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Initial inspiration for the cycle Artificial Nature came out from the spectacular views of the wisteria flowers at Kawachi Fuji Gardens, in Kitakyushu, Japan. Representing an example of Japanese perception of beauty and architecture, in these gardens many visitors witnessed the experience of an overwhelming zen-like peace and calmness. However, the cycle Artificial Nature sublimes many strata of profound garden’s symbolism. As Jung noted, garden is a place where Nature is subdued, ordered, selected and enclosed; it is a symbol of the consciousness as opposed to the forest, which is a symbol of the unconsciousness. A place of growth, a place where the inner life is cultivated, the garden is also the symbol of the soul and the qualities cultivated in it and of tamed and ordered nature. Considered also as an image of the innocence, enclosed gardens are the feminine, protective principle. Representing both virginity and fertility, gardens symbolize the happiness, salvation, and purity, and are used to create peace between people. Rich symbolism of gardens in Western philosophy and culture corresponds with Eastern tradition, where the art of gardening strives for a harmony of all its elements, suggesting the harmony between the realms of movement and stasis. Always understood as prefect reproductions of cosmic harmony, the gardens in China and Japan are designed to have a beneficial influence on humanity. The garden is the symbolic place where Nature and human Ingenuity (instinct, desire and industria) join together: it is a place of beauty, of natural luxury, but also of order, symmetry and artful rules. However, as idyllic gardens within medieval cloisters represented the paradise that had been lost, in the history of civilization, and particularly today, the humankind is witnessing the paradoxal processes: on one hand, there are horrifying images of environmental disaster, and on the other – miraculous products of artificial “nature”. Therefore, contemporary gardens themselves, as well as all efforts to produce them, are giving us again the portrait of the utopian paradise, sharply faced with dystopian image of the reality.
Initial inspiration for the cycle Artificial Nature came out from the spectacular views of the wisteria flowers at Kawachi Fuji Gardens, in Kitakyushu, Japan. Representing an example of Japanese perception of beauty and architecture, in these gardens many visitors witnessed the experience of an overwhelming zen-like peace and calmness. However, the cycle Artificial Nature sublimes many strata of profound garden’s symbolism. As Jung noted, garden is a place where Nature is subdued, ordered, selected and enclosed; it is a symbol of the consciousness as opposed to the forest, which is a symbol of the unconsciousness. A place of growth, a place where the inner life is cultivated, the garden is also the symbol of the soul and the qualities cultivated in it and of tamed and ordered nature. Considered also as an image of the innocence, enclosed gardens are the feminine, protective principle. Representing both virginity and fertility, gardens symbolize the happiness, salvation, and purity, and are used to create peace between people. Rich symbolism of gardens in Western philosophy and culture corresponds with Eastern tradition, where the art of gardening strives for a harmony of all its elements, suggesting the harmony between the realms of movement and stasis. Always understood as prefect reproductions of cosmic harmony, the gardens in China and Japan are designed to have a beneficial influence on humanity. The garden is the symbolic place where Nature and human Ingenuity (instinct, desire and industria) join together: it is a place of beauty, of natural luxury, but also of order, symmetry and artful rules. However, as idyllic gardens within medieval cloisters represented the paradise that had been lost, in the history of civilization, and particularly today, the humankind is witnessing the paradoxal processes: on one hand, there are horrifying images of environmental disaster, and on the other – miraculous products of artificial “nature”. Therefore, contemporary gardens themselves, as well as all efforts to produce them, are giving us again the portrait of the utopian paradise, sharply faced with dystopian image of the reality.

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Original
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Gold fish Painting

Marija MašA Jovanović

Serbia

Painting, Watercolor on Paper

Size: 78.7 W x 39.4 H x 0.4 D in

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Initial inspiration for the cycle Artificial Nature came out from the spectacular views of the wisteria flowers at Kawachi Fuji Gardens, in Kitakyushu, Japan. Representing an example of Japanese perception of beauty and architecture, in these gardens many visitors witnessed the experience of an over...

Year Created:

2015

Subject:

Nature

Styles:

Impressionism

, 

Expressionism

, 

Modern

, 

Fine Art

 

Mediums:

Watercolor

, 

Paper

 

Mediums:

Painting, Watercolor on Paper

Rarity:

One-of-a-kind Artwork

Size:

78.7 W x 39.4 H x 0.4 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships Rolled in a Tube

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Serbia.

Customs:

Shipments from Serbia may experience delays due to country's regulations for exporting valuable artworks.

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Contact us.

Need more information?

Contact us.

Marija Maša Jovanović (1983) graduated and specialized at the Departemenet for painting at the Faculty of Fine Arts, Belgrade (2007; 2011). She obtained M.A. degree at the IUAV University (Venice, Italy, Dpt. Progettazione e produzione delle arti visive: 2011). Awarded with full scholarships she attended Idyllwild Arts Academy (USA, California, 1999–2002), M.A. studies (Venice, Italy 2008–2011) and International Summer Academy of Fine Arts (scholarship of Kultur Kontakt, Salzburg, Austria, 2010). In 2007. she was awarded by “Rista and Beta Vukanović, painters” prize for painting. In 2012, she exhibited in Selection of 12 most promising artist of the IUAV University curator Cornelia Lauf, Bevilacqua la masa, Venice, Italy. As resident artist, she worked in the atelier of prestigious International City of Arts (Paris, Cité Internationale des Arts, 2011)..In parallel with eight solo exhibitions, she exhibited in numerous juried group exhibitions in Serbia and abroad (USA, Italy, Japan, Austria, Finland). Member of the Associations of Visual Artists of Serbia from 2007, and member of the Association of Applied Arts Artists and Designers from 2012, she acts as free-lanced artist.

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