sábado, dezembro 10, 2011
Consideremos como epígrafe este parágrafo de A doença divina da poesia, de José Tolentino Mendonça, 2002: "O conhecimento mítico-poético e o conhecimento religioso que a Modernidade colocou sob suspeita, considerando-os sombras da razão, regressam como uma arte inexplorada. Entre sentimento e mistério, entre nítido e indeterminado alumiam-se afinidades («Deus é, em nós, como uma lembrança, há-de escrever Pascoaes. «A atitude divina é antiracional»). Busca-se numa experiência originária aquilo que as estratégias do pensar deixam em silêncio e que vem guardado na linguagem densa dos símbolos. Ganha verdade a declaração de Jung: «O século das luzes nada apagou»."
Lets take in consideration the following quote from “Poetry’s divine disease” (A doença divina da poesia- 2002) by the great Portuguese poet and theologian José Tolentino Mendonça: ”The mythic-poetical knowledge and the religious knowledge that Modernity put under suspicious, considered as shadows of reason, return as an unexplored art. Between the feeling and mystery, between the clear and indefinite lighten affinities («God is, in us, as a memory, Pascoaes will write. «The divine attitude is antirational»). We search in an ancestral experience the things that the strategies of thinking leave in silence and that is kept in the dense language of symbols. Jung statement is reinforced «Nothing was effaced by the Enlightenment ».”
Desde o dia 23/11/11 que ando a seguir a maravilha que James Elkins anda a mostrar, intitulada What Heaven Looks Like, mysterious manuscript I discovered in Scotland. It's a little book with nothing in it but 50 watercolor paintings. No one knows who painted it, or when, or where, or what it means. I was so entranced by this that I wrote a whole book of comments and thoughts on it. I call the book What Heaven Looks Like because the person who painted this was dreaming, I think, of an ideal world, a kind of heaven.
Since 23/11/2011 I’ve been following the wonders that James Elkins is showing, entitled “What Heaven Looks Like, mysterious manuscript I discovered in Scotland. It's a little book with nothing in it but 50 watercolor paintings. No one knows who painted it, or when, or where, or what it means. I was so entranced by this that I wrote a whole book of comments and thoughts on it. I call the book What Heaven Looks Like because the person who painted this was dreaming, I think, of an ideal world, a kind of heaven.”
Desde esse momento que aqueles traços levavam-me aos desenhos de __________. Ainda era algo de ténue mas... tinha de esperar.
And since then, those strokes took me to the drawings of--------------------------. It was still blurred but…I had to wait.
The paper was made in Holland, toward the end of the seventeenth century. The artist may have lived in that century, or in the beginning of the next: the style tells us as much.
Na segunda parte de What Heaven Looks Like confirmava-se aquilo que achava ter vislumbrado, a extraordinária parecença/semelhança entre muitos destes desenhos e os desenhos de Teixeirra de Pascoaes, e não só, claro, no traço. De anjos e de fantasmas. De aparições. De sombras. De flocos. Daquela aura.
Teixeira de Pascoaes (1877-1952) foi um dos maiores poetas portugueses.
Teixeira de Pascoaes (1877-1952) was one of the greatest portuguese poets.
In the second part of What Heaven Looks Like we confirm what I thought I have glanced, the extraordinary similarity between many of these drawings and those from Teixeira de Pascoaes, and not only at the brushstroke level. Of angels and ghosts. Of appearance. Of Shadows. Of snow flake. From that aura.
E na terceira parte é mais a confirmação.
And in ">the third part there is the confirmation.
Do mesmo texto de José Tolentino Mendonça: "O mais interessante para Pascoaes era o «espectro», o «fantasma», o «floco de neve e labareda», o «vulto mal delineado na penumbra», o «animal apaixonado», o «anjo», o «faminto de Deus». Era verificar, ao modo de Jerónimo que não tirava os olhos da caveira, como «o esqueleto emagrecido» de um Homem pode ser «transtornado, de súbito, por íntimas energias imprevistas». Era explorar num indivíduo, suficientemente batido por ventos contraditórios, tombado do cavalo do seu próprio destino, cego pela revelação da Graça depois da cegueira de um crime, as grandes e únicas fronteiras simbólicas do Ser Humano."
From the same text from José Tolentino Mendonça, formerly referred to, “The most interesting thing for Pascoaes was the “spectrum”, the “ghost”, the “snow flake and flame”, the “undefined figure in the twilight”, the “passionated animal”, the “angel”, the “famished God”. To ascertain, like Jeronimo who didn’t took his eyes away from the skull, as the man`s skinny skeleton can be «bemused, immediately, by unpredictable intimate energy». To explore in an individual, overcome by opposite winds, fallen from the horse of his own destiny, blinded by the Grace’s revelation after the blindness of a crime, the enormous and only symbolic frontiers of the Human Being”.
Tolentino: "Mesmo nos desenhos que Pascoaes dedicou ao apóstolo podem espiar-se, afinal, os traços do seu próprio rosto (aquele rosto magro, anterior à pedra), como se de uma impressão pessoal se tratasse, e não de representação verdadeira."
Tolentino: “Even in the drawings that Pascoaes dedicated to the apostle we can detect, in fact, the trace of his own face (that skinny face, prior to the stone) as if it was a personal impression and not a true representation.”
Bernardo Pinto de Almeida (in Teixeira de Pascoaes, Desenhos, Assírio & Alvim, 2002) descreve os desenhos como "o surrealismo avant-la-lettre".
Bernardo Pinto de Almeida (in Teixeira de Pascoaes, Desenhos, Assírio & Alvim, 2002) describe the drawings as "the surrealism avant-la-lettre".
Voltarei aqui em breve.
I will be back soon.
(mudados para português de forma livre e apressada)
posted by Luís Miguel Dias sábado, dezembro 10, 2011