The Invisible Painting Art between East and West

Hosam Abd Elkader Metwally Mohamed

The Art of painting relies on the employment of the painting's vocabularies in an idiomatic meaningful format under the framework of the dialogue form. Such methodology occurs at times and in a new style to create new systems and formats at other times (Form Structure). The dilemma lies between these two frameworks where there are reality and mind, sensory and mental or visible and invisible, that is, between what is perceived by the eye of idiomatic semantics forms and what is realized in accompanied suggestive or figurative meanings.

The interpretation of the invisible in the vision of Oriental Art is different from the vision of the western art because the spirit of the culture is manifested in the first to incorporate the individual in the group. As in the universe, it removes intervals so that the individual may seem similar to his surroundings in order to reach the infinite and unlimited aspect. This vision is based on a type of intuitive knowledge in the form of detection or discovery, which is based on the dualism of the visible and the invisible. Therefore, the receiving process is unlimited to the aesthetic pleasure that focuses on the form alone, and it is an existential process that is based on the dialogue between the receiver and the artwork. Islamic Sufi aesthetic thought tries to find the sensory effects in the universe. It is not concerned with the mental abstract perceptions of geometric shapes associated with the western logic." Islamic abstraction would not seek to meet the formal requirements such as a mathematical current of Mondrian or freeing the spirit of the form extracted from the content, internal necessity of the structure or the internal empathy for the colors and meanings. It does not intend to reach ideal purity in the form so as to realize the artistic feeling in Malevich. It tries to find natural laws, including geometric shapes ,and then its loads them with facts and meanings towards the absolute. It results in a new standard vision that will create another independent reality which does not end with just watching the painting so as to combine the idea with the artistic vision to denote the meaning"(Abu Elmaggd, 2011).

Keywords

Visible; Invisible; East; West.

References

Elnajeh, T. (2013, March 30). ** طريــــق النجــــاح **. Retrieved August 30, 2017, from http://tareekelnajeh.blogspot.com.eg/2013/03/blog-post_2759.html

Sharaf, M. (2013, September 13). أمام المرآة - محمد شرف. Retrieved August 30, 2017, from https://newspaper.annahar.com/article/66974-%D8%A3%D9%85%D8%A7%D9%85-%D8%A7%D9%84%D9%85%D8%B1%D8%A2%D8%A9

Shehata, R. (2011, February 24). استراتيجية الحيز الهندسى المجرد فى انبثاق المعانى الروحانية بالفن الاسلامى. Retrieved August 30, 2017, from http://redashehata.blogspot.com.eg/2011/02/blog-post_2506.html

الربيعي, و. (n.d.). أحد خريجي الدورة الاولى لمعهد الفنون الجميلة لعام 1955 .. البروفسور حميد سلمان احمد الصفار / وفاء الربيعي. Retrieved August 30, 2017, from http://mail.almothaqaf.com/qadaya2009/1955

Copyright (c) 2017 Hosam Abd Elkader Metwally Mohamed Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.