TWO CONCEPTS OF SPACE - David Kakabadze

(East and West)

Western European plastic art can be characterized by the following statement: “Relief is the soul of painting.”This opinion belongs to the person who was the first to formu- late the idea of Italian Renaissance. It explains the great significance the expression of space perception carries in art and indicates one way of expressing this perception.

Relief defines the real existence of an object in space. Such a connection of plastic art with the nature is one essential part of the distinction between Eastern and Western arts.

Eastern art is characterized by abstract concepts and forms. Western art is based on concrete and material forms.

Eastern art strives towards the eternal while Western – towards the temporary.

The abstract and spiritual perception of the East is opposed by the concrete and ma- terial idea of the West.

In the East, nature is reflected in abstract proportions and possible shapes whereas in the West, it is measured by human vision and individual experience.

It has never been the purpose for Oriental art to reproduce nature in its existing form. However, nature is itself the purpose for the Western art.

The content of these two types of artare characterized by two different conceptions of space. The East perceives space in abstract shapes while the West – in concrete images. Art is a creative activity. It develops only in abstractly perceived space. The space ex-perienced in concrete forms becomes an obstacle factor for the development of art and in suchconditions art cannot achieve pure expression.Art of the past times can provide many examples. Here we see that art that was based on concrete space could not develop creativity (Roman, English and American art) and that the best basis for art development is only the abstract perception of space. And we have already seen many

times how decisive the Oriental influence has been on Western countries.

Plastic art which is based on the “trompe-l’oeil”* system belongs to the in- ventions of Western countries. This system reproduces static space in con- crete forms. One such means to reflect this system is a lined perspective. It places us in a motionless state and definite time, in relation to definite space. * reflection which creates illusion of reality.

“Trompe-l’oeil”* system is completely unknown in Eastern art. A person perceiving space in abstract shapes cannot be content with representation of the“trompe-l’oeil”*system. Perception of space is an essential requirement and natural sense for it. Hence, Eastern plastic art is constructive and monumental. It is represented in an indefinite distance and infinite time of space.

Architectural forms also derive from these two concepts of space – Eastern forms in round and spiral lines. Western forms in straight lines. The East comes from space and creates a new space. On the other hand, the West strives towards natural space and imitates it. Examples: in the east - vault, dome (Cteciphon Hall, Hagias Sophia in Con- stantinople) and the spiral tower (Samara); in the west – Gothic spire tower. In more remote times, Egypt gave the example of abstract space while classic Greece gave that of concrete space.

The descent of art is characterized by the loss of space reflective features while striving towards materialistic and naturalistic forms.

It is significant that the superiority of Eastern art over Western was always acknowl- edged in Western countries. Eastern art has always been the enlivening and develop- ing factor for Western art. The “Vitrage” of the Gothic art – the creation of the western genius, is based on an idea that originated in the East; Gothic architecture exhausts itself with the “Vitrage.” The garden of Versailles, which bounds itself within concrete space architecture is based on the plans of the Persian gardens.

In our times, Europe in this condition has to enliven and develop its art by its own strength.The need for new art is dictated by transformed life itself.

Present-day civilization is universal. It is the requirement for existence for Western as well as Eastern countries. The present-day East should get involved in the general movement of this civilization, at least in the frequently expressed view: to purify the ideals of life and art.

Art depends on local conditions, local demands and generally on the state of life in which it develops. Therefore, art has a local face and local shapes. Monotony is against the principles of nature; diversity is the basis of life. The space felt in abstract shapes – which reflects the dynamic perception of space – delivers infinite diversity and there- fore art based on this new perception can achieve perfect development and force.

1925

(Printed in French in “Bulletin de l’Effort Moderne”, #.21) Übersetzung / Translation modernism.ge