Priming the mural fabric:
Mural design plotting process pictures:
Mural Painting Practice Pictures:
Tuesday, April 5, 2011
Final Design of the Human & Scholarship Mural
Final design of Human & Scholarship Mural with the representational images of 19 diverse academic disciplines studying at the Swarts Hall surrounded the human figure at the center:
The color scheme/color composition for arranging the images inside the center is based on the direction of color wheel from orange, red, violet, blue and green in clockwise direction. The outer images are following the anti-colorwise direction of the color wheel.
The following design versions show the sequence of visualization of the images filled in the square outside the human form:
The following versions show the images filled within the triangle and circle outside the square:
The last four versions illustrate the images inserted to the outside background space of the circle:
The color scheme/color composition for arranging the images inside the center is based on the direction of color wheel from orange, red, violet, blue and green in clockwise direction. The outer images are following the anti-colorwise direction of the color wheel.
The following design versions show the sequence of visualization of the images filled in the square outside the human form:
The following versions show the images filled within the triangle and circle outside the square:
The last four versions illustrate the images inserted to the outside background space of the circle:
Preparation for the Final Design of the Human & Scholarship Mural
Drawing of the human figure:
Colorizing the human figure:
Three lingual inscriptions (Latin, English & Bulgarian) added to the torso part of the human figure in rectangle form:
Three inscriptions, "I think, therefore I create, therefore I am," followed the contour of the human body form.
Colorizing the human figure:
Three lingual inscriptions (Latin, English & Bulgarian) added to the torso part of the human figure in rectangle form:
Three inscriptions, "I think, therefore I create, therefore I am," followed the contour of the human body form.
Friday, February 25, 2011
How to Arrange the Images Related with Diverse Academic Subjects
The main design idea is to apply the mosaic opus principles in composing all images related with diverse academic subjects hosted in the Swarts Hall, a complex teaching facility in the University of Pittsburgh at Bradford.
The first principle is to use the "opus musivum", shown in the following image.
The second principle is to use the "opus reticulatum", shown in the following image.
The final principle is to use the "opus regulatum", shown in the following image.
However, the dimension of the grid is too small, so we decide to use double size of the grid for the final dimensional grid-like structure, shown in the following image.
The final layout or scheme for the mural design combines the grid-like structure with the placement of diverse academic subjects, shown in the following image.
The first principle is to use the "opus musivum", shown in the following image.
Ideas for Composing Diverse Academic Subjects onto the Mural
The major idea for arranging diverse academic subjects onto the mural layout is based on the relationship with human beings and towards the outside world and knowledge. Therefore the placement of different academic subjects is from inside towards outside depended on the human explorations of human beings and the surrounding world. For example, psychology and anthropology are placed closer to the center figure and other subjects, like sociology, environmental studies and history, etc., are arranged on the sider space of the figure.
Friday, February 18, 2011
Bulgarian Text of Mural Color Scheme of "Human and Scholarship" Mural
ÐзÑабПÑваМеÑП Ма ÑвеÑПва кПМÑепÑÐžÑ Ð·Ð° ÑÑеМПпОÑ, кПйÑП Ñе Ñе ÑеалОзОÑа в ÑгÑаЎаÑа SWARTS (Ма УМОвеÑÑОÑеÑа ÐОÑ-ÐÑаЎ) ОзОÑква ÑÑ ÐŽÐ° ОЌа вÑОÑкО Ñ
аÑакÑеÑОÑÑОкО, ÑОпОÑМО за ÑÑеМПпОÑÑа в пÑблОÑМО аÑÑ
ОÑекÑÑÑМО пÑПÑÑÑаМÑÑва. Ð ÑгÑаЎаÑа Ñе МаЌОÑа ÑМОвеÑÑОÑеÑÑкаÑа аЎЌОМОÑÑÑаÑОÑ, МП Ñака ÑÑÑП О аÑЎОÑПÑООÑе, в кПОÑП Ñе ОзÑÑÐ°Ð²Ð°Ñ ÐŒÐœÐŸÐ³ÐŸÐ±ÑПйМО (19) МаÑкО/ÑÑебМО ЎОÑÑОплОМО.
ТПзО ЎаЎеМПÑÑ ÐŒÐž пПЎÑказа ÑПÑÐŒÑлаÑа за ÑвеÑПвП ÑеÑеМОе, какÑП Ñе ÑлÑÑО О Ñ Ð³Ð»Ð°Ð²ÐœÐ°Ñа ÐžÐŽÐµÑ Ð·Ð° ÑÑеМПпОÑа, пÑеЎÑÑавеМа пÑеЎОÑÐœÐžÑ Ð¿ÑÑ.
ÐакÑП МегПваÑа кПЌпПзОÑÐžÑ Ñе ОзгÑажЎа ÐŸÑ ÑÑОÑе ПÑМПвМО геПЌеÑÑОÑМО ÑПÑЌО-МПÑОÑелО Ма ÑЌОÑлПвПÑП пПÑлаМОе – ÑÑОÑгÑлМОк, кваЎÑÐ°Ñ Ðž кÑÑг, ÑПлкПва ÑÑМЎаЌеМÑалМа бО ÑÑÑбвалП Ўа бÑЎе О МегПваÑа ÑвеÑПва кПМÑÑÑÑкÑОÑ.
ÐазОÑеМ пÑОМÑОп в ÑеÑОÑПÑОÑÑа Ма ÑвеÑПзМаМОеÑП ÑÑÑ ÑÑÑаÑа вÑеПбÑ
ваÑМПÑÑ Ðž зМаÑеМОе е ÑаЌП ÑеЌаÑа за ЎваÑа вОЎа ÑЌеÑваМе Ма ÑвеÑПвеÑе – ÑÑбОÑаÑелМПÑП (ОлО аЎОÑОвМП) О ОзважЎаÑПÑП ОЌ (ОлО ÑÑбÑÑакÑОвМП) ÑЌеÑваМе.
СпÑÑÑ
Ма ÑÑбÑÑакÑОвМПÑП, ÑÐŒÑÑаМП Ñ ÐŸÑМПваМОе за „ÑÑОÑ
ОÑÑа/ÑеÑОÑПÑОÑÑа/кПÑЌПÑа/вÑелеМаÑа Ма Ñ
ÑЎПжМОÑОÑе”.
ÐакÑП ÐŸÑ ÑЌеÑваМеÑП Ма ÑÑОÑе ПÑМПвМО ÑвÑÑа Ñе пПлÑÑава ÑÑлПÑП безкÑайМП ЌМПгППбÑазОе Ма ÑвеÑПвеÑе ÐŸÑ ÑпекÑÑÑа О вÑОÑкО ПÑÑаМалО вОЎОЌО за ÑПвеÑкПÑП зÑеМОе ÑвеÑПве в пÑОÑПЎаÑа, пП ÑÑÑÐžÑ ÐœÐ°ÑОМ ÐŸÑ „ÑЌеÑваМеÑП” (Ñ.е. взаОЌПЎейÑÑвОеÑП) Ма ЌОÑлеМеÑП О ÑÑзЎаваМеÑП Ñе пПлÑÑава ÑÑлПÑП ЌМПгППбÑазОе Ма ÑÑÑвПÑÐµÐœÐžÑ ÐŸÑ ÐžÐ·ÐºÑÑÑвПÑП, МаÑкаÑа О ÑеÑ
МОкаÑа ÑПвеÑкО ÑвÑÑ, кПйÑП ÑÑÑеÑÑвÑва паÑалелМП Ñ Ð¿ÑОÑÐŸÐŽÐœÐžÑ Ðž Ñе ПпОÑва ЎПÑО Ўа гП МаЎЌОМе.
СÑÐŽÑÑжаМОÑÑа Ма МаÑкОÑе, ОзÑÑаваМО каÑП ÑÑебМО ЎОÑÑОплОМО в SWARTS ПÑÑазÑÐ²Ð°Ñ Ñ ÐºÐ°Ð»ÐµÐ¹ÐŽÐŸÑкПпОÑМа пÑÑÑÑПÑа МапÑавеМПÑП ÐŸÑ Ñ
ПÑаÑа, МаÑлагвайкО Ñе в ÑÑÐµÐ±ÐœÐžÑ Ð¿ÑПÑÐµÑ Ð¿Ð»Ð°ÑÑ ÑлеЎ плаÑÑ Ð¿ÐŸÐŽ ÑПÑЌаÑа Ма ЌМПгПбÑПйМО кÑÑÑеÑа зМаМОе.
ÐзбÑаÑ
ПпÑОÑÐœÐžÑ Ð¿ÑОМÑОп за пПÑÑÑПÑваМе Ма ÑвеÑПваÑа аÑÑ
ОÑекÑÑÑа Ма ÑÑеМПпОÑа, заÑПÑП ÑÑзЎаЎеМОÑе пП ÑПзО МаÑОМ ÑвПÑбО ÐžÐŒÐ°Ñ Ð²ÐžÐœÐ°Ð³Ðž ЌМПгП ÑОлМП вÑзЎейÑÑвОе вÑÑÑ
Ñ Ð·ÑОÑелÑ, бОЎейкО еЎМПвÑеЌеММП „ÑПжбО”, МП О „МПÑОÑелО” Ма ÑвеÑлОМа.
ÐÑМПвМа ÑеÑÑа Ма ÑПва ÑЌеÑваМе е ÑвеÑПвеÑе Ўа Ñе вÑзпÑÐžÐµÐŒÐ°Ñ ÐºÐ°ÑП пÑПзÑаÑМО ÑОлÑÑО, кПОÑП Ñе МаÑÐ»Ð°Ð³Ð²Ð°Ñ ÐµÐŽÐžÐœ вÑÑÑ
Ñ ÐŽÑÑг. Ðай-ПÑпÑеЎ е ÑÑОÑгÑлМОкÑÑ (ÑОЌвПл Ма ЌОÑлеМеÑП, кПеÑП пÑеЎÑ
ПжЎа ПÑÑаМалПÑП); ÑлеЎваМ ÐŸÑ ÐºÐ²Ð°ÐŽÑаÑа (ÑÑзЎаваМеÑП, пÑавеМеÑП); ПÑзаЎ е кÑÑгÑÑ (вÑОÑкП ÑÑзЎаЎеМП).
РазвОÑ
Ўва ваÑОаМÑа Ма ÑÑбÑÑакÑОвМП ПпÑОÑМП ÑЌеÑваМе, пÑО кПеÑП ÑÑОÑгÑлМОкÑÑ Ðž кваЎÑаÑÑÑ ÑазЌеМÑÑ ÑвеÑПвеÑе ÑО – ÑÑПÑвеÑМП ЌагеМÑа О ÑОаМПвПÑОМ, пÑО кПеÑП пÑПОзвПЎМОÑе (ЎПпÑлМОÑелМО) ÑвеÑПве Ñа ÑазлОÑМО ÐŸÑ ÐœÐ°ÑлагваМеÑП ОЌ вÑÑÑ
Ñ Ð»ÐžÐŒÐŸÐœÐŸÐ²ÐŸÐ¶ÑлÑÐžÑ ÐºÑÑг.
ÐÑОÑОМаÑа за ÑазО ÑазЌÑМа Ñе базОÑа вÑÑÑ
Ñ Ð·ÐœÐ°ÑеМОÑÑа Ма ÑвеÑПвеÑе пП ÑОÑÑеЌаÑа Ма ÑвеÑПваÑа ÑОЌвПлОка ÐŸÑ ÐµÐŽÐœÐ° ÑÑÑаМа, кÑЎеÑП ЌОÑлеМеÑП пÑОМаЎлежО Ма еÑОÑМОÑе ÑвеÑПве – ÑвеÑлПÑОМÑПÑП, а ÑÑзОЎаÑелМОÑе ЎейМПÑÑО – Ма ÑПплОÑе, ÑеÑвеМО гÑÑпО. СÑава ÑПÑМП ПбÑаÑМПÑП, акП Ñе вÑзпÑОеЌе ÑвеÑПваÑа ÑОЌвПлОка, МапÑОЌеÑ, Ма гПÑОМÑП – ÑпПМÑкаÑа ÑОлПÑПÑÐžÑ ÐœÐ° пагПЎаÑа, ОзÑазÑваÑа 5-Ñе елеЌеМÑа ÑÑез 5-Ñе ПÑМПвМО геПЌеÑÑОÑМО ÑПÑЌО, ÑпПÑеЎ кПÑÑП ÑÑОÑгÑлМОкÑÑ Ðµ ÑОЌвПл Ма ПгÑÐœÑ Ðž е Ñ ÑеÑвеМ ÑвÑÑ.
ÐалкП пП-ÑазлОÑМа е ОЎеÑÑа за пПÑÑавÑМеÑП Ма ÑПвеÑкОÑе ÑОгÑÑО вÑÑÑ
Ñ ÑезО ÑвеÑМО геПЌеÑÑОÑМО „ÑОлÑÑО”.ÐпОÑаÑ
ÐœÑкПлкП ваÑОаМÑО, в кПОÑП О ЎвеÑе ÑОгÑÑО Ўа пÑÐžÐœÐ°ÐŽÐ»ÐµÐ¶Ð°Ñ ÑаЌП кÑÐŒ ÑвеÑа Ма ÑÑОÑгÑлМОка, каÑП пП ÑПзО МаÑОМ Ñе вМÑÑава ОЎеÑÑа, Ñе пÑавеМеÑП/ÑÑзЎаваМеÑП е ÑаÑÑ ÐŸÑ ÐŒÐžÑлеМеÑП.
ÐÑПÑаÑа ÑеÑÐžÑ ÐŸÑ Ð²Ð°ÑОаМÑО е вÑÑка ÑОгÑÑа Ўа пÑОÑежава ÑвеÑа Ма геПЌеÑÑОÑМаÑа ÑПÑЌа, кÑÐŒ кПÑÑП пÑОМаЎлежО, каÑП пП ÑПзО МаÑОМ Ñе вМÑÑО ОЎеÑÑа, Ñе пÑавеМеÑП/ÑÑзЎаваМеÑП О ЌОÑлеМеÑП ÐŒÐ°ÐºÐ°Ñ Ðž ÑвÑÑзаМО, Ñа ÑÑÑевÑеЌеММП ЎПÑÑа ÑазлОÑМО ÑПвеÑкО ЎейМПÑÑО.
ТÑеÑа ÑеÑÐžÑ ÐŸÑ ÑвеÑПвО ваÑОаМÑО Ñе гÑаЎО Ма ÑÑÑаÑа ПпÑОÑМа кПМÑепÑОÑ, МП МалПжеМа вÑÑÑ
Ñ Ð±Ñл кÑÑг.
ÐПÑлеЎМОÑе ваÑОаМÑО пÑеЎÑÑавлÑÐ²Ð°Ñ ÑОÑÑа ÑвеÑПва ОгÑа – пÑПЌÑМа Ма ÑвеÑа Ма кÑÑга вÑв ÑПМа, пП ÑеЎа Ма ÑвеÑПвеÑе ÐŸÑ ÑвеÑÐœÐžÑ ÐºÑÑг ÑлеЎвайкО ЎвОжеМОеÑП Ма ÑаÑПвМОкПваÑа ÑÑÑелка О ÑÑПÑвеÑМаÑа ÑПÑалМа пÑПЌÑМа Ма вÑОÑкО ПÑÑаМалО кПЌпПМеМÑО в ЎвеÑе ÑвеÑПвО ÑПÑÐŒÑлО (ÑÑÑ ÑОМО О ÑеÑвеМО ÑОгÑÑО) ÑпПÑеЎ пÑОМÑОпОÑе Ма кПЌплеЌеМÑаÑÐœÐžÑ ÐºÐŸÐœÑÑаÑÑ. ТазО ОгÑа ОЌа за Ñел Ўа пПкаже еЎМа Ќалка ÑаÑÑ ÐŸÑ Ð±ÐµÐ·ÐºÑайМОÑе кПлПÑОÑМО вÑзЌПжМПÑÑО Ма ÑÑеМПпОÑМПÑП ОзкÑÑÑвП.
акаЎ. пÑПÑ. Ðлег ÐПÑев
Bulgarian Text of Mural Ideas of "Human and Scholarship" Mural
Ðа Ñе МапÑавО ÑÑÐµÐœÐŸÐ¿ÐžÑ Ð¿ÐŸÑвеÑеМ Ма МаÑкОÑе/ÑÑебМОÑе ЎОÑÑОплОМО, кПОÑП Ñе ОзÑÑÐ°Ð²Ð°Ñ Ð² ÑгÑаЎаÑа SWRTS е ÑлПжМа О ПÑгПвПÑМа ÑабПÑа. ТÑÑЎМП е Ўа Ñе МаЌеÑО ПбÑа ОЎеÑ, кПÑÑП Ўа ÑвÑÑже ÑÑÑ
МПÑП ЌМПгППбÑазОе, Ўа гП ПÑгаМОзОÑа О ПÑЌОÑлО.
ТакÑв ÐŸÐ±Ñ ÐŸÐ±Ñаз ПбаÑе ОЌа О ÑПва е ПбÑазÑÑ ÐœÐ° ÑПвека, кПйÑП е еЎМПвÑеЌеММП ÑвПÑеÑÑÑ Ðž кПМÑÑЌаÑПÑÑÑ, Ñ.е. – ÑеМÑÑÑÑÑ-геМеÑаÑÐŸÑ Ðž пеÑОÑеÑОÑÑа-абÑПÑбеÑ, пÑОÑОМаÑа О ÑлеЎÑÑвОеÑП за вÑОÑкО ÑПвеÑкО ЎейМПÑÑО, ПÑЌОÑлÑÑО ÑÑÑеÑÑвÑваМОеÑП Ма МаÑеÑП ÑПвеÑкП зеЌМП ПбÑеÑÑвП.
ХПÑа Ñа ÑОÑÑваМО ЌМПгП О ÑП ПÑе ÐŸÑ Ð·ÐŸÑаÑа Ма пПÑваÑа МО. ÐПе е ÑПва, кПеÑП Ўа пÑевÑÑМе еЎМа кПМкÑеÑМа ÑПвека ÑОгÑÑа, в ÑОЌвПл Ма ÑÑлПÑП ÑПвеÑеÑÑвП, ÑПва кПеÑП е Май-Ñ
аÑакÑеÑМП за МегП? ÐÐŸÑ Ðµ ÑПÑÐŒÑлаÑа Ма „ÑПвеÑкПÑП”, Ñака Ўа Ñе каже?
ТПва Ñа МегПвОÑе Ўве ПÑМПвМО ÑÑМкÑОО – Ўа ЌОÑлО О Ўа ÑÑзЎава.
Така ÑÑОгМаÑ
ЎП „ÑПÑÐŒÑлаÑа”: ÐОÑлО + СÑзЎава = ЧПвек (Ð + С = Ч)
ÐлО казаМП Ма лаÑОМÑкО: “Cogito ergo genero ergo sum” (ЌОÑлÑ, заÑПва ÑÑзЎаваЌ, заÑПва ÑÑÑеÑÑвÑваЌ)
ÐПÑÑк ЎПбÑе.
Ðак ПбаÑе Ўа ОзПбÑазОЌ ÑазО ”ÑПÑÐŒÑла”?
Ðз ÑÑÑгМаÑ
ПÑзаЎ МапÑеЎ – ÐŸÑ ÐžÐŽÐµÑÑа, пПÑлаМОеÑП.
ÐÑÑвПÑП МеÑП, кПеÑП ЌО Ñ
ÑÑЌМа бе Ўа пПÑÑÐ°Ð²Ñ Ð² ÑеМÑÑÑа Ма ÑÑеМПпОÑа ÑÑÑЎеМÑа – Ñега ÑлÑÑаÑел, а пПÑле бÑÐŽÐµÑ ÑÑеМ, ОзÑлеЎПваÑел, ÑÑзЎаÑел, ÑвПÑеÑ.
ÐЎеалМОÑÑ ÐŸÐ±Ñаз-ÑОЌвПл за ÑазО ÐžÐŽÐµÑ Ðµ ОзвеÑÑМаÑа ÑÑаÑÑÑ ÐœÐ° ÐОÑаÑÑÑ Ðай в ÐÑвÑÑа. ÐП МегПваÑа ÐŽÑевМа, заÑÑОМала в безкÑайМП пПкПÑÑÑвП, ПÑакваМе О пПÑлÑÑаМОе ÑОгÑÑа МОкак Ме Ñе ÑвÑÑза Ñ ÐŒÐŸÑÑа пÑеЎÑÑава за ЎМеÑÐœÐžÑ ÑПвек-ÑÑзЎаÑел.
ÐÑÑга ÑеÑÐžÑ ÐŸÑ ÐŸÐ±ÑазО, кПОÑП ЌО Ñ
ÑÑЌМаÑ
а бÑÑ
а ЌМПгПбÑПйМОÑе ÑÑаÑÑО О ÑÑеМПпОÑО пПÑвеÑеМО Ма ÐÑЎа О ÐÑЎОÑаÑвОÑе. ХаÑеÑва ЌО ÑÑÑ
МаÑа ОзклÑÑОÑелМа вглÑбеМПÑÑ Ðž кПМÑеМÑÑаÑÐžÑ Ð² ÑÑÑеЌежа Ўа Ñе пПÑÑОгМе еЎОМеМОе Ñ ÑÑлПÑП ЌМПгППбÑазОе, Ñ Ð²ÑОÑкП вÑв ÐÑелеМаÑа, Ñ.е. – ÑÑÑÑПÑМОеÑП „ЌПкÑа”. ÐП О ÑПзО ОМаÑе ÑÑЎеÑеМ ПбÑаз Ме ПÑгПваÑÑÑе Ма ÑÑеÑаМеÑП ЌО за ÑÑвÑÐµÐŒÐµÐœÐœÐžÑ Ð°ÐºÑОвеМ ÑПвек-ÑвПÑеÑ.
Ðа Ўа пÑПЎÑлжа ÑÑÑбваÑе Ўа Ñе вÑÑМа О запПÑМа ÐŸÑ ÐœÐ°ÑалПÑП. Ð ÑПва вОМагО е ÑПÑЌалМПÑП, кПЌпПзОÑОПММПÑП ÑеÑеМОе.
СеÑОÑ
Ñе за вÑеОзвеÑÑÐœÐžÑ ÐОÑÑÑвОаМÑкО ÑПвек Ма ÐеПМаÑЎП О как ÑПй ÑÑзЎава Ñ ÐœÐµÐ³ÐŸ, Ма базаÑа Ма ÐОÑÑÑвОй, ÑПÑÐŒÑлаÑа за ÑазлОкаÑа ÐŒÐµÐ¶ÐŽÑ ÑÑаÑОÑÐœÐžÑ Ðž ÑазЎвОжеМ ÑПвек, впОÑвайкО гП в кваЎÑÐ°Ñ (= „ÑÑаÑОка”) О в кÑÑг (= „ЎвОжеМОе”).
ÐÑÑÑк ЎПйЎе О ÑеÑаваÑаÑа ЌО ÐžÐŽÐµÑ – Ўа ÑÑзЎаЌ геПЌеÑÑОÑМа ÑПÑÐŒÑла Ма ЌОÑлеÑÐžÑ Ðž ÑÑÐ·ÐŽÐ°Ð²Ð°Ñ ÑПвек.
РавМПÑÑÑаММОÑÑ ÑÑОÑгÑлМОк е геПЌеÑÑОÑМОÑÑ ÐµÐºÐ²ÐžÐ²Ð°Ð»ÐµÐœÑ ÐœÐ° ÑазÑÑпваМеÑП, пÑПбОвÑÑ ÐœÐ° ЎаЎеМПÑÑОÑе, заÑПÑП вÑÑÑМПÑÑ Ðµ ÑОлМП ÑÑОлОзОÑаМ ÑÑ
еЌаÑОÑеМ ПбÑаз Ма вÑÑÑ
Ма ÑÑÑела, ОлО Ма ÑÑÑелка, Ñ.е. – ÑОЌвПл Ма ЌОÑÑлÑа, МабелÑзваÑа пПÑÑОгаМеÑП Ма ЎаЎеМа Ñел.
ÐваЎÑаÑÑÑ (кÑбÑÑ) е еЌаМаÑОÑÑа Ма ÑÑзОЎаМОеÑП, Ма ÑÑайМПÑП МаÑалП, Ма „пÑÑÐ²ÐžÑ ÐºÐ°ÐŒÑк” в ÑÑгÑажЎаМеÑП, ÑÑÑПежа, МапÑÐžÐŒÐµÑ – Ма Ñ
ÑаЌПве, ÑÑÑквО О вÑПбÑе Ма ÑгÑаЎОÑе, МаÑОÑаМ МеÑлÑÑайМП „ПÑМПвеМ”, „ÑÑМЎаЌеМÑалеМ”. ÐÑеЎÑÑавеÑе ÑО ÐŸÑ ÐºÐ°ÐºÐ²ÐŸ Ñа пПÑÑÑПеМО егОпеÑÑкОÑе пОÑаЌОЎО, ÑОЌвПл Ма ÑÑайМПÑÑÑа О веÑМПÑÑÑа.
Те ÑазбОÑа Ñе, Ñа впОÑаМО в кÑÑг, кПйÑП заÑваÑÑ ÑвеÑа Ма ÑÑÑвПÑеМПÑП ÐŸÑ ÑПвекÑÑ, ÑПва кПеÑП гП ПÑÐŽÐµÐ»Ñ ÐŸÑ ÐŸÑÑÐ°ÐœÐ°Ð»ÐžÑ ÐŒÐ°ÑеÑОалеМ пÑОÑПЎеМ ÑвÑÑ Ðž ЎаЎеМПÑÑ. ÐÑÑгÑÑ Ðµ ÑОЌвПл Ма ÑелПÑÑÑа Ма ÑПвеÑкПÑП бОÑОе, кПеÑП Ме е МОÑП пПвеÑе ÐŸÑ ÐµÐŽÐœÐŸ "ЌОÑлеМе (ОзЌОÑлÑМе), Ñ.е. МабелÑзваМе, пПÑÑавÑМе Ма Ñел – ÑÑзОЎаМОе , Ñ.е. ПÑÑÑеÑÑвÑваМеÑП, ÑеалОзОÑаМеÑП Ма ÑазО Ñел".
ÐаЌОÑаМеÑП Ма пПзОÑе Ма „ÑПвекÑÑ-ЌОÑлОÑел” О “„ÑПвекÑÑ-ÑÑзЎаЎел” впОÑаМО в геПЌеÑÑОÑМОÑе ÑОгÑÑО Ме пÑеЎÑÑавлÑваÑе МОкаква ÑÑÑЎМПÑÑ. ÐÑОÑкП Ñе ÑвежЎаÑе ЎП ПÑМПÑеМОеÑП: ÑПвеÑкО ÑÑÑе – глава О каквП е взаОЌМПÑП ОЌ ÑазпПлПжеМОе в еЎМПÑП О ÐŽÑÑгПÑП ÑÑÑÑПÑМОе. ÐЌа ÑазбОÑа Ñе, лекП ЎвОжеМОе О в кÑакаÑа.
ÐП-ОМÑеÑеÑМа е ÑеЌаÑа – заÑП вÑе пак ÑОгÑÑаÑа е жеМÑка?
ÐÑÐœÑМаÑа ÐžÐŽÐµÑ Ðµ ОзвеÑÑМП ÑеабОлОÑОÑаМе Ма жеМаÑа за пПлПжеМОеÑП й пÑез векПвеÑе О Ñ
ОлÑЎПлеÑОÑÑа, О пПÑÑавÑМеÑП й Ма „пОеЎеÑÑала” Ма ÑПвекÑÑ-ЌОÑлОÑел О ÑвПÑеÑ, МеÑП, кПеÑП Ме е пÑавеМП ЎПÑега (пПМе в ÑеÑОÑПÑОÑÑа Ма ÑÑеМПпОÑÑа).
ÐП-ÐŽÑлбПкаÑа ЌО ÐžÐŽÐµÑ Ðµ Ўа ОзÑÐ°Ð·Ñ Ð¿ÐŸ ÑПзО МаÑОМ, Ñе в ЌОÑлеМеÑП О ÑÑзЎаваМеÑП ÐœÑЌа ÑаЌП ÑÐŒ О ÑазÑÐŒ, МП О ÑÑвÑÑвП, ÐŽÑлбПка О ЌПÑМа еЌПÑÐžÑ – еЌПÑОÑÑа Ма ÑÑÑвПÑÑваМеÑП, Ма ÑвПÑеМеÑП, Ма пÑавеМеÑП Ма МеÑП – ÐŸÑ ÐœÐžÑПÑП. ÐеМаÑа е ÑОЌвПлÑÑ ÐœÐ° ÑазО МевеÑПÑÑМа ÑпПÑПбМПÑÑ – Ñ ÐœÐµÐ¹ÐœÐ°Ñа безкÑайМа лÑбПв, ÑÑÑпеМОе О ÑÑÑÐŽ Ўа ÑÑзЎава ÐŸÑ ÑПбÑÑвеМПÑП ÑО ÑÑлП Ме ÑаЌП ЌаÑеÑОалМО пÑлМПÑеММО ÑПвеÑкО ÑÑÑеÑÑва, МП О лОÑМПÑÑО, ÑÑеÑаÑО, ÑеагОÑаÑО О пÑОÑежаваÑО ÑпПÑПбМПÑÑÑа Ўа ПÑÑÐ·ÐœÐ°Ð²Ð°Ñ Ðž ÑÑзЎаваÑ.
ÐеПЌеÑÑОÑМОÑе ÑОгÑÑО Ñе пÑеÑОÑÐ°Ñ Ðž ÐŸÑ ÑПва Ñе пПлÑÑÐ°Ð²Ð°Ñ ÐŒÐœÐŸÐ³ÐŸÐ±ÑПйМО ÑегЌеМÑО, кПОÑП ПбгÑÐ°Ð¶ÐŽÐ°Ñ ÐºÐ°ÑП ÑПМ ÑПвекÑÑ ÐŒÐžÑлОÑел-ÑÑзЎаÑел О кПОÑП Ñе бÑÐŽÐ°Ñ ÐžÐ·Ð¿ÑлМеМО Ñ ÐžÐ·ÐŸÐ±ÑажеМОÑÑа, ÑОЌвПлОзОÑаÑО ÑÑÐŽÑÑжаМОеÑП Ма вÑОÑкО ÑÑ. ЎОÑÑОплОМО/МаÑкО ОзÑÑаваМО в ÑгÑаЎаÑа О кПОÑП вОе, ÑÑÑЎеМÑОÑе Ñе ОзМаЌеÑОÑе – ÑПва Ñе бÑЎе ваÑОÑÑ Ð¿ÑÐžÐœÐŸÑ Ð·Ð° ÑПзО кПлекÑОвеМ пÑПекÑ.
ÐÑОÑкП ЎПÑÑк беÑе пÑÐŸÐµÐºÑ „ÐÑПгÑаЌа ЌОМОЌÑÐŒ” – кПМÑепÑÐžÑ Ð·Ð° клаÑОÑеÑкО, заÑÑОМал, еЎМПлОÑПв ÑÑеМПпОÑ.
ÐП ОЌа О пÑÐŸÐµÐºÑ „ÐÑПгÑаЌа ЌакÑОЌÑÐŒ”.
СÑава ÐŽÑЌа за ÑÑзЎаваМеÑП Ма ÑÑеММа ОМÑÑалаÑÐžÑ ÐŸÑ 16 кваЎÑаÑМО ЌПЎÑла (кПлкПÑП ÑПвека ÑÑе в ÑПзО кÑÑÑ + ЌеМ) Ма пÑОМÑОпа Ма „пÑзела”, Ñ ÑазО ÑазлОка, Ñе вÑекО еЎОМ ÐŸÑ ÑÑÑ
ПÑвеМ, Ñе Ñе ЌПже Ўа ÑÐŒÐµÐœÑ ÐŒÐµÑÑПÑП ÑО О Ўа Ñе вÑÑÑО ПкПлП Ñебе, МП Ñе ОЌа „лОÑе” О „гÑÑб”, какÑП е пÑО ЌПМеÑОÑе/ЌеЎалОÑе О Ñе ЌПже Ўа Ñе ПбÑÑÑа, Ñе е ЎвÑÑÑÑаММП акÑОвеМ вОзÑалМП.
Така заЎаÑаÑа Ñе ÑЎвПÑва О ÑÑава МеÑÑавМОЌП пП-ОМÑеÑеÑМа.
Ðа заЎМаÑа ÑÑÑаМа Ñе ОЌа ÑÑÑаÑа геПЌеÑÑОÑМа кПЌпПзОÑОПММа ÑÑÑÑкÑÑÑа, МП Ñ ÐŒÑжка ÑОгÑÑа О ПбÑаÑМП Ма лОÑеÑП ÑвеÑПвП ÑеÑеМОе.
ЊÑлаÑа кПЌпПзОÑÐžÑ ÐŒÐŸÐ¶Ðµ Ўа ÑÑПО Ñака какÑП е ÑÑзЎаЎеМа – каÑП Ñе ÑЌеМÑÑ ÑаЌП лОÑаÑа й, МП бО ЌПгла Ўа Ñе ÑазпаЎа О ÑÑÑ ÑегЌеМОÑе-ЌПЎÑлО Ўа Ñе ОзгÑÐ°Ð¶ÐŽÐ°Ñ ÐœÐŸÐ²Ðž кПЌпПзОÑОО Ñ ÐžÐ·ÐºÐ»ÑÑОÑелМП ЌМПгП МПвО вОзÑалМО ÑеÑеМОÑ.
Ð ÑПзО Ð°ÐºÑ ÐœÐ° ÑÑÑвПÑÑеÑÑвП-ОгÑа ÐŒÐŸÐ³Ð°Ñ ÐŽÐ° Ñе вклÑÑÐ°Ñ Ð²ÑОÑкО – ÑÑÑЎеМÑО, пÑепПЎаваÑелО О гПÑÑО Ма УМОвеÑÑОÑеÑа.
ÐлавМа Ñ
аÑакÑеÑОÑÑОка Ма МаÑеÑП ЎОМаЌОÑМП вÑеЌе е пÑПЌÑМаÑа, ÑазМППбÑазОеÑП, ÑÑÑÑаÑÑОеÑП Ма вÑекО еЎОМ в пÑеЎОзвОкаÑелÑÑваÑа Ма О ОзклÑÑОÑелМПÑП ÑЎПвПлÑÑвОе ÐŸÑ ÑвПÑÑеÑÐºÐžÑ Ð°ÐºÑ. ÐаÑПÑП ÑПвек ПÑвеМ вÑОÑкП ÐŽÑÑгП е О “homo ludens” (ÑПвек ОгÑаеÑ).
ÐкаЎ. пÑПÑ. Ðлег ÐПÑев
Color Schemes of "Human and Scholarship" Mural
The development of the color scheme for a mural to be produced in the SWARTS building (University of Pittsburgh at Bradford) requires that it should have all the characteristics typical of mural paining in public architectural spaces. The building is not only the home of the university administration, but also the location of the halls where numerous disciplines (19) are studied.
This fact itself suggested the color scheme formula, as was the case with the main idea of the mural design, presented last time.
Just as its composition consists of the three main geometrical shapes – carriers of the message –triangle, square and circle, the color scheme too should be equally fundamental.
A basic principle in the field of color theory, the only one of the same scope and significance, is the topic of the two types of color mixing – additive color mixing and subtractive color mixing.
I chose subtractive color mixing, not accidentally considered as the “element/territory/cosmos/universe of artists.”
Similarly to how the mixing of the three primary colors results in the endless diversity of spectrum colors and all other colors in nature visible to the human eye, the “mixing” (interaction) of thinking and creation results in the diversity of the human world created by art, science and technology, existing parallel to the world of nature and even attempting to surpass it.
The content of the social sciences and the humanities studied in SWARTS reflects the variety of people’s creation as if through the prism of a kaleidoscope, building layer upon layer during the process of learning in the form of numerous pieces of knowledge.
A basic characteristic of this type of color mixing is that colors are perceived as transparent filters layered one upon the other. On top comes the triangle (a symbol of thinking, which precedes the rest), followed by the square (the creation, the making), and the circle at the back (everything created).
I developed two versions of subtractive optical mixing, where the triangle and square swap colors – magenta and cyan blue, respectively, in which case the derivative (supplementary) colors are different as the result of placing them upon the lemon yellow circle.
The reason for this swap is based on the meanings of colors according to color symbolism, on the one hand, where thinking belongs with ethereal colors – light blue, and the activity of creation – with the warm, red color groups. Exactly the opposite takes place, if we adopt the color symbolism of gorintÅ, for example – the Japanese pagoda philosophy, expressing the five elements through the five basic geometrical forms, according to which the triangle is a symbol of fire, therefore colored in red.
The idea about how to place the human figures on top of these geometrical color “filters” is slightly different. I attempted several versions in which the two figures belong only to the color of the triangle, suggesting in this way that the making/creation is part of thinking.
The second series of options envisages for every figure to have the color of the geometric form to which it is assigned, thus suggesting that the making/creation and thinking, although related, are at the same time very different human activities.
The third series of color options is based on the same optical concept, but this time placed onto a white circle.
The last options represent pure color play – changing the color of the circle inside the background, according to the sequence of colors in the color wheel, moving clockwise, and the respective total change in all the other components in the two color formulas (with blue and red figures), based on the principles of complementary contrast. This kind of play aims to demonstrate just a small fraction of the infinite color possibilities of mural art.
Ideas for the "Human and Scholarship" Mural
This mural will showcase the diverse academic programs hosted in this unique academic building. To create a mural dedicated to the humanities and social sciences/the disciplines studied in the SWARTS building is a complex and responsible task. It is difficult to find an overall idea to connect their diversity, organize it and give meaning to it.
There is, however, such a collective image – that of man, who is at the same time the creator and consumer, i.e. the generating center and the absorbing periphery, the cause and effect of all human activities, which give significance to the existence of our human society on Earth.The following images are some of the initial ideas related to content, composition and color studies of this ongoing mural project.
Or saying in Latin: “Cogito ergo genero ergo sum” (I think, therefore I create, therefore I am).
I decide to approach this backwards - from the idea, the message.
The first idea that occurred to me was to place the student at the center of the mural – now a learner, but later a future scientist, researcher, creator or artist.
I remembered the famous Vitruvian Man by Leonardo and how he created, based on Vitruvius, the formula of the difference between the static and moving body, inscribing it into a square (= static position) and then into a circle (= movement).
So far, this has been the presentation of the Mini- Mural Project – a conceptual scheme for a classical, static, and single-faced mural.
The main characteristic of our dynamic time includes change, diversity, and the participation of everyone in the challenges and exceptional pleasure of the act of creation. Man is, in addition to everything else, a “homo ludens” (playing man).
Human beings have been the object of drawing since the dawn of mankind – what is it that can turn a concrete human figure into a symbol of humanity, the essence of being human? Or to put it in other words, what is the formula of “the human”?
It consists of man’s two major functions – to think and to create.
Thus I arrived at the “formula”: Thinks + Creates = Human (Being) (T + C = H)
I decide to approach this backwards - from the idea, the message.
The first idea that occurred to me was to place the student at the center of the mural – now a learner, but later a future scientist, researcher, creator or artist.
The ideal image and symbol of this idea is the famous statue of Kai, the Seated Scribe, in the Louvre. His ancient figure, frozen in a posture of eternal submissiveness, expectation and obedience, does not at all relate to my idea of the human being as creator today.
Another series of images, which occurred to me were the numerous statues and murals depicting Buddha and the Bodhisattvas. I like their extreme immersion into and concentration on their pursuit of oneness with the whole diversity of the Universe – the so-called state of “moksha”. However, this otherwise wonderful image too does not correspond to my perception of the contemporary active human being and creator.
I had to go back to the beginning in order to be able to go forward. And this always is the formal, compositional decision.
This was the source of my key idea – to create a geometric formula of the thinking and creating human being.
The equilateral triangle is the geometric equivalent of the break-through, undoing (literally “piercing through”) the status quo, because it is in fact a heavily stylized schematic image of the point of an arrow or a pointer, i.e. – the symbol of thought which aims at the achievement of a certain goal.
The square (the cube) is the emanation of creation, the origin, and the foundation stone laid first in the construction of, for example, temples, churches, and buildings in general, not accidentally referred to as “basic” and “fundamental.” Imagine the building blocks of the Egyptian pyramids, symbols of endurance and eternity.
They, of course, are inscribed into a circle, which seals off the world of man’s creation from the rest of the material world of nature and the environment. The circle is a symbol of the oneness of human existence which is nothing but “thinking (inventing), i.e. the setting, the choice, of a goal – to create, i.e. the achievement, the realization of that goal.”
Deciding on the postures of the man thinker and the man creator, inscribed into the geometric figures was not difficult at all. Everything came down to the interrelation: human hands versus head and their relative position in either one or the other state. There is, of course, a slight transformation in the legs.
But why a female figure you would ask?
On the surface, the idea seeks to achieve a certain rehabilitation of the woman in order to compensate for her status over the millennia, and to place her on the pedestal of the human being as thinker and creator, something unprecedented (at least in the field of mural painting).
In depth, however, the idea of this approach is to express how thinking and creation involve not only the mind, but feelings, a powerful emotion that runs deep, the emotion of the making, the creation, the generation of something out of nothing. Woman is the symbol of this incredible capacity – with her infinite love, patience and hard work she creates out of her own body not only physically self-sufficient human beings, but also personalities who feel, react and possess the ability to perceive and create.
The geometric figures intersect, the result of which will be numerous segments surrounding the man thinker and creator like a background, and which will contain the images symbolizing the content of all the disciplines/subjects studied in the building, and which you, the students, are going to seek out – this will be your contribution to this collective project.
However, there is a Maxi- Mural Project (a standard and innovative version of the project, respectively).
I am talking about the creation of a mural installation consisting of 16 square modules (the number of people in our group, including myself) based on the “puzzle” principle, the difference being that each of them will be mobile and spinning around its axis, but will also have an obverse and reverse side as with coins, and will be reversible, i.e. it will be visually active on both sides.
Thus the task is doubled but also incomparably more interesting.
The same geometric compositional structure will also be at the back, but with a male figure and the reverse color scheme for the face.
The entire composition may be kept as it is initially created – by swapping the “faces” only, but the modules could also be disassembled and reassembled into new compositions with a great number of new visual decisions.
Everyone can join in this act of co-authorship and play – students, faculty and guests of the University.
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