Batsa Gopal Vaidya绘画中的原型

Y. Sharma
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引用次数: 3

摘要

Batsa Gopal Vaidya的绘画融合了来自神话、文化和仪式的原始图像、符号和人物。这些形象和符号是他作品中反复出现的原型。艺术家从他的集体无意识中分享这些原始图像,人类的共同遗产,以及在创作过程中重新出现的原型库。它们暗示了我们祖先的经历模式。这些反复出现的可传播图像在社会中作为一种审美的传播模式发挥着作用。纳粹十字、夏利格拉姆、蒂拉卡、喜马拉雅、河流、各种神灵及其属性,都是这样的图像和符号,不仅提供审美愉悦,而且将观众带回他们的文化根源、仪式和神话。本文试图追溯瓦迪亚作品中的原型,并解释其意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Archetypes in Batsa Gopal Vaidya's Paintings
Batsa Gopal Vaidya's paintings integrate primordial images, symbols, and figures from myths, cultures, and rituals. These images and symbols are the archetypes that appear recurrently in his artworks. The artist shares these primordial images from his collective unconscious, the common heritage of mankind, and the storehouse of archetypes that reappear in the creative process. They suggest the pattern of experiences of our ancestors. These recurring communicable images function as an aesthetic mode of communication in society. Swastika, shaligram, tilaka, the Himalaya, rivers, various deities, and their attributes are such images and symbols that do not only provide aesthetic pleasure but also take the viewers back to their cultural roots, rituals, and myths. This article attempts to trace the archetypes in Vaidya's works and explain their significances.
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