Posted December 2, 2018
_________________________________________
Hsuan-tsang (594-664):
There is only inner consciousness which produces what seems to be the external space.
_________________________________________
Ding Yunpeng (Chinese, 1547-after 1621), SONG OF THE LUTE, 1585. Hanging scroll –ink and colour on paper. The Metropolitan Museum of Art, New York.
Curatorial Record:
On a chilly autumn evening in 816 CE, the poet Bai Juyi was seeing a friend off at a ferry stop when he heard the sound of a lute drifting across the water. Following the music, he came to a boat where an aging courtesan sat issuing her plaintive song across the darkening river. Moved by the melancholy dignity of the scene, Bei wrote “Song of the Lute” in honor of the courtesan. In the rendering of the famous poem, the only indication of night is the candle between Bai and his friend as they sit in their boat, transfixed by the beauty of the song.
_________________________________________
Maxwell Hearn (2008):
The Chinese way of approaching a painting is often expressed in the words DU HUA, “to read a painting.”
To “read” a Chinese painting is to enter into a dialogue with the past: the act of unrolling a scroll or leafing through an album provides a further physical connection to the work. An intimate experience, it is one that has been shared and repeated over the centuries. And it is through such readings, enjoyed alone or in the company of friends, that meaning is gradually revealed.
_________________________________________
________________________________________
Gottfried Wilhelm Liebniz (1697):
I consider it a singular plan of the fates that human cultivation and refinement should today be concentrated, as it were, in the two extremes of our continent, in Europe and in Tshina (as they call it), which adorns the Orient as Europe does the opposite edge of the earth. Perhaps Supreme Providence has ordained such an arrangement, so that as the most cultivated and distant people stretch out their arms to each other, those in between may gradually be brought to a better life.
_________________________________________
Hans Richter, NEITHER HAND NOR FOOT, 1955/56. Paint and collage on board (with doorbell).
●
Tristan Tzara (1916]:
Dada was born [in 1916, at the CABARET VOLTAIRE, Zürich] of a need for independence, of a distrust toward unity. Those who are with us preserve their freedom. We recognize no theory.
[ … ]
The new painter creates a world, the elements of which are also its implements, a sober definite work without argument.
_________________________________________
_________________________________________
_________________________________________
Hans Richter (1971):
Dada was anything but a hoax; it was a turning in the road opening up wide horizons to the modern mind. It lasts and will last as long as the spirit of negation contains the ferment of the future.
_________________________________________ _________________________________________
CAUSA CONNECTIVITY 