Archetypal psychology and non-figurative painting

2015 ◽  
Vol 7 (1) ◽  
pp. 33-40
Author(s):  
David Maclagan
Keyword(s):  
Archetypal Psychology ◽  
Abstract Painting ◽  
Figurative Painting

Given that the idiom of archetypal psychology is emphatically figurative, how do we deal with non-figurative painting from this perspective? This paper focuses on the kind of abstract painting in which spontaneous, gestural marks create a ground where specific forms cannot be clearly distinguished (Jackson Pollock's ‘drip’ paintings being a well-known example). Such ‘chaotic’ paintings call into question the whole notion of what we mean by ‘image’. I relate these to Anton Ehrenzweig's concept of ‘inarticulate form’, as well as to some of James Hillman's ideas about aesthetic apprehension, and also draw on my own experience as an artist in creating a series called ‘The ground of All Being’.

scholarly journals The Transfiguration of the Real in Abstract Painting

2016 ◽  
Vol 5 (2) ◽  
pp. 77-89
Author(s):  
Jean-Jacques Wunenburger
Keyword(s):  
Christian Theology ◽  
Abstract Art ◽  
Abstract Painting ◽  
The Real ◽  
Figurative Painting ◽  
Intelligible World ◽  
Mode Of Being ◽  
Divine Body ◽  
First Time ◽  
The Invisible

Abstract This article challenges a series of assumptions associated with abstract painting, arguing that this type of art makes one understand a visual manifestation which does no longer refer to the visible world only, but also to an intelligible world, accessible to the senses. Non-figurative painting abandons the reproduction of the visible, in order to present us with the invisible, and in order to account for this phenomenon the author elaborates three types of philosophical decision to interpret the mode of being of the image. The comprehension of this original experience of abstract art is then compared to the relations between the visible and the invisible, as Christian theology delineates them. Christianity is defined first by the experience of the figuration of God, by His embodiment, which actually enables one to conceive of certain images, such as the icon of the Orthodox liturgy, but at the same time it also bestows, for the first time, an incredible status to the disappearance of the visible divine body, when it returns to the invisible, while remaining present in the visible.

Whence Archetypal Psychology?

1989 ◽  
Vol 34 (5) ◽  
pp. 506-506
Author(s):  
Kevin A. Jones
Keyword(s):  
Archetypal Psychology

scholarly journals Oldest cave art found in Sulawesi

2021 ◽  
Vol 7 (3) ◽  
pp. eabd4648
Author(s):  
Adam Brumm ◽  
Adhi Agus Oktaviana ◽  
Basran Burhan ◽  
Budianto Hakim ◽  
Rustan Lebe ◽  
...  
Keyword(s):  
Rock Art ◽  
Karst Area ◽  
Uranium Series ◽  
Island Southeast Asia ◽  
South Sulawesi ◽  
Figurative Painting ◽  
Uranium Series Dating ◽  
Cave Paintings ◽  
Minimum Age ◽  
Cave Art

Indonesia harbors some of the oldest known surviving cave art. Previously, the earliest dated rock art from this region was a figurative painting of a Sulawesi warty pig (Sus celebensis). This image from Leang Bulu’ Sipong 4 in the limestone karsts of Maros-Pangkep, South Sulawesi, was created at least 43,900 years ago (43.9 ka) based on Uranium-series dating. Here, we report the Uranium-series dating of two figurative cave paintings of Sulawesi warty pigs recently discovered in the same karst area. The oldest, with a minimum age of 45.5 ka, is from Leang Tedongnge. The second image, from Leang Balangajia 1, dates to at least 32 ka. To our knowledge, the animal painting from Leang Tedongnge is the earliest known representational work of art in the world. There is no reason to suppose, however, that this early rock art is a unique example in Island Southeast Asia or the wider region.

Psyche as Postmodern Condition

Janus Head ◽  
2014 ◽  
Vol 13 (2) ◽  
pp. 61-91
Author(s):  
Rex Olson ◽  
Keyword(s):  
Archetypal Psychology ◽  
Scientific Psychology ◽  
The World

This article examines James Hillman’s notion of psyche in relation to metaphor as the foundation for his archetypal psychology. In pushing Jung to his imaginal limits, Hillman provides an archetypal corrective to the Cartesianism inherent in modern scientific psychology in order to understand all aspects of contemporary psychological life. He proposes an ontological view of metaphor that locates psyche beyond language and mind to places in the world, thus seeking to establish a postmodern archetypal psychology. In the end his notion of psyche is not radical enough in its critique to advance archetypal psychology into acknowledging its postmodern condition.

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