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So ..what is a visionary art?

So ..what is a visionary art?

Author: Oleg Korolev 

 

This is an art of theappeal to the subtle worlds by means of a practical work with an altered mental state, close to trance. Why do it, I will reveal below.

In general, to indicate the type of altered states of consciousness physiologists distinguish levels and amplitude of abrainwork. I do not have a ruler or a device that could measure each time its work. Therefore,referring to a sort of scientism for the convenience of description of the inconceivable acts of consciousness, I still have in mind rather a metaphor, and do not pretend to be scientific.

Therefore, symbolically dividing the depth of the changes of consciousness to the levels, but designating them the same way as it do experts, I allow myself to highlight these layers of the psyche to describe them.

Thus, relatively speaking, in the everyday, waking, alarming, critical state of mind, the human brain works at the Beta level. So-called Beta waves – are thefast wavesof a low amplitude, about 14 to 23 cycles per second.This is the ordinarystorey of the objective perception of the world. The level, which inhabits most of our fears and doubts. This is the sphere of desires of dreams fulfilments, thirst and the pursuit of rough pleasure of owning an object, as well as the level of disgust. Usually this plan live banal realists perceive the world simply as a mechanical set of objects. As the world of phenomenal.

Mystical realism, in the philosophical framework of which remains visionary art, it seems to them mysterious, as it appeals to the noumenal, to the world, understands extrasensory. It begins when it comes to subtle energies and their effects. In this sense, if you translate the scale of assessments for the European, Christian soil, the mystical realism is very close to the Orthodox doctrine of the divine energies. Perhaps that is why we are meeting in Shanti-Calm-hesychia ..? Epistemologically Mystical realism also is not in some kind of vacuum, and is opposed, on the one hand, for example, Romanticism - causing charmed, drunk with pride of the mind, corresponding to Catholicism and his legalistic self-confidence in the superiority and infallibility. And also, on the other hand, pragmatism, sverhpraktichnomu heritage of Protestant thought, who sees sense only in material benefits.

Most exhibitions of visionary art as an artistic artifact direct experience include visionary and pseudo-pseudo-Buddhists or pseudo-shamans, that is banal fantasy. In addition, the fantasy is different from, for example, fantastic realism, the fact that the latter often created based on fantasy interpretations of various sacred texts. This we can find in the works of masters of the Vienna School of Fantastic Realism: Ernst Fuchs, Arik Brauer, Ernst Bruzeka, etc. All this is mainly Catholics who have had a private Roman Catholic, that is romantic consciousness in art, formed in the space of modernity.. In addition, visionary art and pseudo-visionary fantasy and fantastic realism, often adjacent, so-called imadzhineytiv art has no claim to the authenticity of the visions and not appealing to the sacred texts. Still caught old surrealists, as a derivative of Freudian psychoanalysis, are building their own compositions on the psychic automatism. There are also paintings, created as a result of psychotherapeutic practices. That is, it is when a sick man manifests on canvas his mental block ..it gets easier, but the viewer is invited to eat it all.

To summarize below the list of species affiliated with each other styles, I want to add that consciousness, as something very moving often mixes state and artwork are not always quite definite and related exclusively to one of the species.

Speaking about an authentic visionary art, it should be noted that the visionary level begins at the alpha level of consciousness, it corresponds to a trance - a special state of relaxation and simultaneous concentration of consciousness. In this setting, it is carried out using appropriate techniques that are so rich in global trance culture. Scope, which begins at the base (again, make a reservation, conditional) Alpha level when the speed reaches the brain rhythms of 8 to 13 cycles per second. It differs from a normal waking state of consciousness (Beta level), and the level of deep sleep Theta and Delta with its amplitude of 1 to 4. While the Theta level (4 to 8 Hz.) Correlates more with the level of deep meditation or prayer.

Many may wonder why you need to work with the subtle world, if tough enough, everyday world of objects and phenomena? It is not necessary to limit yourself working with still life, landscape or portrait? I think any person who at least once in their lives had a dream realizes that reality is not so simple ... but looking more closely, is aware that it is multi-layered and multifaceted. I think we all have dreams. In principle, anyone who saw the dream, and then portray what he saw in it can call himself a visionary artist. That is visionary - it is something something out of the ordinary ... it is perfectly natural for a human cause. In addition to the night of dreams, there are so-called day. In English they are called Day-Dream, and in Russian - dreams. It is believed that the normal person every hour and a half quite naturally goes into a trance and see the Day-Dream. Trans differs from the normal state of consciousness oriented focus. When it is activated the internal focus, aimed at feelings, images, memories, fantasies. Where our attention to energy flows and interpreting reality, thus at the same time it has created. In one case, it is directed to the external world, and we see a world of objects, in another - a world of dreams, in the third - the world of dreams.

Some schools of Tibetan Buddhism say about Bardo states and distinguish waking life Bardo, Bardo of sleep, death and Bardo Bardo meditation and others. All of them depend on the focus of attention ... from a certain degree of consciousness narrowed. Less attention is captured by the object, so it is free. And if it is released, and the relationship of its object and interpreting the subject, it is included in the non-dual, vnekontseptualnoe state of liberation, that is enlightenment. In this work, in principle, and is itself the spiritual evolution of man as a being. After all, any spiritual practice in all mystical (as esoteric and exoteric) traditions are three main stages of the evolution of consciousness, not counting lower, zero, that is, primary, general for the vast majority of men, ie passionate, reactive mind level. The first step - a step of detachment, neprivyazki objects. The second stage - the state of non-judgmental, neprivyazka to the subject, intuitive knowledge. Third - self-awareness as I-space, not due to anything (exemption, deification, Theosis). Here, in general, and the whole evolution.

Based on this visionary artist can realize that the focus of any internal or external on all planes of being, in any Bardo, creates an illusion, and his task is to see its nature, to understand the beauty of the relationship of opposites, as the divine play of light and shadow. After being impartial, we can see that all around is our interpretation of abstract particles flow in a certain quantum abyss ... this endless game chiaroscuro, and the Truth, transcendental behind this game. Mystic Eckhart Tolle said that the task of art is "to achieve by the formless form" ... But I would add that it can be done only through the sense of beauty, through the sense of beauty. After all, "Beauty is the perceptible form of good and truth," as the philosopher Vladimir Solovyov. And Osho even said that "Beauty is much more valuable than truth itself." Thus the path of the mystic artist, in principle, is in the contemplation of the beauty of the game of light and shadows, but not only in the outside world like an ordinary painter, depicting objects such as still lifes, landscapes and portraits. His path passes just inside his own consciousness ... is subject to the same rules on all the Bardo. Generally speaking, if you see the beauty in the external, natural, and then closed his eyes just to see the beauty and harmony of sensations and feelings inside ... it is possible to understand the unifying all the essence of things ... and the meaning of this game. But he will verbally ineffable. In this sense, visionary art is nothing but a spiritual practice ... the practice of mystical contemplation.

Meanwhile, according to the artist Nicholas Roerich, should bear some responsibility to society. I think that if this thesis is to project in our case, the first thing he had in mind some kind of ability to do no harm. After all, if the artist's works, as the thought forms rendered on canvas authentic, then they can bring and the harm and benefit of mental space, depending on their charge. Mystic artist may like pearl divers, diving to a depth, bring a wonderful gem, but it can also bring out and the Beast. Much depends on the same and on the "who" in it is expressed. In the words of the Apostle Paul in us there are two people. One - "our outward man" who "smoldering" and the second - "inward renewed day by day." It seems to me that this idea of the "external man" corresponds to a similar to the Tibetan tradition, as the karmic or conceptual body, which in an environment of modern preachers called more "body pain". And the concept of the "inner man" is consistent with the "dharma body" or "body of light." Therefore, in my opinion, the most important initial task of the mystic painter is shifting their perspective from "body pain" in the "body of light," and the Christian artist, respectively, of "human corruptible, external" in the "inner man" and the subsequent work and expression only "out there." In this sense, art is not only a spiritual practice but also a channel for the manifestation of the Beyond our world. It is in this, as in the service of the Spirit, I see a major public mission visionary art.

History of visionary art goes back to the archaic trance culture of the earliest Paleolithic cave paintings of Lascaux and Altamira caves, in sculptural works of the "Venus of Willendorf", "Venus of Kostёnok", etc. In this era of human consciousness was holistically magic.; there was no division into independent areas of activity. Science and magic, art and life are not parts which is split, a common worldview. Extant works are still tough in their processed, but their plastic solution can be easily noticed the existence of a certain way of styling and the presence of artistic language that speaks of communicative and narrative challenges as the inherent features of art. The essence of the action of the first art, is still clean from the build-up of conceptual and still free from the mental constructs of society, it has become a mystical suggestiveness. Its flavor is felt in all the images of the archaic art of our ancestors. All early civilizations used art as a reflection of the inner, often in stylized form. This can be said as an art of ancient Egypt, Iran, Assyria and Babylon, as any other, including the art of Mexican Indians, the inhabitants of Easter Island, Asian art, black Africa and Oceania. Styling says that ancient consciousness to perceive reality as a reflection of internal rather than external. Realistic, that is consciousness, which is close to the materialist appear in history not often. In fact, if it can be called the art of the Greeks of the Hellenistic period and the art of Chinese Qin Dynasty approaching to realistic, it is only with great reserve. The same can be said about the art of the Renaissance. All the pagan art of European peoples was magical, decorative and stylized. Perhaps only in the period of the Protestant northern European Baroque art for the first time it marked a quite realistic sample.

It is believed that the modern sound as distinctive personal artistic act, visionary art has been in the works of Hieronymus Bosch. Further, as personal creativity is developed in the works of William Blake, Austin Osman Spare, the symbolism of Gustave Moreau and Jean Delvilya.
Surrealism, which arose in the early 20th century, after the First World War was influenced by philosophical ideas of dehumanization and go the path of modernism, isolated from their environment, so-called humanists or more they were called, neoromantikov, chief among them was a trio originally from Russia , Eugene Berman and his brother Leonid, and Paul Chelishchev. It should be remembered that the Russian visionary lineage goes away in the gray times. In his essay "Painting Hesychasm" Irina Konstantinova Iazykov very clearly substantiated and explained the nature of the art of icon-Hesychasts mystics, meditators Tabor Light: Theophanes the Greek, Andrei Rublev, Dionysius. Nikolai Kalmakov may first individual mystic artist of Russia continued the tradition of visionary creativity. Mikhail Vrubel became the founder of the mystical symbolism in Russian art. Mikhail Nesterov continued the tradition. Mikolaus Ciurlionis, Lithuanian painter, who lived and worked in the Russian Empire, as can rightly be enrolled in this honorable list. Further, we can not mention Nicholas Roerich and his family, which was followed by a whole galaxy of artists cosmists. In 1923, four artists - Petr Fateev, Vera Pshesetskaya (Rune), Alexander Sardan and Boris Smirnov-Rusetsky - formed a group "Quadriga". Later they were joined by Sergey Shigolev Chernovolenko and Victor, and in 1927 at the suggestion of the union of Nicholas Roerich was called an unusual and beautiful name "Amaravella". Further, their business continues to face: Alexei Leonov, Oleg Vysotsky, Sergey Fedotov, Yuri Ushkova. Today the association includes: Irina Bogachenkovu, Alexander Tikhonov, Irina Kulyabin Valeria Kargopolova, Vladimir Glukhov, Alexander Rekunenko, Igor Anisiforova, Alexander Maranov. In 1950-1990-ies in the USSR, under the total control and pressure from the authorities, Eugene worked Spassky, Vitaly (Stefan) Linitsky, Alexander Kharitonov, Vladislav Provorotov, Petrov-Smooth, Alexander Isachёv and others. Today, Victor worked in immigration Safonkin. And in Russia, Your obedient servant continues to support the fight against the flames.

Returning to Europe, 20's, it should be noted that this decade has played a significant role in the art of milled authors who are faced with a fundamental choice, and even a milestone en route to the global art. The fact is that in the next decade, on the one hand, was reconquered artistic tradition, which has kept the transcendental dimension, and faith in the human potential in the development of personal spiritual evolution, which has become an integral part of the Metaphysical neo-humanism. On the other hand in front of us appeared a product of mechanical mind closed to divine knowledge. Secularized and nihilistic "artistic discourse" in a completely dehumanized, "dehumanized" art of modernism. It should be noted that the surrealist movement is divided on this basis. For example, Giorgio de Chirico and Salvador Dali later clearly belonged to the camp of the new humanists, while such person as André Breton and Marcel Duchamp were on the opposite side. Pre-surrealist or "magical realist" Chirico as a whole had occupied a special position. In 1919 he published an article on the return of skill in which he justified the right of traditional art. In the 1920s he became one of the founders of magic realism movement. Among the members were: Savin, Adolf Ziegler and Alexander Kanoldt.Magic realism and surrealism were then under the mutual influence, but the first still is one of the forces in the trend of "return to order" that existed in the 1920s, after the catastrophe of the First World War in Europe.

The name of the style magical realism comes from the title of the book: After expressionism: magical realism, written by a German art historian and critic Franz Rauh in 1925. By the way, you may notice that attempts Chirico in "justification skill" and "return to order", had some parallels with later attempts to Salvador Dali, "save the art." In general, you should also say that the idea of art was the salvation of the "Golden Triangle" in the main group (which included Salvador Dalí, Arno Breker and Ernst Fuchs) in the 1970s.
Europe and America gave the world a huge number of mysterious artists. We can not forget Geoffrey Bosschaert, Dutch mystic, whose active artistic activity took place at the beginning of the period of the 1940s, and which has become one of the most famous artists of the style in the postwar period. His art was striking features of magic realism, although he described it as "Surrealism based on the study of psychology, religion, the Bible, astrology, antiquity, magic, witchcraft, mythology and occultism." Geoffrey, along with Victor Linford, co-founded the group "Meta-realism". In addition to these, the group took part: Frans Erkelens, Ellen Lorien, Johan Harmsen, Diana Vandenberg and Han Koning. One of the most striking phenomena in the history of the style was the "Vienna School of Fantastic Realism". Five of its brightest representatives: Fuchs, Brauer, Lemden, Hausner and Hutter laid the foundation of all future movement. To it also belong Maurits Escher. Disciples Ernst Fuchs and "the first wave of the School of Vienna Fantastic realism are:. Bridget Marlin, Mati Klarveyn, DeEs Philip Rubinov-Jacobson, Roberto Venosa, etc. As to the school directly or indirectly close Hans Rudi Giger, Zdzislaw Beksinski, Alex Grey, Isaac Abrams, Andrew Gonzalez, Amanda Sage, Cuba Ambrose, Laurence Caruana, Daniel Mirante, Lucas Kandla, Dennis Potocari, Carrie Ann Baade, Laura Lipton, Adam Scott Miller, Stephen Kenny, Chris Cooksey, Maura Holden, Agostino Arrivabene, Martin Hoffmann, Olga Spiegel, German Smorenburg Miguel Tio, Luke Brown, Satoshi Sakamoto, the disciples of the artist-shaman Pablo Amaringo tribe Shipibo-Conibo, but just Lyuminokaya, Oleg Osipov, Andrey Nekrasov, Sergei Mikhailov and many others.

 

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