EurasianStudies_0110..

January-March 2010 JOURNAL OF EURASIAN STUDIES Volume II., Issue 1.
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Besides the fact that the bones from Hun tomb-findings disprove this unequivocally, one of the main
considerations of drawing the graphics was that the figures should show the beauty and aesthetics of the
proportioned human body, and that their themes should represent the elemental, but not beastly power
hidden in military cultures. We search in vain among the pictures for the so-called realistic, downcast
people, struggling for their everyday existence, “almost human”, even unnatural, unhealthy or deformed
figures. In the glory of the mediocrity of today’s valueless era, most often the tendency for being
different at any price takes priority.
The artist purposely shows the figures as “heroes” because today there is an urgent necessity for real
role-models, who can fortunately be found in the ancient history of the Hungarians and the peoples
related to them.
Let us see what the artist himself says about the style of his own works and the process of their
creation.
“I would like to say a few words about the style of the graphics to allow the viewer to understand my thoughts
and spiritual aims while I was making the drawings.
I grew up on the great masters of the late Renaissance. I studied Leonardo da Vinci’s sketches of warriors, battles
and all sorts of fantastic machines. I was taken up with his military inventiveness, which preceded his era by 500
years. Leonardo wrote the following letter to Lodovico Sforza:
‘For the sixth time: I am going to construct absolutely secure, inviolable tanks which, if they infiltrate
the lines of the enemy with their cannons, will force the biggest army to withdraw and, behind them, the
infantry can march in security and without any mishap.’
(It is possible that he had dreamt of what Churchill considered a continental warship, not to mention his later
success, which entered military history as ‘tank’ after the First World War.)
Because of their very complex drawing style and Leonardo’s manual dexterity, these drawings presented to me,
as an adolescent, an ideal, which was a real challenge for a sixteen-year-old boy. The spirituality of Leonardo’s
pictures has forever influenced me, not to mention the dreadful fantasy-game that this amazing polihistor was
capable of, in addition to his brilliant militarism. This genius also received the criticism that his ideas were
unaccomplishable. This total spiritual effect shocked my ideas pulled between fantasy and reality and later became
more and more influencial in my art.
My interest in history and strategy was born within me. Maybe I inherited it from my Sekler grandfather,
Pataki László, who fought as an ensign in the First World War at the age of eighteen, and later became interested in
the ancient Hun-Sekler-Magyar Runic Script.
Of course all these influences gave me spiritual inspiration, the graphics were developed from the excitement of
searching and recognition. The renaissance fantasy – fortunately today we are living at the beginning of the
renaissance of Hungarian ancient history and tradition –, plucked a string inside me, which encouraged me to show
the Central-Asian and European Hun military culture in a new way.
I would like to say a few words about the elements I used as ancient knowledge from the world of the Huns.
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