may be caught). The use of an empty chair; or pictures removed from the wall; windows;trains; musical references; symbols of communication; animals; plants; books; certain books;the use of shadows to add a further dimension of relevance to the associated object; shadowsthemselves; gardens; food; bare breasts; one breast showing; body language (which may beseen to link to the archetypes) attitudes of confidence; coyness; secretiveness, eroticism;symbols of decadence; plenty; or of poverty; of order, or of chaos; of straightforwardness; of anger; of infidelity; of ignorance; impiousness; impressionableness; frivolousness; of youth; of age; of prophesy; of death; of birth; of resurrection; parts of the body and their significance;of pain; of impropriety; of anarchy; significance of composition; and much else as well asthis.Problems of mixture of cultures - painting is no-longer predominantly white.But these cultures have had little in terms of secular art have they not - perhaps China andJapan come the closest - but their ‘civilising’ and ‘cultural’ concepts, possibly have psychological and symbolic nuances of their own - one thing is for sure - the western naturalspace is not part of their culture.People of the same language paint the same pictures.In themselves techniques and methods themselves may be taken as symbolic - i.e. that of theImpressionists as scientific, disinterested; that of the Realists, again scientific; that of theRomantics, [non] rational; that of the Abstract Expressionists, non-rational?, heroic; that of the Orphists metaphysical, pagan; that of Bad Painting, nihilism, the death of history: in thissense there is little distinction between symbol and technique; but the basis of technique may be taken as what follows:
The Technique of Painting
There seem to be three indivisible parts of painting, each of which are related to one another,and which also may be seen to be wholly reconcilable and rationalisable in terms of manycosmological frameworks, as well as scientific maxims: these are: line, tone, and colour; thentexture weight and dimension; then price, symbolism, and spirit.
PART 3: ART HISTORICAL DISCOURSE
The given interpretation of paintings as pure meaning, that is given above, still withholds, andthe mentioned symbols (symbols as meaning throughout) may be seen to relate to particular ‘centres of gravity’ in ideas, all of which relate in one way or another relate to the given philosophical, metaphysical, and theological frameworks that have been mentioned above; andthese paintings may be placed within these ideas and notions, and as such are groupedaccording to period, genre and style according to these fluctuating ideas:
Ed Mirza Western Painting, December 10, 2007
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