МЕТАМОРФОЗЫ БУМАЖНОЙ КЛЕТКИ. КЛАССИЧЕСКОЕ ЯПОНСКОЕ ИСКУССТВО ОРИГАМИ
METAMORFOZY` BUMAZhNOJ KLETKI. KLASSIChESKOE YaPONSKOE ISKUSSTVO ORIGAMI
Аннотация
The many-sided character of origami can be understood allegorically and literally. On the one hand, origami is by far wider than the usual definition of the "art of folding up paper". Not only the "art", but also a technique, a play, the aesthetics. Not always "folding up", but also cutting, bending, joining. Not necessarily using paper; kinetic structures, frames, other elastic and even solid materials are folded. On the other hand, the main virtue of origami is exactly its many-sided character. In other worlds in order to build a figure it is possible and necessary to step over the simple visibility and to go to imaginary space, which actually proves to be the reality of a higher level. Over there, in the world of "pure ideas" the impossible is possible, and the unrealizable exists. Bringing out the "imperishable treasures" from there the inventor and the artist find and "appropriate" what has not the authorship in the usual sense of this word. Not thought out, but borrowed perfection becomes the highest value and serves as a model for imitation and lofty inspiration. The origami figure composed of a single surface is a formula of great simplicity, a particle of the highest "world of ideas".
Abstract
The many-sided character of origami can be understood allegorically and literally. On the one hand, origami is by far wider than the usual definition of the "art of folding up paper". Not only the "art", but also a technique, a play, the aesthetics. Not always "folding up", but also cutting, bending, joining. Not necessarily using paper; kinetic structures, frames, other elastic and even solid materials are folded. On the other hand, the main virtue of origami is exactly its many-sided character. In other worlds in order to build a figure it is possible and necessary to step over the simple visibility and to go to imaginary space, which actually proves to be the reality of a higher level. Over there, in the world of "pure ideas" the impossible is possible, and the unrealizable exists. Bringing out the "imperishable treasures" from there the inventor and the artist find and "appropriate" what has not the authorship in the usual sense of this word. Not thought out, but borrowed perfection becomes the highest value and serves as a model for imitation and lofty inspiration. The origami figure composed of a single surface is a formula of great simplicity, a particle of the highest "world of ideas".
Как цитировать
Свиридов Р. В. МЕТАМОРФОЗЫ БУМАЖНОЙ КЛЕТКИ. КЛАССИЧЕСКОЕ ЯПОНСКОЕ ИСКУССТВО ОРИГАМИ // Восток (Oriens). 2009. № 4. С. 121–131.
How to cite
Roman Sviridov METAMORFOZY` BUMAZhNOJ KLETKI. KLASSIChESKOE YaPONSKOE ISKUSSTVO ORIGAMI // Vostok (Oriens). 2009. No. 4. Pp. 121–131.