The monumental indian ink painting



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University of Pécs, Faculty of Arts, Academy of Fine Arts

THE MONUMENTAL INDIAN INK PAINTING
as a lyrical expression and representation of the person’ s helplessness,

extradition and pantheistic comfort

Doctor of Liberal Arts

Synopsis


Consultant: Written by:

Tolvaly Ernő Kavecsánszki Gyula


Fine Artist Fine Artist

Professor Aspirant of Degree


Pécs

2007.


A painter's claim to unity of meaning in his works
I must agree with Nietzsche, according to whom: ’The refinement and power of consciousness has always depended on the communicative ability of humankind, and on the need to communicate’. I also have to agree with Nietzsche that the subjective state is always changing, ’…the centre of the system shifts incessantly’ and, ’that the supposition of a single subjectivity is probably not necessary; one might suppose a multitude of subjectivities. It is consistent to say that I am more than one ’ego’ and that this is not a kind of personality disorder; I merely have to reflect on my theories about my art and on myself. The development of my subjectivity might have begun when I saw in a mirror how my astonishing reality cast a shadow on the world. By searching out his ’Ego’, the painter both anatomizes memories of the Ego and of humanity and foregrounds the mythical and epic after-image of humanity. The delineation of the dramatic memory of the apocalyptic and surreal world necessarily involves the world of pantheism – and it is the theoretical and visual composition of this on which I ventured.





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