Fl-istess ħin, huwa dara jagħraf ċerta uniformità bejn il-bażi ta’ kull struttura mekkanika tal-arloġġi u b’hekk isawwret fih l-esperjenza neċessarja biex isewwi l-arloġġi kollha li jsib quddiemu.
“Ħares lejn dawn it-tliet sezzjonijiet tal-arloġġ,” talabni Stephen. “Innota kif dik tan-nofs hija mdendla ma’ pendlu sabiex tirregola l-ħin, filwaqt li s-sezzjonijiet l-oħra qegħdin hemm biex imexxu l-kwarti u s-siegħat.”
Matul din id-diskussjoni tagħna, konna akkumpanjati mit-tektik regolari tal-arloġġ. Iżda f’daqqa waħda, parti mis-sistema ċċaqalqet u f’kemm trodd salib, il-mekkaniżmu kollu donnu ħa l-ħajja, hekk kif aktar sezzjonijiet mill-istruttura metallika bdew jimxu, jduru u jperpru, filwaqt li lieva twila bdiet tiġbed u timbotta l-imrietel tal-ħadid mal-qniepen li kien hemm il-fuq, sabiex dawn idoqqu u jimmarkaw il-ħin.
It-tnejn skittna għal mument sabiex napprezzaw is-sengħa ta’ min ħadem dik is-sistema.
“Probabbli inti taħseb li jiena drajthom dawn l-esperjenzi u li allura m’għadhomx jimpressjonawni,” kiser is-silenzju Stephen, hekk kif id-daqq tal-qniepen waqaf u l-apparat reġa’ kkalma għat-tektik tal-polz regolari tiegħu. “Però kif qed tara għadni nsibhom affaxxinanti wisq u għalkemm ilni snin naħdem fuqhom, baqgħu jimmeraviljawni.”
Jista’ jkun li bla ma jaf, Stephen jinħakem ukoll mill-ġibda naturali li jħoss lejn it-toni mużikali li tħaddem is-sistema, hekk kif apparti dax-xogħol, huwa wkoll vjolinista mal-Orkestra Filarmonika ta’ Malta.
“Niġi nirregola dan l-arloġġ darba f’ġimgħa,” qalli Stephen hekk kif beda jimmanipula t-tliet piżijiet tal-arloġġ u jien erħejtilha nsegwi dak li kien qed jagħmel.
Invenzjoni ġdida biex l-arloġġi jaħdmu weħidhom
“Sa ftit tas-snin ilu, parti mix-xogħol tas-sagristana kien li jagħtu l-ħabel lill-arloġġi tal-knejjes. Ngħidu aħna sal-2008, l-arloġġ li hemm fil-Kon-Kattidral ta’ San Ġwann il-Belt, kien jingħata l-ħabel kuljum sabiex juri l-ħin tajjeb.”
“Apparti li dan kien strapazz inutli fuq in-nies involuti, il-konnessjoni kontinwa mas-sistemi ta’ dawn l-arloġġi setgħet ukoll tqanqal xi ħsarat. Kien għalhekk li meta fl-2008 ġejt imsejjaħ biex nirrestawra dan l-arloġġ, issuġġerejt li miegħu tintrama wkoll sistema sabiex dan jibda jieħu l-ħabel b’mod awtomatiku perjodikament u b’hekk ħadd ma jkollu għalfejn jimmanipulah. Naturalment, minn żmien għal żmien, xorta waħda jkollu bżonn xi arranġamenti żgħar; bħal meta jkun irid jaqleb id-data minn xahar għall-ieħor peress li mhux ix-xhur kollha għandhom l-istess tul ta’ ġranet.”
L-istess sistema saret ukoll fuq l-arloġġ maestuż magħruf bħala Ta’ Pinto li jinsab fil-Palazz tal-President ġewwa l-Belt Valletta.
“Jiena kelli x-xorti nirrestawra dak l-arloġġ li għandu mekkaniżmu interessanti ferm. Infatti jekk tħares sewwa lejh tara li dan l-arloġġ ma jimmarkax biss il-ħin imma anki x-xahar, il-ġurnata u saħansitra l-fażijiet tal-qamar. Biex juri l-ħin, għandu biss minutiera waħda tas-siegħat u dik turik li l-arloġġ huwa antik ħafna. Infatti kelli naħdem b’reqqa kbira fuqu minħabba li ż-żmien għamlu fraġli ħafna,” fissirli Stephen.
“Li kieku kellek tara l-makkinarju ta’ dan l-arloġġ, kont tista’ tapprezza s-sistema li tmexxi kollox, fosthom anki l-figuri li jdoqqu l-qniepen. Infatti, l-erbgħa figuri tal-metall għandhom kontra-piż kull wieħed li jiġbidhom lura u jimbuttahom il-quddiem fuq il-qniepen sabiex jindaqqu. Il-figura tax-xellug u l-oħra tal-lemin idoqqu l-kwarti b’mod alternat fuq qniepen differenti, filwaqt li ż-żewġ figuri tan-nofs idoqqu l-istess qanpiena tas-siegħa u jalternaw ukoll. Ta’ min jgħid illi din is-sistema ta’ alternazzjoni mhux qiegħda hemm sempliċiment bħala disinn imma għax l-arloġġ ma jiflaħx jerfa’ żewġ affarijiet f’salt.”
Ġieli sakkruh fil-knisja
“Ma nixba qatt inħares lejn l-arloġġi u wisq anqas nitkellem dwarhom,” stqarr Stephen hekk kif ta daqqa t’għajn tal-aħħar lejn l-arloġġ tal-Mużew Marittimu u għalaq il-bieb warajh.
“Kull meta mmur naħdem fuq xi arloġġ, ma nkunx nista’ nirreżisti t-tentazzjoni li nibqa’ hemm siegħa oħra ħalli nikkonferma li kollox qed jaħdem tajjeb. Bla ma naf kif, nintilef u kultant imn’Alla li ċċempilli l-mara biex turini li sar il-ħin.”
“Saħansitra sakkruni darbtejn fi knisja għax wara s-siegħat kollha li qattgħajt hemm fuq, insew li kont għadni fil-kampnar,” qalli Stephen filwaqt li daħak waħda bil-qalb.
(Dan l-artiklu jifforma parti mis-sensiela KOBOR IL-MALTI (26 parti) fit-Torċa tas-16 ta’ Novembru 2014)
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A medal for silver
Within his small workshop in Zejtun, 68 year old silversmith Joseph Aquilina, can still do wonders with precious metals. Having worked as a silversmith from age 14, he has gained so much mastery in this trade that one of his creations was donated to Queen Elizabeth II during the celebrations of Malta’s Independence in 1964. Nowadays, his expertise is particularly focused on the restoration of antique objects which adorn our churches.
Aquilina learnt this trade from his father Joseph who was originally from Cospicua. Before World War II, Cospicua was renowned for some of the most skillfull silversmiths who eventually had to move to other areas in Malta when this zone became a target to heavy attacks and bombardments.
From early childhood, Aquilina was very interested in his father’s work and he spent hours observing him working silver items in his shop at St Mary Square in Zejtun. At age 12, he used to rush at the shop immediately after school in order to join silver beads together to produce rosaries for his father’s clients.
Aquilina knew that he was hooked to this trade but he never dreamt that at age 14, he would be obliged to choose between attending school and becoming a silversmith! It all happened when one day, a social service inspector called at their shop and found him doing some work. It was useless to insist that the boy was only helping his father because the inspector maintained that if the boy wanted to stay in the shop, he had to register for employment within 15 days. And that was the end of his schooldays.
“School meant nothing to me at that time and I thought that it was a great opportunity to start doing what I was really passionate about. However, when in later years I had to manage my business and was faced with several difficulties due to my brief education, I realized that leaving school at such an early age was definitely a huge mistake,” admitted Aquilina.
His father was greatly disciplined in his trade and he demanded the same diligence from his son. Above all, he wanted to pass to him all the knowledge that he had inherited from past generations. Yet this was no easy task since the silversmith’s trade expands vastly and covers areas which include work in silver, gold, filigree and the setting of diamonds.
“Nowadays, most silversmiths choose to specialize in just one of these sectors, but when I was learning the trade, one had to learn to deal with all these areas in order to become a professional. It took long years until you were regarded to be competent enough to open your own business. That was why it was necessary to start at a very young age in this trade and to take matters very seriously.”
Interestingly, Aquilina succeeded to attain his father’s complete trust by disobeying him.“My father expected utter attention during work, both because he wanted the final product to be impeccable, and also because the slightest mistake could be very costly, especially when we were using gold. He put so much pressure upon me that at first, I felt terrified of him and I did not dare to do anything which he did not ask for.”
Yet one day, Aquilina felt confident enough to try his luck by operating the soldering equipment which his father had adamantly prohibited him to use. Indeed, whilst his father went to church to attend a Lent sermon, Aquilina asked his mother to give him her gold wedding ring in order to cut it in half and reconstruct it again. His mother accepted without a second thought and Aquilina hurried to the workshop, broke the ring in two, switched on the gas, prepared the soldering equipment and trembling with excitement, he quickly joined the two parts together. He did such an excellent job that his mother could not identify any signs that her ring had been broken, and when she told her husband about this and he inspected the ring, a bright smile lit on his face. His son had finally made it!
From then on, Aquilina had his father’s complete respect and he started to produce his own creations for their clients. He had learnt this trade in the traditional way where everything was done by hand, and to keep in line with this method, he decided to focus on the antique style. This stratagem worked perfectly with those connoisseurs who appreciated refined local craftsmanship.
“I am proud to say that many of my works can be found among the collections of several local and foreign distinguished individuals. Most of my creations consisted of antique Maltese style coffee sets which included only three items: a coffee pot, a sugar-basin and a milk jug, since tea was not popular back then.”
Some of Aquilina’s works have often been selected to be given as gifts to foreign individuals.
“I made a particular silver sugar-basin for a group of Drydocks’ workers who wanted to give it to their British Admiral when he ended his job in Malta. Yet surely, the most popular item that I produced, was the 14 inch oil lamp which the Government of Malta ordered directly from me during the period of the 1970s and 1980s in order to consign it to the foreign delegations who visited our country.”
Meanwhile, even though throughout the years, there were many machines available which could ease the difficulty of the job and hurry the flow of work, Aquilina always refused to use them.
“That is the only way of keeping the profession’s prestige and the value of your creations,” Aquilina insisted. “When this type of work is done by machines, the product will loose all its significance because nothing can replace the creative fabrication of the human hand. A handmade product is unique because one can rarely create an object exactly like another. Contrarily, the very precision of objects which are executed by machines will simply turn them into ordinary copies.”
In order to design and work his particular creations, at times Aquilina had to manufacture his own tools. Yet apart from the ingeniousness required in order to assemble these devices, it was fascinating to know the stories behind the origin of some of the material.
“Look at these heavy hammers and feel how heavy they are,” he told me with a mischievous look as he brought them near. “I bet that no one would ever guess what they are made of until I tell them myself!”
Certainly, I did not have the slightest idea.
“These were some of the huge bolts that formed part of the ‘Angel Gabriel’; the Greek tanker which in 1969 got shipwrecked near the area of the ex-Jerma Palace Hotel in Marsascala. I obtained them when the ship was being broken down into pieces in order to clear the coast.”
Another curious fact about this trade is that whenever a new silversmith is authorized to start his/her business, he/she is given a personal stamp with which to mark each object that they make. This stamp will be unique and it cannot be transferred to another person. Therefore, each silversmith’s work can always be recognized, no matter how much time elapses.
In order to explain better, Aquilina referred to an old and rare book ‘The Goldsmiths of Malta and their Marks’ (1972) which was published by Chev Victor Fredrick Denaro; a pioneer in the study of ancient silver in Malta. In this book, one finds significant information about the ancient trade of silversmiths which goes back to the period of the Knights of St John. Meanwhile, this publication includes also all the local silversmiths’ stamps together with their relevant details; starting from the Knights period up to 1972.
“This book is very precious to me particularly because it helps me to identify the silversmiths of the antique objects which I work on. This will also determine the period of the objects’ manufacture with more precision, and thereby I can understand better which materials and which procedures were involved in its making,” explained Aquilina.
The restoration of antique metal objects requires high expertise and attention since one small mistake could ruin them completely. Indeed, in these last years Aquilina was responsible for the restoration of various treasured items which include: the restoration of the silver crown of the icon of the Madonna of Carafa that is located within the Co-Cathedral of St John in Valletta, the restoration of the silver leaves that form part of the decoration of the relic of St John the Baptist which is situated in the Museum of the same Co-Cathedral, and in the restoration of the sword of the titular statue of St Catherine in the Parish of Zejtun.
(This article was published in the ‘Art, Antiques and Restoration’ Supplement of The Times of Malta dated 12th November 2014)
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The Chinese who remained in Malta
Last Sunday, many of us went to visit the cemeteries which are located around our islands in order to pay our respects to our dead relatives and friends.
Many of us took with them a beautiful bunch of coloured and fragrant flowers which we left on the cold tombs made of yellowish stone or of icy white or dark black marble. Apart from showing love and respect, this gesture seemed to try to inject life where there was not.
Others have also dedicated some time to clean the tombs by removing the weeds or by changing an old photograph with a new one.
Thousands of red candles were lit so that their humble flame might accompany the soft prayers that were said for the deads’ souls.
Many people had tears in their eyes. Even those whom their relatives had died a long time ago but still feel emotional at this loss.
I find these death rituals very interesting, particularly when I observe how society continues to keep dear to its heart those who have died; sometimes even by continuing to treat them as if they were still alive.
Whilst I walked along the paths of the Addolorata cemetery, I could notice all these customs. A pang of sadness crept into my heart when I noticed some bare tombs whom no one seemed to have visited. However, a closer look at the dates written on these tombs indicated that probably those particular families had ended and therefore nobody remained to visit.
The tombs of Xu Huizhong and Gu Yanzhao
I arrived in front of the tombs which I went to visit: those of Xu Huizhong and Gu Yanzhao; two Chinese engineers who died in our country whilst they were working on Dock Number 6 in Malta. Xu had died accidentally whilst Gu was deceased due to an illness.
Their photos looked at me and I greeted them in name of their country and in name of mine. As a sign of respect, I put a bunch of white and yellow chrysanthemums on their tombs according to Chinese tradition which symbolizes sadness and grief. Then, according to my culture, I prayed to God to give them eternal rest.
I remember that when I asked some Chinese individuals regarding why these two persons had been buried in Malta and were not taken back to their country, they informed me that this had been their relatives’ decision. This is because, according to Chinese culture, these individuals had to be buried in the country for which they were working because that was the only way how they could rest in peace: for they had to be present on the same land when the project on which they were working was successfully finished.
Notwithstanding this, I still wondered what these persons’ relatives might have felt when they had to allow those whom they had loved, to be buried in a foreign country, and so far away.
An honorary medal of the Republic of Malta for engineer Xu Huizhong
I continued to think about this and so I decided to talk to ex-Labour Minister, Reno Calleja, who in 1979 was sent by Malta Prime Minister, Duminku Mintoff in order to present an Honorary Award of the Republic of Malta to the family of engineer Xu Huizhong. This honour was given to this man after he died tragically on 16th March 1979 whilst he was working at the construction of a new dock in our country.
“That was a day which I will never forget!” revealed Calleja as soon as we started to discuss this matter. “More than that, I must say that personally, I consider that moment as the most salient one in my political career. I cherish it that much because on that day, I felt that I was becoming part of my country’s history; where Malta was presenting a very significant award to a foreign worker after his death, because he had lost his life whilst he was helping our country.”
An agreement between Malta and China
Calleja remembers clearly that period when China had agreed to help our country to regain its economic strength.
“In those years, even China was a relatively poor country but it chose to help Malta all the same. It is during such moments that one can see the true friendship of a country: when it helps you in times when it is not so strong itself,” insisted Calleja.
“The wise decision that Mintoff had made, when in 1972 he visited China with a Maltese delegation in order to meet Mao Zedong, after Nixon had did so too about a month before, was very much appreciated. And thanks to this choice, the Maltese people are still enjoying the benefit of this friendship, now that China has become a very rich country.”
Many Chinese workers help in the construction of Dock Number 6
“Apart from giving us financial support, the Chinese people helped us a lot by sending us many technical workers in order to attend to various important projects in Malta, including the construction of Dock Number 6,” Calleja continued to explain.
“These Chinese workers have worked along with the Maltese labourers and our people got enriched in the principles of work as they learnt about the Chinese culture from these people. It was a culture of a people of great humility with vast enterprise together with a devotional sense of duty towards their own country. The enthusiasm shown by the Chinese workers as they worked with quality and precision, even when they were doing this for another country, inspired the Maltese to behave like them. And if the Chinese labourers were working with much dedication in order to make their country proud, the Maltese labourers were getting busy so that their country would be thankful to them,” Calleja said.
“When Dock Number 6 was ready, I attended to the opening ceremony and I swear that I noticed many workers cry when they saw Mintoff’s face alight with satisfaction for the good job that everyone had made.”
Reno Calleja goes to China in order to present the Medal
Unfortunately, this fantastic narrative has also its negative side; including the instance of the death of engineer Xu.
“In 1979, I was invited to visit China in order to represent the Malta-China Friendship Society. When I advised the Prime Minister about this, he requested me to go to China in April because he had something in mind,” remembered Calleja.
“After a fortnight, Mintoff informed me that he had decided to give a Medal of the Republic of Malta on an honorary basis after his death to engineer Xu Huizhong and I was recommended to take it with me on my visit to China. Soon ex-President of Malta, Anton Buttigieg, organized a ceremony wherein he invited the ex-Ambassador of China in Malta, as a representative of the Government of the People’s Republic of China in order to present him with this medal. Then this medal was handed to me and I took it with me to China.”
Here, Calleja showed me some photographs of those distinguished moments.
“A very big ceremony was organized at the great Congress Hall in Shanghai in order to present this medal to engineer Xu’s family. For this event, I prepared a speech in Maltese which was translated in Chinese by a Maltese student. This student was Clifford Borg-Marks whom today is the Ambassador of Malta in China.”
“During this ceremony, I had the privilege to meet engineer Xu’s widow and his children who all appreciated very much this honourable award that our country had given them. However, I can never forget the sad face of his widow who thanked me respectfully and said nothing more.”
From then on, Calleja has kept in contact with Xu’s family.
“Regrettably, a year after I met her, Xu’s widow died of grief. Yet her children kept in contact with me and they came to Malta in order to visit their father’s grave. Now, Xu’s grand-daughter has informed me that when she grows up, she would like to become an engineer like her grandpa.”
Chinese traditions
An interesting fact is that the Chinese people do not celebrate the death rituals during our same period. Furthermore, they have more than one ceremony related to paying respect to their dead.
Qingming Festival
Among these traditions, there is the Qingming Festival or Tomb Sweeping Day. This festival takes place on the 4th or the 5th April, according to the traditional lunar calendar.
During this festival, the people remember and honour their ancestors by praying, cleaning tombs, re-painting calligraphy on tombs, burning incense or offering food, tea, drinks and other accessories on the tombs. Moreover, on this day, some people may carry willow branches with them or hang them on their doors in order to ward off the evil spirits which may roam around on Qingming.
Since the Qingming takes place with the beginning of the Spring season, these celebrations usually include also family outings and kite flying. Some farmers start ploughing their fields on this day.
The Ghost Festival
During this festival which takes place in August, people will pay respects to all deceased whether young or old. Some of the activities which take place during the Qingming are also undertaken throughout the Ghost Festival; including the offering of food and the burning of incense.
Other celebrations could include the releasing of miniature paper boats and lanterns on water. This ritual is intended to direct the lost ghosts and spirits to their resting places as some people believe that on this day, the deceased will visit the living.
(This article is a translation of the Maltese original version which was published in the series KOBOR IL-MALTI (Part 25) in Torċa dated 9th November 2014)
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Kienu għoddhom intesew
F’dawn l-aħħar xhur, smajt diversi drabi bl-ismijiet tal-artisti Lewis Wirth u Helen Cavarra, l-aktar minħabba li kienet qiegħda tittella’ esebizzjoni b’xi xogħolijiet tagħhom. Madanakollu, peress li jiena m’inix xi dilettanta kbira tal-arti u anki peress li ħsibt li dawn iż-żewġ individwi kienu barranin, nistqarr li ftit li xejn tajt każ….. sakemm ġie f’idejja l-ktieb ‘The Life and Work of Lewis Wirth (1923 – 2010) and Helen Cavarra (1926 – 1978): Their Creative Partnership’ (2014) tal-awtur Joseph Paul Cassar.
Il-ktieb minnu nnifsu huwa imponenti u l-preżenza tiegħu tagħtik l-impressjoni li ġewwa fih se ssib xi kapolavur. Imma fir-realtà, hekk kif tibda tqalleb il-paġni tiegħu u għajnejk jinxteħtu jaqraw l-istorja u jimirħu x-xogħolijiet artistiċi varji li huwa jħaddan, issib ferm aktar minn hekk. Essenzjalment dan il-volum jista’ jitqies bħala vjaġġ virtwali li permezz tiegħu l-qarrej jiskopri l-ġrajja ta’ żewġ artisti Maltin li għal diversi raġunijiet, kienu għoddhom intesew għal kollox.
Permezz tal-pubblikaturi tiegħu, Book Distributors Ltd, irnexxieli niltaqa’ mal-moħħ wara dan il-ktieb sinifikanti – Mariz Cassar, bint dawn iż-żewġ artisti Maltin, li wara l-mewt tal-ġenituri tagħha, hi stess għadha qed tagħraf t-talent kbir li huma kellhom.
Għala mhumiex magħrufa?
“Hemm żewġ raġunijiet prinċipali għala dawn l-artisti ma kienux magħrufa,” beda d-diskors E.V. Borg, kritiku tal-arti li akkompanja lil Mariz waqt il-laqgħa tagħna. “L-ewwel nett, it-tnejn li huma nzertaw persuni pjuttost umli li donnhom kienu jippreferu jżommu xogħolijiethom il-bogħod mill-għajn tal-pubbliku. Imbagħad hemm ukoll il-fatt illi Wirth u Cavarra għamlu 18 il-sena jgħixu ġewwa l-Libja.”
Min kienu Wirth u Cavarra?
“Missieri, Lewis Wirth twieled fl-4 ta’ Settembru 1923. Il-familja tiegħu kienet mill-Belt Valletta fejn huma kellhom ħanut tal-ġojjellerija. Sa minn meta kien żgħir, il-ġenituri tiegħu ntebħu li binhom kellu talent artistiku qawwi u missieru pprova jħajjru biex jitħarreġ fil-linja tal-inċiżżjoni ħalli meta jikber ikun jista’ jaqla’ l-għixien tiegħu. Imma missieri ma kienx interessat f’dan għax qalbu kienet diġà mitlufa wara l-pittura,” bdiet tirrakkuntali Mariz.
“Il-ħolma tiegħu kienet li xi darba jmur l-Italja sabiex hemm ikompli l-istudju f’dan il-qasam. Iżda din ix-xewqa sfaxxat kompletament meta waqt il-gwerra, il-ħanut tagħhom ġie bbumbardjat u l-familja tiegħu tilfet kollox. Waqt il-gwerra, huma marru joqogħdu r-Rabat u aktar tard, issetiljaw f’San Ġiljan.”
Fl-1946 Wirth beda jattendi l-Iskola tal-Arti fejn studja taħt Chev. Vincent Apap, Chev. Edward Caruana Dingli u Chev. Emvin Cremona.
“Ommi, Helen Cavarra, twieldet fit-2 t’April 1926. Hija wkoll kienet appassjonata kbira tal-arti u bħal missieri, mill-ewwel uriet li kienet ser tipprometti f’dan il-qasam. Infatti, anki hi attendiet l-Iskola tal-Arti u kien hemmhekk li hija ltaqgħet miegħu.”
“Għal ħames snin konsekuttivi, ommi u missieri dejjem kienu jiġu minn tal-ewwel f’din l-iskola. Bejn Ottubru u Diċembru tal-1948, ommi rħetilha lejn Heatherley School f’Londra sabiex titħarreġ fl-istudju tad-diżinn tal-figura fuq mudelli veri. Dan peress li hawn Malta ma kienx permess li l-mudelli jippużaw għall-artisti,” kompliet Mariz.
“F’dak iż-żmien, f’pajjiżna, l-artisti setgħu jistudjaw il-figura umana permezz ta’ xi statwi tal-ġibs biss. U dawn lanqas ma kienu jinkludu l-partijiet intimi umani. Għaldaqstant, l-għażla ta’ Cavarra kienet pjuttost insolita u avant-garde,” spjegali Borg.
Cavarra rritornat lura Malta fejn interessat ruħha titħarreġ ukoll fl-anatomija umana.
“Id-dedikazzjoni u l-kapaċità tagħha f’dan is-suġġett jidher ċar ħafna f’numru ta’ xogħolijiet fejn hi tesprimi b’dettall u b’delikatezza kbira l-figura umana,” qalli Borg.
Anki Wirth għandu xogħolijiet interessanti fejn tidħol il-figura umana. Personalment, laqgħatni ħafna kwadru tiegħu li juri mara Afrikana b’sidirha barra u b’poża tassew intriganti. Meta għedt b’dan lil Borg intbaħt li għalkemm ma nifhimx fl-arti, kien irnexxieli nimmarka wieħed mill-aqwa xogħolijiet ta’ dan l-artist. Iżda għalkemm mhux jien biss urejt l-ammirazzjoni tiegħi lejn dan il-kwadru, u akkost li qegħdin fis-sena 2014, Borg stqarr miegħi illi ltaqa’ ma’ bosta diffikultajiet meta huwa ddeċieda li jinkludih fl-esebizzjoni, peress li għal diversi drabi minħabba n-nudità tal-figura, huwa ġie mitlub biex iressqu aktar il-ġewwa fejn ma jagħtix wisq fil-għajn!
Tmintax il-sena l-Libja
Skont l-awtur tal-ktieb, fl-1951, f’pajjiżna kienu qed jiġu diskussi l-ewwel żviluppi fl-arti moderna u numru ta’ artisti bdew juru d-diżappunt tagħhom bl-atteġġjament li kienu qed jirċievu mill-kritiċi u mill-pubbliku in ġenerali. Infatti uħud minnhom saħansitra ppreferew li jimirħu l-barra minn xtutna fejn l-opportunitajiet ta’ xogħol kienu akbar u fejn forsi l-atteġġjament lejn l-arti moderna kien aktar miftuħ.
Skont Mariz, il-ġenituri tagħha qatt ma kienu ġew ikkritikati proprju minħabba li huma ma kienux jesponu xogħolijiethom. Madanakollu naraw illi fl-1951, Wirth ħalla lil Malta wara li hu rnexxielu jidħol jaħdem ma’ Barclays Bank D.C.O u ntbagħat jaħdem fil-fergħa ta’ Tripli fil-Libja.
“Qabel irħielha lejn il-Libja, missieri tgħarras m’ommi. Kienu jinħabbu ferm u infatti sibt aktar minn 100 ittra datati f’dak iż-żmien fejn huma kienu jiktbu lil xulxin kważi kuljum, xi kultant anki iktar minn darba fl-istess ġurnata! Bosta mill-kitbiet kienu relatati max-xogħolijiet tal-arti li kienu qed jagħmlu,” qaltli Mariz.
Sena wara, Wirth reġa’ lura Malta sabiex jiżżewweġ lill-maħbuba tiegħu u wara huma rritornaw lejn il-Libja fejn Helen bdiet taħdem mal-ambaxxata Amerikana. Sentejn wara twieldet binthom Mariz u ma setax jonqos li b’ġenituri b’talent ta’ dak it-tip, anki t-tifla kellha l-arti tiġri fil-vini tagħha.
Tifkiriet u xogħolijiet relatati mal-Libja
“Għalkemm missieri oriġinarjament kien iddiżappuntat li ma rnexxilux imur l-Italja, eventwalment huwa nduna li l-Libja kellha ħafna x’toffrilu wkoll. Hemmhekk huwa sab ambjent u kulturi għal kollox differenti minn dak li kien jaf hu u dawn issarfu f’ideat, f’ispirazzjoni u fi kreattività. Infatti fil-Libja kien prolifiku mmens u ħadem diversi xogħolijiet li juru n-nies tal-post, il-kultura tagħhom u l-arkitettura tal-inħawi,” spjegatli Mariz filwaqt li bdiet tqalleb il-ktieb u turini għal xiex kienet qed tirreferi.
F’dawn ix-xogħolijiet intużaw diversi metodi fosthom: bil-lapes, bil-pinna u l-linka, bil-watercolours, bil-pastelli tal-ġibs, bil-kuluri taż-żejt, bit-tinqix fuq l-iscratchboard u saħansitra b’collages il-ġmiel tagħhom.
“Il-Bank kien bniedem diliġenti ħafna imma kuħadd kien konxju li qalbu fl-arti kienet. Fil-fatt huwa kien jagħmel bosta xogħolijiet artistiċi li kienu jintużaw mill-Bank stess bħal ngħidu aħna faċċati għar-rivisti u diżinji għall-bolol. Ġieli tella’ wkoll xi esebizzjonijiet u darba minnhom l-uffiċċju ċentrali tal-Barclays Bank f’Londra kien xtara pittura li saret minn missieri,” ftakret Mariz.
“Għandi memorji mill-isbaħ tal-perjodu li qattgħajna ngħixu l-Libja. Dak iż-żmien dan il-pajjiż kien kolonja tat-Taljani u kien immexxi mir-Re Idris. Konna ngħixu flimkien ma’ għadd ta’ nazzjonalitajiet oħra, bil-kultura u r-reliġjon tagħhom, f’paċi assoluta u kollha nitkellmu bit-Taljan. Kulħadd kien juri rispett lejn l-oħrajn u saħansitra konna niċċelebraw il-festi ta’ xulxin, kultant anki nħalltu ħaġa m’oħra imma xejn ma kien jimporta. Per eżempju l-għada tal-Għid konna nipparteċipaw fil-Pasquetta tat-Taljani li kienet tinvolvi ħarġa fil-kampanja, u fil-Milied, Father Christmas kien iġib ir-rigali riekeb fuq ġemel!” tbissmet Mariz.
“Ħaġa interessanti hija illi missieri spiss kien jadatta l-kulturi u r-reliġjonijiet flimkien fix-xogħolijiet tiegħu. Ngħidu aħna ġieli kien ipinġi s-swar ta’ Tripli b’nostalġija lejn dawk ta’ Malta jew inkella jiddiżinja xi ragħaj Musulman għaddej bin-nagħġa fuq spalltu u mbagħad isemmi t-tpinġija għar-Ragħaj it-Tajjeb.”
In-namra mal-pjanti u l-fjuri
“Għalkemm il-koppja Wirth u Cavarra kienu t-tnejn artisti, huma kellhom l-istili partikolari tagħhom,” fehemni Borg hekk kif erġajna dorna nqallbu l-ktieb. “Kif qed tara Wirth kellu stil mirqum imma fl-istess ħin liberu, filwaqt li Cavarra kienet aktar akkademika u preċiża.”
Il-preċiżjoni ta’ Cavarra tidher sewwa fid-diżinji tagħha tal-pjanti u l-fjuri.
“Fil-weekends konna mmorru f’postijiet sbieħ: daqqa nżuru xi mużew jew xi sit arkeoloġiku, drabi oħra mmorru ngħumu f’xi bajja jew nilgħabu bir-ramel fis-semi deżert, inkella konna mmorru ngawdu l-panorama fuq il-muntanja. Kien fil-Libja li ommi bdiet tinġibed lejn il-pjanti u l-fjuri, tiġborhom u tpinġihom f’dettall kbir biex iżżomm rikordju tagħhom,” qaltli Mariz.
Lura Malta
L-ewwel skola ta’ Mariz kienet għand is-Sorijiet Franġiskani fi Tripli imma mbagħad, meta kibret, hi ntbagħtet tistudja f’boarding school tas-Sacred Heart f’Malta.
Iżda s-sena 1969 ġabet bosta tibdiliet f’ħajjithom. Inzerta li f’dik is-sena, f’Malta twaqqfu l-boarding schools u nbidlu f’day schools. Kien ukoll f’din is-sena li bdiet ir-rivoluzzjoni fil-Libja fejn finalment il-Kulunell Gaddafi ħa l-poter tal-Libja. Iżda l-agħar ħaġa kienet li omm Mariz mardet bil-kanċer u għalhekk ġie deċiż li l-familja tiġi lura Malta.“Jiena ma kellix idea li l-mamà kienet marida daqstant għax qatt ma wriet. Naf li hi u missieri kienu telgħu l-Ingilterra għal xi żmien peress li kien jeħtieġ li ssirilha operazzjoni. Damet għaxar snin għaddejjha titħabat mal-marda tal-kanċer u lili qatt ma qaluli xejn. Minflok kont nara lill-ġenituri tiegħi jaħdmu flimkien biex irawwmu ġnien sabiħ fid-dar tagħna, jingħaqdu man-Natural History Society ta’ Malta u jmorru magħhom għal mixjiet twal fil-kampanja, ipittru u jgawdu l-ħajja. Probabbilment kienu qegħdin jimxu ġurnata b’ġurnata daqs li kieku l-għada ma kienx jeżisti u b’hekk irnexxielhom jgħixu ferħanin u jżommu lili wkoll kuntenta u l-bogħod mir-realtà kiefra li kienu qed jgħixu f’qalbhom,” qaltli Mariz.
Intant, fl-aħħar ħames snin ta’ ħajjitha, Cavarra ntefgħet tagħmel biċċa xogħol enormi u ta’ siewi kbir peress li sabet, ġabret u pinġiet 367 fjuri u pjanti Maltin, apparti 15 oħra li baqgħu ma tlestewx.
“Akkwistaw il-ktieb ‘Field Guide to the Wild Flowers of Malta’ (1969) ta’ Guido Lanfranco u mbagħad ngħaqdu wkoll fis-Soċjetà tan-Natura u permezz t’hekk, kienu jirnexxielhom isibu dawn il-pjanti,” irrimarkat Mariz.
Helen Cavarra mietet fl-1978. Għal bintha, mewtha kienet xokk kbir. Sadanittant hi lanqas idea ma kellha ta’ din il-kollezzjoni li ħalliet ommha u meta wara l-mewt ta’ missierha, sabitha merfugħa, baqgħet impressjonata bir-reazzjoni għaliha tal-esperti.
“Meta l-botanisti Arnold u Jeffrey Sciberras raw dan ix-xogħol li għamlet il-mamà huma mill-ewwel urew apprezzament kbir lejh, tant li qaluli li dak kien meqjus bħala Melitensia minħabba li hi kienet pinġiet dawn il-fjuri u l-pjanti b’mod komplet, bl-istess qies u magħhom inkludiet ukoll ħafna dettalji importanti bħal meta ġabret il-kampjuni u minn fejn, x’kien l-isem xjentifiku tagħhom u dak Malti eċċ.”
Uħud minn dawn ix-xogħolijiet ġew inklużi fil-ktieb li konna qed naraw iżda ġejt mgħarrfa li ktieb ieħor, iddedikat partikolarment għal din il-kollezzjoni, kien ser jiġi ppubblikat f’qasir żmien.
Mingħajr Helen
“Mingħajr ommi, missieri tilef parti sinifikanti minn ħajtu. Almenu l-arti offrietlu rifuġju u serħan mis-swied il-qalb u mlietlu l-vojt li ħalliet din it-telfa. Intant, missieri kellu jieħu r-rwol taż-żewġ ġenituri f’daqqa biex isostnini. B’xorti tajba, sena wara mewtha, jien iltqajt ma’ dak li kellu jkun żewġi u ftit wara żżewwiġna. Ma domnix ma għamilnih nannu u wliedi saru l-mimmi t’għajnejh.”
Hawn Malta, ħafna mix-xogħolijiet ta’ Wirth kienu jirrelataw mal-pajsaġġ sabiħ Malti fejn hu ħalla memorja mill-isbaħ ta’ diversi nħawi. Fl-1992 huwa ngħata l-Midalja tal-George Cross mill-President Ċensu Tabone. Fl-2002, fil-kappella l-antika ta’ Santa Margerita, il-Kunsill Lokali ta’ San Ġwann organizza esebizzjoni b’xi xogħolijiet tiegħu.
Fl-2010, fl-età ta’ 87 sena, Lewis Wirth ħalla din id-dinja u bintu sabet ruħha fid-dar tal-ġenituri tagħha sabiex tiżbarazzaha. Ftit ftit, hi u tqalleb, tiftaħ u tirranġa, intebħet li l-ġenituri tagħha kienu ħallew warajhom teżor uniku ta’ xogħolijiet artistiċi mill-isbaħ…..
Illum: ktieb u esebizzjonijiet
“Għalkemm minn dejjem affaxxinajt ruħi bl-arti, qatt ma ridt nagħmel il-pittura għax kont inħoss li ma kont ser nilħaq qatt il-kalibru ta’ ommi u ta’ missieri. Minflok, jiena naħdem iċ-ċeramika,” stqarret Mariz.
“Madanakollu, naħseb li għaraft tassew it-talent li kellhom il-ġenituri tiegħi meta bdejt niftaħ il-kaxxi, l-armarji u l-kmamar u bdejt nara l-ġmiel tax-xogħolijiet. Qalbi ngħafset meta rrealizzajt li l-ġenituri tiegħi mietu mingħajr qatt ma ġew rikonoxxuti bħala artisti kbar.”
Mariz tiftakar lil missierha jixxennaq għal dan ir-rikonoxximent imma fl-istess ħin bħal donnu kien iħossu jibża’ li jiġi kkritikat u għalhekk huwa baqa’ lura.
“Min jaf kemm il-darba ħajjartu biex jagħmel esebizzjoni f’ismu biss biex jagħti spazju lilu nnifsu u juri l-ħila tiegħu. Imma hu dejjem irriffjuta,” sostniet Mariz. “Imma issa li għandi rajja f’idejja u wara li ħadt il-konferma mingħand esperti oħra li kkonfermawli li x-xogħolijiet tal-ġenituri tiegħi huma tassew ta’ livell għoli, bdejt bil-ħidma tiegħi biex noħloq għarfien dwarhom sabiex finalment huma jingħataw il-ġieħ li jistħoqqilhom.”
“L-istorja tal-arti ta’ Malta għadha ma nkitbitx ħlief għal xi partijiet minnha. Għaldaqstant, il-ġrajja ta’ storja soċjali u x-xogħolijiet li ħallewlna Wirth u Cavarra għandhom sinifikat kbir għax permezz tagħhom nistgħu nimlew biċċa oħra mill-istorja tal-arti,” temm jgħid Borg.
Filwaqt li nħajjarkhom tkomplu ssegwu l-istorja ta’ dawn l-artisti permezz ta’ dan il-ktieb ġdid, bħalissa wieħed jista’ jara għażla tax- xogħolijiet tagħhom fil-La Vallette VIP Club Lounge li tinsab fl-ajruport ta’ Malta. Is-sena d-dieħla se jkun hemm wirja oħra fil-Cavalieri Art Hotel u fiċ-Ċentru Kulturali taċ-Ċina fil-Belt Valletta.
(Dan l-artiklu ġie ppubblikat fis-sensiela KOBOR IL-MALTI (20 parti) fit-Torċa tal-5 t’Ottubru 2014)
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