A Quote by Vikram Seth
In a painting, you can't make out whether the artist painted the left eye before the right eye. In Chinese calligraphy, you can see the progression of the artist's stroke.
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Should I tell you one thing, I am blind from my right eye. I see only from my left eye. The one you see is someone else's eye which was donated to me after his death. If I close my left eye, I can see no one.
The true essence of Chinese culture is sophistication, refinement, the spirit of poetry. The spirit of ink painting and calligraphy lives on forever. Calligraphy is more important than painting. Chinese always consider nature. Man is a very small part of nature. That's why in Chinese painting you see huge mountains and man very small, very humble before nature. You must be harmonious and one with nature. You don't fight it. And then there's a bit of a poetry. Of course, it's very complicated, but also very simple.
The artist does not see both eyes alike. There is always 'the eye' and the other eye... It adds life and plasticity to the drawing if the eye in the light is darker than the one in the shadow. It gives the head vividness.
To be able to observe with a stranger's eye helps one to see with an artist's eye. What alienates us inspires.
The painting is always conceived as the linear record of a rhythmic gesture: it is a graph of a dance executed by the hand. Not only the artist's eye and hand perform this dance, so does the eye of the beholder.
Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness,to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms.
That cactus went right through my eye. It left my eye flat. They took me to a doctor, and he said, 'We'll have to take the eye out.' ...I fought like a tiger. I said, 'No! Leave the eye alone. I am sure it will grow back.' The doctor said, 'You're too young to know.' ...But in a year's time that fluid came back, and that eye is just as good as the other one today.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
I faced odds when glaucoma took the bat out of my hands. But I didn't give in or feel sorry for myself. I've said it before, and I'll say it again: 'It may be cloudy in my right eye, but the sun is shining very brightly in my left eye.'
The contemporary artist...is not bound to a fully conceived, previsioned end. His mind is kept alert to in-process discovery and a working rapport is established between the artist and his creation. While it may be true, as Nathan Lyons stated, 'The eye and the camera see more than the mind knows,' is it not also conceivable that the mind knows more than the eye and the camera can see?
Serving people we don't see eye to eye with is the essence of Christianity. Jesus died for a world with which he didn't see eye to eye. If a bakery doesn't want to sell its products to a gay couple, it's their business. Literally. But leave Jesus out of it.
I had a tumor in my left eye which killed the optic nerve, but it's my real eye. I just cannot see out of it.
I am an artist, and, through my eye, must confess to a tremendous bias. In my purely literary voyages my eye is always my compass.
The artist's mission is to make the soul perceptible. Our scientific, materialist culture trains us to develop the eyes of outer perception. Visionary art encourages the development of our inner sight. To find the visionary realm, we use the intuitive inner eye: The eye of contemplation; the eye of the soul. All the inspiring ideas we have as artists originate here.
Painting is a matter of finding the right balance between consoling and reassuring the eye and challenging and disturbing the eye.
To an art historian a Giotto is a 14th Century painting. To an artist it was painted yesterday. We free ourselves from the past when we see it freshly.
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