Musings. Ex Libris

Auguste Rodin always endowed his sculptures with life, locating them in the medium between stones and human beings. That partly accounts for their analogy to sculptures in the Classic periods, those that assume the likeliest verisimilitude with the Holy Divine, standing redoubtably and imparting Wisdom without the means of sounds. Indeed, silence is pronounced in most sculptures, in a magnitude even more palpable than that of an unoccupied room. Sundry feelings and sentiments are made tangible; every trace of happiness or sadness is indelibly etched on the sculptures' cold, pristine faces. Whenever love is magnified, it is like flickers against a dark sky, explosive but ephemeral. Almost all forms of art display their expertise of turning the mobile into the immobile, the departing into the stagnant. However in some occasions, especially in the case of sculptures, paintings and photography, the fleeting moment and sensation are emphasised. In Rodin’s Eternal Spring, th

Symmetry is a manifestation of Beauty at its purest and most disciplined. Some might dismiss it as banal; the only mechanism the reactionaries will trot out when their definition of Beauty is constrained by the age-old tradition. But symmetry begets a feeling of orderliness and reverence; it seems like an impossible creation that only the Divine can conceive. What the victor most wants to witness, when returning home from a gruelling battle, is the ponderous portal that welcomes his victory with a low murmur of solemnity, and the symmetrical symbols of his country that engraved on the portal will become the indelible memory that lives with him until he is the Elder, who with voice wispy but sober recounts countless tales of his heroic deeds, his glorious past. Symmetry also inspires a feeling of uncanniness, as in the case of Salvador Dali’s The Elephants (1948): two elephants, with legs rail-thin, stand face-to-face against a barren background of vast, blood-red heaven.