|
|
pyramids
E. Taborsky (ETABORSK@ARUS.UBISHOPS.CA)
Sun, 29 Oct 1995 10:29:56 EST
Just a brief comment to Allan Dunn's reply to Luis, re the 'secrets
of the great pyramid --; Allan wonders if 'they' were so great, why
they didn't develop perspective in painting. Frankly, I feel that
whether or not one has perspective is primarily based on the
cognitive role of the individual within the society. Perspective is
based upon a cognition that has its origins in the Individual; that
is, the identity of the world is understood to be defined within the
conceptual frame of the individual. Therefore, the individual
sees/knows reality as an 'Other', in a direct line (perspective) to
his 'Knowing Self'. In a society, where cognition is not based
within individualistic powers, but within powers external to the
individual (essential truths, Forms, god), then you will have
'paintings' that validate this non-ego-centred cognition. The
medieval paintings clearly show the cognitive realities.. the larger
forms are the more powerful(have the best access to truth); the
smaller ones have less access.
In other words, perspective has very little to do with a mechanical
skill, because all physiologies have that ability to relate the
physical self to the others (otherwise everyone would be bumping into
all the sacred jars). Perspective has a great deal to do with the
definition of the powers of the individual - to access truth directly
(which will be validated in paintings with perspective)..or not to
access truth directly (validated in non-perspective drawings).
Both forms of art can be magnificent. I was lucky enough to be in
Russia this summer - and saw both ikons (non-perspective)in Moscow,
and Rembrandt's works in the Hermitage (perspective). Both forms are
in touch with whatever essence empowers life.
Edwina Taborsky
Bishop's University Phone: (819)822.9600
Lennoxville, Quebec Fax: (819)822.9661
Canada JIM 1Z7
|