The earth is a reflection of the sky
that contemporary artists exhibit their activity is not exclusively in the traditional sense, defining work is a now a known fact. The term "work" had been the basis of its modest scale and artisanal sense about the medieval masons' guilds to the 19th C. charged emphatic. The "work" was more an expression of genius and creativity, therefore, something that led back to his source of personal instances. The consideration of the "work" pretended worship and that seemed now in the 20th Century increasingly exaggerated. Instead of "work" was spoken in the fine art of modern times since the twenties therefore prefer to work. Working as a pursuit of life - made manifest by the famous essay by Tretyakov. The spoke of the work of the writer as being responsible, or at Caesare Pavese, from the "craft of life," or Camus, who speaks of the attempt "objectively" to live.
The "work" as a single piece was the description of a physical product unprätensiöse craftsmanship with value and therefore also become market value. This notion of artistic "work" one can attribute a sense of modernity and thus the democratic processes of the socialist and anti-socialist movement is now now again in the balance, and the one hand by the experience of a complete separation of craftsmanship and Market Value, and on the other - probably so connected - by the French and U.S. intellectually successful post-modernism, which also defines the artist otherwise, one might say, in terms of a role in a correspondence activity between market mechanisms, political, cultural discourse, brokerage services and life activity. The artist is speak no hero but more a kind of informers in service, a sports instructors and ideas. - Very important is that today the concept of creativity is matched no longer necessary with the concept of the artist. We all are creative or have to be left uncultivated by the entrepreneur to the software developer, and should they have any creative potentials are pampered in recreational classes.
Marc Augé, who held a week ago in Berlin, a lecture on the post-modern situation of the artist, commented that while today's prominent artists of a globally orchestrated aesthetic discourse were not without reason, the architects. Painters, sculptors, the many forms of the happening and the situation-design as any other intermediate forms, so to speak, one must be secondary and rank as informers, and perhaps as Popularisateure the "post-modern situation.
The reasoning one on architecture escalating art discourse sets now of course close to all sorts of considerations, for one example, the emphasis on works that occur in connection with architecture, what are some of Christo to Nuremberg concealment of the beautiful fountain so many Währe, for other but - and this is occasionally noticeable in the painting, attempts a new definition of artistic work, such as meditation. Such experiments are currently striking. Even Gertrude Maria Schmidt, Bauer was there, for what it does, is basically a meditation expressed in detail as a "work", otherwise, the artistic work of Gertraud Schmid Bauer is a sense in pretending meditation, and indeed a continuous over the years meditation on the phrase "the Earth is a reflection of the sky. " The artist does seem nothing more than heaven and earth to paint in hundreds of variants, in hundreds of sizes. She calls her work "landscapes" which proposes a wide berth. The term "landscape" originally had the meaning of the listing, so einer gezeigten Gegend, mochte diese klein der groß, verfremdet oder realistisch sein, auch Phantasielandschaften oder philosophische, historische symbolische Landschaften hätte man darunter gezählt. Hier jedoch ist nun das alles nicht der Fall, würde zumindest nicht besonders befriedigen, denn Gertraud Schmidbauer stellt in diesem prospektiven Sinne gar keine „Landschaften“ her, was sie herstellt - sind Varianten einer Meditation von Landschaft. Wie gesagt, die Erde ist eine Spiegelung des Himmels.
Himmel und Erde, Himmel und Wasser. Wir fühlen uns gelegentlich an Richters schwarz weiß Arbeit „Meer-Meer“ erinnert und fragen uns, ob man diese Arbeiten auch auf den Kopf gestellt betrachten could what is not. The added skillful clouds presentation, use of light from darkness into the light of the horizon, the Stimmungsvaleurs of gloomy sky, in the light breaks through the bright sky, which still looks wan and pale as death, finally, the swell of the sea, there is a perfectly be added Championships detail, but otherwise on these so-called pictures there really only emptiness, nothingness. There is no accent to see not mean "does not show" just out of heaven and earth - but what about heaven and earth? And exactly at this point, I think you can find the aesthetic standards that what the whole thing out to an aesthetic correspondence to something else, something that at last it just transfers it to the viewer: In the Hindu cosmology
to swim the four continents in the ancient sea of the cosmos. In their midst, so to speak, where they are connected, grows the lotus. Its stem is the axis of the world's leaves form the floating base of the continents. Its bloom is heaven. The Lotus as the world trade center, and combination of water, earth and sky was for the Hindu mythology so dominant that even the Buddha is not directly identified with him.
In the German manner Nordic mythology heaven and earth connected by Ygdrasil, the World Ash. It bears the sky, living between their roots the people, the giants and the dwarfs leaking from under the roots of the well from which Odin or Wodan wisdom draws from him climb the Norns. Just as the Indians - (who know the way, a tree version of their myth) to keep the sacred lotus featured on our ancestor tree and stone columns, and considered this sacred as symbols of heaven ownership.
That the sky will be taken of anything must seem a continuous constructive train of many cultures to be, we know of Atlas carrying the heavens, a very momentous version was Plato's construct of a spherical shape of the universe, which he introduced as interrelation of crystal bowls, a consideration on the way, followed Plotinus, the Intellectual Light of the world outside and the dark cold and the Physical World to the inside - as it were put into the earth. Through the mediation of Augustine and Dante came about our ideas of hell and a heaven, hell to some extent as the innermost core of the earth the most evil and God and his people as the best and the brightest part of the sky. The world itself is in Christianity an arena of struggle between heaven and earth.
And how different is this adds to the already four hundred years before Christ implied declaration of Buddhism! Buddhism had, so to speak in calming the eternally consuming image of upfront and decay which earth and sky covered a very different cosmological picture developed an image of harmony, not only desired, but the existing harmony of which it is only through knowledge and persistence in the absence of any painful now. This model of a basic harmony and the definition of suffering as a state of lesser knowledge, came with the Upanishadenkenner Schopenhauer, in the salons of the intellectual and Germany led at first only among artists and intellectuals today but already in wider circles to a vision of at least possible harmony the interplay of forces that were once defined as evil or good, a view which
"Inspired the idea of \u200b\u200b"harmony between man and nature, earth and the universe" would Gertraud Schmidtbauer work, it says on the invitation card, and that the harmony that exists between heaven and earth, also "felt and liveable" is .... Well - this is basically a Buddhist formula, the result would be that we would have to appropriate forms of a way to find this way of life of harmony. The Zen has made this idea practical, and his ways, as we know, very different. If you buy one of the exhibited meditation tracks, or if you ever think it possible that with the help of the brush is not only an expression of Chinese characters could be almost Buddhist world attitude, you should see a connection between the idea of a meditation journey and a deeply European art - feel you understand what it takes Gertraud Schmidt Bauer - namely, the landscape painting. Not on the individual picture, not a "work", not the landscape, the heavens and the earth speaks, but the correspondence to an experience that is not easily picture experience.
Who longs not for harmony! - I can think of because, ironically, always the same old song by Bert Brecht, which says, yes, of course, currencies, I prefer good, but the conditions they are not so .... Bert Brecht wrote this on the slide of a Christian morality, which was also a socialist morality of human solidarity, of which one is constantly in the cultures of the West exceptions allowed, because the situation is not so, or is meant only to have to make along the lines of, we must establish democracy everywhere, because only we can live all in peace and harmony. - The imagination is the cosmos as a world building that we have to fix by focusing on the side of good to beat and fight against evil. In fact, perhaps between heaven and earth, already the most perfect harmony and it would apply only to discover it and live!
Die Leistung um die es dabei ginge, wäre eine Form der Meditation – einer Wendung des Blicks hin auf einen Zusammenhang, der frei ist von der Vorstellung eines Kampfes, weil, wie in diesem Fall behauptet, die Erde nicht etwas das Gegenteil sondern einfach bloß eine Spiegelung des Himmels ist.
Reinhard Knodt
