Vaji Aung Soe - From Tradition to Modernity

Brother

The soft, cool scent of the rain is just perfect for the little ones to relax in. Every such lovely, melancholy night, I keep reminiscing about the old nights we used to talk about, brother. Tonight, in the gentle embrace of the gentle breeze, we discussed art again. To be thorough, we talked about modern painting, especially the role of nature in modern painting. I will tell you what we talked about again. .

We say that the truth of nature and the truth of art are in harmony with each other, and each of them complements the value of the other. In other words, the nature of nature and the nature of art mutually construct each other. In the early days of the Impressionists, this issue was considered quite a lot. The explanations about the essence of art and the essence of the nature of vision were both similar and different. They thought it was possible to separate them by the provisions of optics. Later, they did not separate the nature of nature. They only suppressed the nature of art, saying that the nature of art was different. Only later did they study the structure of art and the structure of nature on an equal footing. | I've often said that the foundation of Western visual art, the influence of Impressionism and optics, is rooted in the sculptural nature of the tradition, and that Cubism was the first to ignore and challenge these. We're talking about this again tonight, Mr.

Cubism was the one who made the two-dimensional beauty of forms three-dimensional. In giving birth to a life, Cubism did not say much about the light and the light-related nature that the Impressionists dealt with. Even though he said nothing, Cubism was already fully developed in terms of sculpture. More importantly, Cubism did not paint anything that could not be captured by the eye. As I said, Cubism peeled off the surfaces and skins of all the material objects in the world and presented them as one on the surface of the painting. Thus, not only did visual art become more solid in the realm of all visual perception, but also in the realm of tactile experience, Western art was able to forget the great influence of the sculpture that had been admired for nearly five hundred years. Cubism abandoned all the usual imaginings that are weak and empty in the human retina. As the freedom of the night became more widespread, our small circle of discussion became more prosperous. We could not even ignore the sound of raindrops falling around us.

As the so-called abstract art became so clear, people began to say, “There is no longer any real place or essence in images. There is no longer any model. There are only changing standards.” I don’t know if this is because they don’t agree with the intricate nature of nature or because they don’t dare to see it. As I said, this art continued to flow naturally. Braque and Picasso didn’t draw a wine glass in the traditional way, but based on the nature of nature, which is “Nature can only go vertical and horizontal,” they drew an analogy to it in their paintings. Similarly, the widespread acceptance of the natural elements of nature in art has also been in conflict with new ways of sensibility on the scientific side, hasn't it?

In fact, there must be a logical reason why the ancient masters dared to abandon the style of sculpture in their paintings, my friend. After all, sculpture is considered to be a form of realism. And in the post-medieval view, “Space is a vast field, and objects are places within that field of nothingness,” my friend, this is where the conceptual difference with modern painting begins. In modern painting, space is a continuous series of senses, and objects change and bend this series of senses. But this change and bending does not cut off this series, because these objects, objects, The objects that are attracted to the object itself depend on the changing thoughts of the vast space. The space and the object that is attracted to the object are in this state of flux in the perspective of modern painting, aren't they?

Here, a sculptor who often stays behind will fill in the blank. That is the endless void that connects and binds objects together. It is not easy to touch it, but it is easy to see it. Yes, everyone accepts this. In other words, the void that connects objects eventually becomes a total object, and abstract painting tries to capture and paint that void, isn't it?

The Impressionists themselves, I can't say that they didn't have this view of space, this idea, brother, because you can see this idea in the color scheme of their paintings, the objects on the entire surface of the painting are compact and harmonious. Because of this harmonious surface of the objects, the viewer was able to penetrate the seemingly empty space of color in the air, didn't they? In earlier works, this space distanced the viewer from the objects on the painting. Well... In Analytical Cubism, the position of the objects became more precise. When you look at them, you see that they are separated into the surrounding space and then come out again together. Finally, the entire surface becomes a solid, and the surface of the car and the viewer's endless visual field become one and the same. So, instead of seeing the objects and this surface as a unity of pictorial space, we now see them more as a unity of visual continuum. At this time, we came to know that the entire surface of the car is a reflection of all vision, and that the surface of the car is a single object that is viewed, and that this object is just a large object called space. In this way, art and nature come to interact with each other in a harmonious and smooth way. I see this as the eternal movement of modern painting and nature. //

This is the legacy that Cubism passed on to Abstract Art through nature. Abstract art cannot fulfill this responsibility. If it cannot express the unity and unity of nature at least as well as the last Impressionists, it will not understand the fundamental principle of nature. Its art is only at the level of decoration, and as I often say, it is not without nature. It is a shame. If it continues to be limited to this decoration, it will be abandoned by the public as a "valueless art" without any roots in the natural world. This is our final conclusion.

The night is getting thicker and thicker again. It's getting darker and darker. We look at the moonless and starless sky and smile at the same time. Yes, our smile is a satisfied smile... a lightened smile. . . a joyful and refreshing smile... art is done...

May you be happy and peaceful.

Brother-in-law

Land lover

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