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Most effective tool art to represent the numinous is, anywhere, the sublime. First of all, in architecture. And it is in this art that the sublime appears at the most remote stages. It is too difficult to avoid the impression that this feeling began already in the Paleolithic era. The dark sense of solemn grandeur, as well as lofty and pompous gestures, is actually quite a virgin feeling, very common even among "primitive" people. Undoubtedly, by the time mastabas, obelisks and pyramids were built in Egypt, this stage had already been reached.

There is no doubt that the builders of these magnificent temples of this Sphinx of Giza, who in the spirit evoke the feeling of the sublime and numinous that accompanies it almost like a mechanical reflection, were already aware of this effect and they pursued it on purpose. We also often talk about many buildings or a song, a formula, a series of gestures or sounds, especially certain foods. decorative arts, certain symbols, emblems, lines of lines and tendrils that even evoke a "magical impression" And even in the most different conditions and conditions, we perceive with some certainty the style and originality of the magical element.

In these magical experiences, the art prescribed by Taoism and Buddhism in China, Japan and Tibet is very rich and deep. Even the most inexperienced feel by the time of their creation that a magical impression is easy. The term "magic" is correct, from a historical point of view, because in fact this language of forms comes originally from representations, signs, help and magic cabinets. But the impression they give does not depend on this historical association, since it occurs even when nothing is known about it.

Moreover, it is then that it is more intense and pure. There is no doubt that art here finds a way to evoke, without reflection, an impression of a very peculiar character: namely, the impression of the magical. But the magical is only a hidden and veiled form of numinosis, at the same time as the primary and still crude form of numinous feeling, which great art presents later, already ennobled and transfigured. Then we can't talk about "magic" anymore. This statement may not correspond exactly to any art, like Chinese, religious and landscape painting, during the classical times of the Tang and Song dynasties.

These works are among the most profound and sublime that human art has ever created. One who runs into them sees that beyond these waters, mists and mountains, the ancient Tao, the vibration of an intimate being, deeply encourages. In these images, between the hidden and the manifest, lies a deeper mystery. There is the knowledge of nothingness, the knowledge of "emptiness", the knowledge of the Tao of heaven and earth, which is also the Tao of the human heart. And therefore, in spite of their eternal agitation, these images seem so distant and calm that they are said to mysteriously encourage under the sea.

However, for Westerners, the art that best expresses the numinous is Gothic, precisely because of its sublimity. Worringer is credited with showing in his book "The Essence gothic style," the singular impression that Gothic art provokes lies not in its grandeur, but still retains the imprint and heritage of the ancient magical ways which Warringers deals historically. Thus, in his opinion, the impression of the Gothic is mainly magical in nature. Nothing to do with the legitimacy of his historical deduction, with which he found the true key; one does not depend on the other.

Gothic art "enchants", "enchants", and this impression is greater than that of the sublime. But, on the other hand, the tower of the Ulm Cathedral is no longer magical, but numinous. And the difference between the numinous and the magical is left to feel in the beautiful reproduction of this marvel that Worringer inserts into his book. It does not matter that the magic word is used to designate the style and expressive medium by virtue of which the numinous impression is created. They will perceive all this, of course, in the deepest sense.

But sublime, magical, no matter how they act, are only indirect means in the presentation of polysemantic art. In the West we have only two straight lines. But both are essentially negative in character. It is darkness and silence. The darkness should be such that it is done in reverse, so that it becomes more visible. You must be able to win the last clarity. Only twilight "mystical". And his impression is perfected when it is connected with auxiliary element sublime.

“The Lord is in His holy temple; street before Him the whole world. Neither we nor the singer know that this silence historically arose from "euphemism", that is, from the fear of using ominous words and, therefore, from the conviction that it is better to remain silent. We, the psalmist and Terstegen, when he says: "God is present, everything is in us", we feel the need to remain silent, as if from another stimulus, completely independent of him. In us, silence is the direct effect of the presence of number. Again, in this case, the historical-genetic sequence explains the phenomenon, which then occurs in the higher stages of evolution.

It is for this reason that the Psalmist, we, and Terstegen are living data for the psychological study of religion, data no less interesting than the primitive ones when they obeyed their "euphemism." In addition to darkness and silence, Oriental art knows a third way of awakening the numinous impression: emptiness, the great emptiness. An indefinite void is, so to speak, an elevated horizontal position. The expanded desert, the indefinite and unified steppe, is sublime and serves as a stimulus for awakening, unification of feelings, numinous resonance.

Chinese architecture, as the art of layout and grouping of buildings, has made use of vast empty spaces in the wisest and most profound way. This creates an impression of solemnity; but not by high porticoes or superposition of verticals, but by extended horizontality. There is nothing more solemn than the quiet range of squares, patios and atriums that are used. A prime example is the Ming imperial tomb, in Nanjing and Beijing, where the empty latitude of the entire landscape is located in his factory. But the "emptiness" in Chinese painting is even more interesting.

There is an art here to paint the void, to make it sensitive and to modulate this theme with the most different ways. Not only are paintings composed of "almost nothing" not only the artistic style that creates the strongest impression with a few lines and means, but in front of many paintings, especially those associated with contemplation, that the vacuum itself is one of the objects painted, possibly a metropolitan object. You cannot understand this unless you remember what we said earlier about "nothingness" and the emptiness of the mystics and the beauty of negative hymns.

Like darkness and silence, emptiness is a negation that eliminates consciousness from here and now and thus makes the present and present what we have called "absolutely heterogeneous." Music, which can express more than all feelings, has no positive means of expressing holiness. The most sacred and most numismatic moment of the Mass, the consecration, is expressed even in the best weight filled with silence; the music is mute and mute for a long time and completely, so that silence itself is heard, so to speak. The intense betrayal of this "silence before the Lord" is never achieved by music.

At this point it is very instructive to consider Bach's lower mass. Its most mystical part, as usual, is in the melodies of the Incarnatus mass. The effect it produces is successive recordings of the fugue that whispers softly and is delayed more and more until it cuts out in pianissimo. In this fragment it is pointed out more that the mystery is expressed through the closed breathing, the half voice and that strange downward modulation in diminished thirds, those arrested syncopations that rise and fall in strange undertones that reflect terrible astonishment.

By means of these procedures, Bach achieves his goal in this passage better than in the Sanctus. It is an almost complete and incomparable expression of One who has power and splendor, a noisy chorus of triumph dedicated to the perfect, absolute glory of the king. In this magnificent chant of Bach, one cannot understand that the seraphim cover their faces with their two wings. On the other side, Jewish tradition she was very well aware of what had happened here: "All the forces of height whispered softly: God is the King." Thus speaks of the great hymn "Melek Elion" on the New Year.

And here too, in fact, the expression is less in the music itself than in its fading, holding back, one could almost say in its rapture, as the Berlin Cathedral choir knows masterfully in this passage. This retort also trembles and trembles. Abstract art or abstractionism is a modern visual art style that favors abstract forms to the detriment of objects and figures that represent something from our own reality. Thus, it can be argued that abstract art is the opposite of realism and photography, so it required an imagination or understanding that went beyond the logical, observing the picture.

Abstract art is characterized by the fundamental use of basic forms of plastic language such as figures, lines and colors as a means of artistic expression. In this sense, abstract art is distinguished by the fact that it transcends representation. appearance things and creates a plastic search, aimed rather at formal, chromatic and structural aspects. Consequently, abstraction uses the most essential resources of plastic language to try to create an autonomous language that evokes their own feelings.