segunda-feira, 4 de julho de 2011
A propósito da foto-colagem de David Hockney
de Ryoan-ji, escreve James Elkins em "Writing Moods":
"Hockney’s photograph is a visual palimpsest of European sources, including Picasso’s cubism (which is the acknowledged forerunner of all pictorial strategies that draw on the collage, the grid, and the “facet”), the Western assimilation of Japanese prints (especially in its flat field and high horizon), and some Western conventions of cartography (visible in the “mapping” of footsteps and the rectangular ground). It is the juxtapositions themselves, and the confluence of disparate sources, that constitute a large part of our pleasure in the essay and the photograph.
... the indigenous Japanese tradition of painting, which involves what is known in the West as “oblique projection,” eliminates or softens perspectival effects. For that specific reason every photograph of Ryoan-ji is a distortion. Hockney’s photograph is taken from the correct position for meditation, and it severely truncates the long side in order to efface perspective convergence and let the garden look more quadrangular. But does that make it closer to the traditions of Japanese painting? Would it be better to represent the garden in plan? Since Ryoan-ji may be the culmination of the art of tabletop dry-rock gardens (bon seki), a plan may be closer to the way Ryoan-ji might have been first worked out.
But even a plan has its conventions of lines and shading that belong more to architecture (whether Japanese or Western) than to the practice of Zen."