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The Aesthetic Of Excellence

On July 13, 2016, in Leadership 7th Edition, by Neculai Fantanaru

Dare to highlight what defines you, in relation to a world that seeks the guiding points of sustainability in the originality of the act of creation.

Tire yourself and enjoy yourself by copying the best works that you can find and come from the hands of master craftsmen. And if you are in a place where there were many good craftsmen, the better for you. But I give you some advice: keep an eye on and always choose the one who is the best and has the most fame. By following him daily, it would be unnatural not to learn something from his way of working, from his way of being.

Instead, if you begin copying this master’s work today, tomorrow another’s, you will not be able to learn anything either from one or the other, and you will end up, without wanting to, a man with a strange imagination, for every kind of work of a craftsman will harass your mind. Today you will want to do like this craftsman, tomorrow as the other one does, and you will never be able to copy either of them fully.

If you follow just one of them relentlessly, only a lack of cleverness would make not learn anything from it. And then it will happen to you – if nature endows you with any imagination – such that you get to have your own way of working, and that can only be good. Because your hand – your wisdom being accustomed to gathering flowers – would not know how to sow thorns. *

Leadership: How can you define your penetration into the heart of things and their course in relation to the feelings that surround you when you stand on the edge of the “stage” without being able to get involved in the show?

Does science cause a real scandal in your mind? Have you come to regret every moment that keeps you away from yourself? Can your psyche support the weight of expectations that you constantly generate? Are you under the ardent desire to escape from routine? Does the desire for absolute change becomes invaluable?

The aesthetic of excellence arises from the fact that your stance regarding the idea of ​​change (compared to the evolution of art) is based on the premise that the safest guide you can have as the best direction you can follow the perfection you aspire to, is to gain a unique experience of the struggle that you carry with the practice of a continuous formation of character.

And the real test of character is to get yourself finished with your own way of doing things very well, meaningfully and with heart.

In art, it is not important to load your consciousness of formal symbols with which to master the impressions of the perception of the surrounding reality. But to learn the brush movements, the way colors and lines become forms and give life to an unparalleled work, using the succession of the “blossoming” of your vocation and personality, following the pattern of a mind that combines the principles of a clairvoyant knowledge with the idea of a resounding demonstration of a plastic virtuosity.

The potential to become a good professional depends largely on the efforts invested in studying those avalanches of ideas and revelations that can materialize in outstanding, significant results in terms of the importance you give to the struggle with your own limits.

The entire body of an appropriate orientation in the environments of the trials that you face over a long period of self-evaluation depends on how you manage to define the penetration into the heart of things and their course in relation to the feelings that surround you when you stand on the edge of the “stage” without being able to get involved in the show.

The way you complete your work depends on how you can define the penetration into the heart of the things you want to communicate with the experiences you experience when you go on the path of perpetual renewal.

As for art, I can give a small indication: the higher the income from the analysis of other artists’ work, the lower the “rest” that remains after paying for your learning activity is.

And I also believe that the artist defines his penetration into the heart of things he wants to communicate through creation as a demonstration of a unique concept (constantly developing) that links empirical consciousness to the rationale of an infinite mind. He is not a spectator who stands at the edge of the stage without being involved in the show but is a receptive for emotions and perceptions that come from everywhere.

The beauty of leadership is always given by the proximity of a lifetime experienced to the fullest by practicing an honorable profession, but especially by practicing a learning and application of knowledge to the extent that it does not cause fatigue. The best leaders in a field are constantly “revived” by the power of authentic creation in a time that gives them the profound and unique opportunity to receive, incorporate and integrate a new sovereign relationship with everything that life means.

When the inspiration flows change, gather or reduce, the leader does not change the functionality of his own work, his exploitation remaining at his own discretion, that is, a creative power superior to the others. He defines his penetration into the heart of things he wants to communicate through a spiritual renewal, in that he truly becomes himself by something that makes him happy and individualizes him as practical manifestations.

The originality of the act of creation consists in seeking a means of revelation and artistic knowledge through which to give life to an image of the “struggle within yourself” that inspires everyone to action.

The Aesthetic Of Excellence is achieved by comparing the style of making art of great creators with your vocation of working by yourself, to express your passions and skills, offering 100% of what you are. Are you ready to fight with yourself to achieve an unmistakable artistic ideal?

Ralph Waldo Emerson said it well: “To be yourself in a world that constantly tries to shape you into something else is the greatest triumph.”

* Note: Cennino Cennini - Trattato della Pittura, Meridiane Publishing House, 1977.


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