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page121from Nordic Architects WritesWe all know how well the Gothic architecture expresses the Gothic life. But life keeps changing from day to day. Instead of dry Scholasticism there comes something new in the mediaeval life. People begin to read antique literature, they begin to study antique art, and during two hundred years or more the antique ideal of man meets the Gothic ideal of God through humanism. We have a new cultural epoch. We have a new architectural form. A new style. There are three things which together form a style: 1 the conditions of the life itself; 2 the tradition; 3 the outside-coming influences.
When we speak about the outside-coming influences, we do not mean to take foreign forms and include them in our style as they are. No, art is always creative, and if we are influenced by foreign forms, and will adopt them in our art, they have to be melted into our style through a mental process. For instance, if we buy a Chinese sculpture and place it in our garden, it is still a Chinese sculpture, and will always remain so. If we take a replica of it, it is still Chinese in form. But when we are inspired by its beauty, do something of our own, maybe in the same spirit, then it is our work. It has passed our individuality, our personality, and through a mental process it is part of our culture. Just in the same way the antique forms were melted together with Gothic forms to be a beautiful style which we call the early Renaissance. But there soon came a change. In the later Renaissance, men began to take forms direct from the antique world. Instead of using their intuition, they began to use dividers and rules. They began to write theories and formulas. They began to make science for practical use of an art form which did not belong to them. They founded schools – where they thought their theories, formulas and measurements there was no need any more to have artistic intuition to do good work; a little taste and much theory was enough. The great masters of the later Renaissance still used their intuition. They were educated in the spirit of intuition, and they erected masterpieces. But the poison of copying spread through the schools and architecture began gradually to lose its mother place among the arts. Architecture became more imitative than creative, and the strongest minds and the strongest talents of the time became sculptors and painters, and sculpture and painting became the ruling arts. Sculptors and painters disregarded the architectural principles and used architecture as the playground for their artistic imagination. Bernini and his followers made architecture sculptural, and sculptural forms overflow cornices and columns. Tiepolo painted his theatrical effects of clouds and skies and forgot the proportions of the room limited by walls and vaults. This developed further in Rococo. Rococo was gallant as the life was gallant, and playing ornaments made architecture purely decorative. After the French Revolution life became much simpler. The social life was new. There was a new literature, new science. Even the dresses were new and simpler
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At 2021-11-02 20:28:57,
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Paula Noronen
Yökoulun Pieni Kauhukäsikirja
kuvitus
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Tammi
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Kakkua pullaa, leipää ja
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