Tupac Inca Pachacuti and Vladimir Kandinsky: Lines, points and contrasts.
Two different words are brought together disrespectfully here, on the basis of formalism and geometric passion. Both styles characterize the Incas, conquered by Spain after 1533, and the creative work of the great modern artist Wassily Kandinsky, who fled Russia after the Soviet Revolution of 1917....
| Published in: | CRATER, Arte e Historia |
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| Main Author: | |
| Format: | Article in Journal/Newspaper |
| Language: | Spanish |
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Editorial Universidad de Sevilla
2021
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| Online Access: | https://revistascientificas.us.es/index.php/crater/article/view/19055 https://doi.org/10.12795/crater.2021.i01.01 |
| Summary: | Two different words are brought together disrespectfully here, on the basis of formalism and geometric passion. Both styles characterize the Incas, conquered by Spain after 1533, and the creative work of the great modern artist Wassily Kandinsky, who fled Russia after the Soviet Revolution of 1917. The patterns of weaved textiles and the sacred glows of dawn and twilight of solar religion of the Incas, may evoke the linear forms and the coming of the evening in Moscow, as well as the “vibrations of soul” of the theorist of modern painting, influenced by the orthodox religious icons and the shamanism of the subarctic Russian regions. Este texto propone cotejar, sobre la base del formalismo y de la pasión geométrica, dos mundos distintos, reunidos irrespetuosamente aquí: el de los Incas del Perú, conquistados en el siglo XVI por España, y el de Vasily Kandinsky, nacido en la Rusia imperial y exiliado después de la Revolución de 1917. Los diseños de los tejidos y los resplandores sagrados del alba y del crepúsculo de los Incas, nos evocan las formas lineales, la luz crepuscular de Moscú, y “las vibraciones del alma” del inventor de la pintura moderna, influenciado por las imágenes sagradas ortodoxas y el chamanismo de los pastores de la zona subártica. |
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