plans contemplatives in the fourteenth century.
Contemplation: The act of contemplating; deep meditation
Contemplating: consider carefully.
contemplation and absorption of the viewer created collusion between the space of the work and the viewer's space. Despite the opacity of the surface, the subject plays in a floating effect, where as we can see, the artist invites the materiality of the surface and the discourse of the subject. Contemplation is thus a shift of gaze, an invitation to reverie that describe the Romantic poets. When the canvas became the reason for writing ethereal.
aesthetic contemplation, catharsis
"Fortune's philosophical notion of catharsis is related mainly to a sentence of Aristotle's Poetics:" Tragedy is the imitation of action of high character and complete a certain extent, in a language statement Seasoning of a particular species following the various parts, imitation that is made of characters in action and not through a narrative, and, arousing pity and fear, operates purging (or purification) to own such emotions. " The very ambiguity of the translation of the word catharsis (which means the most common purification or purgation) Aristotle invites further reflection: that ambiguity is not only possible doubt a zealous translator, it is index of a real problem of interpretation. By choosing purification or purgation, it engages in a specific direction and is determined by the same token, a priori status of aesthetic contemplation. If one translated by purging catharsis, aesthetic contemplation appears as a simple mechanical phenomenon of discharging an overflow of emotions, a phenomenon necessary for the preservation of group cohesion. If one translates catharsis by purification, aesthetic contemplation is an operation of an essentially intellectual and moral, proper individual, revealing an internal promotion contemplating the subject, because it purifies the emotions first impure. The status of aesthetic contemplation is therefore closely linked to that of the individual within the social group.
This fundamental ambiguity of the word catharsis calls, we see a stark choice: either the aesthetic contemplation part of the phenomenon of asceticism, renunciation, by internal metamorphosis of a certain type of emotion, and then it symbolizes passage of the "natural" state to state "civilized" or aesthetic contemplation part of the phenomenon of excess, saturation, by direct release of excess emotional, and so it symbolizes the need to maintain "state of nature" in the state of society as a condition of "good works" City. "(Encyclopedia universalis)
This dual system can include a contemplative evolution of painting and observation. The previous two conferences have highlighted a paradoxical nature of the paint due to the development and evolution of its receipt. Between an object and superficial mind, painting convene contemplation, careful description whose speech and control are both the fact of the painter and viewer.
The eyes meet and work on perceived recognized (to a greater or lesser extent depending on the information currently known about the latter). This fact led to a painting as a cultural object, both objects of contemplation and meditation, spiritual exercises which are related to the original devotion ..
This spirituality absorbs the viewer, invited to transcendence, to consider the materiality and the immateriality of the painting. Transparency and opacity are not simply the fact of a likelihood but are spiritually connected to the function of painting.
The plan defined an array of contemplative image permanence and impermanence of his feelings.
From the fourteenth century, this paradox between sensory and attitudes based on a mental exercise for both the painter and viewer. The spatial illusion of the surface becomes the case narrative of dialogue and exchange. Multiple descriptions are the advent of subjectivity and the individual. The visual value is superseded by the devotional quality of the image. Whether for work or just contemplative narrative, the work is always the starting point, a basis for religious contemplation. The crucifixion, the Virgin and Child, the story Camille or even the funeral of Saint Benedict, all these images must be overcome to be useful. Spirituality contained in the wood panels of Italian fourteenth century is through spiritual exercises.
At the Renaissance, the image is meant increasingly close devotee of these details and construction. The composition gives an image to see more and more land. The multiplication of details or even the construction of geometric perspective reflected the progression of the eyes where the description careful not based simply on the basis of the beholder but on its ability to observe and describe image carefully. The vocabulary becomes a support system needed to contemplative. By analyzing the two perspectives proposed by Mantegna in the Garden of Olives and in the resurrection, we understand the concentration or deconcentration contemplative results. The eccentricity of the figure of Christ in the Garden of Gethsemane leads the eye to scan the entire surface of the panel, in a movement. Instead refocusing its subject, focuses Mantegna in a visual shortcut and the monumental triumph of the Risen Christ. The paradoxical nature of painting is here in the service of contemplation that can be purely factual and profane or otherwise be dematerialized and be spiritual.
Lapeinture as an object of communication increases opportunities for contemplation to open to the sensitivity of each and reveal its qualities. We are a spectator scholar or not, the paint must touch us about our own culture and our own knowledge.
This result makes painting a subject sociologically committed. The quality of representation beyond its mere materiality and technical implementation. The change in posture allows the viewer to dissect the outcome space, philosophical and policies. The complexity of the range and reflection plays in favor of the artist and oscillates between the surface appearance of death is a topic in a balance whose conductor is the hand and the head of the artist.
These retreats will evolve over time. With the Counter-Reformation and a nice principle, it is no longer simply touch the viewer in his belief, but to please him. Contemplation is an object of attention or spirituality gives way to some enjoyment. Careful observation is more in an absorption material but spiritual.
The previous conference was returning to the work of chiaroscuro as sensitive activation of the composition. If the look of an amateur made it an object of reflection, the fact remains that it is a kind of hypersensitivity. The effects of appearances and disappearances careful reading of the work is troubling, but especially the dislocation is controlled by the painter himself.
The detail, the object is released from his accessorizing and itself becomes a spiritual medium. The proliferation of topics such as landscape or still life reflects this ability of the viewer as the artist to see beyond appearances. This transcendence is always linked to strong religious beliefs. A still life is a testimony to the passage of time and vain by nature returns the viewer to his own existence. The exact description of the world and imitation become the support of opening a reflection on the nature of things. Painting is not a single photograph or reproduction of reality but always invites his viewer to go beyond the object. Still life and Cheese has many symbolic readings. The relationship between fat and lean refers to the principle of fasting, asceticism, and the fly in the foreground than the sham but vanity; concern observable optical reflections from glass to a principle of physical science and observation of the world. The observer then built a contemplation or absorption plays in an oscillation between material and immaterial.
We have already stated, the paint is not an object like any other. The viewer is aware that the subject represented is not only the message delivered. The spirituality of the painting gives the possibility to a surface to give a picture of the world is by no means solely factual. The absorption of the beholder rests on the composition of an introspective feeds on its own interpretation. The plan contemplates the painting finds herself responsible for a spirituality that is no longer simply devotional.
moral and aesthetic value of the paint allows it to be the scene of an outdoor speech.
Large redundant historical subjects in the painting of the eighteenth century in France refers to an image and a speech that embodies a political vision of the table. The image of the lone hero is a mirror of praise for the king. Yet the opacity of the rendering as we can observe in Chardin is some dissolution of imitation in the service of a sensitive rendering. The activation of the surface by the painter by itself apart from its absorption, the viewer is invited to a game visually and mentally.
This is where the paint is built and which still calls and asks: "What motivated the choice of subject for it to be reproduced on the surface of the table? "The real image is only useful if it transfers or conveys a thought. The choice of subject and setting composition is the game where the space and time are always excited the senses. The viewer is not fooled, he knows what he sees is necessarily a mirror raising or lowering the subject represented. This plan must pass contemplative union between hand, eye and mind.
Whether the subject is important or trivial, the picture becomes a contemplation of the game, of breaching its shape. The paint itself as capable of generating great spirituality beyond its subject.
It is not surprising to see how the philosophers will capture the image aesthetic contemplation. The table is the pattern to a speech at a development of thought. The function of this art is found modeled by its commentators. Diderot, but also in Goethe that leads to a game everywhere. The game of the artist, maker and creator of the image of the object but also contemplative spectator of the game by a visual art is to see the fruit of the control of gaze. The latter can be heard and generates a self-analysis of the work. Goethe's vision becomes a key operational component while in a mental exercise every day tending to a conscious visual experience. Sight is a sense that can be developed.
Goethe: "We were saying that all nature is reflected in the sense of sight by color. We affirm now, although it may appear somewhat strange that the eye sees no form, light, darkness and color together constituting the body to distinguish an object from another, and parts of the object between them. So we are building with these three elements the visible world and give the paint stroke possible, which is able to produce on the canvas a visible world much more perfect than the real world. " Treaty color p.80.
The phenomenon Goethe has a visible below and invisible: the Urphanomen .
The development of these spiritual exercises take as much support in the fact that in its transposition painted. Umpteenth time, actors or jesters Arab Eugene Delacroix in 1848 is, for this function of sharing sensitive, an invitation to viewers to find this extension of the observation of color phenomena. The work is a testament to the experience seen as a starting point for reflection. The concentration of attention is just as well in reality than in the abstract. The artist questions and monopolizes the perceptual and spiritual knowledge.
Contemplation East will come to feed the Western contemplative field. Relation to the world tends to be dematerialized. Yet paradoxically, the painting is a materialization of these spiritual exercises. The sharing of sensitive requires a reconciliation of art and life and couple perception and apperception. The man is both spectator and actor in the space it occupies, the painter does the same.
dislocation of the subject by the key or even by some expressionist painting led to a distancing of the subject. This is possible if we consider that the spiritual or contemplative practice is a subject of the painting. The emergence of the photograph and an objective picture of the world interact with a subjective image, painting.
The spiritual part of art is omnipresent in the field of modernity. The title of the work of Kandinsky in 1911, the spiritual in art and painting in particular, is proof. Abstract painting embodies the pictorial surface as a field contemplative. The disappearance of the subject transcends the color to make a communication element. Large color fields by Olivier Debre or even punctuation Zao Wou Ki reflects a contemplative absorption and his audience felt.
From its beginnings in the fourteenth century modern painted object is challenged to a spiritual value which leads the viewer to a contemplative state, in and out of the paint. His path led Liberal painting to a mental object. Foundation paradoxical, this dual nature transcends the tangible and intangible object. The viewer is invited by his absorption beyond the mere visual reflection or to build a sense, taking away the fun, sensory rely on what was originally a single colored surface. The sharing of sensitive through the experimental nature of the work space shall convene the time and sensory. We can never disengage the exercise of contemplative work. Temporalities that develop on the space are due to our sensory.
0 comments:
Post a Comment