In the woods, dragonflies are flowing. The surrealist metaphors in Kandinsky
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Surrealist paintings undoubtedly have a profound influence on Kandinsky, because we can see their influence in his works in the 1940s.
Surrealist painting is a big concept or category. As far as I am concerned, the most acceptable form of Surrealism is the forms of de Chirico and Dali, but I do not agree with the works of Spanish surrealist painter Miró. However, the surrealism that influenced Kandinsky was the work of Miró rather than Chirico or Dali.
In terms of form, Miró’s expression is closer to Kandinsky’s expression, but this is just appearance. As far as my own understanding is concerned, the real reason is that the metaphor of the painting image in Miró's surrealism is the bridge between Kandinsky's abstract painting.
It was under the interesting topic of metaphor that I suddenly realized that Miró's paintings are actually very interesting. When we look at Miró's paintings, we should not only discover the meaning from the visual effects of his paintings, but also from the metaphors behind the images.
Metaphor, between the concrete and the abstract, can serve as an appropriate bridge between the two. The so-called metaphor is actually semi-abstract. There is a metaphor in Kawabata Yasunari's novel, in the woods, dragonflies are flowing in groups. The flow here is an abstraction of how the dragonfly flies. The abstract dragonfly flight is actually homogeneous with the flow, so Kawabata Yasunari writes the dragonfly as flowing, and we have a clear understanding of it. It is precisely because of this clever mapping that we know how to smile. At the same time, this fluid metaphor was deeply imprinted in my mind.
Kandinsky must have been inspired by Miró’s surrealist metaphors, so he used Miró-like images in many of his abstract paintings. Of course, the metaphors behind it are naturally different. This kind of metaphysical thinking is another eternal puzzle.