Captivated by the beauty emanating from Jordan Manasijeski’s art, only a small part of it showcased within the walls of the MANU gallery; captivated by the comprehensive monograph dedicated to this esteemed artist; captivated by the profound and more than succesful approach towards Manasijeski’s art by art historian Prof. Dr. Vladimir Velichkovski and finally captivated by the kindness and beauty exhibited by the connoisseur and promoter of Jordan’s work, Ljupco Zhupan, the editor of this edition and director of the Jordan Manasijeski Art Foundation, I find myself reflecting on the following question:
‘From where does such an abundance of beauty and kindness have converged in one place?’ Moreover, in our tumultuous and globalized world, can these wonders contribute to the salvation of this ‘runaway world’, as Professor Anthony Giddens recently observed?
But to inquire today, ‘Can beauty save the world?’ is to tread the well-worn paths of Dostoevsky and Solzhenitsyn—Dostoevsky through the character of Prince Myshkin in The Idiot and Solzhenitsyn in his Nobel Prize acceptance speech in 1970. Yet, questioning this notion today also ventures into the realms of skepticism and doubt regarding art’s power of salvation, as highlighted by many in the 20th century. Solzhenitsyn himself, in his Nobel speech, expressed skepticism, wondering: ‘One day Dostoevsky threw out the enigmatic remark: “Beauty will save the world”. What sort of a statement is that? For a long time I considered it mere words. How could that be possible? When in bloodthirsty history did beauty ever save anyone from anything? Ennobled, uplifted, yes – but whom has it saved?’
Nevertheless, Stendhal’s assertion that “Beauty is a promise of happiness” was not said in vain, and his assertion together with Dostoevsky’s belief can offer a glimpse into the potential for happiness and salvation through art. That is why, I believe, that while beauty may not single-handedly save the world from self-destruction, authentic beauty, which nature and art offer, can still wield transformative and even redemptive effects, as Dostoevsky envisioned.
Therefore, my simple answer is this: art should and must continually strive to save the world.
This noble endeavor to “save the world” through beauty and goodness is evident in the triad of beauties mentioned earlier: the beauty of Jordan Manasijeski’s paintings, the aesthetic allure of the monograph’s design, and the interpretative beauty found within the book: Prof. Dr. Vladimir Velichkovski’s hermeneutics, the dedicated efforts of editor and promoter Ljupco Zhupan, and the nuanced perspectives from eminent art connoisseurs worldwide collectively contribute to this undertaking. Since it is evident that many foreign art experts, gallerists and curators, critics and professors, including Sanda Stanachev Bajzek (Croatia), Prof. Dr. Bisera Valeva (Bulgaria), Dragan Jovanovikj Danilov (Serbia), Ruthie Tucker (USA), and Prof. Dr. Salvatore Russo (Italy), have offered profound insights into Manasijeski’s work.
It may be said that it is a generally known fact that it is most difficult for a prophet to be welcome in his home country, and it certainly seems that Jordan Manasijeski’s art has received far more significant acclaim abroad, surpassing recognition at home. The series of international awards and recognitions, coupled with active participation in prestigious global exhibitions held in Germany, Italy, the USA, Japan, France, and other countries, eloquently attest to the widespread acclaim of Manasijeski’s work. In light of this, I humbly extend my apologies to fellow countrymen, whose significant contributions undeniably enhance the quality and success of the monograph, for my decision, as I bring this speech to a close, to offer a brief panorama of quotations dedicated to Manasijeski’s art – fragments of interpretations from the esteemed foreign critics and scholars already mentioned.
Sanda Stanachev Bajzek (Croatia)
“The canvas of Manasijeski is the site of deepest contemplations and of a certain kind of revelation (…) This is an image of nature liberated from its prosaic mimetic quality, this is an expression of construction through intuitive stimuli. An image flooded by powerful color boldly accentuated, breaking, accentuating the essential in the chosen topos. Forms deconstructed by strong coloristic contrasting, by layers of paint blazing to the limits of their intensity…”
Prof. Dr. Bisera Valeva (Bulgaria)
“Jordan Manasijeski’s creative aspiration is aimed both at building a recognizable visual image and at encouraging a free interpretation by the viewer. In his painting cycles the artist builds an aesthetic of dynamic color, which creates a new and influential imagery…”
Dragan Jovanovikj Danilov (Serbia)
“Jordan’s painting, that beautiful feast of the sun, tree tops and smells that circulate around it, shows the artist’s ecstatic openness towards the Mediterranean light. And truly, everything that this artist creates is enriched with the mystery of the Mediterranean, with the Mediterranean ideal of beauty and with the supernatural ,aura of fairy tales. We are of Mediterranean religion this artist reminds us, and light can radiate only from within those who also contain the light within themselves, in their soul.”
Ruthie Tucker (USA)
“Providing a sensorial experience for his audience, Mr. Manasijeski’s oeuvre reflects inner passions and emotions which exist in a world far beyond the literal. As symbolic renderings of the human soul and psyche, his canvases vibrate with visceral energy, all the while translating visual space where the conscious and subconscious coalesce and integrate. Intellectually and emotionally, the viewer is dynamically intertwined with the canvases, charged by the powerful esthetics of creation which are synthesized into a visual sensation.”

Dr. Salvatore Russo
“Observing these works, we immediately realize the great harmony with which they are realized. Manasijeski succeeds in the difficult task of shaping the light. A light that takes on infinite shades of sign and colour (…) a world in which the mists rise to leave room for the infinite beauty of colour and its magic on canvas. Manasijeski is therefore an artist with highly sought-after visual poetics. His analysis and continuous experimentation are bringing him into the great scenario of contemporary art and this is what really matters. A scenario that places him today among the greatest of contemporary artists.”
In conclusion, as we absorb these beautifully expressed sentiments about Jordan Manasijeski’s art, how can we not believe that art possesses the potential to save the world?

Prof. Dr. Ivan Djeparoski