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Point Régional : Chine - Japon

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Préparation aux voyages vers l'Asie, dont le Japon et la Chine. Appréciation comparée des mentalités.

par Alain Robert Coulon

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Carte || Liens communs || Liens Japon || Liens Chine

Alain R. Coulon collabore sur notre site à la rédaction et à la mise en forme des pages en chinois et en japonais. Il présente ses appréciations dans les textes ci-dessous après de longs séjours résidentiels en Asie.

"Alain Robert Coulon a séjourné 21 ans en Asie : 2 ans en Chine (un an à Pékin et un an à Nankin) et 19 ans au Japon (deux ans à Nagasaki et 17 ans à Tokyo).
A cela s'ajoutent 5 voyages en Thaïlande, 2 voyages aux Indes et au Népal. Il a traversé trois fois le continent eurasiatique de Pékin à Paris via Moscou (deux fois par le transmongolien -train chinois- et une fois par le transmandchourien -train russe-). Un article sur son dernier voyage est paru dans l'hebdomadaire "Valeurs actuelles"⁽¹⁾ (dernière semaine d'août 2000).

Sommaire des textes d'A.R. Coulon :

• Préface à la Philosophie japonaise des enfers d'Umehara Takeshi (février 2007)
  
  
• Abraham Michael Dayan's Pyramidal Demiurgism (août 2006)
• Cubism or pyramidism ? (septembre 2006)
• Dayan's pyramidism, a symbol of living matter's brotherhood (octobre 2006)
  
  
• VU DE LA FENETRE DU TRANSMONGOLIEN : DE TOKYO A PARIS, UNE TRAVERSEE AU COEUR DE LA PSYCHIATRIE DES NATIONS.
  
  
• Un sage en pays Tamoul au sud de l'Inde, Ramana Maharishi (1879-1950), ou le Voyage définitif. (mai 2004)
  
  
• Une nouvelle équation d'Einstein cachée dans la dimension extrême-orientale ? (mars 2003)
  
  
• Fin de l'Histoire ou recommencement de l'Histoire
  
  
• L'oeil de l'exil

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Dayan's pyramidism, a symbol of living matter's brotherhood

by Alain Robert Coulon (Alain R. Coulon is a writer, philosopher and Asian specialist who has lived more than twenty years in China and Japan). (alainrobertcoulon1@yahoo.com)


^{[octobre 2006]}
(by Alain Robert Coulon)


In many minds, pyramid is associated with stone. Such is the strength of the concept. However, a pyramid could be made with glass, snow, at the limit wind ... anything.

Dayan's lines are quivering, there is an unexpected frailty in his art, mixed with powerful structure.

These contradictions are not a weakness. It could be said of art, as it has been said of philosophy by Nietzsche, that the more the incompatible factors living together inside the same system, the better.

Complexity and simplicity are coexisting.
This is a gift of virtue, of divinity, the spiritual mother. To create a child of the mind, fantastic forms, unknown new beings is to take the role of God, at least for a while and to some extent.

This could be a sign of pride, but cannot be done by mankind without some kind of humility, self-effacement. Demiurgism is permitted in the rare ones who annihilate themselves enough to be wholly taken by the hands of a power more powerful than they are.

To allow this possession to happen, the artist has to reach, so to speak, the "zero state" of existence. Selfless dedication to his art, to values which are not earthy at all.

As vulgar materialism is overwhelming in our times, this state of mind may be even more difficult to preserve than it was in the past.

The energy which gave birth to so many masterpieces, at the light of the candle, is curiously weakened by the fairy - or witch - electricity and other commodities of life, as if a strange balance was at work there.

Low culture or infra culture being everywhere around us as a kind of common, slow working poison, higher culture is trivialized, or considered as useless, out of date, oppressive and elitist, which it is not.

The artist is solitary and apparently putting himself aside of the crowd, not at all because he despises mankind but because it is a condition sine qua non of his art, of creation.

On the contrary, his love and respect for his companions of travel, on the small ship of this planet, is burning hot, and he has the painful feeling and duty to have to keep his distance, as if he was an outcast, for being too human and merciful.

He is taking the risk to go insane, to be ostracized, to die sooner, because the working of his senses, body and brain are more delicate, thinner and powerful, his passion for his research stronger, out of the ordinary, and obviously, because he cannot do otherwise.

In this quest, what can be called the Soul of the souls, or as said Teilhard de Chardin, the Center of the centers, the innermost calling, the subtle feeling that an all-pervading instinctive intelligence is at work everywhere, are his only help and hope.

In the course of time, Matter got animated, matter is living. Stones have been water in fire, lava in volcanoes, thin veins can still be observed in them. Bacterias, virus, cells, protein, phyla, leaves and flowers, fish and birds, apes, consciousness, thought appeared.

Little by little, the universe made, invented for itself human eyes able to see, to perceive, to understand it. Everything is living, death being a part, a form of life, the sign and condition of a new life. The artist gives birth, creates to cerebrate his joy to be a part in this process, to sing a note in this great symphony.

Universal brotherhood is his motto and he cures himself, and others, thanks to his toil and sufferings.

When, Dayan says that he saw God in the eyes of a dog, he is not kidding, he shows himself, willingly or not, a Buddhist. Has the dog a Buddha nature ? - this was, for a long time, an endless topic of discussion in Eastern philosophy.

This dog could be the lonely one which was walking sadly, behind the hearse of Mozart, at the door of the cemetery. His legs are so weary that they barely touch the ground. He seems to bear, like Christ, all the sins of the world.

Incidentally, while the Chinese artists used to finish their canvas by pointing the pupil in the eye's iris of the dragon - or the fairy - they were drawing, thus releasing their energy and freeing them from the hands of their creator, Dayan says he does exactly the contrary, beginning his work by the eye.

Both ways are valuable : the eye is the center of the living character, the kernel of the vibrating Whole.

The Eye is the universe center, at least when consciousness is eminent in it.

And indeed, to give birth, to deliver in this world a new being, full of blood and energy, which is not an ordinary child, the sexual fruit of plain human love, but the fantastic fruit of divine love, is the greatest joy and achievement possible, paying back, being worth of the sacrifices of a whole life.

In Dayan's paintings, everything is animated : first apparently destroyed, de-constructed, but later rebuilt, resurrected. This demiurgic de-construction is more joyful than sad, as if everything that exists was a kind of protein, able to take harmlessly all the forms possible, overcoming decay, death and despair.

Like the D, first Greek letter of his name, delta, articulated triangle moving endlessly on the curved surface of the globe, he is playing the role of Proteus, the son of the sea, the sea-god, the divine Titan who could take all the shapes and answer all questions if you could catch him.

Protean pyramidism is the key of the enigma, the Oedipus riddle, which mankind is searching for, being in itself the always ambiguous truth.

Dayan even thought to solve, once for all, the Middle-East question, by building in Jerusalem three walls joined in a triangle, so as to re-conciliate the three monotheism.

This would be the new Temple of the future, the pyramid of a new hope, at least in our dreams ...

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