|| Thesis |The World of Teruo Sato |Work| 1 Implement of the Painter|
If a painter who is endowed with a high Creator-like
ability feels it painful to renounce free imagecreation, he will continuously
persist with the image's originality. On the other hand, he will plow through
the road of "realism" if he feels pleasure to cancel the image's
originality. The abstract painter sticks to the ability like a god, being
fractious to the way of living as a human being: the representational painter is obedient to it.
Hence the realist must hold fast to the human reality, and understand that the painter's capability results from his experience. He should not let God concern with any aspect of his activity. Only thing allowed to him is becoming eGodf himself within his work.
Image is composed of the implements provided by the world, but yet this is not true for all images; some are awakened by words. The words are not a world, but a sign. However, the words have produced a world of literature.
@ The painter can touch and communicate directly with a world without any use of words. There are two ways for him to confront the words:
@ If he makes an approach to harmonize with the words, he may end up in a humble servant of literature; which would popularize his works and make them easier to understand, but has a risk of being interpreted as just an "illustration". If he has a sense of opposition to the words, he can become a sovereign of colors and lines ? that will pave the way for the pure, holy picture, but will be self-righteous as well. So in this case, the painter will be compelled to confront the literature in one way or another.
The painter's way of concerning words incessantly forces him the alternative of whether to flow with popularity, or to be alienated. As long as being a human, the painter cannot eliminate the words: there is no way to escape from this option.
@ When the image concerns a human being, it deeply relates to the play. Picture, which directly handles the image, gets close to the play as well. Since the distance between picture and play is equal to that of literature, the picture becomes the greatest rival for the literature over dramatic sense.
Architecture makes use of the third dimension, which is impossible
for picture. Further it can fully absorb the picture on its wall. For example, the Sistina chapel has, in a sense, created Michelangelo's (1475-1564 Italian sculptor, painter and architect) "The Last Judge". Above all, still life picture is most strongly prescribed by the architecture;
it has even an architectonic structure in its whole interior.
@ Nevertheless, since the picture holds inside the duality of image and world, architectural elements can be dragged in as part of its world; this makes the picture none the more self-assertive in spite of belonging to architecture. The defect of architecture is in its operation of only diagrammatic images, not having a world inside it.
@ Dessin is a picture with image by itself which lacks a world. This is true for colored dessin as well. The picture can oppose the architecture by having both image and world. The dessin, however, renounced its strongest arm on its own accord: put another way, it has confined itself in a sketchbook.
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