This document discusses Nietzsche's concepts of the Apollonian and Dionysian as described in The Birth of Tragedy. It provides definitions of each concept, with the Apollonian representing dreamlike states inspired by visual arts and rationality, linked to the Greek god Apollo. The Dionysian represents ecstatic states inspired by dynamic arts like music, linked to Dionysus and characterized by a collapse of boundaries. The document also discusses these concepts in relation to Schopenhauer's philosophy of will and aesthetics, and how for Nietzsche they represent artistic forces in nature that are later imitated by human artists, especially in Greek tragedy.
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“The emergence of spatial perspective for the first time gave consciousness the ability to fully accommodate a three-dimensional of perspectival worldview. This new awareness of perspective is seen clearly in the paintings of the Renaissance, but also appears in its literature, philosophy, and mathematics.” (Allan Combs. The Radiance of Being. 1996.)
Based on Edgar Allen Poe's "Philosophy of Composition" where he describes the process by which he composed "The Raven." There is also an overview of poetic devices.
Source of subject Art Appreciation
Explanation:Sources of Art Subjects:
1. Nature-animals, people, landscapes. These 3 are the most common inspiration and subject matter for art.
2. History- artists are sensitive to the events taking place in the world around them. the dress, the houses, the manner of living, the thoughts of a period are necessarily reflected in the work of the artist.
3. Greek and Roman Mythology-these are the gods an goddess. its center is on deities and heroes
4. the judaeo christian tradition- religion and art, The Bible, the apocrypha, the rituals of the church
5. Oriental sacred texts-the countries of the orient, especially china, japan, and india, have all produced sacred texts of one kind or another, and these inspired various kinds of art. most fruitful have been the texts and traditions of Hinduism and Buddhism.
An actual work of art, whether a painting or a building, is a primary source. A primary source is "first-hand" information, sources as close as possible to the origin of the information or idea under study. Primary sources are contrasted with secondary sources, works that provide analysis, commentary, or criticism on the primary source. In literary studies, primary sources are often creative works, including poems, stories, novels, and so on. In historical studies, primary sources include written works, recordings, or other source of information from people who were participants or direct witnesses to the events in question. Examples of commonly used primary sources include government documents, memoirs, personal correspondence, oral histories, and contemporary newspaper accounts.
Books written by the artist, such as a journal/diary/autobiography/letters are examples of primary sources. Newspaper and magazine articles written by someone who attended an opening or a talk by an artist would be primary sources. Books and articles written by friends and associates during the artist's lifetime would also be primary sources.
Four Sources of Inspiration for Creating Art
Ordinary Experience
Most of children's spontaneous drawing fall in this category, often including some aspects of #3 below.
Natural and Constructed Environment
Observational work fall's in this category
Inner Feelings and Imagination
Expressive and imaginative work is in this category
Quest for Order
Careful and deliberate designs, patterns, and so on fit this category.
Order is generally found in all art work, whether it is figurative, narrative, or totally abstract in nature. Even chaos when it has been produced intentionally, might be interpreted as a form of order.
Knowing these lists helps us keep children on task and involved in meaningful learning activity. Our motivational questions may help inspire fresh ideas.
Knowing these lists allows us to give variety and balance to our planned art activities for children. We can help inspire children to follow their natural inclinations.
AMND12 Apollonian and Dionysian in A Midsummer Night's Dream, by Iván Blanco. IES Pedro Floriani, Redondela, Interdepartamental Project 2015-16. Department of Philosophy, Department of English
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Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
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11. Appolinian
Apollonian, According to Nietzsche, an inspired mental state (usually inspired by plastic
arts) in which one overcomes or escapes from one’s daily concerns and enters into a
dreamlike consideration of rational aspects of an object. It parallels Schopenhauer’s concept
of art and is so-called by Nietzsche to suggest Apollo, the Greek God of light and reason,
harmony and music.
Phenoumenal
logic
object
concept
concept Noumenal
NIETZSCHE
12. Will
will
will
Dionysian
Dionysian, According to Nietzsche, an inspired mental state (usually inspired by dynamic arts
like music or dance) in which one overcomes or escapes from one’s daily concerns becomes
one with the Will (ultimate Reality, Striving). It is characterized by spontaneity and a collapse
of aesthetic distance. It parallels Schopenhauer’s concept of will and is so-called by
Nietzsche to suggest Dionysus, the Greek God of wine and emotion.
Ideals
Ideals
Ide
Veil of the
Maya:
Principium
Indiviuationis
NIETZSCHE
13. Will
will
will
Dionysian
There is an old legend that king Midas for a long time hunted the wise Silenus, the
companion of Dionysus, in the forests, without catching him. When Silenus finally fell into the
king’s hands, the king asked what was the best thing of all for men, the very finest. The
daemon remained silent, motionless and inflexible, until, compelled by the king, he finally
broke out into shrill laughter and said these words, “Suffering creature, born for a day, child of
accident and toil, why are you forcing me to say what would give you the greatest pleasure
not to hear? The very best thing for you is totally unreachable: not to have been born, not to
exist, to be nothing. The second best thing for you, however, is this — to die soon.”
Ideals
Ideals
Veil of the
Maya:
Principium
Indiviuationis
NIETZSCHE
14. Will
will
will
Dionysian
Under the charm of the Dionysian not only is the union Between man and man reaffirmed,
but Nature which has become estranged, hostile, or subjugated, celebrates once more her
reconciliation with her prodigal son, man. Freely earth proffers her gifts, and peacefully the
beasts of prey approach from desert and mountain. The chariot of Dionysus is bedecked with
flowers and garlands; panthers and tigers pass beneath his yoke. Transform Beethoven’s
“Hymn to Joy” into a painting….
Ideals
Ideals
Veil of the
Maya:
Principium
Indiviuationis
NIETZSCHE
15. Appolinian Dionysian
Up to this point, we have considered the Apollonian and its opposite, the Dionysian, as
artistic forces which break forth out of nature itself, without the mediation of the human
artist, and in which the human artistic drives are for the time being satisfied directly — on
the one hand, as a world of dream images, whose perfection has no connection with an
individual’s high level of intellect or artistic education, on the other hand, as the intoxicating
reality, which once again does not respect the individual, but even seeks to abolish the
individual and to redeem him through a mystical feeling of collective unity. In comparison to
these unmediated artistic states of nature, every artist is an “imitator,” and, in fact, is an
artist either of Apollonian dream or Dionysian intoxication or, finally — as in Greek tragedy,
for example — simultaneously an artist of intoxication and of dreams.
NIETZSCHE
17. Appolinian Dionysian
Drama
Artist
precursor for
Overman
To tell the truth, there is nothing which stands in greater opposition to
the purely aesthetic interpretation and justification of the world, as it is
taught in this book, than Christian doctrine, which is and wishes to be
merely moralistic and which, with its absolute standards, beginning, for
example, with its truthfulness of God, relegates art, every art, to the
realm of lies — in other words, which denies art, condemns it, and
passes sentence on it.
Behind such a way of thinking and evaluating, which must be hostile to
art, so long as it is in any way genuine, I always perceived also
something hostile to life, the wrathful, vengeful aversion to life itself; for
all life rests on appearance, art, illusion, optics, the need for
perspective and for error.
18. Appolinian Dionysian
Drama
Artist
precursor for
Overman
In the same place Schopenhauer also described for us the tremendous
awe which seizes a man when he suddenly doubts his ways of
comprehending illusion, when the principle of reason, in any one of its
forms, appears to suffer from an exception. If we add to this awe the
ecstatic rapture, which rises up out of the same collapse of the
principium individuationis from the innermost depths of a human being,
indeed, from the innermost depths of nature, then we have a glimpse
into the essence of the Dionysian, which is presented to us most
closely through the analogy to intoxication.
19. And so concerning Apollo one could endorse, in an eccentric way, what
Schopenhauer says of the man trapped in the veil of Maja: “As on the
stormy sea which extends without limit on all sides, howling
mountainous waves rise up and sink and a sailor sits in a row boat,
trusting the weak craft, so, in the midst of a world of torments, the
solitary man sits peacefully, supported by and trusting in the principium
individuationis [principle of individuation]” (World as Will and Idea,
I.1.3).1 In fact, we could say of Apollo that the imperturbable trust in
that principle and the calm sitting still of the man caught up in it
attained its loftiest expression in him, and we may even designate
Apollo himself as the marvellous divine image of the principium
individuationis, from whose gestures and gaze all the joy and wisdom
of “illusion,” together with its beauty, speak to us.
