Publication: Análisis de los modos de presencia escultórica
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2016-09-12
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Universidad Complutense de Madrid
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Abstract
Esta tesis afronta la resolución del “por qué” y el “para qué” de la escultura como actividad humana a través del estudio de los modos de presencia, siendo la escultórica la de mayor rango intelectual. Ello permite una mejor comprensión de la importante función que desarrollan los escultores dentro de la colectividad humana, así como de los efectos que sus obras producen en los entornos natural y social. La escultura se muestra como una magia ancestral pero de extraordinaria vigencia, a través de la cual el ser humano adquiere fuerza y conocimiento, expresando a través de ella sus cuestiones existenciales más profundas. La investigación transcurre por dos vías paralelas que luego convergen en páginas comunes con un mismo lenguaje sincrético. La exploración intuitiva del ámbito intangible, y el análisis racional sobre lo tangible, nos muestran las dos caras de la moneda que avalora la práctica de este arte que nos ha legado los vestigios más antiguos de nuestra cultura, habiendo preservado nuestra memoria antropobiológica. Desde la compleja simbología de la sombra, esencial en la construcción del pensamiento humano, hasta el análisis exhaustivo de las relaciones posibles entre un objeto y un sujeto, tomando para ello como ejemplo el útil ladrillo, se investigan los distintos modos de presencia con los que nos enfrentamos a dos realidades, la externa física y la interna mental. El espectro analizado cubre tanto la manipulación matérica como las formas sutiles de la evocación o conjuración por medio de la ausencia. Los resultados de la exploración evidencian que el llamado pensamiento mágico, tenido como propio del estadio primitivo, es el que sigue articulando nuestra visión de la realidad, nuestra percepción del mundo. Dicho pensamiento, en el que la intuición es tan importante como la reflexión, que ha encontrado en el arte el medio ideal para su desarrollo y crecimiento, reclama la recuperación de la unidad perdida del conocimiento humano, de la magia que integró en su momento ciencia, arte y religión. En un mundo que naufraga culturalmente en procesos de exhaustiva especialización y de soberbia científica, y en el que las religiones han fracasado por interesada diferenciación, siendo la mayor causa de desentendimiento y la excusa perfecta para la barbarie, el arte ofrece la posibilidad de encuentro y de concordia...
This thesis addresses the resolution of the “why” and “what for” of sculpture as a human activity through the study of forms of presentation, sculpture being at the highest of the intellectual range. This allows for a better understanding of the important role sculptors develop within the human community, as well as the effects that their works produce in natural and social environments. Sculpture manifests itself as an ancient form of magic but of extraordinary relevance, through which the human being acquires strength and knowledge, using it to express his deepest existential questions. Research runs along two parallel paths to converge on pages common to both with the same syncretic language. The intuitive exploration of the intangible limit, and the rational analysis of the tangible, show us the two sides of the coin that encourages the practice of this art inherited from the oldest traces of our culture, having preserved our biological anthropological memory. From the complex symbolism of shadow, essential in the construction of human thought, up to the thorough analysis of the possible relationships between an object and a subject, taking as an example the useful brick, we investigate the different forms of presence with which we confront two realities, the physical exterior and the mental internal one. The spectrum analyzed covers both the material manipulation and the subtle forms of evocation or conspiracy by means of absence. The results of the exploration show that the so-called magical thinking, considered as part of the primitive state, continues to manipulate our perception of the world. Such thinking, in which intuition is as important as reflection, finding in art the ideal medium for its development and growth, claims the recovery of the lost unity of human knowledge, of the magic that was in its time integrated in science, art and religion. In a world that is sinking culturally in a process of exhaustive expertise and scientific arrogance, and in which religions have failed through selfish differentiation, being the major cause of disengagement and the perfect excuse for barbarism, art offers the possibility of meeting and harmony...
This thesis addresses the resolution of the “why” and “what for” of sculpture as a human activity through the study of forms of presentation, sculpture being at the highest of the intellectual range. This allows for a better understanding of the important role sculptors develop within the human community, as well as the effects that their works produce in natural and social environments. Sculpture manifests itself as an ancient form of magic but of extraordinary relevance, through which the human being acquires strength and knowledge, using it to express his deepest existential questions. Research runs along two parallel paths to converge on pages common to both with the same syncretic language. The intuitive exploration of the intangible limit, and the rational analysis of the tangible, show us the two sides of the coin that encourages the practice of this art inherited from the oldest traces of our culture, having preserved our biological anthropological memory. From the complex symbolism of shadow, essential in the construction of human thought, up to the thorough analysis of the possible relationships between an object and a subject, taking as an example the useful brick, we investigate the different forms of presence with which we confront two realities, the physical exterior and the mental internal one. The spectrum analyzed covers both the material manipulation and the subtle forms of evocation or conspiracy by means of absence. The results of the exploration show that the so-called magical thinking, considered as part of the primitive state, continues to manipulate our perception of the world. Such thinking, in which intuition is as important as reflection, finding in art the ideal medium for its development and growth, claims the recovery of the lost unity of human knowledge, of the magic that was in its time integrated in science, art and religion. In a world that is sinking culturally in a process of exhaustive expertise and scientific arrogance, and in which religions have failed through selfish differentiation, being the major cause of disengagement and the perfect excuse for barbarism, art offers the possibility of meeting and harmony...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Historia del Arte III, leída el 25-01-2016