Universal concept enantiodromia

               
                UNIVERSAL CONCEPT

                ENANTIODROMIA

                drawing represent Yin and Ian
.
          The core of an object, animate or inanimate, is that central, innermost substance which defines essence. There are two centers at the core of any object, the core of form and a core of content. The internal center which relates to the objective world is the core of form and that which relates to the subjective world is a core of content. Form can be defined as the material element of an object and content can be defined as a purpose, function or essence of that object. Understood in these terms, form is a feminine quality and a content is a masculine quality. Therefore, the core of the masculine quality is a feminine and masculine, the core of the feminine is masculine and feminine. The core of femininity dissolves with the feminine and the masculine dissolves within the masculine so that the contrasted qualities inside of each other are prominent; this creates the balance and harmony of movement which is eternity.

KEY OF OPPOSITES

         Fine Art is the creative, original metamorphosis of the objective world into material form. It does not serve a functional purpose but fulfills men's yearning to make concrete that which is spiritual or mystical. Art is the realization of the soul's quest for beauty.
The work of art begins, naturally, with the artist's subjective observing of some part or other of life, and then remaking or revoking the observation until something new and unique is produced, i. E. The art work. What occurs in the process of transformation? How do we explain the step between the artist's experience and observation on the one hand and the art work on the other?
          I the artistic process, we find two elements which in their dynamic alternation, opposition even, comprise and therefore explain the transformation into a work of art. These are form and content, antagonists which are contradict each other by their very nature but which can not exist separately, except for matter of discussion.
          Form can be defined as the technique developed for the expression. The choice of form depends on the content to be represented. (For example, the shading achieved by the pencil can be soft or bold; water colors bleed or colorful line and permit transparency; oil can be layered, thickly or thinly, and resist dirt, etc.). Content is the element of the subjective or objective world which the artist transforms through technique. Nature, the human body, dreams, thoughts, philosophies, etc.). Can be elements of content. Subjective content represents what the artist has focused on. It can be the level of his soul, heart, stomach or genitals. Theoretically, an artist perfects form to reveal content because an idea without a means of expression cannot be communicated. But a workWHICH IS A TECHNICAL ACHIEVEMENT LACKING content cannot be valued as art. Therefore, the complexity and quality of a work is directly proportional to the balance of its form a and content.


                drawing of a square and circle inside


          It has been clear since the time of Aristotle that form and content define, in this way, the existence of art; and also that they are only mentally divisible., for the sake of analysis, since any actual separation of the two would dissolve the art work itself. The artist, in his reaction to his observation alternates between form and content; he turns first to one, then to the other, and back and forth again.


                drawing representing progress and time

           two drawings represent artist's progress, time and another one experience


          The content changes, usually many times in a long process, as a result of being worked on by the artist's technique; we say, "it changes it's form". The more excellent, more perfect, more truly original a work of art finally is, the more it approximates a complete metamorphosis; that is,the more it becomes a full content that has been fully formed.
          The tautology here becomes meaningful if we consider what happens when the two basic elements of form and content are unbalanced. A work that is all technique and no content is called craft. It can be mass produced or duplicated and is usually short lived in terms of appeal or popularity. Examples are fashion (all technique, no content) or political cartoon (little technique, near total domination by content).

              two rectangular drawings represent uneven form and content

          Similarly, a line of blue paint on the canvas can be labeled art because it represents a quality of technique (the mastery of working with the large sponge or brush) but it meets only the criterion but it meets only the criterion of originality and locks content.compare crafts or caricature with any great painting we know and the matter becomes clearer still.
          Now if the process of alternation between form and the content proceeds very far-if the artist has the courage, patients and ability to produce something really excellent-what will be  the kind of reality he will typically get?
The symbol. The process of making art, through the artist's synthesis of form and content, tends ultimately to produce symbols. We know this from our observation of the history of art. But we can also explain it if we see the prolonged process of art making as a simplification. The original content, in the artist's experience, is sprawling, enormous, emotionally complex, diffuse, unbounded; in short, formless.
The more the content is formed, the simpler will be the result (the symbol). And if we examine symbols we see that they do tend to be simpler, less emotional, denser, less scattered----more full of content because more fully formed---- than the experience of life itself, which was the starting point of the process.
In this connection it is useful to note that as the artist himself progresses and develops, both his art and his life tend to move in the direction just described. The "late period" so dear to aestheticism and critics  is typically ONE OF CALM, ORDER, simplicity, and technique so fabulously developed it becomes, by a kind of Prospers's magic, invisible. Rafael, Mozart, Shakespeare and Frank Lloyd Write are names which come to mind in this context.
It is also possible to picture this process by means of certain geometrical figures which are themselves symbols of what they express. First, let us conceive of the artist's observation of a part of earthly life as fallows:


                drawing of a cone and the eye.


Then we may picture his alternation of form and content. Ideally form and content should be represented as a circle, a marriage of two opposites without, beginning or end. When form and content are combined proportionally, we cannot determine when form ends ands and content begins. Form can also be understood as a feminine principle while content is a masculine principle. For analysis, a square isolates the representation of form and content. Which exist in a one to one ration.


                drawing of a square in the circle


The circle rises as a spiral as it continues to progress and simplify. Stylization is a level of generalization of form and content. The highest point of generalization is a symbol. In 3 dimensional form this progress can be plotted as a pirated or cone. At the top of this cone is our end result, the symbol.(There is, by the way, the tradition that atop the Great Pyramid there was originally a very small scale model of the whole, made of gold). The symbol, as the result of the process we described, is now guide some distance removed from life and the world where it all started; we can see it as being "above" the world.


                drawing of transformation
                3 d drawing of a pyramid.


Now if the artist, in the course of the life's work, repeats the process-makes more symbols-we can see him making  a "new world" to connect the points formed by his symbols. This "newly created "world" is not entirely a pictorial construct; for we all inhabit a cultural, spiritual world today that is different from the worlds before us to the extent because of its creation by artists.
Thus our theory, pictured above, explains the ground of art (the world, human life), art's origin (the experience of the artist), it's process of creation (alternation between form and content), its products (art works), its ultimate tendency or direction (the production of of the symbol) and finally, it's effect (the remaking of the world, a "new world").


                drawing of a fragment of a symbols



Grigory GUREVICH

Conceptualized in 1983

Transcribed and edited by Demetria DeLia
George Wittersheine
Copyright 1983

Copyright , Grigory Gurevich,
1983
Re-typed, by Grigory Gurevich, July 18, 2016, Samorin, Slovakia.