By Holly Pittman
Исследования искусства бронзового века по материалам коллекции музея Метрополитен.
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Additional resources for Art of the Bronze Age. Southeastern Iran, Western Central Asia and the Indus Valley
The true artistic secret of the master: he eradicates the material reference through the form . . ”7 In the course of this investigation, the word “sobriety” [Niiicbtern/aeit] was deliberately avoided, a word that might often have served for purposes of characterization. Only now shall H6lderlin’s phrase “sacredly sober” be uttered, now that its understanding has been determinedf‘ Others have noted that these words exhibit the tendency of his later creations. They arise from the inner certainty with which those works stand in his own intellectual life, in which sobriety now is allowed, is called for, because this life is in itself sacred, standing beyond all exaltation in the sublime.
The tone and accuracy of this statement balance each other perfectly. And if a university organized in this way is hostile toward academic study, even though such study can pretend to have claims to “relevance” to the immediate concerns of the state, how much more sterile will its approach to the arts and Muses be? By directing students toward the‘ professions, it must necessarily fail to understand direct creativity as a form of communal activity. In reality, the uncomprehending hostility of the academy toward the life that art requires can be interpreted as a rejection of every form of direct creativity that is unconnected with bureaucratic of ce.
The spatial extension of the living determines itself in the temporally inward intervention of the poet; this is how the word gesc/aiclat [sent, skillful] was explained, in the same isolation in which the people has turned into a series of functions of destiny. “We too are good and sent to someone to some end”—if the god has become an object in his dead in nity, the poet seizes hold of him. The order of people and god as dissolved in unities here becomes unity within the poetic destiny. The multifarious identity, in which people and god as the conditions of sensory existence are sublated, is manifest.
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