Scamanga

Beschreibung

The Egyptian pharaonic paintings, the Assyrian mosaics, the chinese and the japanese drawings and paintings, as well as the Byzantine mosaics, up to the islamic art, had all in common, the flat two dimensional pictorial space: the absence of any reference to the depth and volume, irrespective of the various philosophical thoughts, and their religious beliefs: the essence of their art, made what constitutes, in the artistic expression, the ORIENTAL SPACE. The italian Renaissance art made an opening, in Europe: the Three dimentional pictorial space, imagined by Alberti, gave birth to the invention of the perspective and the expression of the restricted representation of the world and the image seen by the eye; this eidic image prevailed in the occidental art, hence establishing, the representation of the object and the physical world, with the reign of a logical cartesian thought. This dominance did continue up to the twentieth century, resisting to the few movements of the so called abstract art, since the motive of the deep involvement remaining dominated by the rational belief, and the material thought. The concern of the Occident with the physical reflects still integraly the conscious postivism and materialism; its essence lay in the immediate sensation: this physical art is faced with limits beyond which it can not go. And it ends with the trivial ephemerical so called contemporary art, void of any substance and spiritual belief. Abstraction reveals the inner self. Painting becomes like music, an art contained in its own form, capable of infinite variety, of spiritual dreams, No material world is of concern ; the painting has its own light, excluding the materialistic concept of light and shade. The structure of the pictorial space, with the variety of the coloured hues, represent combinations of various geometrical flat forms, intermingling, to reach a secret end ; it is a space seen beyond man : a creation of a space that expresses the caprice of a dream, This pictorial space, takes for its positive matter, the sensuous aim of its own medium, expressing solely non-figurative shapes and colours, and an infinite variety of harmonious values. It is the very art of putting paint on canvas to make a picture.

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