Four heralds of the good news of Constantine the Philosopher

Glagoljsko je pismo autorsko djelo. Kao svako umjetničko djelo tako i glagoljicu možemo promatrati kao plod imaginacije i talenta te znanja i praktičnih vještina. Dok komponenti znanja možemo prići analitičkim metodama, invencija i talent, koji su u bliskom srodstvu s neprotumačivim, izmiču instrumentima racionalne prosudbe. Invencija i stvaralačka igra iz Božje su «radionice». Prikazanu hipotezu o nastanku protoglagoljice autor temelji na mogućnosti da je Konstantin Filozof sustav glagoljskih pismena zasnovao na ideji tetrade – na kvadratnom projektnom polju – simbolu četiriju Evanđelja. Kolikogod bio važan sadržaj simbola, njegova idejna ispunjenost, još je važnije bilo Konstantinovo poznavanje geometrije kvadrata i kruga, znanje o funkcijama i proporcijama koje ta dva lika generiraju i na kojima počiva svekoliko znanje projektiranja svjetovnih i sakralnih građevina staroga doba. Kvadrat postaje projektnim poljem kad se u njega ucrta križ – prvo slovo azbučnoga niza. Podjela kvadrata na četiri polja stvara i devet čvorišta (tih devet točaka, kad se zbrajaju okomito, vodoravno i dijagonalno, daju zbroj 24). Ogledni primjer geometrije kvadrata i njegovih devet točaka možemo naći u zaglavnom listu Sinajskoga euhologija – osam petlji dviju širokih vrpci konstruirano je u kvadratu znalačkom uporabom šestara. Metodu stvaranja likovnih konfi guracija (slovnih likova) Konstantin nalazi u trinitatnoj igri mlin (njem. Mühlespiel, engl. nine-men’s morris; igra potječe iz Staroga Egipta). U toj je igri ranokršćanski svijet prepoznao čašćenje Svetoga Trojstva, pa je ta igra bila preporučena i na mjestima koja inače strogo zabranjuju kocku. Budući da je u protoglagoljici kružić dominantan element, pretpostavljamo da je Konstantin umjesto dobitne trojke uzeo četiri kamenčića – za svako Evanđelje po jedan. Njihovim premještanjem po devet točaka otvorio je bogati repertoar mogućih likova – to su tzv. topografske permutacije s ponavljanjem. Poticajna trinitatna igra tako postaje tetragonskom. Četveročlani simbol Božjega imena tetragrammaton povezuje se s tetraevanđeljem i s krizmonom – monogramom Kristova imena. Konstantinov usustavljen niz znakova/simbola otvara znak križa – signum absolutus, a zatvara ga signum totus – četveročlano slovo M (Mir = svijet); njega Konstantin – nimalo slučajno! – postavlja usred azbučnoga niza na poziciju broja 60 – simbola velike kozmičke potpunosti. (U grčkom alfabetu na tom se mjestu nalazi slovo Χ (Chi) – u kulturi Konstantinova vremena monogram imena Christos.)The Glagolitic script has been invented by an author. As any artistic work, the Glagolitic script can be seen as a result of imagination and talent as well as knowledge and practical skill. While the component of knowledge may be approached by analytical methods, the invention and talent, being in the close relation to unexplainable, escape from the instruments of the rational judgement. Invention and a creative game are from the God’s “workshop”. The basis of the author’s presented hypothesis about the origin of the proto-Glagolitic script is the possibility that Constantine the Philosopher created his system of the Glagolitic characters on the idea of the quadrant planning field – the symbols of the four Gospels. However important the content of the symbol filled ideas may be, even more important was the Constantine’s competence in geometry of quadrant and circle, his knowledge of functions and proportions which these two geometric figures generate and which are the basis of all the knowledge of the architectural planning of secular and sacral buildings of that period. The quadrant becomes a planning fi eld when the cross is drawn in it – the first character of the azbuka. The division of the quadrant into four fields also creates nine junction points (the sum of these nine points added vertically, horizontally and diagonally is 24). An ideal example of the quadrant geometry and its nine points can be found in the leaf header of the Sinai Euchologion – eight nodes of the two wide ribbons were constructed in quadrant by a skilful use of a caliper. Constantine finds a method of creating artistic configurations (character forms) in a game ninemen’s morris (Croatian mlin, German Mühlespiel; the game comes from the Old Egypt). In that game the early Christian world recognised the worshipping of the Holy Trinity therefore this game was recommended in places where gambling was strictly forbidden. Since a little circle is the dominant element in the proto-Glagolitic script the author of this article presumes that, instead of the game winning three points, Constantine took four pebbles – for each Gospel one. By their arrangement in the nine points he opened a rich repertoire of possible figures – those are so called topographic permutations with repetition. The stimulating trinitarian game thus becomes tetragonic. The four member symbol of the God’s name tetragrammaton is connected with the four Gospels and the monogram of the Christ’s name. The Constantine’s systematic series of signs/symbols is opened by the sign of the cross – signum absolutus, and is closed by signum totus – the four member character M (Mir = world); Constantine puts it – by no chance! – in the middle of the azbuka sequence into the position of the number 60 – the symbol of the great cosmic fullness. (In the Constantine’s culture of that time the character Χ (Chi) from the Greek alphabet is in that place – the monogram of the Christ’s name Christos.