DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68516#0069
SENSIBILITY
the simpler forms of organic life, and is perhaps often applicable to the
general planning of a design or a building. But it is almost certain that
in these intimate rhythms which make up the texture of a work of art,
in those parts which are due to the artist’s sensibility, we pass into
regions which elude all mathematical statement as indeed do all but the
simplest organic forms. We pass always from rigid and exact relations to
complex and endlessly varying rhythms, which we may perhaps be
allowed to call, hypothetically, vital rhythms, through which the artist’s
subconscious feelings reveal themselves to us by what we call his sensibility.
It is in this region, then, which lies between rigid order and chaos, that
the artist’s sensibility functions; and as in the case of handwritings we
may End examples which approach to a fixed order and others running
through all the various degrees of freedom to something very like chaos,
so in works of art we shall find endless degrees of fixity or freedom in the
artist’s expression.
I think it will be best at this point to look at a few examples to
illustrate the general ideas which I have put before you. In the com-
parison of Greek, Chinese and Persian vases we shall find characteristic
differences both in design and texture. There is in the design of the
Greek vase (6) a clear articulation of the parts; a bare spreading base,
a narrow support, and clearly defined body, neck and evaded lip, each
a separate curve, and each curve of great geometrical regularity and
simplicity. It is impossible to contemplate these curves for any length of
time because they are immediately comprehended.
The Chinese bronze (7) contains the same ideas—base and urn, plus
a lid which is also clearly felt—but though the parts are distinct they are
not isolated from each other. The base spreads, but far less markedly, and
it requires no separate system of curvature. Though it does not melt into
the urn it is not violently separated from it. In the urn there is the idea
of a bowl; and note how satisfactory its volume is. Here too there is a
cylindrical body and evaded lip but they are comprised in a single
flowing curve; and throughout the nature of the curves is vital—they
vary and grow out of each other and are never purely geometrical.
FLL
< 33 >
3
the simpler forms of organic life, and is perhaps often applicable to the
general planning of a design or a building. But it is almost certain that
in these intimate rhythms which make up the texture of a work of art,
in those parts which are due to the artist’s sensibility, we pass into
regions which elude all mathematical statement as indeed do all but the
simplest organic forms. We pass always from rigid and exact relations to
complex and endlessly varying rhythms, which we may perhaps be
allowed to call, hypothetically, vital rhythms, through which the artist’s
subconscious feelings reveal themselves to us by what we call his sensibility.
It is in this region, then, which lies between rigid order and chaos, that
the artist’s sensibility functions; and as in the case of handwritings we
may End examples which approach to a fixed order and others running
through all the various degrees of freedom to something very like chaos,
so in works of art we shall find endless degrees of fixity or freedom in the
artist’s expression.
I think it will be best at this point to look at a few examples to
illustrate the general ideas which I have put before you. In the com-
parison of Greek, Chinese and Persian vases we shall find characteristic
differences both in design and texture. There is in the design of the
Greek vase (6) a clear articulation of the parts; a bare spreading base,
a narrow support, and clearly defined body, neck and evaded lip, each
a separate curve, and each curve of great geometrical regularity and
simplicity. It is impossible to contemplate these curves for any length of
time because they are immediately comprehended.
The Chinese bronze (7) contains the same ideas—base and urn, plus
a lid which is also clearly felt—but though the parts are distinct they are
not isolated from each other. The base spreads, but far less markedly, and
it requires no separate system of curvature. Though it does not melt into
the urn it is not violently separated from it. In the urn there is the idea
of a bowl; and note how satisfactory its volume is. Here too there is a
cylindrical body and evaded lip but they are comprised in a single
flowing curve; and throughout the nature of the curves is vital—they
vary and grow out of each other and are never purely geometrical.
FLL
< 33 >
3