Technical aspects of artistic expression

in LifeStyle4 years ago (edited)

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There exists a certain technique of artistic expression, and the corresponding learning is artology. The relationship between poetics and artistry is that poetics is a prerequisite for artistry. Only when poetics confirms the inspiration, the technical problems of artistic expression become clear.

There are several questions of artistic expression.

  1. What is the expression?

It is because art expresses "one" that it is manifest, but at first it is only said that inspiration exists, without knowing that inspiration has the property of "one".

Here, expression is the key, and only after confirming the "one" can we finally understand it. It should be said that understanding expression and understanding "one" are the same thing.

Artistic expression itself is a comprehensive process, if in essence, it is the self-expression of man's inspired existence - the physical existence.

Since man's inspired existence is a monistic existence, it means that all existence is intrinsic, and thus the essence of artistic expression can be confirmed from the very beginning: it is an intrinsic expression, i.e., an expression that follows the One.

This inner expression is the self-expression of man in the state of the entity, and it is the "oneness" of the entity that is the primary expression of artistic expression.

It is important to note that it is a difficult problem how to express the transcendent "oneness" of symbols and how to express the comprehensive existence of "oneness" - the comprehensive existence of human beings at the sensual level. It can be seen that this kind of expression cannot fully express the existence of "one", so artistic expression must be a non-complete expression. The characteristic of art is its incompleteness. And since art is manifest, its ultimate quality is a non-complete manifest existence.

Of course, the "oneness" needs to be examined, and the "oneness" itself does not exist independently, but is confirmed by the absolute transcendent, which requires further confirmation of the knowledge of the absolute transcendent. This actually reveals the knowledge that poetics wants to confirm: the Absolute Transcendent and the One.

In the artistic expression, this complete "one" brought by the Absolute Transcendent is expressed as a non-complete "one". Of course, the One is complete in itself - because the transcendence of the Absolute Transcendent determines that it is unconditionally present, but only incompletely manifested through expression, but still essentially complete.

It is this essential completeness that determines that it is possible to further confirm the completeness of inspiration from the non-completeness of art. This is the path of poetics, and just because non-completeness is manifestly present, then the completeness confirmed by non-completeness is also manifest.

The question remains how to achieve a non-complete expression, i.e., the expression of the One, which is the core issue of artistic expression. The true artist is necessarily a genius, because he has to overcome this difficulty. Here, we have revealed the fundamental problem of artistic expression.

Of course, the final confirmation of "oneness" still needs to be answered. If "oneness" is not confirmed, then the question of artistic expression will remain in limbo.

  1. How is it expressed?

The nature of artistic expression is the self-expression of the entity, and the existence of the entity is both "one" and comprehensive. The "oneness" here refers to the invisible part of transcendence, while the synthesis refers to the tangible part of the phenomenal level, both of which are in the context of physical existence, i.e., the reality of human existence in a specific perceptual level.

Since artistic expression takes place in a specific sensual domain, artistic symbols themselves are combined with sensuality to perform artistic expression. Thus, artistic symbols need to realize the expression of both the invisible transcendent "one" and the tangible integrated phenomenon. These two expressions are still one expression, but the expression of "one" is the foundation of both.

Here, the two different manifestations actually bring about two different techniques. One is the technique of manifestation of the transcendent One, and the other is the technique of comprehensive manifestation at the phenomenal level. For the former technique, it is unlearnable, while for the latter, it is mainly manifested in the understanding of the expressive power of the symbol itself, and thus is learnable.

At the same time, these two techniques still operate as one when it comes to representation. Thus, a certain determination of the subdivision of techniques is needed. And when the independence of inspiration is not discovered, this subdivision is obviously unattainable.

Here, the unlearnable part of the technique actually embodies the unique charm of art, a charm that comes from the technique, which depends on the artist's expressive talent and gives the artist a great space for expression.

Of course, the artist's expressive talent is also reflected in the expression of the integrated existence of the human being. How symbols can express the integrated existence of human beings still faces a great challenge. Especially when the two expressions need to be realized as one, this difficulty inevitably increases again.

It is because of the difficulty that art becomes more valuable. Only, once the knowledge about inspiration is realized, then the difficulty of artistic expression decreases. Moreover, even without artistic expression, it is possible to implement the realization of "one" in one's life.

In short, it is necessary to realize that this kind of expression is a miracle, and that the knowledge of technique is not enough to solve the problem of expression completely. In this way, artistic expression will have a problem of failure of expression, which is almost the norm.

  1. What is expressed?

Since art is the self-expression of an entity, what art expresses is also the existence of the entity, i.e., the real existence of the entity will eventually be reflected in the artistic expression. And the real existence of the entity is the entity in its own situation.

When the entity is in its own situation, it is bound to face a problem of publicness, and then when the entity legislates on publicness, it will transform itself into a moral entity. In this way, there is the possibility of both entity and moral entity existence in the situation of man. Here the question of truth and goodness comes into play. There is no realm of pure truth - the realm of "one" - because publicness necessarily exists. But it is also possible for a human being to momentarily avoid the question of a publicness and to be temporarily in a situation of truth.

This means that what art seeks to represent are also these two different existences of man. It is easy to see that the real existence of the human being on the level of a physical or moral entity determines what art ultimately seeks to represent. Of course, artistic expression is a direct representation, not a reproduction of one's own physical or moral entity existence.