They can destroy the temples, but not the Holy Mountains

(Note: I’m going through my old blog and republishing choice articles here. Eventually the old blog will be deactivated. What follows is my response to the destruction of holy sites by the hands of scum.)

 

I am devastated by the destruction of the Temple of Bel in Palmyra.

I don’t think I’ve yet grasped how much this stuff affects me. After being constantly bombarded through links and shares. I’ve decided I will no longer share or “Like” said articles on facebook. Also I will limit my commenting on it too. My justifications are personal, but on another level it spreads the Daesh agenda and empowers them to know that the world is suffering from their evil.

Something that is easy for me to forgot is that I am a foreigner. I know these ancient cities, have researched for years of the beautiful landscape in relation to Dionysos and other gods. I know these gods through photos and descriptions of artefacts, but not the land.

These deities are intrinsically connected to the landscape and well before temples and architecture was their Holy Mountains. There was wind and rain, sand and life. Even if the Daesh apocalyptic vision is fulfilled these forces will continue without us.

This is a revelation that been told to me before…


A vast hall, with stone walls colouring in an array of reds and blues and yellows and great floral pillars that rose up into the shadowy vaulted roof, all of which seemed intangible, as though it faded away into the dusk of dream when my sight left its presence. A stark contrast to my illuminated guide, She need not utter Her name. There is no subtlety or shyness from my rainbow dressed herald.
She lead me to a great dais that hosted two enthroned beings of inconceivable height, stone faced, statuesque, both adorned with gold horned crowns that held back waving black hair. Their eyes were large, looking upon me with a sort of regality I was unfamiliar with, a feeling that they were much more distant of humanity compared to the Others I knew. Yet, a kindness, like one would expect from their parents. Mother and father, husband and wife.
My guide spoke winged words I could not comprehend and these beings replied likewise with their Names.

Then I knew why I had been brought before Them. The hatred and anger directed to Their own children for the destruction of their sacred spaces drew Their attention.

Those four great eyes just stared at me and without a utterance, I was assured. Those things lost were human things, lovely human things, but still no more meaningful then the desert sands. Visions of water and earth, moon and sun, the wind blowing up storms. Their presence is Cosmos, not human shaped stones.

I was assured and comforted when I awoke. The rage that had kept me awake subsided.

Sleep returned.


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More Icon Commissions

Just updating and sharing recent commissions completed by my partner, Wayne McMillan. All but Antinous maybe be purchased as prayer cards from WyrdCuriosities.

The Antinous commission was really interesting to do. Previous icons Wayne chooses how and what he depicts of the god in the icon. The Antinous, however, was a very specific cultic expression of the god. This required detailed back and forth client / artist communication, sketching, divination and heavy research. A fascinating and complex challenge.

If you are interested in taking a commission details are here. I’m also updating my Aγοράζω including other pieces for sale.

Patreon

 

I’m actually smiling here… 😛

 

I started a Patreon account. Simply put, this is a means for polytheist/pagan fans and supporters of my writing and art to contribute towards it.

I am a self-employed artist who relies on the generosity of the public to survive. I also dedicate a lot of my time to various polytheist/pagan communities including writing and giving my art out for free. While I’m honoured to do this, it does actually cost my time and money.

I’m not just asking for donations though, my Patreon has exclusive content including previews, sketches, art tutorials, in the future it will have devotional related publications.

I’ve also added a new page on this blog for patrons over $20: patrons may request links to blogs or whatnot, if desired.

https://www.patreon.com/DionysianArtist

Shock of the Old and the Mysteries of Decorum

(Note: I’m going through my old blog and republishing choice articles here. Eventually the old blog will be deactivated.)

Cock and Bull – Damien Hirst

I think art theory is a wank, I despise reading and writing about it. Last night however I found myself on a conversation level discussing art theory, I said something like: I suppose we’re now the Post-Shock* generation. It won’t be long until we become so jaded we’ll be Nietzsche’s last man, epitomising nihilism.

I came to this conclusion as I find the shock movement well and truly banal. Although I never gave it much credence in the first place. Apart from that, the population has been exposed to the internet for at least two generations, where in a matter of keystrokes one can witness videos and images of abuse of humans and animals, of any sexual fantasy one can imagine, of seeing sacred mountains and holy places.

Apparently we’ve been exposed to all the mysteries the world has to offer and if we do observe something sacred we respond to it in jaded manner.

The problem with this behaviour is we fail to see the beauty of it. It’s like owning a painting you really like in your living room, you love that painting, but after years and years of seeing it, it simply becomes part of your environment and no amount of contemplation can return you to the of point feeling you had when you first saw it.

Over exposure in general does this to you. For myself I’ve been experiencing a fear that I’ve seen too much art. I no longer experience the flutters of amazement, of awe, when I look at new art.

Then there are greater implications to this problem. We forget that others have not experienced what we’ve experience. We fail to recognise mystery for what it is and freely talk about things without consideration to the effects it may have on others.

You see this is what I hate about art critics and art writers. When I go to a gallery I never read or listen to the guides, because they are stripping the magic away from the art by dictating what it means to you. The value of art should be found by the admirer alone. Two people can look at one painting and see it in a completely different light.

There are so many voices out there talking about stuff, about movies, TV shows, art – giving away spoilers – that when we’re struck with something that should be just between initiated we fail apply proper decorum.

This is an issue we should all be actively conscious of.

*The Shock Art movement was an art movement in the late 1980 throughout to the 2000’s where artists would deliberately create ‘shocking’ art to arouse the public’s emotions and cause controversy.


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Dionysian Apoliticism

(Note: I’m going through my old blog and republishing choice articles here. Eventually the old blog will be deactivated.)

(source)

When I tell people that I am a Dionysian there is often a presupposition that I’m a drunk.

A few years ago I was sitting with a very good friend talking about Dionysos. It was when I was first getting a grasp of this overly complex deity. My friend said something like, “why worship Dionysos? He is a selfish god, there is nothing he offers but drunkenness.”

Granted, my friend has a limited understanding of Dionysos, also he has a strong catholic background which was influencing his criticism. Yet at the time I was wordless. I was incapable of defending Dionysos. I did not have the knowledge or presence to tell my friend otherwise.If my friend asked me that question now the conversation would had gone a lot differently. The reason is I’ve been going on my own journey. If my friend asked me that question in the future, I would have another set of responses.

The only thing I believe in is flux, motion, cause and effect.

What I can say now is that Dionysians have roles, each role is different and even sometimes polar opposite to the other. There is a Dionysian in the Storming of the Bastille, there is a Dionysian of the opulence of Versailles. How can a person acknowledge and respect both all at once? A Dionysian must be of two or more states, they are the radicals chopping off the aristocrats heads and also the decadent nobles living in naivety. If you want to categorise Dionysians as something they are the emulsion of water and wine.

To assigned a Dionysian to a political position is wrong because of this movement of liquids like when the river meets the sea. To be a Dionysian is to be Pentheus and Dionysos at once. For those innocent of myth, imagine the archetypes of a fascist and the anarchist being one. Dionysos may be the ultimate anarchist, but to comprehend him requires the other side.

If I was to argue with my friend today I’d say that Dionysos is not a selfish god, but the host. He is like a barman distributing the drinks. He is also the drinks. But in the form of a barkeeper he is a host. The barman is someone we usually attribute to being sober, to be outside of the drunks perspective, an observer yet still directly related to drinking.
In this fantasy bar all people are served, all people get drunk. They all have their beliefs and ideologies. By speaking in this place does not mean that the patron owns this space, they are simply guests in the establishment. For lack of a better word the host is “leasing” this space for discourse, it does not mean that the host believes, follows or even understand the argument.

I could draw on more classical analogies like the theatre. We imagine that the theatre is a place solely for performance, which it is, but our concept of performance is limited by the TV screen. In the past performance included political discourse, politicians would give speeches before and after a play they produced and funded that was relevant to their political campaign. But the theatre itself remained the same.

The physical characteristics of the theatre maintains this bi-polar relationship also. Traditional Greek theatres were situated on a hillside and carved into it. It was a part of nature, open to the sky. Earth was literally cultivated for performance. The seating of the theatre are focused forwards, with masses all enjoying an individual experience on mass and in their own heads.

The role of performance continues with this outside/inside relationship. Three actors played all the characters in one performance. An interchange between characters would just be a replacing of the mask. You could theoretically have a play where Pentheus and Dionysos are played by the same actor. The actor is host to these characters but only in role does the actor believe in what the character believes. Outside of the theatre the actors personality is their own, but by empathising and playing the various roles does the actor become a Dionysian.

This apoliticism was recognised in classical times with a intuition called the Dionysiakoi Technitai (Artists of Dionysos). The technitai was a guild of artists without borders. They were granted incredibly powerful privileges based on their talent and devotion to the gods. These privileges included: unlimited travel, free of national taxes, free of conscription and seizure of person and possessions. This intuition was recognised by all the city states in a very rare agreement in the form the 279 BC Delphi Decree:

It was decided by the Amphictyons and the hieromnemones and the agoratroi: In order for all time the technitai in Athens may have freedom from seizure (asylia) and from taxation, and that no one may be apprehended from anywhere in war or in peace or their goods seized, but that they may have freedom from taxation and immunity accorded to them surely by all of Greece, the technitai are to be free of taxes for military service on land or sea and all special levies, so that honours and sacrifices for which the technitai are appointed may be performed for the gods at appropriate times, seeing that they are apolitical (apolypragmoneton) and consecrated to the services of the gods: let it be permitted to no one to make off with the technitai either in war or in peace or to take reprisals against them, provided that they have contracted no debt with the city as debtors, or are under no obligation for a private contract. If anyone acts contrary to this, let him be liable before the Amphictyons, both he himself and the city in which the offence was committed against the technitai. The freedom from taxation and security that has been granted by the Amphictyons is to belong for all time to the technitai at Athens, who are apolitical. The secretaries are to inscribe this decree on a stone slab and set it up in Delphi, and to send to the Athenians a sealed copy of this decree, so that the technitai may know that the Amphictyons have the greatest respect for their piety towards the gods and adhering to the requests of the technitai and shall try also for the future to safeguard this for all time and in addition to increase any other privilege they have on behalf of the Artists of Dionysus. Ambassadors: Artydamas, poet of tragedies, Neoptolemos, tragic actor.
Eric Csapo & William Slater, The Context of Ancient Drama; 233, 244

So you see in my role as Dionysian I must be apolitical. I worship the gods, I give all I can to them. But my gods demand that I leave politics outside of my devotion. My path may intersect with politics, personally I am politically minded – but that is in a different role. If anyone automatically assigns my polytheism into a political definition I will revolt against it. Not only are they offending my own agency, but my religious beliefs.

Banned from using the name HERMES

(Note: I’m going through my old blog and republishing choice articles here. Eventually the old blog will be deactivated.) Addition: This is being saved for future ref. Originally published on 2nd October 2015. The issue is still unresolved.  

If you need a history lesson I’ve been making artwork dedicated to the Greek Gods for over 10 years. In 2006 I started a business called Hephaestian Studios selling idol statues on eBay, now I sell basic designs for print apparel, t-shirts and prints etc. This artwork is always related to mythology or associated subjects.

It’s my *thing*.

A particular god whom I’ve be devoted towards is Hermes, naturally I like making art for him, but his name is a big issue when selling online because it is trademarked. Meaning, I am not allowed to use the gods name in both his cultural context and religious context.

This first started with eBay. I owned a professional store on eBay with hundreds of listings paid in advance. One morning in 2007 I woke up to find my store closed and listings removed because I infringed on a trademark.
I was shocked, all my listings were original content written by me and the artwork made, by hand, by me. After two weeks of having my business closed down, effectively losing an income. back and forth exchanges between robotic eBay customer service via email and phone I had my store restored. All but the Hermes listing.

The statue that was banned by eBay because of the name Hermes was used.

That is how I found out that the name Hermes is trademarked.

Nowadays I’ve cut back on my business and just sell prints as a devotional hobby. Today I decided to try out Society6 which has a okay reputation between my artist friends. As a traditional and ritual thing I always upload my Hermes design first on these sites.

and lo and behold I get this message:

You can see in the description that this listing is related to the Greek god Hermes. The item title is Hermes B&W. The planned image to be uploaded is this:

Reminiscing my eBay days I thought I’d politely email Society6 and explain why I should be able to use the name in correct context:

Mark Gage, October 1, 6:16pm

New member attempting to upload an original design of the Greek God Hermes. Society6 won’t let me use the name “Hermes” because it’s association with trademarked brands.
I’m using the name in its correct context related to classical Greek mythology for a deity that has been part of western culture for over 3000 years.
Their response was prompt (condensed for ease of reading):

Michela, October 1, 7:26pm

Hi Mark,
Thank you for contacting Society6 Support.
We truly do appreciate your comments and questions.
Unfortunately, in an effort to respect the rights of intellectual property owners, we are not able to support the inclusion of certain words, names, phrases, or combination thereof in artist submissions. In this particular case the word “Hermes” was used and we are not able to support the inclusion. Please replace this word to your description accordingly. All words in your listing must be accurate and refer only to the item for sale.
We understand that this particular exclusion may be overbroad as applied to your submission, and we appreciate your patience as we continue to improve our policy and process for the benefit of the overall marketplace.
We apologize for any inconvenience.
Sincerely,
Michela
So now you see my dilemma, I am effectively banned from using the name Hermes in reference and correct context for devotional items designed for the polytheist / pagan community because the name is trademarked. I am having external corporate services recommending that I use alternative names in replacement of the deity that I have dedicated my work towards.

My art, my original work, my item listings are all in correct mythological, religious and cultural context. I’m not selling other people’s trademarked work, nor taking advantage of someone else’s copyright.

I am making my own art, giving devotion and hopefully making a couple of extra bucks on the side.

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The Theatre and the Divine

(Note: I’m going through my old blog and republishing choice articles here. Eventually the old blog will be deactivated.)

(source)

Classical Greek theatre was radical. It most likely begun as a private ritual performance between the elite, even leading with direct interaction between actors and observers in the form of mystery plays, maybe as satyr plays. As it progressed the theatre became more open to the public. This is how it was radical, at the time in antiquity, public performance was limited in surrounding nations. In Egypt we have references of street performers, the equivalent of buskers, they also performed rituals in public, but nothing on such scale and public domain as the Greek theatre.
It was an equaliser of class, a place which the common people could actively observe the gods.  What’s more, we have common people as writers and performers freely criticising and mocking kings, nobility and public figures, which gave birth to our concepts of free speech.  The theatre was a place for religion, politics, expression and entertainment.
A sacred domain dedicated to Dionysos.

So how does the theatre prove that the gods exist? This is summed up in two ways, one the actor, two the observer.

  1. The actor playing a role relinquishes themselves to their character. In simplest terms they are invoking a character, allowing it to possess them and reflecting that possession. If you’re familiar with how Greek plays were performed then you’ll know that there was only three actors on the stage at one time. These actors would play various roles throughout the play which was illustrated by what mask they wore. The masks themselves were the characters and the actor was a living moving prop or host for the mask. In this function when they assumed the role of a god they were host to the god. To the Greeks, they were witnessing, in every sense, their gods on stage.
  2. The audience brought the gods to life. The base function of performance is suspension of reality. In order to appreciate the performance the audience must allow themselves to be fooled. They have to accept the fantasy in front of them and believe in its existence. By believing in the play they are demonstrating their faith in the gods.

So how is this any different from now? This is a good point and one that has been discussed with the pop culture pagans.  I will not dismiss their beliefs, but my personal opinion is that the difference between modern people watching a film and ancient Greeks watching the theatre is audience attitude.  An average person does not enter the movie theatre with the expectation of watching something divine and religious. For the Greeks, not only were they entering a sacred domain, but also observing a devotional, religious performance.

To understand this concept is realising how disenchanted modern people are. Over exposure of media has led us to become jaded, whereas ancient people would only observe these performances once or twice a year. It’s not lost on me that we call celebrity actors “Stars”, “Idols” which further serves as a point at how wrong modern people are when enjoying a production. This is why it’s difficult for some to come to grasps with the idea that watching or participating in a performance is a sacred act.

 


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Dona’ria Technitai to Madonnari to Modern Pavement Artists

(Note: I’m going through my old blog and republishing choice articles here. Eventually the old blog will be deactivated.)

Anathema is a word I’ve heard of but never knew what it meant. In Catholic and Orthodox faith it’s a word of condemnation with varying levels of complexity and negative connotations. For the Ancient Hellenics it was different, votive sacrifices dedicated to the gods often in the form of artwork.

What really caught me is this from A Dictionary of Greek and Roman Antiquities by William Smith (as quoted on the Art is Anathema website )

“DONA′RIA (ἀναθήματα or ἀνακείμενα), are names by which the ancients designated presents made to the gods, either by individuals or communities. Sometimes they are also called dona or δῶρα. The belief that the gods were pleased with costly presents was as natural to the ancients as the belief that they could be influenced in their conduct towards men by the offering of sacrifices; and, indeed, both sprang from the same feeling. Presents were mostly given as tokens of gratitude for some favour which a god had bestowed on man; but in many cases they were intended to induce the deity to grant some special favour.

At the time when the fine arts flourished in Greece the anathemata were generally works of art of exquisite workmanship, such as high tripods bearing vases, craters, cups, candelabras, pictures, statues, and various other things. The materials of which they were made differed according to circumstances; some were of bronze, others of silver or gold (Athen. VI p231, &c.), and their number is to us almost inconceivable (Demosth.Olynth. III. p35). The treasures of the temples of Delphi and Olympia, in particular, surpass all conception. Even Pausanias, at a period when numberless works of art must have perished in the various ravages and plunders to which Greece had been exposed, saw and described an astonishing number of anathemata.

Individuals who had escaped from some danger were no less anxious to show their gratitude to the gods by anathemata than communities. In all cases in which a cure was effected presents were made to the temple, and little tablets (tabulae votivae) were suspended on its walls, containing an account of the danger from which the patient had escaped, and of the manner in which he had been restored to health. Some tablets of this kind, with their inscriptions, are still extant (Wolf, l.c., p242, &c.). From some relics of ancient art we must infer, that in some cases, when a particular part of the body was attacked by disease, the person, after his recovery, dedicated an imitation of that part in gold or silver to the god to whom he owed his recovery. Persons who had escaped from shipwreck usually dedicated to Neptune the dress which they wore at the time of their danger (Hor. Carm. I.5.13;Virg. Aen. XII.768); but if they had escaped naked, they dedicated some locks of their hair (Lucian, de Merc. Cond. c1 vol. I p652, ed. Reiz.). Shipwrecked persons also suspended votive tablets in the temple of Neptune, on which their accident was described or painted. Individuals who gave up the profession or occupation by which they had gained their livelihood, frequently dedicated in a temple the instruments which they had used, as a grateful acknowledgment of the favour of the gods. The soldier thus dedicated his arms, the fishermen his net, the shepherd his flute, the poet his lyre, cithara, or harp, &c.

It would be impossible to attempt to enumerate all the occasions on which individuals, as well as communities, showed their gratefulness towards the gods by anathemata. Descriptions of the most remarkable presents in the various temples of Greece may be read in the works of Herodotus, Strabo, Pausanias, Athenaeus, and others.”

As Smith states there are many ancient examples of votive offerings dedicated to temples, including simple things like basic terracotta or bronze animals to complex protomes, sculptures of deities, tripods, tables etc. But what I wasn’t aware of is the commissioned illustration of traumatic scenes, illness, accidents.  This is a particularly fascinating to me because it’s a tradition that continues today in Sicily in the form of Ex-Voto.

“Ex-votos can take a wide variety of forms. They are not only intended for the helping figure, but also as a testimony to later visitors of the received help. As such they may include texts explaining a miracle attributed to the helper, or symbols such as a painted or modeled reproduction of a miraculously healed body part, or a directly related item such as a crutch given by a person formerly lame.”
https://en.wikipedia.org/wiki/Ex-voto

Example of Ex-Voto, man being hit by a flower pot and surviving.

 

This then brings me back to my own work as a pavement artist. As this is my profession I have a keen interested in regards to the history of pavement art. It is an history obscured by a lack of interest from art historians because it deals with a subject that is usually considered lowly.

However pavement art history is extremely rich and powerful, there are even examples of it being a political movement in the late 1800’s as a preferred form of expression for the suffragettes.  http://screever.org/

Asphalt Renaissance  by Kurt Wenner* discusses the history of the pavement art, looking at examples found in other cultures in India and Buddhist mandalas, but Wenner’s main focus is on the Madonnari  The traditional pavement artists of Italy. The Madonnari are known for drawing votive images of Madonna.  In this regard, the Madonnari are considered the first pavement artists with references of their existence in the late Renaissance as maimed veterans of the Crusades.**

They were in every sense ex-voto painters, that would work outside churches, churchgoers would purchase the crude images and donate them to the church. Just like what the Greeks did. Some artists were so poor they could not afford boards to draw / paint upon so they began drawing on the street itself – giving birth to pavement art.

This discovery therefore draws a direct line from the Madonnari to the dona artists of ancient Greece and illustrates that the tradition of devotional artists goes back to ancient Hellenistic times.

*Unfortunately my book was stolen so I cannot provide quotes, however it’s highly recommended to buy this well researched, beautiful and awe inspiring book.

** This is why the crutch is a symbol of pavement artists.

Modern pavement Artist, Francois Pelletier in Paris.

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“The Beloved”

At the beginning of the year I started a large reproduction of Dante Gabriel Rossetti’s “The Beloved”, also known as The Bride. It has taken me roughly two months to complete at a size of 1.5 by 1.8 metres, on canvas in pastel.

I’m a fan of Rossetti and intend to do a series of his works over the next year or so. (Already started a new one!)

I technically finished my version earlier this week, but will need to make some corrections and repairs in the studio, especially if sold – yes, this work is for sale – email me if interested: markos.gage “@” gmail.com

The Beloved is a fascinating painting as it is very odd in terms of composition, style and colour. Rossetti’s work is usually very strange and unique, but with obvious influences from European masters, in this painting there international uses of clothing and jewellery including the green Japanese silk dress of the bride and Peruvian jewels.

Being one of the founders of the Pre-Raphaelite Brotherhood Rossetti sought to change the Victorian standards of art and challenged the artistic establishment in Britain with his pieces.

The Beloved is in part inspired by The Song of Solomon, (one of the most beautiful and erotic pieces in the Bible), on the frame of the original painting are two passages from the song:

My beloved is mine and I am his (2:16)

And

Let him kiss me with the kisses of his mouth: for thy love is better than wine (1:2)

Therefore this scene captures the bride revealing herself to the groom (the viewer).

I’m happy with my rendering of it, especially considering I was sick for a majority of drawing it, but there are a few things I wish to fix. Foremost is the left eye of the bride – it needs to be reshaped and adjusted. The African flower boy’s face needs some shaping and his hands corrected. Also some basic repairs from the damage caused by the elements.

Below are some selected progress pictures. (Also to prove to my hecklers that *NO* I don’t buy my paintings from overseas and “pretend” to draw them.)

Cont. The DA Philosophy 1

Dver left a comment on my previous post here.

I believe my reply merits a blog post:

Thinking back through my artistic ‘career’ it’s hard to find a time where my work was not devotional in some sense. But it’s only when I experienced my initiation experience in late 2015 that I really ‘clicked’ to what I was doing and turned it into my primary form of devotional expression/engagement. Taking on the mantel of Dionysian Artist and name Δ.
Thus my devotion looks a lot different from others that consider themselves “Hellenic Polytheists” or even Dionysians.

The ultimate idea of ‘Art for god’s sake’ is that it is more liberating to the artist than ‘Art for art’s sake’, even if the work is unpleasing to the human audience, it does not matter. The opinions of human’s is only consequential and unnecessary. Devotional art is therefore free of any criticism from mankind and the artist need not worry of others opinions. From your comment Dver, you certainly understand my intention here.

Others… it can be difficult to explain. I recently had a conversation with a fellow artist, who is also an art historian / theorist / critic and teacher. He was dismayed at the fact that we do not do shows and rarely sell our work. I explained to him I’d rather see the art burned than sell it to some hipster who just likes the work because “it’s cool”. Our art, especially the street art, is not designed to be decorative. It’s designed as dedication to the gods. It is not owned by me, I am only a mere creator and custodian of the work. That is not to say I am forbidden to sell the work, just that if sold it has to go to someone who understands and respects the sacredness of the work. And boy… have I turned down mega offers that would make most impoverished artists wet their pants, as the destination for the work was an office space, or a cafe…

This behaviour has caused dismay in not only my admirers, but family and friends (including the one I mentioned). They cannot understand the purpose of this art, it is not an object, it is not a thing to be brought and sold in the stock exchanged (aka, art market), it is a piece of work dedicated to the gods and any human appreciation should be reverence over any other methods of our culture views art now.

The DA Philosophy 1: What is Devotional Art?

“Dionysos” by Δ

What is Devotional Art?

Art for art’s sake is a relatively modern idea credited  by the art critic, Théophile Gautier in the 1800’s. The concept became popular through artists like James Whistler (made famous by the “Whistler-Ruskin Trial, 1878″) and was continually echoed through the modernist period until now. The basic idea is that art should exist for itself. It should be free of any political, personal, religious, reactionary meaning. If these ideas were involved in the conception of the art, the viewer should be able to appreciate it as art without knowing the ideas behind it.

This concept was radical at the time as it gave artists liberties in attempting to define art. With the advent of art movements such as the Dadaists and then the Modernists the definition of what is art became blurred, in some cases it became totally atheistic with a reductionist mentality applied to art to the point artists ambitions was to destroy art itself.

There is a certain irony in this as when Art for art’s sake was coined it was actually a socialist concept to bring art to the people, bring it down to base level and indeed many of the Modernist artists and thinkers were socialist / communists in their intentions of making art. The irony is the reduction of art disconnected artists from their general audience. Art became elitist, with its only admires being the educated bourgeoisie.

Criticism of the art world aside, these artists and thinkers did achieve a new definition of what is art, which has granted artists liberties. The basic modernist definition of art is: anything can be art as long as there is an artist to define it as art. This is why we have pieces like Duchamp’s ready-made urinal, “Fountain” being considered a major landmark in 20th-century art and why artists like Damien Hirst have pickled animals in some of the world’s major art galleries.

Now that we have a crash course on the very bare basics of how art is viewed today, let’s explore my concept of devotional art. The Dionysian Artists (Devotional artists) definition of devotional art is an amalgamation of Modernist ideology but also a rejection of Art for art’s sake, instead the phrase of a devotional artist should be Art for god’s sake.

The Dionysian Artists should accept the Modernist definition of art, that anything can be art, but also with an added bonus: devotional art should be dedicated to the gods. Artwork created by the artists should not be made for humankind – it’s intended audience is the gods themselves – any human appreciation for this divine art is consequential. How an artist applies their devotion is totally up to the artist themselves. Like how an artist can define anything as art, a devotional artist can define anything as devotional art.

What this definition allows is anyone can call themselves a Devotional Artist (or a Dionysian Artist), its more so a matter of mind state being aware of ones actions when committing art to the gods. Art does not need to be something permanent, devotional art can be an expression, gesture, a dance, acting, singing etc. Or it can be a ready-made object, appropriation of existing art, a painting, stick figure drawing, crude votive statue, or a master piece.

As long as one is doing this for the gods, they may consider the art devotional and themselves Dionysian Artists.

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