“The Great Void” at Museo d’Arte Orientale, Turin

The notion of emptiness, of vacuity, is central to Buddhist doctrine: emptiness is not only the prompt that precedes the delivery of all things, but it is also the last emptiness, the liberation of all sentient beings at a cosmic degree. Opposite to what transpires in the European cultural and philosophical traditions, the place the expression “emptiness” carries with it a negative connotation that delivers it close to nihilistic thoughts and to absence or deprivation, for Buddhism emptiness has a good connotation ultimately joined to the accomplishment of recognition, that is the understanding that existence, with its continuous modifications, is impermanence and interdependence, due to the fact all the things exists only in relation to the other. Understanding this, and consequently freeing oneself from the struggling of everyday living, is resolved in a dimension of complete peace (nirvana): it is in this article that the essence of Buddha is revealed, who is not divinity, but precisely Emptiness.
The exhibition “The Fantastic Void. From Audio to Image ” is dedicated precisely to these principles: the exhibition aims to offer the general public a specially engaging multisensory encounter and is also a powerful signal of hope for a long run that is uncertain and discouraging. The exhibition opens with a huge empty place. It is not an vacant place, even so, but a place that is step by step saturated with the existence of the notes of the youthful, award-winning Rome based composer Vittorio Montalti, who has composed the site unique piece “The Great Void,” where silences, rhythms, appears and the echo of the room itself grow to be the matrix and metaphor of the divine construction of the ritual house: a operate suspended between composition and audio set up, that inhabits the diverse spaces of the Museum. Guests are invited by the tunes to consider an experiential and meditative route, to achieve the fulcrum of the exhibition, in the Sala Colonne: there, in fact, is exhibited a quite rare Tibetan thangka of the fifteenth century, the most precious of the MAO collections, which portrays Maitreya, the Buddha of the Future depicted in splendid robes and seated on the throne of lions. With his arms poised in the dharmacakramudra (the gesture of environment in motion the Wheel of Legislation), which reveals his foreseeable future mission as promulgator of the Doctrine, the Buddha holds the stems of plants and bouquets, germinal symbols of a long run liberation. As a religious and ritual item, the thangka, with its innumerable symbologies, is a medium that allows the viewer to navigate as a result of the hard waters of meditation and visualize the several attributes of the deity depicted (in this circumstance Maitreya, the Buddha of the potential) and to enter a deep meditative state, in which the pictures, colors, gestures, and seems depicted in the painting are exposed in a sublime ritual cosmogony. The historic Tibetan thangka is inserted in this article as the initially picture, dense and deep, that reveals by itself to the spectator soon after an vital sonic and spatial journey. Observing this sacred graphic after a journey that “cleanses” the gaze and the ear via Montalti&#8217s seems will consequently be a transcendent knowledge: a suspended image, in a white sounds of seem, a vivid cosmic rustle, which opens up to a multitude of types and shades and gestures. This 1st portray provides with it the toughness of the Tibetan tradition of reproducing Buddhist deities and saints on canvas (the thangka) and that, in modern-day instances, lies at the origin of the photographic portrait of the tulku, to which the remaining section of the exhibition is devoted. In the very last two rooms are in simple fact hundreds of photographs of tulkus, portion of a collection of images produced from the late nineteenth century to the present day that portray the residing Buddhas belonging to the Buddhist faculties and bonpo in all locations of the planet exactly where Tibetan Buddhism is practiced, redeeming figures whose “mind of wisdom” is reborn in new bodies to guide humanity in the direction of salvation and the Great Void . . . Buddhism. In this feeling, these are not mere photographic portraits, but reliable objects of veneration, made up of the sacredness of presence: in fact, it is believed that the picture has the identical electrical power as the tulku itself, or far more precisely, that the graphic and the tulku are inseparable.

at Museo d&#8217Arte Orientale, Turin
till September 4, 2022

Alice G. Collins

Next Post

On the Spot: Ikaruna | Displate Blog

Mon Aug 1 , 2022
Thea Magerand, aka Ikaruna, feels appropriate at dwelling between Nordic runes, legendary creatures, and cryptic symbols. In her art, this digital illustrator and book address artist merges fantasy worlds with a touch of realism. Ikaruna collaborated with Displate on our newest Limited Version – the mighty “Ragnarok Is Coming”. That’s […]