When the image is born (Part_2) ⇒ Kirno Sohochari

Art diverts reality. The alluring moment of an art object has started when seers feel reality is broken; he then feels the urgency to recover where he stood before seeing this painting object and where now he stands at this moment. An artist always lost some essential elements of the object when he picked it from the real world to fill his artistic pleasure. His mood enlivens him to paint this object with different manner; allegedly, the seers cannot treat his painting as mimicry of reality. When a painter paints he tried to forget that he painted the real object with all its essentials which may help it to exist in the reality; and, simultaneously he tried to recover the loss through replacement of which has been dropped and excluded when he painted this real object in his canvas. 

Painting is the impenetrable game of desertion and insertion. An artist deserts the imitation of the real thing when he paints it; instead, he inserts his own imagination that he thinks can help him to avoid the mimicry of chosen objects. An artist always feels the urgency so he can consider his inner feelings when he selects any ‘thing’ from the real world to satisfy his artistic desire. If his feeling moved him to paint an object ‘as it is’ then a chance may remain there the mimicry of real things still captured his mind; if he feels something reverse of it, then it moved him to paint this object with different textures. The architecture of painting is rebellious in that sense. It always repudiates what other try to fix for him. 

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Source: Composition VIII, 1923, Painter: Wassily Kandinsky

… The duty of an artist is there; he is liable looking through the dark by remembering this: no human-made perception of things is enough or eternal for his canvas. The only perception he should follow, that is, —he doesn’t paint the materialistic objects and the so-called life of the real world; actually, he paints the transcendental mystery which may lie behind all these materialistic things, and that is the spirituality of his artistry; only it could help him to overcome the fixity what we’ve often seen in this real world.
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Why the real painting pieces refuse fixity? Which, suppose the guardians, representatives, and perception-makers of ‘what reality is or what it could be’ always ordained for him? Why they in excuse of searching (suppose, ‘how real things acts’) imposed their collective effort to other people? Why they pressurize other to accept this? Pioneering contributor in abstract art form Wassily Kandinsky once tried to answer the questions in his book. He imagined a triangle where societal guardianship (that mean the perception-makers of any knowledge disciplines, suppose science, economics, politics, and even art and literature) can staid at any apex of that triangle. Guardianship staid at the lower horizontal apex and it can be found at the vertical upper as well; maybe it can staid at such peak where lines meet each other in lower or topmost cones of the triangle. The objective of this staidness tried to fix, ordain and explain the nature of real things and as well as the reality by what they like to see it. Kandinsky exemplified this tendency in his book, where he says:

In science these men are positivists, only recognizing those things that can be weighed and measured. Anything beyond that they consider as rather discreditable nonsense, that same nonsense about which they held yesterday the theories that today are proven.

In art they are naturalists, which means that they recognize and value the personality, individuality and temperament of the artist up to a certain definite point. This point has been fixed by others, and in it they believe unflinchingly.

But despite their patent and well-ordered security, despite their infallible principles, there lurks in these higher segments a hidden fear, a nervous trembling, a sense of insecurity. And this is due to their upbringing. [Concerning the spirituality in art, 1910, by Wassily Kandinsky]

Kandinsky pointing his fingers to the fundamental moral and which is, an orderly manner of real things to the parallel increases the chance of disorder, and the real painting pieces always garbled this ordained reality through its own way of ordering things in the canvas. Artistic perception of the real world is not similar what societal triangle tried to fix often, what an artist is bound to carry in his mind, until unless his own perception and imagination shake him to feel the real picture of the world differently. True, he is constrained to understand his relationship with all other real objects by going through the learning process which human society designed for him.

During his growing moments as a kid and later an adult, he memorizes what other people are talking about the reality of this world where he is strolling now. He memorized how they conceptualize the existence of real things in that world. He stored the pictures in his brain, that is, how other people define their relationship with all these Natural Objects. His brain surface is a container where what he learned from the societal triangle is stored as images. However, when he sees himself standing in front of his canvas the same brain surface supplied different images to him, which might be stored in the brain when he noticed his relation with real things and picturized it by using his own intellect. Kandinsky thinks every artist at some stage of his life more or less uses his own intellect. The painter applied his own process of knowing about the hidden fact of real things by ‘thyself’, and that makes a difference; from where he sees the real object as like other people but paint this by going against the ordained perception of reality, which a society may try to provide him since after his birthing moment in this planet. 

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Source: The starry night, 1889, Painter: Vincent van Gogh

… The Hegelian phrasing might be appropriate here to realize the meaning of life; that is, —there is something always remains to be waiting in nothingness, something remain in the complete void, to bring back the whole picture of reality over again. Creation itself is transcendental and mysterious in this way, so why not art… it doesn’t matter where an artist sitting on the apex of any horizontal line of the triangle, but it does matter what he sees or feel in his ‘within’ by sitting there.
… … …

This is the difference between training and self-learning. Societal triangle trained an artist by using the architected perception of what reality might be and what it could be. They trained to believe this that a blue sky is always blue and reddened sky in the twilight moment has no alternative except for existing in reddened always. Reversely, what an artist learned by pursuing his power of imagination, where he imagines the real things and as well as its relation with humans through his self-analytical power…, from this point self-learning begins. His brain cells entice him to carry the images with different visionary, and he made the separate version of the societal color-sense, as Vincent van Gogh colorized clouds by yellow. Impressionism in painting means the divine order where an artist fastened him to obey the order that his mind told him to do

Vincent van Gogh once summarized this feeling with few words, where he says, “Normality is a paved road: It’s comfortable to walk, but no flowers grow on it.” What societal triangle consider as ‘the most reasonable explanation to understand the hidden facts of how real things exists in the world and how they look’, an artist can consider it absurd for him. For this reason, a true artwork always contained the divine notoriety so it can use its own imagery by denying society-made images. Perception breaks when an artist feels somebody from his ‘inner world’ is commanding him to paint his own perception of the real world in the canvas.

We can consider Bengal avant-garde painter SM. Sultan‘s artworks for instance. His artistry told the necessity of unification with all natural objects. Nature and Human embraced each other in his canvas and enjoy the eternal beauty of life by forgetting the intentional separation, which perhaps created by the authoritative power-players of the society. Sultan’s impressionist approach helps his seers to realize Nature is not poor and a Nature-evolved man can never be born with poverty. He kicked out the manmade perception of poverty from his canvas. His painting objects are village people; analysts symbolized them as a penury-affected and marginal population in comparison to the privileged class of the Society Pyramid. Sultan ignores the rhetoric and paints these village people as healthy, industrious, and vigorous. 

To see his gender-impartial masculinity in the canvas seers then think about the manipulative treachery of system-makers. The vigorous figures and their dense activities in the canvas inspired them to imagine the primitive world and back to the reality where human was born once, where life was yet Natural with vigorous hardworking and togetherness. Sultan’s Uninational Masculinity then appeared as a disaster to the guardians who are unable now to imagine the world where life is primitive with its symbiotic flavor and passion. This man invites his seers to feel the inner passion of life, that is,—penury does not exist in Nature; rather it exists in our mind and tried to narrow the life in beggary; just serve the heinous interest of some greedy system makers. He invites to feel it,—life is the nickname of unification with all natural objects and men should enjoy this with passionate hard-working. 

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Source: Bengal art Gallery, Char Dakha, Painter: SM Sultan

… Painting is the impenetrable game of desertion and insertion. An artist always feels the urgency so he can consider his inner feelings when he selects any ‘thing’ from the real world to satisfy his artistic desire. The architecture of painting is rebellious in that sense. It always repudiates what other try to fix for him.
… … …

This is the moment for an artist from where he breaks the fixity, and from this moment, he sees himself stands on the lonely peak of the societal triangle with images he might invent through his self-stimulating process. He is not the same man what he was before; his sensory organs are not the same things what they were before; his memories of the real world objects are not the same as it was before; thus, his conflict of interest with societal perception-makers is unavoidable after this. For instance, Norwegian artist Edvard Munch expressed his reluctance to think death as always black. Today everybody knows Munch once heavily criticized for his ambiguous color sense and its insane application in the canvas. One of his buddies made a testimony about Munch’s perception of color after his death: 

He (Munch) had discovered that the Greeks regarded death as blue. It says somewhere in The Iliad, “Blue death closes his eyes.” Here in the grey gloomy North, Munch said, “we see death as black. But in sunny Hellas they regard it as blue. Why shouldn’t it be blue? [Quote Source:  Edvard Munch, Documentary Movie, Directed Peter Watkins, Production: NRK, Norway]

When an artist talked like this, conflict is inevitable there. Munch got the bitter experience when he was desperate to burst out his inner vision by terrified screaming. He felt his compatriots marked him as incompetent to realize the color of this real world and they tease him to think he is very naive to understand its association with humans. The art critics marked him insane and anarchist who didn’t hesitate to paint ‘Madonna’ with obscene cruelty; after seeing this art gibberish, the divine feelings soon turned into nausea. An art lover and usual member of the societal triangle, for instance, marked Munch’s painting gibberish; the lady expressed her feelings with naivety, where she says:

To be honest, I don’t like these paintings at all. I’m no art expert, but they don’t say anything to me. I don’t like his art at all. So unnatural, the colours are not natural: blue trees…I don’t like it. His figures are no more than suggested. [Quote Source: Edvard Munch, Documentary Movie, Directed Peter Watkins, Production: NRK, Norway]

The conflict is unavoidable when an artist supposedly Munch starts trained himself through self-learning process, where he tried to use his inner vision and refuse the images which societal guardians hope that he will see and fill his canvas with these. His journey then pushed him to stand on the lonely peak; everything appeared to his eyes so strange, unknown, and might be ’primitive’; as Kandinsky mentioned in his book; as Munch expressed his disjuncture when his long-time confusing ‘love’ ignore him in the street as if he is unknown to her! Later Edvard Munch wrote this bitter experience in his diary:

Emotions. I can’t have emotions. I wait and then she comes and simply walks past with a smile. I look. I look at the white sky. I look at the grey-blue clouds. I look at the bloody sun. So this is the world. This is the home of the planets. A drop of rain. I look at the high buildings. I look at the thousand windows, at the distant church spire. So this is the world. So this is the home of mankind. The grey-blue clouds gather. The sun disappears. I look at well-dressed gentlemen. I look at smiling ladies. I look at leaning horses and the grey-blue clouds grow heavy. I look. I look. I must have come to the wrong globe. Everything is so strange. [The Private Journals of Edvard Munch]

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Source: Edvard Munch org, Madonna, 1894, Painter: Edvard Munch 

… The conflict is unavoidable when an artist supposedly Munch starts trained himself through self-learning process, where he tried to use his inner vision and refuse the images which societal guardians hope that he will see and fill his canvas with these. His journey then pushed him to stand on the lonely peak; everything appeared to his eyes so strange, unknown, and might be ’primitive’; as Kandinsky mentioned in his book; as Munch expressed his disjuncture when his long-time confusing ‘love’ ignore him in the street as if he is unknown to her!
… … …

When the ordained picture of this real world creates confusion in artist’s mind, when it seems questionable to him, and his relationship with this appealing world of things forced him to look it like a dubious manic, from this point the artist realize this world is not like as what he thought before. This could be the peak moment for an artist from where he killed himself in morbid screaming, as Edvard Munch done in his series of paranoid delusive paintings. His painting shows up the melancholia, neurotic alienation, absence of physical contact, the delusion of color, and all these morbid associations…, that is might enough to make the decision that,—it’s better if I no more continue; as Munch wrote a letter to his family that he has no more resistance to hold this life. However, many are there who can feel the reverse and dedicate their hands to replace the society-made vision and its perception of real things. Impressionists did this job in their time; Post-impressionists did the same; as Cubists, Dadaists, Surrealists did before; as Kandinsky and Jackson Pollock did when they were bewildered to think about the presence of real things in the world and their synchronize relation with humans, which they think cannot perceivable without abstraction. 

Supposed to say, seer’s perception and his experience of dealing inert objects crumbled when he sees himself stands in front of Cezanne‘s canvas. His still life objects talked a different way. Not so they are unreal or Cezanne paints these objects with abstraction. He paints them that his brain exhibits him and ordering him to paint what he feels. Despite this, when seer stands in front of Cezanne’s canvas, he feels something precious is going there and it makes the entire painted objects so lovely and lively too; as if they have an animated existence like humans and other living animals! Wassily Kandinsky beautifully means the difference in his book, where he dedicates paragraphs for Cezanne, Matisse, and other French pioneers:

Cezanne made a living thing out of a teacup, or rather in a teacup, he realized the existence of something alive. He raised still life to such a point that it ceased to be inanimate

He painted these things as he painted human beings, because he was endowed with the gift of divining the inner life in everything. His colour and form are alike suitable to the spiritual harmony. A man, a tree, an apple, all were used by Cezanne in the creation of something that is called a “picture,” and which is a piece of true inward and artistic harmony. The same intention actuates the work of one of the greatest of the young Frenchmen, Henri Matisse. He paints “pictures,” and in these “pictures” endeavours to reproduce the divine. To attain this end he requires as a starting point nothing but the object to be painted (a human being or whatever it may be), and then the methods that belong to painting alone, colour and form

By personal inclination, because he is French and because he is especially gifted as a colourist, Matisse is apt to lay too much stress on the colour. Like Debussy, he cannot always refrain from conventional beauty; Impressionism is in his blood. One sees pictures of Matisse which are full of great inward vitality, produced by the stress of the inner need, and also pictures which possess only outer charm, because they were painted on an outer impulse. (How often one is reminded of Manet in this.) His work seems to be typical French painting, with its dainty sense of melody, raised from time to time to the summit of a great hill above the clouds. [Concerning the spirituality in art, 1910, by Wassily Kandinsky]

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Source: Paul Cezanne org: Rideau, Cruchon et Compotier, 1893 by Paul Cezanne

… Cezanne’s still life objects talked a different way. Not so they are unreal or Cezanne paints these objects with abstraction. He paints them that his brain exhibits him and ordering him to paint what he feels. Despite this, when seer stands in front of Cezanne’s canvas, he feels something precious is going there and it makes the entire painted objects so lovely and lively too; as if they have an animated existence like humans and other living animals!
… … …

The rebellious moment of an art object begins from this moment, where it makes contradiction to the real world, where it demands seer’s attention to perceive the meaning of art by applying his inner sensors and taste the flavor of art with new eyes. Kandinsky perhaps liked to call it ‘spirituality’, which means the painter has now achieved his freedom to paint what his brain told him to paint. He is from now able to exploit his sensory organs by sitting on the societal rectangle.

Eminent physicist John Archibald Wheeler thinks the reality of the world is nothing but an associative tickle of information-conveyor ‘bit’. He means it many times in his books and lectures that everything begins from the dots-like density, where the invisible dots meet each other and then shaped the geometry of this giant universe. Scientists kept them busy to realize what kind of materialistic elements could remain in Wheeler’s ‘bit’ that helps them to link, associate and bridging with each other; so they can play the hidden rule of making things’ appearance possible in this geometrically visible world. 

Anyway, in a painter’s perspective Wheeler’s ‘bit’ appeared as dots, that can make the horizontal lines, can combine them vertically, be efficient to converts them in a circle, triangle, square and many other forms. If the structural reality of the visible world builds by this way then when it destroyed it can appear from that state like the beginning. The moral of this is that, —every visible thing reminds the muse of invisible ‘bit or dot’, where they associate according to their will to destroy and rebuild things over again. Every ‘thing’ has gonna in the void when death appeared and all these every ‘thing’ can revive from the out of nothing.

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Source: Nautil.us: John Wheeler: The puzzling of existence

… The painter applied his own process of knowing about the hidden fact of real things by ‘thyself’, and that makes a difference; from where he sees the real object as like other people but paint this by going against the ordained perception of reality, which a society may try to provide him since after his birthing moment in this planet.
… … ...

The Hegelian phrasing might be appropriate here to realize the meaning of life; that is, —there is something always remains to be waiting in nothingness, something remain in the complete void, to bring back the whole picture of reality over again. Creation itself is transcendental and mysterious in this way, so why not art. Maybe that’s why Kandinsky tried to consider art a spiritual silence of creation and destruction. He thinks it doesn’t matter where an artist sitting on the apex of any horizontal line of the triangle, but it does matter what he sees or feel in his ‘within’ by sitting there. 

When Wheeler said to mean the world by that, ‘it from bit’, the invisible dots-like quanta then achieved such significance where we bound to feel this that, this visible world is the reflection of that invisible ghosts who paint it over again. They are the real person behind the scene, the materials of the material. Our outer vision is unable to see them but now able to feel their presence behind all things of the world. This intangible ‘bit’ is responsible to make this materialistic world visible and livable for the creatures, thus, we cannot say they are inexistent. We can say, our eyes are inept to see them as a seer; yet we are limited to understand their personality and that is,—how they make all this reality for us and breaks these after a certain time is over

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Source: Geometric abstraction, 1926, Painter: Wassily Kandinsky

… The rebellious moment of an art object begins from this moment, where it makes contradiction to the real world, where it demands seer’s attention to perceive the meaning of art by applying his inner sensors and taste the flavor of art with new eyes. Kandinsky perhaps liked to call it ‘spirituality’, which means the painter has now achieved his freedom to paint what his brain told him to paint. He is from now able to exploit his sensory organs by sitting on the societal rectangle.
… … …

The duty of an artist is there; he is liable looking through the dark by remembering this: no human-made perception of things is enough or eternal for his canvas. The only perception he should follow, that is, —he doesn’t paint the materialistic objects and the so-called life of the real world; actually, he paints the transcendental mystery which may lie behind all these materialistic things, and that is the spirituality of his artistry; only it could help him to overcome the fixity what we’ve often seen in this real world. Kandinsky says:

No such theory of principle can be laid down for those things which lie beyond, in the realm of the immaterial. That which has no material existence cannot be subjected to a material classification. That which belongs to the spirit of the future can only be realized in feeling, and to this feeling, the talent of the artist is the only road. [Concerning the spirituality in art, 1910, by Wassily Kandinsky]

We will try to make a journey on this road in the next chapter.
… … …

Kandinsky

Source: YouTube, Kandinsky painted on Schönbergs music
… every visible thing reminds the muse of invisible ‘bit or dot’, where they associate according to their will to destroy and rebuild things over again. Every ‘thing’ has gonna in the void when death appeared and all these every ‘thing’ can revive from the out of nothing…
Previous part Link: When the image is born (Part-1) ⇒ Kirno Sohochari 

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