A Quote by Kenneth Clark
The history of art cannot be properly understood without some reference to the history of science. In both we are studying the symbols by which man affirms his mental scheme, and these symbols, be they pictorial or mathematical, a fable or formula, will reflect the same changes.
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I end with a word on the new symbols which I have employed. Most writers on logic strongly object to all symbols. ... I should advise the reader not to make up his mind on this point until he has well weighed two facts which nobody disputes, both separately and in connexion. First, logic is the only science which has made no progress since the revival of letters; secondly, logic is the only science which has produced no growth of symbols.
One main reason why the separate nature of the science of operations has been little felt, and in general little dwelt on, is the shifting meaning of many of the symbols used in mathematical notation. First, the symbols of operation are frequently also the symbols of the results of operations.
Symbols are specific acts or figures, while myths develop and elaborate these symbols into a story which contains characters and several episodes. The myth is thus more inclusive. But both symbol and myth have the same function psychologically; they are man's way of expressing the quintessence of his experience - his way of seeing his life, his self-image and his relations to the world of his fellow men and of nature - in a total figure which at the same moment carries the vital meaning of this experience.
Philosophy [nature] is written in that great book which ever is before our eyes -- I mean the universe -- but we cannot understand it if we do not first learn the language and grasp the symbols in which it is written. The book is written in mathematical language, and the symbols are triangles, circles and other geometrical figures, without whose help it is impossible to comprehend a single word of it; without which one wanders in vain through a dark labyrinth.
In fact a man in love or one consumed with hatred creates symbols for himself, as a superstitious man does, from a passion of conferring uniqueness on things or persons. A man who knows nothing of symbols is one of Dante's sluggards. This is why art mirrors itself in primitive rites or strong passions, seeking for symbols, revolving round the primitive taste for savagery, for what is irrational (blood and sex).
I declare and I challenge all mankind to contradict my declaration, that no man can give any account of the order of Freemasonry, of its origin, of its history, of its object, nor any explanation of its mysteries and symbols, which does not leave the mind in total uncertainty on all these points. Every man is entitled therefore, to give any explanation of the symbols and a system of the doctrine that he can render palatable.
When religion becomes artificial, art has a duty to rescue it. Art can show that the symbols which religions would have us believe literally true are actually figurative. Art can idealize those symbols, and so reveal the profound truths they contain.
Think about it: you've already related it down to something that somebody else can understand. If art relates to something - it's like Picasso, it's like Mondrian - it's not. Art's supposed to be what it is. Using a reference of art history might help for some kind of sales, but it doesn't really help anybody. Art is what it is; it cannot be footnoted, until it enters the world. Then it has a history. Then the footnotes are the history, not the explanation.
Art is about forgetting all these feelings, good and bad, and trying to understand what acts will last longer, which symbols will remain in history. It's a question of perspective: The further you get from the past, the more concrete and plausible it seems.
Art is, like magic, the science of manipulating symbols, words or images to achieve changes in consciousness
Every science that has thriven has thriven upon its own symbols: logic, the only science which is admitted to have made no improvements in century after century, is the only one which has grown no symbols.
History without the history of science, to alter slightly an apothegm of Lord Bacon, resembles a statue of Polyphemus without his eye-that very feature being left out which most marks the spirit and life of the person. My own thesis is complementary: science taught ... without a sense of history is robbed of those very qualities that make it worth teaching to the student of the humanities and the social sciences.
In enabling mechanism to combine together general symbols in successions of unlimited variety and extent, a uniting link is established between the operations of matter and the abstract mental processes of the most abstract branch of mathematical science.
That’s what the human brain is there for—to turn the chaos of given experience into a set of manageable symbols. Sometimes the symbols correspond fairly closely to some of the aspects of the external reality behind our experience; then you have science and common sense. Sometimes, on the contrary, the symbols have almost no connection with external reality; then you have paranoia and delirium. More often there’s a mixture, part realistic and part fantastic; that’s religion.
We can hardly imagine a state of mind in which all material objects were regarded as symbols of spirtual truths or episodes in sacred history. Yet, unless we make this effort of imagination, Medieval art is largely incomprehensible.
I love art, and I love history, but it is living art and living history that I love. It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigor of the earlier world?
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