zen style-feeling zen
zen ... donde las formas se reducen a lo mínimo y los trazos son también difusos. Se busca así sugerir el vacío o totalidad que rodea la finitud de las formas.
zen... where the forms are reduced to the minimum and the outlines are also diffuse. One thus looks for to suggest the emptiness or totality that surrounds the infinity of the forms.
Art in the West has developed a complex linguistic symbolism through which the artist manipulates his material to communicate something to his audience. Art as communication is basic to Western aesthetics, as is the corollary interrelationship of form and content. A landscape painting in the Western tradition is not merely an aesthetically pleasing reproduction; the artist uses his techniques of balance, perspective, and color, to express a personal reaction to the landscape--his painting is a frozen human mood. The aesthetic object is used as a link between the audience and the artist's feelings. And the artist's technique is used to create an illusion of the forms of reality.
The Zen artist, on the other hand, tries to suggest by the simplest possible means the inherent nature of the aesthetic object. Anything may be painted, or expressed in poetry, and any sounds may become music. The job of the artist is to suggest the essence, the eternal qualities of the object, which is in itself a work of natural art before the artist arrives on the scene. In order to achieve this, the artist must fully understand the inner nature of the aesthetic object, its Buddha nature. This is the hard part. Technique, though important, is useless without it; and the actual execution of the art work may be startlingly spontaneous, once the artist has comprehended the essence of his subject.
A Chinese painter was once commissioned to paint the Emperor's favorite goat. The artist asked for the goat, that he might study it. After two years the Emperor, growing impatient, asked for the return of the goat; the artist obliged. Then the Emperor asked about the painting. The artist confessed that he had not yet made one, and taking an ink brush he drew eight nonchalant strokes, creating the most perfect goat in the annals of Chinese painting.
- from here written by Fredric Lieberman, arts division, UCSC
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