The monumental indian ink painting

Identification of the self with the ’nature’s way’ of pantheism

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Identification of the self with the ’nature’s way’ of pantheism

Why pantheism? Why even landscape? I had to find a method by which to surmount my mundane problems. The traditional pen-and-ink painting similar to Chinese painting became my ’elegy’, the lyric expression and delineation of changelessness, and a consolation to my native pantheism. The idealist Schelling regards both nature and consciousness as reflections of the spirit. ’So-called nature is nothing else, but an inscrutable intelligence, hence through natural phenomena – as yet unconsciously – the intelligent character shows through. Nature in an objective sense – according to Fichte’s interpretation – is living reality: in nature, in the deep recesses of the world dwell activity, life and freedom. I also needed and need this human freedom, which in view of the above, I could find only in nature. For me the painting of the pantheistic series meant art’s and my own onward ambitions, the eternal path, the ceaseless fight for emergence of the innermost ’Ego’. In this resides the raison d’être of the work and this series; in the living force of the human spirit trapped in an exhausted body, in the confrontation with death.

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