In the evolution of knowledge-mistaken and unnecessary beliefs are forced out and supplanted by truer and more necessary knowledge. So too in the evolution of feelings, which takes place by means of art. Lower feelings-less kind and less needed for the good of humanity-are forced out and replaced by kinder feelings which better serve us individually and collectively. This is the purpose of art.
I'm interested in the limits of personality, in the possibility of change, and the saving power of art. Do powerful works of art raise our consciousness to such a degree that we refrain from sliding into moral hazard? Do we take note? Or are we doomed to repetition?
The power of both myth and art is this magical ability to open doors, to make connections - not only between us and the natural world, but between us and the rest of humanity. Myths show us what we have in common with every other human being, no matter what culture we come from, no matter what century we live in. . .and at the same time, mythic stories and art celebrate our essential differences.
The business of every art is to bring something into existence, and the practice of an art involves the study of how to bring into existence something which is capable of having such an existence and has its efficient cause in the maker and not in itself.
The intellectual development of man, far from having get men away from war, has, rather, on the contrary, bring them to a refinment always more perfected in the art of killing. They even came to raise the methods of slaughter to the rank of "science"... We would not (On ne saurait", Fr.) imagine a more extraordinary moral blindness!
Behind all art is an element of desire...Love of life, of existence, love of another human being, love of human beings is in some way behind all art — even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?
A prince being thus obliged to know well how to act as a beast must imitate the fox and the lion, for the lion cannot protect himself from snares, and the fox cannot defend himself from wolves.
Nothing is more difficult than the art of maneuver. What is difficult about maneuver is to make the devious route the most direct and to turn misfortune to advantage.
In this state one enriches everything out of one's own fullness: whatever one sees, whatever wills is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power—until they are reflections of his perfection. This having to transform into perfection is—art.
There are some people who may not like precision in their art. They may like it to be grittier and more gestural, more of a direct expression in the way that a painter would put his strokes on canvas.
Of course, people will call you an old artist or young artist, which is just a character of you. But personally, I don't think my work and my understanding of art is so much related to being Chinese, but the character of that. Maybe it's beyond my own consciousness.
Teaching is an instinctual art, mindful of potential, craving of realizations, a pausing, seamless process, where one rehearses constantly while acting, sits as a spectator at a play one directs, engages every part in order to keep the choices open and the shape alive for the student, so that the student may enter in, and begin to do what the teacher has done: make choices.
Design in art, is a recognition of the relation between various things, various elements in the creative flux. You can't invent a design. You recognize it, in the fourth dimension. That is, with your blood and your bones, as well as with your eyes.
Do not engage an enemy more powerful than you. And if it is unavoidable and you do have to engage, then make sure you engage it on your terms, not on your enemy's terms.