The Alpha Seer understanding true art

April 21, 2009

Wahyanonefamily Foundation’s latest endowment: geometric ground plan and integrity in Knox Martin’s art

Knox’s art can be traced back to the European tradition, which in turn inherits from ancient Egyptian and Greek Art, whereby a composition is built from the ground up, with the adoption of a geometric ground plan. Here I am trying to use curves and straights to indicate how that device works in the superb compositions of some of the greatest European Alpha Seers in the past. The constructions shown in the diagrams below are self-evident and self- explanatory enough,– so any further thesis from me on this topic will be counter- productive. Additional theories or analysis can inevitably reinforce the mistaken and moronic notion that somewhere along the line there exists a program for the creation of art,– and provided that you follow every step and learn them well you can one day paint like a master too. Even a 6 year old can call it bluff, — that such a claim is totally fraudulent!

The visual metaphor is the heart and soul of a work of art. The vehicle for the metaphor’s expression is part and parcel of itself. How beautifully it is being communicated is often determined by how profoundly the Alpha Seer can express himself. As such, a metaphor is in and of itself a vehicle for communication. In that sense, one cannot distinguish the metaphor from its carrier, since it serves as its own vehicle. The metaphor is the vehicle. The subject matter of art is art itself!!!! For an enlightened viewer to get to the essence of that metaphor,–i.e. for a successful communion to take place, the geometric ground plan is there to make sense of what we see in its composition. The task of the Alpha Seer is to establish that metaphor from a crude formation to one with subtlety, i.e. one that would satisfy the Tao of painting, enriched with Supreme Mathematical Relationships,– which provide the definition for a perfect form. In the same way a poet rewrites a draft to perfection in order to attain its final expression and achieve readiness for publication.

Some basic commonalities in great art can be pointed out as follows.
Please don’t forget, the profoundest spiritual laws in the universe can also be found in the most common of physical laws.

1. Because the curve of the circle and the run of the straight are the most powerful of lines possible,– with the entire composition lying on the locus of circles and straight there is created a sense of formal compactness. One can often sense the existence of that compactness in masterful Chinese calligraphy.
2. The geometric ground plans,– working within the fantastic dhamma of Supreme Mathematical Relationships,– also known as the Tao of ultimate composition making, of having part connecting to parts, and parts relating to whole,– eventually bringing all the forms together in a harmonious unit and unity.
3. The geometric ground plan has effectively created a flatness in design. Designing on a 2 dimensional space only a flat design can be possible,–and only such a design can be called  realistic. Thus anything “going into space” is nothing more than the whims of an illustrator. The result is an illustration.( think of Norman Rockwell and Salvador Dali.) As one can see in the diagrams, even a sculpture ( i.e. the sphinx sculpture here ) should also give a strong sense of flatness in design when viewed from any direction. This sense of flatness in design is characteristic of all great arts since time immemorial.
4. By presenting those images in black and white, the Yin and Yang interactions can be immediately detected and recognized at a glance. (Remember the Yin and Yang interaction in masterful Chinese calligraphy?) Thus it is possible to set up a basis for comparison with other compositions, wherein one sees, not only the soul of the metaphor, but also the direction and intent of an Alpha Seer of our time,– in the way he has evolved his own specific approach for solving compositional problems. For example, the forms of flowers by Knox Martin have been radically re-invented to allow for a more ingenious spacial interaction of the Yin and Yang energies.
5. Knox has never created anything out of abstraction in his life. I can fully attest to that. So it is completely mistaken for anyone to categorize his art as “abstract art.” Contemporary critics who have done so will find out one day that they must pay dearly for such an ignorance. An adverse judgment from History will be passed against them for this terrible absurdity. The entire career of Knox Martin is hinged on this clairvoyance of his, or amazing natural endowment, towards the creation of visual metaphors. To call Knox’s art “abstract” reflects very poorly on the art critic as it indicates an illiteracy and a blindness in plain view of such brilliant metaphors, each of them worthy at least, of one Nobel Prize in Literature each, if the Nobel Committee is willing to extend their Literature award to Painting as well. Knox’s expressions are extremely profound and subtle. He is the ultimate metaphor super-creator! His metaphors are chiefly those of women and flowers. He loves them both,– with a manly and artistic passion throughout his life! He is a lion in his own right!

Perhaps this statement from Knox here is worth a million words by the art critics who often fall into the trap of interpreting blindly the original intents of the great master, often through the mistaken notions of meaning such as the claim of a psychological indicator here or a societal implication there. Those types of interpretation are nothing more than shabby attempts to explain the work of a great artist on the cheap. Now look at this statement by Knox Martin himself. Knox said,” My works are about creation and, for the most part, women and flowers. Under the new science, women is cousin to plants; women are mobile plants.” It should be loud and clear enough, like a thunder clap on the horizon, forever proclaiming the enthroning of the uniquely radical contribution of Knox Martin to humanity!

The Alpha Seer formerly called Ben Lau

WAHYANONEFAMILY FOUNDATION’S LATEST ENDOWMENT: 8 fine prints from the great Knox Martin

Knox’s art can be traced back to the European tradition, which in turn inherits from ancient Egyptian and Greek Art, whereby a composition is built from the ground up, with the adoption of a geometric ground plan. Here I am trying to use curves and straights to indicate how that device works in the superb compositions of some of the greatest European Alpha Seers in the past. The constructions shown in the diagrams below are self-evident and self- explanatory enough,– so any further thesis from me on this topic will be counter- productive. Additional theories or analysis can inevitably reinforce the mistaken and moronic notion that somewhere along the line there exists a program for the creation of art,– and provided that you follow every step and learn them well you can one day paint like a master too. Even a 6 year old can call it bluff, — that such a claim is totally fraudulent!

The visual metaphor is the heart and soul of a work of art. The vehicle for the metaphor’s expression is part and parcel of itself. How beautifully it is being communicated is often determined by how profoundly the Alpha Seer can express himself. As such, a metaphor is in and of itself a vehicle for communication. In that sense, one cannot distinguish the metaphor from its carrier, since it serves as its own vehicle. The metaphor is the vehicle. The subject matter of art is art itself!!!! For an enlightened viewer to get to the essence of that metaphor,–i.e. for a successful communion to take place, the geometric ground plan is there to make sense of what we see in its composition. The task of the Alpha Seer is to establish that metaphor from a crude formation to one with subtlety, i.e. one that would satisfy the Tao of painting, enriched with Supreme Mathematical Relationships,– which provide the definition for a perfect form. In the same way a poet rewrites a draft to perfection in order to attain its final expression and achieve readiness for publication.

Some basic commonalities in great art can be pointed out as follows.
Please don’t forget, the profoundest spiritual laws in the universe can also be found in the most common of physical laws.

1. Because the curve of the circle and the run of the straight are the most powerful of lines possible,– with the entire composition lying on the locus of circles and straights there is created a sense of formal compactness. One can often sense the existence of that compactness in masterful Chinese calligraphy, and for this reason, the masterful calligraphy by Master Li Yung of the Tang Dynasty is inserted for comparison.
2. The geometric ground plans,– working within the fantastic dhamma of Supreme Mathematical Relationships,– also known as the Tao of ultimate composition making, of having part connecting to parts, and parts relating to whole,– eventually bringing all the forms together in a harmonious unit and unity.
3. The geometric ground plan has effectively created a flatness in design. Designing on a 2 dimensional space only a flat design can be possible,–and only such a design can be called  realistic. Thus anything “going into space” is nothing more than the whims of an illustrator. The result is an illustration.( think of Norman Rockwell and Salvador Dali.) As one can see in the diagrams, even a sculpture ( i.e. the sphinx sculpture here ) should also give a strong sense of flatness in design when viewed from any direction. This sense of flatness in design is characteristic of all great arts since time immemorial.
4. By presenting those images in black and white, the Yin and Yang interactions can be immediately detected and recognized at a glance. (Remember the Yin and Yang interaction in masterful Chinese calligraphy?) Thus it is possible to set up a basis for comparison with other compositions, wherein one sees, not only the soul of the metaphor, but also the direction and intent of an Alpha Seer of our time,– in the way he has evolved his own specific approach for solving compositional problems. For example, the forms of flowers by Knox Martin have been radically re-invented to allow for a more ingenious spacial interaction of the Yin and Yang energies.
5. Knox has never created anything out of abstraction in his life. I can fully attest to that. So it is completely mistaken for anyone to categorize his art as “abstract art.” Contemporary critics who have done so will find out one day that they must pay dearly for such an ignorance. An adverse judgment from History will be passed against them for this terrible absurdity. The entire career of Knox Martin is hinged on this clairvoyance of his, or amazing natural endowment, towards the creation of visual metaphors. To call Knox’s art “abstract” reflects very poorly on the art critic as it indicates an illiteracy and a blindness in plain view of such brilliant metaphors, each of them worthy at least, of one Nobel Prize in Literature each, if the Nobel Committee is willing to extend their Literature award to Painting as well. Knox’s expressions are extremely profound and subtle. He is the ultimate metaphor super-creator! His metaphors are chiefly those of women and flowers. He loves them both,– with a manly and artistic passion throughout his life! He is a lion in his own right!

Perhaps this statement from Knox here is worth a million words by the art critics who often fall into the trap of interpreting blindly the original intents of the great master, often through the mistaken notions of meaning such as the claim of a psychological indicator here or a societal implication there. Those types of interpretation are nothing more than shabby attempts to explain the work of a great artist on the cheap. Now look at this statement by Knox Martin himself. Knox said,” My works are about creation and, for the most part, women and flowers. Under the new science, women is cousin to plants; women are mobile plants.” It should be loud and clear enough, like a thunder clap on the horizon, forever proclaiming the enthroning of the uniquely radical contribution of Knox Martin to humanity!

The Alpha Seer formerly called Ben Lau

(Ben Lau used to be a Wahyanite himself. Once a Wahyanite, always a . . . what?)

(Young Wahyanites take note: Wahyanite actually means “the most brilliant kids of south China,”–thanks to the enterprising Jesuits, who must have kept a secret recipe in recruiting you guys !)

April 17, 2009

REPLY TO WAHYANONEFAMILY FOUNDATION C.E.O. MONTY F.

Filed under: Creation vs. Illustration,Understanding Art — MASTER BEN LAU @ 11:10 am

Dear Monty,

Your beautiful questions are answered as follows:

first off, such a connotation as “concept in creation” is an imaginery event. There is no reality to it. The postmodernists and all the “ism” folks (impressionism, expressionism, pointilism, photo-realism, Pop art, Op art) are dead wrong precisely along that line of thinking.

It is easy to fall into that trap because man have a well developed brain with the associative movement of the mind. The mind is not a thing but an electrical current-induced movement. It has a life of its own, computer like. This movement is pretty much quite independent of the soul.

The soul is said to be situated in the heart by every realized seer coming back from a super-conscious state. The heart is the exact center of the being, always referred to as the abode of the soul. The body is temporary but the soul is something else. The soul is just a name given to that which is unspeakable, like god, spirit, beauty, . . . You cannot prove its existence but at certain moments it reveals itself as the final indistructible reality. Timeless and spaceless.

The mind is simply just an extended nerve center, a part of the body of the human animal. There is nothing to it. If you look at the construction of the brain you will see that clearly. There are many layers to the brain. The first and oldest one is called the reptilian brain,– so called for its similarities to the brains of reptiles, which have no parental obligations. Its primary purpose is to regulate those involuntary functions of the body such as breathing, metabolism, heartbeat and circulation. It also control the “startle” response and interprete any sensation as pleasurable, painful or threatening. Then evolution allows the reptilian creature to assume more nurturing role, such as a bird or a mammal. To fulfill the parental obligation, the limbic region takes shape. Because of its job the mammal can distinguish the need of its young, to interpret whether an emotional distress is due to hunger or discomfort. This limbic system has enlarged structures known as the hippocampus and the amygdala. And one must not forget the gland called the hypothalamus, located in the center of the brain, whose secretion of various hormones, especially the adrenalin, to jumpstart the body in a fight posture during stress conditions must be well known to school kids even. They are responsible for feeling emotion and for creating emotional memories. That is why it is called the emotional brain. Highly evolved beings such as man have very well-developed layer called the neocortex, the seat of our rational activities, such as problem solving, analysis, judgment, impulse control, and the abilities to organize information, learn from past experiences and empathize with others.
So there is really nothing to the brain other than forming concepts, solving problems, analysis, and making judgment. As a result of concept forming, the brain goes on in forming an idea of itself. For that simple reason, there is the delusion of the ego mistaking itself to be the master of the entire body. That delusion can go so far and become so habitual that it eventually gains enough currency to assert that every intellectual product from man can be attributed to the mind. Well, all the scientific inventions discoveries or technological progress are the production of the mind to be sure,–there is no disputing that fact.

But the creation of art, music and poetry is something else. The soul is involved as well. Can I prove it? The Alpha Seer sees it as such, so proving it is not necessary for him.

Do you need the proof? And why? Then it is time to start your own search if you have that desire. It is quite possible that you are an Alpha Seer too when your desire is genuine and strong. True art is chiefly the working of the soul, with the mind partaking the role of a servant. How does the Alpha Seer’s soul get to be so powerful as envisioning beauty by itself ? That clairvoyance can only have been naturally endowed,–it is not possible to acquire it through learning or practice. That is the only explanation.

The Alpha Seers in ancient Egypt and ancient Greek may not even be the first bunch of artistic geniuses to see beauty. One may even say it is beginning-less. By thinking everything in terms of time, i.e. always a beginning and an end, OR, always a cause and an effect, we let ourselves fall into the trap of duality again. The same mistake as the “ism” folks,–always thinking of art in terms of concepts!

I shall take photo of each of those great art by Knox, document them, show their geometrical ground plan and by means of its black and white, discuss the placement of each shape and point out how with SMR, the composition eventually takes shape.

Again, comparing those black and white compositions
with those of a famous master such as Picasso or Cezanne can be very helpful for the laymen’s understanding. Comparison can be a good teaching strategy, just to make sure we don’t turn it into a discriminating attitude. Establishing a hierarchy through comparison would be a wrong approach. It is like falling into the trap of duality again.

There is really not a starting point for art, location-wise.

Remember: NO STARTING POINT!!! Not in terms of time or space!!!!! By saying that art is started in the East, I have just meant to point out the greatness of the Egyptians, the Greeks and the Chinese,–who had existed in the East as ancient civilizations. There is really no point in saying great art started in the East.


The Alpha Seer formerly called Ben Lau

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