Paul Gauguins illusion In The Paint Where Do We Come From What Are We Where Are We Going - Essay Example

R Ramasamy Murali HRM, Academia-Research.Com Assignment 29 April 2006 Where Do We Come FromWhat Are WeWhere Are We Going Dr A G Krishna Warrier, in histranslation of "Bhagavad Gita Bhasya of Sri Sankaracarya", has quoted: This Self is never born; It never dies either. having been born, It never ceases to be, again. unborn, eternal and everlasting, this ancient One is not slain when the body is slain.* The above quotation has aptly summarized the answer Paul Gauguin was looking for. In Hindu philosophy, Adi Sankara advocated and preached "Advaita". Advaita means, to put it simply, that there is no difference and distinction between the Supreme Soul, which is all pervading and everlasting and that which has no beginning and the end, and the soul residing in human body. Paul Gauguin had presumably referred to this soul. In his painting "WE" does not refer to material world that are unreal and that which our mind personifies. This paper is trying to establish intellectual and philosophical aspect of gauguin's painting on this ground. Life is an illusion The Ramakrishna Mission Institute of Culture in it's publication "Aspects of Vedanta" has said: Sankara is not alone in drawing our attention to the illusory nature of empirical life. Plato, Kant, and Hegel adopt the same view, and in recent times, Bergson, equipped with all the knowledge of modern science, arrives at the same conclusion. The intellect, he says, disguises reality, misrepresents it, and presents to us a static world, Footnote: *Page 40 in "Bhagavad Gita Bhasya of Sri Sankaracharya" while reality is pure movement, change or a wider consciousness. According to both Sankara and Bergson, the illusion is necessary to practical life, though none the less it is an Illusion.** Representation of illusion in Gauguin's painting The painting of our topic very much reflects this illusion suffered by the artist, though, it seems, he very much understood that "real" is different from this illusion. Also, Paul Gauguin relflects the illusion suffered by this world. Ingo F Walther in his book "Paul Gauguin 1848-1903 The Primitive Sophisticate" has mentioned: The spectrum of human activity encompassed by the painting spans all of life, from birth to death, in all its wondruous diversity. The new-born child lying in the grass, seeing the light of day for the first time, marks one boundary of Gauguin's stage, and the careworn old woman who looks so downcast as she meditates upon the past marks the other. Between the two lies the copious adult world of fears and joys. The exotic idol in the background, and the two people walking (possibly lovers), are there for atmospheric effect, and bridge gap between Man and the natural setting. Gauguin reveals considerable ambition in the way in which he placed some favourite subjects in his panorama - the relaxed reclining nude, the figures sitting lost in the thought, the cult statute. The figures are there to evoke associative meanings, rather to explain or illustrate. Gauguin was not concerned with being understood: rather, he was interpreting life as a great mystery. The world's lack of understanding, which was pushing him towards suicide, was obliquely expressed in his emphasis of the impenetrable and incomprehensible.# Footnotes: **Page 45 and 46 in "Aspects of Vedanta" #Page 80 in "Paul Gauguin 1848-1903 The Primitive Sophisticate" By Ingo F Walther The painting by depicting the various stages of life, in effect has carried the message that life is full of changes and life is nothing but an illusion. Even the animals and birds found in tha painting undergo the changes of life which is an illusion. The blue sky found in the painting is also an illusion. The painting depicts the convulsions of his mind and his yearning to show the world the difference between the 'real' and 'unreal'. The other side of illusion But, interestingly, illusion is having another side. Swami Lokeswarananda in his translation of Mandukya Upanisad has said: Even to have an illusion you need a foundation. For instance, you think you see a snake but you discover it is actually a rope. Another example is: You are in a desert and you think you see a lake in the distance, but it is only a mirage. Now to see the mirage, there must be the desert. The mirage without desert is not possibleYou cannot have an illusion without a foundation.* Paul Gauguin's illusion So, Paul Gauguin should have had an illusion, that is a foundation, to paint Where Do We Come FromWhat Are WeWhere Are We Going The foundation for this illusion is his disillusionment with the world. Anthea Callen in her book "Techniques of the impressionists" has given the ground for Gauguin's disillusionment. She has written: Gauguin's rejection of decadent Western society, and turning to what he considered the more genuine, nave simplicity of life in the South Seas, was symptomatic of a broader cultural Footnote: *Page 33 and 34 in "Mandukya Upanisad" translated bySwami Lokeswarananda disillusionment in Europe at that time. The symbolist movement in art and literature can in general be seen as a reaction against the ills of the industrial society, which artists saw growing up around them, and an urge for a more introspective, contemplative ideal.** The intellectual beginning of the painting under our topic Our own suffering will make as more introspective and intellectual. Also seeing the suffering of others can equally make us introspective and intellectual. Gauguin deserves compliments on both these counts. His acute intellectual agony and personal suffering must have made him ask Where do we come from Swami Lokeswarananda in his translation of Prasna Upanisad has metioned: How does Prajapati create The Hindu idea is that this Universe is a manifestation, a projection. It is not a creation, like a potter making a pot. The universe is projected from Prajapati, and again it is withdrawn back to him. But then, Prajapati does not make any effort to manifest the universe.He just contemplatesIt is life.* So, being a part of this universe, we do not come or created. We are manifested. We are the projection of the contemplation of the creator in flesh and blood. So is the material world around us. We imbue that contemplation in our mind. Joy, sorrow, life cycles, tastes and time, everything is our own contemplation and manifestation of our mind. They are abstract in essence. Gauguin had struck with this vedantic chord well. Anthea Callen in her book "Techniques of the impressionists" has remarked: Neither Gauguin himself, who was a sophisticated European Intellectual, nor his art, can be considered primitive as such. Yet, by choosing to live among so-called Footnotes: **Page 162 in "Techniques of the impressionists" by Anthea callen *Page 13 in "Prasna Upanisad" translated by Swami Lokeswaraanda primitive peoples, and by embuing his art with emblems and meaning derived from various non-European and non-Christian sources. Gauguin sought to express his belief in the importance of natural innocence and simplicity.* Anthea Callen in her book "Techniques of the impressionists" has mentioned: he himself was highly eclectic, using sources as widely disparate as Far Eastern Buddhist and Asiatic art, the Greek Parthenon frieze and Manet's Olympia(1863).** But why then Gauguin chose to give the artistic impression of the questions that are very basics of the philosophies of religions and cultures. Ingo F Walther in his book "Paul Gauguin 1848-1903 The Primitive Sophisticate" has written: He lived between two worlds. In this art he held up a mirror to his own civilization, which he despised, and showed an alternative, primitive life in all its simple, nave harmony. But painting it was not enough for Gauguin. He wanted to experience it himself.*** Relationship between the style and philosophy His undying desire to peep into the truth of the life manifested in his painting. His post-impressionist style came in handy to achieve the purpose. Sanford-artedventures, in their website 'A Lifetime of color', under 'Study of Art', sub-title 'Styles' has mentioned about Post-impressionism: Post-impressionism referred to an artistic style that followed Impressionism at the end of the 1800s. Most Post-Impressionist artists began as Impressionists, but then decided to try new ideas. Some, like Vincent van Gogh and Paul Gauguin leaned toward a more spiritual and expressive approach Footnote: *Page 162 in "Techniques of the impressionists" by Anthea callen ** Page 162 in "Techniques of the impressionists" by Anthea callen *** Page 7 in "Paul Gauguin 1848-1903 The Primitive Sophisticate" By Ingo F Walther They wanted to add emotion and symbolic meaning to their art. Their works often contain bold, unrealistic colors and expressive brush strokes.# Paul Gauguin - the Vedantic So Paul Gauguin was, in essence, a vedantic to have asked the question What Are We Swami Lokeswarananda in his traslation of Katha Upanisad has described: This body, with its eleven openings, is the abode of the Self, which is unborn and always the same Pure Consciousness. A spiritual aspirant uses this body only in the service of Self [i.e., only for spiritual practices] and by doing so, realizes the true nature of the Self. He then goes beyond sorrow. As he has overcome his ignorance and has stopped identifying himself with the body, he becomes [following his death] free from the cycle of birth and death. This truly is that [Self that Naciketa was asking about].## Gauguin realized that the human body is an illusion. He also understood that 'Pure Consciousness'[mentioned in this page] is supreme. But then he had a reason for the realization and understanding. Ingo F Walther in his book "Paul Gauguin 1848-1903 The Primitive Sophisticate" has mentioned: In spring 1897 a letter brought him terrible news from back home. His daughter Aline, in whom a hopeful Gauguin had seen the greatest chance that one of his children would prove artistically gifted like himself, had died. In the reply he wrote to Copenhagen he scarcely veiled his feeling that his wife's severity was to blame for the girl's death: Footnotes: #Study of Art. Styles. Post Impressionism. 30 Apr.2006. < http://www.sanford-artedventures.com> ##Page 137 and 138 in "Katha Upanisad" translated by Swami Lokeswarananda. "I do not want to say 'May God watch Over you.'" He remarked bitterly, "but rather, quite plainly, 'May your conscience rest - so that you do not find yourself longing for the release of death." Gauguin himself often longed for that release* Admittedly, when an artist's soul is filled with emotions he would express them through his creation. Gauguin just did that. Another question posed by the artist was, "Where Are We Going" Swami Lokeswarananda in his book "Life after death" has mentioned: It is desires that control our birth and rebirth. When we are free from desires we are also free from birth and rebirth. We have completed the cycle and we are able to go back to our source.+ Sri Ramakrishna Advaita Ashrama, Kalady, in it's publication "The quintessence of Vedanta of Sri Sankaracharya" has mentioned: If a pot, for example, cannot be said to have any real existence as such, it follows that the space which is apparently enclosed by the pot is in reality one with space universal. In the same way, if adjuncts have no real being, the Atman which is revealed in them is not other than Brahman, pure and eternal.++ Pot should be likened to our body. The Soul in it is like the space enclosed by the body. When the pot is broken what happens to the space enclosed by it The same thing happens when our body wither away in death. Footnotes: *Page 78 in "Paul Gauguin 1848-1903 The Primitive Sophisticate" By Ingo F Walther +Page 21 in "Life after death" by Swami Lokeswarananda. ++Page 262(point 694) in "The quintessence of Vedanta of Sri Sankaracharya" by Sri Ramakrishna Advaita Ashrama, Kalady. The Meaning of the Painting in it's true essence-the conclusion Let us salute Gauguin for exemplifying these philosophies in his painting. When the desires are not fulfilled the life-cycle continues [spray the sight on the baby through to the withering Old woman]. When our soul is liberated it unites with the Supreme Soul [this is why he had painted the sky and water body in the same color lying at a distance. The lower right corner depicting the baby and the upper left corner depicting the unification of sky and water body in the same color]. Swami Gambhirananda in his translation of "Mundaka Upanisad" has mentioned: This self is not attained through study, nor through the Intellect, nor through much hearing. The very Self which this one(i.e.the aspirant) seeks is attainable through that fact of seeking; this Self of his reveals It's own Nature.* Paul Gauguin had exactly sought that Self. The very Self is peaceful. Gauguin who suffered many agonies realized that the Eternal peace is in the Self and it could be got by seeking the Self. He clearly understood that realizing Self is beyond the material world [that seeks pleasure only] and even idol worship. His artistic impulse and post-impressionist style had helped him to manifest his philosophical intellect through the painting Where Do We Come From What Are We Where Are We Going And, sadly, that which this world recognized and appreciated very late. Footnote: *Page 85 in "Mundaka Upanisad" translated by Swami Gambhirananda Works cited 01. Advaita Ashrama. Mundaka Upanisad. Calcutta: Advaita Ashrama, 1978 02. Callen, Anthea. Techniques of the impressionists. London: Greenwich editions, 2004. 03. Ingo F Walther. Paul Gauguin 1848-1903 The Primitive Sophisticate. Koln: Taschen Gmbh, 2004. 04. Lokeswarananda, Swami. Life After Death. Kolkatta: The Ramakrishna Mission Institute of Culture, 2003. 05. Sri Ramakrishna Advaita Ashrama. The quintessence of Vedanta of Sri Sankaracharya. Kalady: Sri Ramakrishna Advaita Ashrama, 2002. 06. Sri Ramakrishna Math. Srimad Bhagavad Gita Bhasya of Sri Samkaracarya. Chennai: Sri Ramakrishna math, 1983. 07. The Ramakrishna Mission Institute of Culture. Katha Upanisad. Kolkatta: The Ramakrishna Mission Institute of Culture, 2002. 08. The Ramakrishna Mission Institute of Culture. Prasna Upanisad. Calcutta: The Ramakrishna Mission Institute of Culture, 1995. 09. The Ramakrishna Mission Institute of Culture. Mandukya Upanisad. Calcutta: The Ramakrishna Mission Institute of Culture, 1995. 10. The Ramakrishna Mission Institute of Culture. Aspects of Vedanta. Calcutta: The Ramakrishna Mission Institute of culture, 1995. 11. "Study of Art - Styles - Post Impressionism". 2006.Sanford-arteduventures. 30 Apr. 2006 Read More