A Quote by Leonardo da Vinci
The mind of the painter must resemble a mirror, which always takes the colour of the object it reflects and is completely occupied by the images of as many objects as are in front of it.
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Objects must cease, mind must become just a pure mirror - a mirroring, not mirroring anything - just a mirror without any object in it, a pure mirror. By dhyan, this purity of the mind is indicated. So first, no object should be in the mind. Mind must remain alone without thinking about anything - with no thought, just a consciousness, just an awareness, just an alertness. This alertness without any object is meditation.
The mind of a painter should be like a mirror which is filled with as many images as there are things placed before him.
We should feel sorrow, but not sink under its oppression; the heart of a wise man should resemble a mirror, which reflects every object without being sullied by any
The painter who strives to represent reality must transcend his own perception. He must ignore or override the very mechanismsin his mInd that create objects out of images(symbols)... The artist, like the eye, must provide true images and the clues of distance to tell his magic lies.
Let Go of Your Worries Let go of your worries and be completely clear-hearted, like the face of a mirror that contains no images. If you want a clear mirror, behold yourself and see the shameless truth, which the mirror reflects. If metal can be polished to a mirror-like finish, what polishing might the mirror of the heart require? Between the mirror and the heart is this single difference: the heart conceals secrets, while the mirror does not.
Many painters had a clear idea of what fractals are. Take a French classic painter named Poussin. Now, he painted beautiful landscapes, completely artificial ones, imaginary landscapes. And how did he choose them? Well, he had the balance of trees, of lawns, of houses in the distance. He had a balance of small objects, big objects, big trees in front and his balance of objects at every scale is what gives to Poussin a special feeling.
Childhood is like a mirror, which reflects in after life the images first presented to it.
The impartiality of history is not that of the mirror, which merely reflects objects, but of the judge, who sees, listens, and decides.
It is my mind, with its store of images, that gives the world colour and sound; and that supremely real and rational certainty which I call "experience" is, in its most simple form, an exceedingly complicated structure of mental images. Thus there is, in a certain sense, nothing that is directly experienced except the mind itself. Everything is mediated through the mind.
The mind generally takes up various objects, runs into all sorts of things. That is the lower state. There is a higher state of the mind, when it takes up one object and excludes all others.
Colour, Figure, Motion, Extension and the like, considered only so many Sensations in the Mind, are perfectly known, there being nothing in them which is not perceived. But if they are looked on as notes or Images, referred to Things or Archetypes existing without the Mind, then are we involved all in Scepticism.
I have never sought the unexpected, the novelty, the extraordinary, but rather what is most typical of our daily life... I go out to find people who resemble me, and the mirror which these images offer them is the same as that in which I see myself.
The camera machine cannot evade the objects which are in front of it. When the photographer selects this movement, the light, the objects, he must be true to them. If he includes in his space a strip of grass, it must be felt as the living differentiated thing it is and so recorded. It must take its proper but no less important place as a shape and a texture in relationship to the mountain tree or what not, which are included.
The question of the composition of perceptible objects is one which already occupied the mind of the ancient Greeks.
For Calvin, the creation reflects its Creator at every point. Image after images flashed in front of our eyes, as Calvin attempts to convey the multiplicity of ways in which the creation witnesses to its Creator: it is like a visible garment, which the invisible God dons in order to make himself known; it is like a book in which the name on the Creator is written as its author; it is like a theater, in which the glory of God is publicly displayed; it is like a mirror, in which the works and wisdom of God are reflected.
In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity.
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