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art
Celer ne le puis
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L'un des cinquante blasons qui ornent l'édition originale de la Délie (1544) de Maurice Scève, "le Prince des poètes lyonnais." Il pourrait être l'emblème de mon blog.
Source de cette illustration: le remarquable site consacré à Maurice Scève par Michel Locatelli, que je viens de découvrir avec bonheur sur internet, presque cinquante ans après avoir lu, avec délices, la Délie. Remarquable par sa présentation, sa richesse et sa sobriété, aussi bien que par la singularité et l'importance de ce poète de la Renaissance.
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Portrait de Maurice Scève. Source : Maurice Scève, le Prince des poètes lyonnais.
Mono no Aware
Le Paradis était l’endroit où l’on savait tout mais où l’on n’expliquait rien...
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Natural selections: "Birds and Flowers of Spring and Summer," one of a pair of six-fold screens by Kano Eino with various symbols of nature (Edo Period, 1603-1867) | SUNTORY MUSEUM OF ART; © KEIZO KIOKU PHOTO
[...] Au-delà du mot adopté et de l’ironie finale, il n’y a pas de doute que l’expérience rappelle une expression clé de l’esthétique japonaise, ce mono no aware qui désigne un certain « pathos (aware) des choses (mono) », c’est-à-dire le sentiment ressenti par l’observateur face à la beauté éphémère des phénomènes, lorsque il est pénétré par la brève durée d’une telle splendeur, destinée à s’évanouir de même que celui qui la contemple est voué à disparaître. Ce n’est pas par hasard que, entre les sens du mot aware, on peut trouver celui de compassion, dans le sens étymologique de cum-patire, de souffrir ensemble, qui rapproche l’homme du reste de la nature, liés par un même destin fugace. En reprenant dans les Cahiers l’épisode de la châtaigne, Cioran souligne justement cette vérité métaphorique [...]
“Cioran, la naissance et le Zen” par Massimo Carloni
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Mono no Aware
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Motoori Norinaga, autoportrait. Le terme mono no Aware a été utilisé pour la première fois par Motoori Norinaga (1730-1801) pour décrire la littérature de la période Heian (794 AD - 1185 AD), en particulier Le Dit du Genji.
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La caverne du Tigre, au printemps, avec à l'extérieur, les merisiers en fleur La caverne, depuis des millénaires, c'est la permanence. La végétation, dehors, avec le chant des oiseaux et la musique de la nature, seconde après seconde, heure après heure, journée après journée, saison après saison, c'est l'impermanence, car "la seule chose qui ne change jamais, c'est que tout change toujours". Moi-même, assis en tailleur dans cette caverne, sur un lit de fougères sèches et odorantes, en contemplation, je ne suis jamais le même. Hier, quand je suis venu, j'étais un autre et demain, quand je reviendrai, je serai encore un autre, et pourtant toujours moi-même, comme l'eau de la rivière qui change toujours mais reste la même rivière.
Texte et photographie par Pierre-Olivier Combelles.
Une autre BRICS dans le mur
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BRICS: Brésil, Russie, Inde, Chine, Afrique du Sud. Dessin: Ben Garrison, d'après la célèbre chanson des Pink Floyd.
La Grande aventure, un film animalier d'Arne Sucksdorff (Suède, 1953)
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Un lynx la nuit dans la forêt. Capture d'écran du film "La grande aventure", d'Arne Sucksdorff (1953)
La nature en Suède au fil des saisons, à travers les aventures de deux enfants qui ont adopté une loutre.
Arne Sucksdorff est le pionnier du film documentaire animalier.
Visionnez-le ici:
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Un renardeau parmi les Lédons des marais en fleur. Le Lédon des marais (Ledum palustre / Rhododendron palustre) est une Ericacée du Danemark, de la Scandinavie, de la Russie et de la Sibérie, proche parent du Thé du Labrador (Ledum groenlandicum / Rhododendron groenlandicum) qui lui est nord-américain. Une plante aromatique aux vertus médicinales.
Les pins
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Intérieur du couvercle d'un coffret (japonais ?). Laque sur bois "zi tan". Ancienne collection de Pierre-Olivier Combelles.
"Les pins [sont] comme les hommes parfaits et les lettrés irréprochables. Bien qu’ils aient la grâce du dragon caché au fond de l’eau qui embellit la vallée solitaire, ils possèdent un aspect de sévérité et de dignité inaccessible. Ceux qui peignent les pins doivent conserver cette pensée dans leur cœur. Alors, sous le pinceau, naîtront d’elles-mêmes des choses extrêmement belles."
Kiai-tseu-yuan Houa Tchouan [Jieziyuan huazhuan].
Les Enseignements de la Peinture du Jardin grand comme un Grain de Moutarde. Traduction et commentaires : Raphaël PETRUCCI. Première édition française : Henri Laurens, Paris, années 1910.
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Extérieur du couvercle du coffret. Ancienne collection de Pierre-Olivier Combelles.
Srihari dwells in all of Us
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Uthara Unnikrishnan interprète Brahmam Okate (Tandanana Ahi)
Colin McPhee: Une maison à Bali
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Peinture de Walter Spies
Musique: "Lagu Délem"
Gamelan. Transcription par Colin McPhee
Piano: Steffen Schleiermachen
Écoutez ici: https://www.arttv.ch/literatur/colin-mcphee-ein-haus-in-bali/
Le chemin de la forêt, promenade virtuelle avec Pierre-Olivier Combelles dans l'exposition créée en 2019 à Rambouillet
Cette promenade virtuelle accompagnait le cycle de conférences donné en 2021 à l'Université Inter-Âges de Versailles:
Pourquoi le peintre russe Ilya Glazounov est monarchiste
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Ilya Glazounov: Sainte Russie
(...)
To begin with he is a monarchist, and believes that democracy is a scam which would best be done away with. He argues that Russia’s greatest achievements in every area - geographic expansion, economic growth, military glory, architecture, literature, Christian life, painting, decorative arts, population growth, public morality, international power, and harmonious relations within a highly diverse multinational empire, and with its many neighbors - all were attained under the rule of the Tsars, and that most of what happened since then has been an unmitigated disaster.
Furthermore, he believes Russia should return to a uniquely Russian system of social organization which reached its zenith in the mid-19th century called "Soslovie". There exists no exact European equivalent, but the closest one is the medieval "Estates of the Realm", the orderly division of society into various functions - knights, merchants, clergy, farmers, etc.
The soslovie system gave social status, and sometimes hereditary titles to individuals, uniting them in a sense of civic pride and unity in service to their sovereign. Not limited to upper classes and nobles, it extended well into the middle classes, the Tsarist bureaucracy, and even the peasantry. Readers of 19th century Russian literature may well have wondered at the many titles carried by its diverse characters, like "Collegiate Assessor", or "Provincial Registrar". For an explanation of this unique system, see the Wikipedia entries: Social Estates in the Russian Empire and Table of Ranks.
The main point for Glazunov, is that this mobilized the citizenry, gave their lives noble meaning and purpose, and allowed for harmonious cooperation while lessening the emphasis on competition and personal enrichment, the driving forces in a pure meritocracy. He stresses that this is very different from the Marxist concept of classes, which emphasizes conflict between social strata, and very different from the Indian caste systems, which are more rigid and exclusionary.
He speaks out publicly again and again that Russia is fundamentally hamstrung because it lacks an elite which truly has the interests of the country at heart, as opposed to their own, and that only once that is in place, can the country truly thrive, as it did in the 19th century, for example. He believes this elite has to be titled nobility.
He looks down his nose at the United States, whom he sees as a parvenu nation of cultural bumpkins, culturally capable of nothing more profound than Mickey Mouse and held in the thrall of a crass consumerist obsession with money and commerce.
In contrast to the values of the marketplace, he calls for placing spiritual and political ideals in first place. He believes that patriotism, service to society and its head, a monarch, are far more important than filthy lucre.
He is a pious Russian Orthodox Christian, embracing the church’s historical role as the essential partner in a ruling duopoly of temporal and spiritual power.
(...)
But back to his deeply conservative ideas:
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He thinks the masonic movement destroyed Russia, culminating in the Russian civil war, the destruction of the monarchy, and the massacres of Russians right up into WW2. To Glazunov, the masonic movement, and its course through Russian history, was evil's most successful manifestation.
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The Decembrists (a 19th century revolt by nobles, many of them inspired by masonry, seeking a constitutional monarchy which was foiled) deserved everything they got, and then some. Detests what they represent. Traitors and scoundrels.
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Ivan the Terrible was a great sovereign, completely misrepresented by Russophobic western historians, starting with the moniker “Terrible”, which he wasn’t, not in the least.
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He is fascinated with Russian icons (paintings), of which he has a staggering collection.
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Slavs were a great civilization predating any European analogs. Says it is complete nonsense that the Slavs „invited“ the Vikings to rule over them - more western lies.
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Absolutely and completely thrilled that Crimea is again Russian. He produces vast quantities of historical data and arguments proving that Crimea has been inhabited by Russians since the dawn of time, that the Ottoman occupation was a brief interlude, and that Catherine the Great and Prince Potemkin rightly gave them the boot.
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Obsessed with history, which is the subject of most of his paintings. He emphasizes the importance of knowing and honoring your country’s history and accomplishments. Tries to convey this knowledge in his paintings. He likes to paraphrase Disraeli: "History is not the battle of classes - it is the clash of races and religions.", and again "Ideological positions are always based on religious and ethnic foundations."
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The Bolsheviks were a murderous thugs who committed genocide against the Russian people on a scale without historical parallel.
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He is very concerned about the demographic crisis in Russia - insists that this be corrected soon before it goes too far. He recommends supporting traditional family values and encouraging families to have as many children as possible, 3-4 at the least.
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Fascinated with old things, the beauty of old things. An incessant collector. Dismayed at the lack of respect for old beautiful buildings, churches, etc. Believes they carry the soul of the nation.
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The experience of Russia in the 90s was a genocide similar to the tragedy of the 1917 revolution. A complete disaster and atrocity.
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In 2003 he warned that immigrants are descending on Europe and will destroy her unless they are stopped. Believes Europe is dying, that all hopes lies with Russia.
Glazunov's views on this last point are fascinating and have clear historical and political origins. He begins by giving his definition of art, which he explains must consist of three things: 1.) It must contain an understanding of the battle of good and evil in this world, 2.) It must be devoted to showing the beauty of this world and the love which underlies it, and 3.) It must be aware of the beauty and mystery of the spiritual world. He quotes one of his favorite Russian artists, Vaznetsov who explained: "My art is a candle before the face of God", and another of his favorites, Vrubel, who argued that the goal of art is to awaken the great possibilities of the human spirit.
(...)
Glazunov argues that art existing separately from the real world is essentially a Satanic fantasy.
In person, Glazunov is animated, jovial, jowly, warm and generous, plying his guests with delicious Russian veggie pies, sweets, and gallons of tea, eyes twinkling, sometimes pounding his fist for emphasis, eyes flashing.
He starts the discussion with the announcement that we live in an age of stark battle between Good and Evil, and that if you don"t understand this, you understand nothing.
He give the impression of a man in a hurry, as if he urgently wants to warn the world of the error of its ways, a voice in the wilderness.
Traduction française:
