Symbolism and meaning have deep roots in the art of painting. If art is to be considered a mode of communication between artist and viewer, then the probability of achieving this increases if both are familiar with and have a shared comprehension of the elements imbedded in the art. Sometime the symbolism employed by the artist is so personal and obscure that meaning is lost between the viewer and himself. Or worse, misinterpretations may occur which act more as a distraction than a connection. On the other hand, many artists prefer to let their art “do the talking” and allow the viewer to interpret it at will. However, in this brief discussion, I wish to focus on art which depends on the prior knowledge of the viewer to appreciate and fully comprehend the meaning behind the art.
The two-dimensional art of the Northwest Coast, particularly from the northern tribes, greatly depended upon the audience’s recognition and comprehension of the structure and symbols used by the artist. This was not a decorative endeavor but art produced with a purpose. A design grammar was in place and structural rules were closely followed in composing the design. The artist and his audience mutually understood the design elements involved and thus the meaning expressed by the artist was understood by all. Also, the designs created were connected to family crests and thus controlled by their owners. Not just anyone could design, paint, or display the crest without the rights and privileges associated with it. However, with the great disruptions caused by Euro-American settlement in the region, much of this system of understanding was adversely affected. But it was never lost. In 1965 Bill Holm published Northwest Coast Indian Art: An Analysis of Form and it allowed for non-native enthusiasts of this art the opportunity for comprehension.
Another example of where the viewer’s prior knowledge allowed them to comprehend the meaning expressed by the artist can be seen in Japanese painting and prints. Both Yamato-e and Rimpa artists used scenes from great literary works The Tale of Genji and The Tale of Ise as the subject matter for their works. Comprehension depended upon the fact that the viewer had either read these novels or at least was strongly familiar with the main incidents in the stories. This allowed artists like Tawaraya Sōtatsu the opportunity to paint a particular scene with just the key elements from the story.
The two-dimensional art of the Northwest Coast, particularly from the northern tribes, greatly depended upon the audience’s recognition and comprehension of the structure and symbols used by the artist. This was not a decorative endeavor but art produced with a purpose. A design grammar was in place and structural rules were closely followed in composing the design. The artist and his audience mutually understood the design elements involved and thus the meaning expressed by the artist was understood by all. Also, the designs created were connected to family crests and thus controlled by their owners. Not just anyone could design, paint, or display the crest without the rights and privileges associated with it. However, with the great disruptions caused by Euro-American settlement in the region, much of this system of understanding was adversely affected. But it was never lost. In 1965 Bill Holm published Northwest Coast Indian Art: An Analysis of Form and it allowed for non-native enthusiasts of this art the opportunity for comprehension.
Another example of where the viewer’s prior knowledge allowed them to comprehend the meaning expressed by the artist can be seen in Japanese painting and prints. Both Yamato-e and Rimpa artists used scenes from great literary works The Tale of Genji and The Tale of Ise as the subject matter for their works. Comprehension depended upon the fact that the viewer had either read these novels or at least was strongly familiar with the main incidents in the stories. This allowed artists like Tawaraya Sōtatsu the opportunity to paint a particular scene with just the key elements from the story.
Tawaraya Sōtatsu’s painted screen showing the Sekiya episode from The Tale of Genji
The benefit of prior knowledge by the viewer was also instrumental for appreciating ukiyo-e prints from the Edo Period in Japan. This was particularly true for those prints whose subjects were drawn from the Kabuki Theater. Famous actors from popular dramas were greatly desired by the people and the ukiyo-e artists of the day where motivated to please. Today’s advertising art still operates on this basis of “product recognition.”
 | Tōshūsai Sharaku’s “Kabuki Actor Ōtani Oniji III as Yakko Edobei in the Play The Colored Reins of a Loving Wife” |
This discussion finally leads me to the main purpose of my paintings. I also want my art to be an art with meaning. My paintings are a visual reference to a story, event, or inspiration which has a special meaning to me, particularly as it relates to the natural world. By looking at the painting I am reminded of what happened. However, the problem is that the viewer doesn’t have the prior knowledge needed to fully understand the meaning behind the design, and thus it can become decorative only. Therefore, I try to include the “story” behind the art on the backs of the paintings, to communicate that necessary background information. It is in this way that I hope to make the desired connection with the viewer. Following is an example from an earlier work of mine and the story associated with it.
GRAY WHALE AT MIDWAY (SUMMER 2012)
“I taught math and science at Neah Bay High School on the Makah Reservation from 1980 to 2003. One of my favorite classes to teach was Advanced Biology as I was able to take my class and work out in the field on many occasions. In the fall we studied plants, ethnobotany and forest types. In the winter we studied the raptor migration. And in the spring we went to the tide pools to study intertidal zonation. One year (I believe it was 1995 or 1996 as Wilson Arnold, Schyler Colfax and others from their graduating class were present that day) our class had a memorable experience while collecting data for our research at the tidepools by Midway. Midway is a secluded beach half-way between Neah Bay and Cape Flattery. We reached it by driving out the Cape Loop road (when it was still open from the north), and then hiking down to the beach. We had collected our data and had just finished eating lunch when a gray whale came up right by the rocks just in front of us. The whale was so close that it seemed as if we could reach out and touch it. Then the whale exhaled and we were all covered in the spray from its spout. What struck me was how strongly it smelled of fish. Needless to say, that made a perfect day at the beach all that more spectacular. I painted this panel to commemorate that special day.”
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