Možnosti verbalizace významu primitivního sochaření na základě teoretických a filosofických úvah.

Tetsu ONARI

Doctoral thesis

Possibilities of verbalizing the meaning of primitive sculpting under contemporary theoretical and philosophical study.

Abstract:

This dissertation deals with the following matter: "Possibilities of verbalizing the Meaning of Primitive Sculpting under Contemporary Theoretical and Philosophical Study" ~Mono-ha and Practice-based Research on the Japanese View of Nature~. This topic to me implies a distinction between the author's process of creation within Mono-ha principles and the intricacies of evaluating, assessing and judging a piece of Mono-ha art. In this paper, it is attempted to approach these topics from the methodology of Practice-based research. The results of which are included as added material. The dissertation is divided and developed in three chapters. In the first chapter, I attempt to define the inherent significance of the art of sculpting as an introduction. The assignment of a possible verbalization of "the value of sculpting" is a task that differs from the influence by religion, mythology, or demands of patrons. Nevertheless, it is a question that I deem exciting to examine. In the second chapter, at the center of this discussion stands the initial moment of actual physical interaction between the human hand and the raw materials, when I refer to material as "natural substances" in the text. I conclude, that the "Japanese view of nature" can be framed as the belief in an inherent structure within the process of physical creation whether it is conscious or random. The second part of chapter two starts to deconstruct the Japanese art movement of "Mono-ha" (1960s) and its practices. The end of the second part of chapter two aims to describe the practice of sculpting itself, as well as to define its relation to the ideas of "space and time". This is supported by personal experiences during the "Stone sculpture symposium". In the third chapter, I combine the previously posed theoretical discourse with practice-based research, meaning that I focus on four kinds of artworks of my own creation for the solo exhibition titled "home" in Český Krumlov. I assess them with the help of and in comparison with my interpretation of a traditional Japanese view on nature, metaphysics and philosophy of nature. As a result, I argue that "the process of creation" itself has a value since the interaction with substances holds a potential to enable a mode of self-reflection in the creator, that can be compared to meditation, ideally forms of "radical acceptance, dialogue with one-self and nature, consciousness about the universal symbioses of life". Further questions and possible research ideas are then also elaborated. The final chapter acts as a summary of the study as a whole and its primary relevance to the artist's perspective. I conclude that the from the traditional Japanese point of view for sculpting can be defined as a confrontation with nature in the midst of an ongoing and permanent process. It is the epitome of humankind. While I would argue that the act of sculpting is closely connected to motifs of destruction and aggression, it can also be the exact opposite as creation always presupposes destruction. What I deem incredibly important - as well as often over-looked - is the bodily sensation of touching substances physically, working and changing them. The process of creation is meditative and therefore valuable. It teaches the creator about being natural, the individual within this environment and ultimately themselves. I would argue, that the process of creation - whatever that may be - is a way not to turn away from the reality we live in.

Abstract:

This dissertation deals with the following matter: "Possibilities of verbalizing the Meaning of Primitive Sculpting under Contemporary Theoretical and Philosophical Study" ~Mono-ha and Practice-based Research on the Japanese View of Nature~. This topic to me implies a distinction between the author's process of creation within Mono-ha principles and the intricacies of evaluating, assessing and judging a piece of Mono-ha art. In this paper, it is attempted to approach these topics from the methodology of Practice-based research. The results of which are included as added material. The dissertation is divided and developed in three chapters. In the first chapter, I attempt to define the inherent significance of the art of sculpting as an introduction. The assignment of a possible verbalization of "the value of sculpting" is a task that differs from the influence by religion, mythology, or demands of patrons. Nevertheless, it is a question that I deem exciting to examine. In the second chapter, at the center of this discussion stands the initial moment of actual physical interaction between the human hand and the raw materials, when I refer to material as "natural substances" in the text. I conclude, that the "Japanese view of nature" can be framed as the belief in an inherent structure within the process of physical creation whether it is conscious or random. The second part of chapter two starts to deconstruct the Japanese art movement of "Mono-ha" (1960s) and its practices. The end of the second part of chapter two aims to describe the practice of sculpting itself, as well as to define its relation to the ideas of "space and time". This is supported by personal experiences during the "Stone sculpture symposium". In the third chapter, I combine the previously posed theoretical discourse with practice-based research, meaning that I focus on four kinds of artworks of my own creation for the solo exhibition titled "home" in Český Krumlov. I assess them with the help of and in comparison with my interpretation of a traditional Japanese view on nature, metaphysics and philosophy of nature. As a result, I argue that "the process of creation" itself has a value since the interaction with substances holds a potential to enable a mode of self-reflection in the creator, that can be compared to meditation, ideally forms of "radical acceptance, dialogue with one-self and nature, consciousness about the universal symbioses of life". Further questions and possible research ideas are then also elaborated. The final chapter acts as a summary of the study as a whole and its primary relevance to the artist's perspective. I conclude that the from the traditional Japanese point of view for sculpting can be defined as a confrontation with nature in the midst of an ongoing and permanent process. It is the epitome of humankind. While I would argue that the act of sculpting is closely connected to motifs of destruction and aggression, it can also be the exact opposite as creation always presupposes destruction. What I deem incredibly important - as well as often over-looked - is the bodily sensation of touching substances physically, working and changing them. The process of creation is meditative and therefore valuable. It teaches the creator about being natural, the individual within this environment and ultimately themselves. I would argue, that the process of creation - whatever that may be - is a way not to turn away from the reality we live in.

Keywords

Mono-ha, Japanese view of nature, Practice-based research, sculpting, Tets Ohnari, Egon Schiele, ČeskýKrumlov, Sculpture symposium, Nature, Natural, Space, Encounter, Relationship, Process of creation, Manebi, Jinen, Taoism, Confucian, Buddhism, Shintoism

Language used: Czech

Date on which the thesis was submitted / produced: 15. 6. 2021

Accessible from:: 31. 12. 2999

Thesis defence

• Supervisor: doc. Mgr.A. Pavel Mrkus

JAN EVANGELISTA PURKYNĚ UNIVERSITY IN ÚSTÍ NAD LABEM

Faculty of Art and Design

Doctoral programme / field:
Fine Art / Visual Communication