Divine Madness

“What is the criterion for the difference between truth and delusion if both are grounded within?” -Kierkegaard

Divine Madness

The brevity required for this synopsis of madness and art requires generalitites to be made. Know that when Art is mentinoed it shall make reference to all categories including refined arts, crafs, architecture, performance, and music. Since this communication s provided on paper examples will be focused on the visual arts. The title of insane or mad has multiple applicable definitions. Physiological defects are not included in the following discussion. Manic behavior, delusions, and irrationality are the character traits through which madness expressses itself. Also associated with madness are visions, divination, acts of violence, and the grotesque. The aspects of madnss that presenbt themselves in vidual communication are not direct and must be extrapolated from context to full7y recognize how they relate to one another. The expression of madness within society expresses itself through art and as society changes madness must change its form. Despite the fluctuation and change we can follow the function of madness as it is expressed through the arts. The view and ideas of what insanityt is has affecte4d its interpretation. Manic activity itself has also influenced changes in art and artists.

"That which we call creative process includes the momebt of such fusion with an alien language that there is no longer a need to imitate it, for the author can already speak it."

MADNESS OF ANTIQUITY

Cultures before historical record are lost to us and have been interpreted mostly by what they left behind. Similar to these ancient societies are modern day tribal communities. The geometric patterns, anamorphic and figurative art they produce are closely linked with their beliefs and way of life. Within the ancient tribes, which came before the dawn of architecture, began the sign, or icon, an image intended to represent something else. The purpose of mimicking a deity, manner of being, element or other this is to bring them into being. [David Freedburg makes reference to a more recent example of this with 1400AD era writings exampling the belief that contemplation leads first to imitation and then to spiritual ascent. Also related is the idea that visualizing and focusing on a desired outcome can affect people and objects.] The mask is a good example of the sign which is believed to become what is signified. The cheif does not put on a mask of a bear anbd dance around for show. He is throught to become the beatr, to incorporate its power for the ritual's purpose. This is where magic is rooted, at the same core as art and ritual. through the persxpective of modern day rational thought these actions and beliefs are impossible and delusional. Once, the madnss of humanty wzs recognized and expressed in everyday lfe. Visualize the possibility of somethng that is able to become what it represents, the impossible suddenly becomes possible. Interaction with the world and cultural processing of the experience curing this time was complete madness. The world was controlled by spirits, people were at the whim of nature and deties.

DAWN OF RATIONALITY

Ancient Greece is considred the beginning of civilization. People formed larger collective bodies, communtieis and governamental controls are established. Architecture and agriculture provide better living conditons thatn early cutlures experienced. Madness, folly and magic are stlil influential forces in the minds and lives of humankind. The awareness and observation generated by increasing rational thought changed humans' relationship with nature, with us and with art. Aristotle intoduced man as a rational animal within nature who is the measure of all things. the search for order directed perspective to that which is unchanging. To recognize what is brought in by our senese and making observations from it. Myth and mystery and the way of life are presented by representatonal images; gods and goddesses as women and men rather than beasts, elements or symbols as cultures before. The Canon that wemeraged with Polyclitus is an example of how intesely artists peformed the action of observation. Processing what one sees and manifesting that information goes far beyond merely looking. In this era of our history, madness and reason fluctuated and acted upon each other within art and society. "Terrified by the titanic and primordial forces disrupting the mind, Platonism, Pythagoreanism, Stoicism, and similar schools of philosophy exposed the irrational as a danger and disgrace which reason or the soul must combat." [Roy Porter] The element of the grotesque could be said to have started with Egyptian deities combining animal and human bodies into one being. The Hellenistic style of art emerged from a time of turmoil and war. Within rationality is an inner expression of chaos which becomes visible in the arts. An example is the sculpture of Lacoon and his Sons. In Rome grotesque took the form of decorative elements on buildings including temples and churches. The impossible organixation of elements borders closely with madness and creativity. The groesque in art increases its presence during times of judgment.

JUDGEMENT

Insanity became associaterd with individual behavior which didn't follow the new demands of rational social structures. Manic episodes were still occasionally blamed on supernatural forces such as possession. These perspectives carried through from biblical times. Occasionally mythic expamples esixt in the reciprocation of iconic narritives in religious painting and scultpure. Rejection of the irrational and oxy-moronically embracemet of faith was pushed in the joint control of church and state ib many nations. The act of jugment projects inferiory and disgrace upon and individual or group [Roy Porter

Sources Cited:

Freedburg, David. The Power of Images: Studies in the History and Theory of Response. University of Chicago Press, London, 1989.

King, Ross. Judgment of Paris. Walker & Co., New York 2006

Panter and Virshup. Creativity and Madness.

Peterson, Issac. Art History Lecture. PNCA 2006-2007

Porter, Roy. Madness a Brief History. Oxford University Press 2003

Tamruchi, Natalia. An Experience of Madness: Alternative Russian Art in the 1960s – 1990s. Roseville East Australia, 1995.