Tiberiy Szilvashi

Northward from the vineyard and westward from the rustling noises of the night garden

The hero of a famous novel juxtaposes the will of men, the so-called progressives, with the natural rhythm of nature when he utters a formula put forward as the phrase: “Nature is not a temple, but a workshop.” Having occupied a dominant position in the entire universe, man subjugates not only the nearby space and objects, but also the elements, turning them into tools. As a result, today we can see the impact of these activities. After all, only in moments of crisis, when this “tool” breaks down or ceases to obey do we pay attention to it. So let us recall here Heidegger’s words. Perhaps these are the moments at which a person asks himself: “What am I here for?” Then he would turn his thoughts to another tool hoping thereby to eliminate the opposition of nature and culture.

In Japan, flowering trees, mountains, the surf, the sound of rain are equated with cultural phenomena. Moreover, they live their own lives, they were born without human intervention and open up to him only if being treated with the utmost respect and love. Only by acting together and not in subjugation. Hence, it is the artist's task to feel their rhythm. And whereas culture is limited to the structures that produce it, the world is limited to elements. Water, fire, stone. North, East, West and South are parts of the structure that determine a person’s place in the world.

What to do with space undivided by structure?

Thus, we are faced with a world where there are no landmarks and into this world enters the artist. In it, the painter indicates the wind direction, fire temperature and water condition. To accomplish this goal, he applies oil paints onto the canvas stretched over a rectangular wooden frame. Or circle. The artist creates out of nothing. He gives it a name and specifies its place in the Universe.

The hero of a famous novel juxtaposes the will of men, the so-called progressives, with the natural rhythm of nature when he utters a formula put forward as the phrase: “Nature is not a temple, but a workshop.” Having occupied a dominant position in the entire universe, man subjugates not only the nearby space and objects, but also the elements, turning them into tools. As a result, today we can see the impact of these activities. After all, only in moments of crisis, when this “tool” breaks down or ceases to obey do we pay attention to it. So let us recall here Heidegger’s words. Perhaps these are the moments at which a person asks himself: “What am I here for?” Then he would turn his thoughts to another tool hoping thereby to eliminate the opposition of nature and culture.

In Japan, flowering trees, mountains, the surf, the sound of rain are equated with cultural phenomena. Moreover, they live their own lives, they were born without human intervention and open up to him only if being treated with the utmost respect and love. Only by acting together and not in subjugation. Hence, it is the artist's task to feel their rhythm. And whereas culture is limited to the structures that produce it, the world is limited to elements. Water, fire, stone. North, East, West and South are parts of the structure that determine a person’s place in the world.

What to do with space undivided by structure?

Thus, we are faced with a world where there are no landmarks and into this world enters the artist. In it, the painter indicates the wind direction, fire temperature and water condition. To accomplish this goal, he applies oil paints onto the canvas stretched over a rectangular wooden frame. Or circle. The artist creates out of nothing. He gives it a name and specifies its place in the Universe.

Translation by Katalin Lizák