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UNIVERSITATEA NAȚIONALĂ DE ARTE BUCUREȘTI TEZĂ DOCTORALĂ Oglinda Interioară UNIVERSITATEA NAȚIONALĂ DE ARTE BUCUREȘTI TEZĂ DOCTORALĂ Oglinda interioară - desenul ca nevoie general umană - DOMENIUL DE DOCTORAT: ARTE VIZUALE Doctorat profesional STUDENT DOCTORAND: Marian-Bogdan Topîrceanu COORDONATORUL ȘTIINȚIFIC AL LUCRĂRII: Prof. univ. dr. Cristian Robert Velescu Cuprins Introducere...................................................................................................................pag. 1 Capitolul 1 - Reflexii....................................................................................................pag. 6 1.1 Începuturile desenului......................................................................................pag. 7 1.2 Scurtă istorie a oglinzii...................................................................................pag. 12 1.3 Reflexia și construcția imaginii eului.............................................................pag. 14 1.4 Oglinda mentală.............................................................................................pag. 17 1.5 Începuturile autoportretului. Eul reflectat, eul desenat..................................pag. 19 1.6 O incursiune în filosofia artei.........................................................................pag. 25 Capitolul 2. Desenul ca element cognitiv..................................................................pag. 28 2.1 Scurt istoric al dezvoltării vorbirii și limbajului..................................................pag. 33 2.2 Importanța Nucleilor Bazali în funcțiile desenului.............................................pag. 41 2.3 Scrierea, o extensie a desenului...........................................................................pag. 44 2.4 Desenul, o extensie a scrierii................................................................................pag. 51 2.5 Desenul ca practică umană...................................................................................pag. 56 2.6 Fiziologia desenului.............................................................................................pag. 83 2.7 Desenul și teoria relativității limbajului...............................................................pag. 92 2.8 Desenul și limbajul.............................................................................................pag. 111 Capitolul 3. Psihologia desenului.............................................................................pag. 115 3.1 Psihologia desenului la copil..............................................................................pag. 116 3.2 O incursiune în istoria artei................................................................................pag. 133 3.2.1 Poetica manifestelor artistice..........................................................................pag. 133 3.2.2 Mărturii ale artiștilor.......................................................................................pag. 161 3.3 Dincolo de limitele Artei....................................................................................pag. 184 3.4 Desenul în arta românească recentă...................................................................pag. 201 3.5 Desenul în prezent..............................................................................................pag. 219 Capitolul 4. Oglinda interioară.................................................................................pag. 227 4.1 Lumea interioară................................................................................................pag. 227 4.2 Dâra de firimituri................................................................................................pag. 235 Marian-Bogdan Topîrceanu Introducere 4.2.1 Începuturi........................................................................................................pag. 235 4.2.2 Schimbarea paradigmei...................................................................................pag. 237 4.2.2.1 Bradul de ceară.............................................................................................pag. 237 4.2.2.2 Dilema..........................................................................................................pag. 238 4.3 Anxietate și refugiu........................................................................................... pag. 240 4.3.1 Liceul de arte.................................................................................................. pag. 240 4.3.2 Dorel Zaica..................................................................................................... pag. 240 4.4 Primele texte.......................................................................................................pag. 242 4.5 Cutia cu chibrituri..............................................................................................pag. 243 4.6 Elaborarea limbajului simbolic..........................................................................pag. 245 4.6.1 Marea...............................................................................................................pag. 247 4.6.2 Omul................................................................................................................pag. 249 4.6.3 Absența.............................................................................................................pag.250 4.6.4 Cutia................................................................................................................pag. 251 4.6.5 Turnul Babel....................................................................................................pag. 252 4.6.6 Camera............................................................................................................pag. 253 4.6.7 Labrintul..........................................................................................................pag. 255 4.6.8 Iona..................................................................................................................pag. 256 4.6.9 Identitatea........................................................................................................pag. 257 4.6.10 Pulsul, timpul și distanța...............................................................................pag. 258 4.6.11 Uși, ferestre și arcade....................................................................................pag. 260 4.7 Oglinda Interioară .............................................................................................pag. 265 Concluzie...................................................................................................................pag.267 Bibliografie..............................................................................................................pag. 274 Anexă Imagini..........................................................................................................pag. 286 Introducere Marian-Bogdan Topîrceanu Introducere ”- (Scoate cuţitul.) Gata, Iona? (Îşi spintecă burta.) Răzbim noi cumva la lumină.”1 Marin Sorescu - Iona Principala preocupare a lucrării de faţă este să observe, dincolo de orice formulare teoretică preexistentă, în ce constă mai exact desenul ca practică de viaţă. Mai întăi însă, trebuie să clarific anumiţi termeni. Poate vă întrebaţi de ce am ales cuvântul desen şi nu am folosit în locul lui termenul mai generic de artă. Ei bine, din punct de vedere cultural, cuvântul artă este mult prea încărcat de semnificaţii extrinseci actului de făurire a unui artefact simbolic. Arta este un termen deja saturat, prea plin de înţelesuri care au mai degrabă legătură cu ceea ce se întâmplă cu obiectul de artă în urma materializării sale, şi nu cu actul de creaţie în sine, cu momentele în care el capătă sens în mintea celui care îl realizează. De aceea, în această lucrare eforturile mele se vor concentra asupra procesului prin care aceste artefacte iau naștere, desenul, ca element primordial al oricărei manifestări creative, fiind mult mai potrivit pentru o astfel de analiză. Îl definesc ca element primordial deoarece desenul ca gest poate fi regăsit în toate celelalte forme de expresie pe care noi le numim astăzi, generic, artă. Astfel, când voi vorbi despre desen, voi propune un model de cercetare ce poate fi aplicat și celorlalte medii creative, pe care le înţelegem în prezent ca artistice. Asemenea desenului sunt şi pictura, arhitectura, sculptura, dansul, muzica, cinematografia, acestea reprezintând diferite variații de mediu în care același psihic uman își găsește modalități de manifestare. Toate definesc traiecte dintr-un punct A, într-un punct B în desfăşurarea lor. Toate definesc linii, mai simple sau mai complexe, de la traseul creionului pe hârtie, până la cel mai complex balet, care, împreună, construiesc desene în spaţiu şi timp. De asemenea ele întreprind în cadrul practicilor umane, din punct de vedere cognitiv, emoțional și cultural, funcții simbolice similare desenului. „Michelangelo spune că desenul este activitatea de bază a omului, că omul nu face altceva decât să deseneze. El desenează când ară pământul, când sapă, când seamănă flori, când face un car, când face copii - şi când sculptează şi pictează... Totul e desen.”2 Dacă pornim de la afirmaţia lui Michelangelo, care extrapolează această practică a desenului ca parte integrantă a 1 Marin Sorescu – Iona, pag. 53 2 Interviu cu Horia Bernea – Mihai Sârbulescu – Despre Ucenicie, pag. 127 2 Marian-Bogdan Topîrceanu Introducere tuturor activităţilor și intenţiilor omului, atunci desenul apare ca o cheie în înţelegerea naturii umane. Este o întrebare la care eu însumi caut un
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