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A P POLO

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A.P.POLO - ANIMA MUNDI

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A.P.Polo - "Anima Mundi" - Hamburg (Germany) - Painting / New Media Art. Abstract, contemporary work that is characterised by its colourfulness and a...[+]

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A.P.POLO - ANIMA MUNDI A P POLO Canvas Print

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A.P.Polo - Anima Mundi Split Canvas print

56 x 36 triptych - split canvas
59 x 36 inches including space.
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59 x 36 inches including space.
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White Metal Print with Floating Frame on the back

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White Metal Print with Stand off

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A.P.Polo - Anima Mundi HD Metal print with Floating Frame on Back

A.P.Polo - Anima Mundi HD Sublimation Metal print

A.P.Polo - Anima Mundi HD Sublimation Metal print with Decorating Float Frame (BOX)

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This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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22 x 16"

22 x 16" Framed Print

Printed Area: 18 x 12"
Total Inside area: 22.00 x 16.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 23.25 x 17.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
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28 x 20"

28 x 20" Framed Print

Printed Area: 24 x 16"
Total Inside area: 28.00 x 20.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 21.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
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34 x 24"

34 x 24" Framed Print

Printed Area: 30 x 20"
Total Inside area: 34.00 x 24.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 35.25 x 25.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
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40 x 28"

40 x 28" Framed Print

Printed Area: 36 x 24"
Total Inside area: 40.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.63" on each side
Total Physical dimension: 41.63 x 29.63"

Frame model: 800-967
Printing method: 1200dpi UV cured ink on fine art matte board
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A.P.Polo - Anima Mundi A P Polo Puzzle printing

Precisely produced by HD Sublimation Process & Protected by a high-gloss varnish.
Unlike traditional printing — This artwork is produced with by sublimation print. We utilize heat and pressure to transfer images directly into the surface of the Puzzle, bonding your image to the substrate at the molecular level.

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Wall Clock

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Clock mechanism with a Precise quartz movement. Battery included
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ABOUT A P POLO
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ABOUT THIS ARTWORK: A.P.POLO - ANIMA MUNDI
A.P.Polo - "Anima Mundi" - Hamburg (Germany) - Painting / New Media Art. Abstract, contemporary work that is characterised by its colourfulness and attention to detail and which, due to the artist's psychedelic experiences, is based on metaphysical considerations that ultimately led to the title. This work must be classified as visionary art. The world soul (ancient Greek psych? tou pantós, Latin anima mundi) is a religious and natural philosophical concept. It is based on the idea of an analogy between the totality of the cosmos and the individual living being, especially the human being. The universe as a macrocosm is said to be structured analogously to the human being, the microcosm. A soul is assumed to be the principle of life and movement for both. Just as a single living being is imagined as animate and animated by its single soul, the cosmos is conceived as a living organism endowed with its own soul. Anima Mundi is, according to several systems of thought, an intrinsic connection between all living things on the planet, which relates to the world in much the same way as the soul is connected to the human body. Plato adhered to this idea and it was an important component of most Neoplatonic systems: "Therefore, we may consequently state that: this world is indeed a living being endowed with a soul and intelligence. A single visible living entity containing all other living entities, which by their nature are all related." The Stoics believed it to be the only vital force in the universe. Similar concepts also hold in systems of eastern philosophy in the Brahman-Atman of Hinduism, the Buddha-Nature in Mahayana Buddhism, and in the School of Yin-Yang, Taoism, and Neo-Confucianism as qi. Other resemblances can be found in the thoughts of hermetic philosophers like Paracelsus, and by Baruch Spinoza, Gottfried Leibniz, Immanuel Kant, Friedrich Schelling and in Hegel's Geist ("Spirit"/"Mind"). In Jewish mysticism, a parallel concept is that of "Chokhmah Ila'ah," the all-encompassing "Supernal Wisdom" that transcends, orders and vitalizes all of creation. Rabbi Nachman of Breslov states that this sublime wisdom may be apprehended (or perhaps "channeled") by a perfect tzaddik (holy man). Thus, the tzaddik attains "cosmic consciousness" and thus is empowered to mitigate all division and conflict within creation. The term "world soul" was coined by Plato. In his dialogue "Timaeus", he developed a theory of the soul of the world. He described the world soul as self-moving; he saw its main characteristic in its self-movement. He regarded it as necessary for two reasons. Firstly, he considered a principle to which movement in general can be traced to be necessary; in his late work "Nomoi" he emphasised that the world soul was the cause of all movement in nature. To it he attributed the movements in the heavens as well as those on earth. Secondly, he needed the world soul as the principle by means of which he connected reason, which rules in the cosmos, with world matter. According to the myth told in the Timaeus, the Demiurge, the world creator, created the world soul together with the cosmos. The Demiurge did this by mixing different things in a complex four-step process in a mixing jar. From indivisible and divisible being he formed a third form of being, from indivisible and divisible identical a third form of identical, from indivisible and divisible different a third form of different. He then combined these three mixtures in a fourth step to form the world soul. Thanks to this mixture, the world soul contains elements of everything and is thus enabled to perceive and recognise everything. It is entitled to dominion over the world body, just as the individual soul of the individual is entitled to dominion over his body. The world soul permeates and surrounds the body of the cosmos, its matter. It is the mediating instance between the purely spiritual world of ideas and the physical world body. In the "Nomoi", Plato tested the hypothetical possibility that the world soul can also bring about bad things, or that there are two world souls, one of which brings about good, the other bad things. Since the movements of the heavens are ordered and therefore mathematically describable, he ruled out this possibility, because he was convinced that a bad world soul could only produce chaos. From this it followed for him that the world soul, as the administrator of the entire cosmos, must be the best soul. However, according to Platonic natural philosophy, it requires reason, the nous, for orderly movement. The Nous, who is represented in the Timaeus by the Demiurge, directs the world soul from outside as a superior authority. - The relationship of the world soul to reason raised questions that were not conclusively clarified by Plato. The problems of the world soul concept that were not resolved in his works were discussed in later Platonism, whereby the Platonists reached different conclusions. Among other things, the question was whether the world soul also had its own reason or whether it only behaved rationally thanks to external guidance. In Middle Platonism, the attempt was made to attribute the existence of evil to a deficiency of the world soul. Plutarch advocated a dualistic position. Since good is mixed with bad in the sensually perceptible world, he assumed two opposing principles (archaí) and conflicting forces (dynámeis). One of the forces leads in the right direction, the other in the wrong direction. The negative force can normally only have an effect in the area below the lunar sphere, i.e. especially on the earth; the celestial area beyond the lunar orbit is actually free of wickedness, but can be infected by it in certain periods of world events. Plutarch identified the negative principle with the primordial soul ("soul in itself", soul in its original state, world soul). This soul is by nature unreasonable, moves in a disorderly manner and is only directed towards the good thanks to the rule of orderly reason (which it constantly opposes). Plutarch regarded the world soul as indissolubly connected with the world matter that belonged to it and was animated by it. The Middle Platonist Numenios taught a similar dualism. He regarded the good god and the evil matter as equally original and assumed a bad world soul in which he saw the origin of evil. The effects of the evil inherent in the world soul and the matter animated by it could be felt throughout the cosmos. In Neoplatonism, on the other hand, the world soul was counted among the perfect elements of the spiritual world. It was considered the lowest of the three hierarchically ordered "natures" or, as was later called, hypostases, which make up the spiritual world. Plotinus, the founder of the Neoplatonic tradition, believed that the world soul differed from the individual souls in that it was constantly aligned with the spirit (nous) and always connected to its body, whereas the alignment and bodily connection of the individual souls were subject to change. By animating the cosmos, it gave it a divine quality. The ancient Neo-Platonists were mainly interested in the individual soul and its destiny; they discussed the world soul almost only in the context of the commentary on Timaeus. Aristotle rejected the Platonic concept of the world soul and in particular the idea that it not only moved but was itself in constant motion. Derived from the Platonic concept, but greatly modified, was the Stoics' view of the ensoulment of the world. They assumed an active fiery principle, the pneuma, pervading the entire cosmos. They associated this with the idea that the world was an animated, immortal, divine living being to which they attributed senses and reason. They regarded the individual souls as parts of the world soul. For the Stoics, however, the world soul was not, as in Platonism, an independently existing spiritual substance with a particular rank and task in the hierarchical world order, but only a particular aspect of a unified, physically conceived world. This materialistic, "physical" view competed with the spiritual view of the Platonists. The idea of a world soul was originally completely alien to Judaism and therefore also to ancient Christianity. For this reason, the Jewish thinker Philon of Alexandria, who was strongly influenced by Platonism, only wanted it to be valid as a metaphor. The concept was also not accepted by the various currents of Gnosticism; only Manichaeism, which was particularly syncretistically oriented, took it up. The Manichaeans, however, did not regard the world soul as inherently assigned to the world body like the Platonists and the Stoics, but considered its stay in the material world to be the result of a catastrophe, which, just as with individual souls, could be reversed through redemption. Among the ancient Church Fathers, Augustine, who before his conversion had at times professed first Manichaeism, then Neo-Platonism, stands out for his positive attitude to the idea of the animate nature of the world. He considered it a bold hypothesis, which could neither be proven by reason nor derived from the Bible, but which might be true. As late as the 6th century, Boethius in his Consolatio philosophiae explicitly professed the idea of the "all-moving soul" of the world. In the Middle Ages, the Platonic idea of an ensouledness of the cosmos was known from some ancient works that were very popular at the time. These included Boethius' Consolatio philosophiae, Calcidius' commentary on Timaeus, Macrobius' commentary on Cicero's Somnium Scipionis and Virgil's Aeneid. In the 9th century, the Neoplatonically oriented Christian philosopher Johannes Scottus Eriugena professed the idea of the animacy of the whole world. In the 11th century, the Jewish philosopher Solomon ibn Gabirol (Avencebrol, Avicebron), who lived in Spain, also adopted the idea of a world soul as part of his reception of Neoplatonism. In the 12th century, the world soul theme was taken up again. The Platonist William of Conches, who commented on the Timaeus, called the world soul an animating "natural force" and wrote that it was created at the same time as the world. He cautiously connected it with the Holy Spirit - renewing a consideration that had already appeared in antiquity. However, he did not identify it ontologically with the Holy Spirit (which would be theologically problematic because of its uncreature), but left the question of its relationship to the third person of the Trinity explicitly open. Peter Abaelardus emphasised that the Platonic doctrine of the world soul was not meant concretely, but only parable-like; otherwise, in his view, it would be foolishness. Nevertheless, his opponents insinuated that he had attributed a real existence to the world soul and identified it with the Holy Spirit; this alleged claim by Abaelard was ecclesiastically condemned in 1140. The influential theologians Bernard of Clairvaux and William of Saint-Thierry strongly opposed the equation of the world soul with the Holy Spirit. The philosopher and theologian Nicholas of Cusa (1401-1464) stands at the transition from the late Middle Ages to the early modern period. In his work De docta ignorantia, he deals with the Platonic concept of the world soul. He regards the world soul as a "universal form" that is inherent in things but does not exist independently outside them. He does not equate it with the Holy Spirit, but considers it to be its "unfolding". His younger contemporary Marsilio Ficino shares the Platonic conviction of the ensoulment of the entire world, as does Giovanni Pico della Mirandola, but these thinkers steer clear of a pantheistic interpretation of this concept. Other adherents of the world-soul idea include Agrippa von Nettesheim (1486-1535), Gerolamo Cardano (1501-1576), for whom the world-soul manifests itself in warmth, and Francesco Patrizi da Cherso (1529-1597). Giordano Bruno is also of the opinion that one finds soul and life in all things and that the soul, as the form of all things, orders and governs matter everywhere. He emphasised more strongly than his predecessors the aspect of God's immanence in the world. He attributes a "universal reason" (intelletto universale) to the world soul, which he describes as the general form of the universe, which he equates with the active cause of the universe. He believes that the world soul is everywhere, but that its omnipresence is to be understood in a spiritual sense, not physically or in terms of extension. Bruno only partially absorbs the Neoplatonic tradition, but understands the world soul in its sense as a mediating instance. In the 17th century, in the course of the increasing "mechanisation of the world view", the conventional panpsychistic conception of nature of the "naturalists" (natural philosophers) was either radically rejected or ignored by prominent thinkers and scientists. With the idea of an animatedness of the entire world, the idea of a world soul is also rejected. Marin Mersenne, for example, regards the world soul as a mere figment of the imagination. As early as 1611/12, the poet John Donne lamented the "death" of the world soul in his poem An Anatomy of the World. The world soul motif continues to find resonance in anti-Aristotelian natural philosophy, especially in the work of Robert Fludd. Artistically, the World Soul is depicted as a naked goddess whose head is surrounded by a circle of stars. In a 17th century wood engraving, she is seen standing on a globe, with one foot in the water (sea) and one foot on the earth. The right breast is decorated with a star, the left with a sun, the pubic triangle with a moon. Depictions of the world soul are found above all in alchemical books and grimoires. In the Age of Enlightenment, the world soul is usually regarded as a fantasy. Hermann Samuel Reimarus describes it as an invention resulting from ignorance that cannot explain anything. One defender of the world soul concept, however, is Salomon Maimon († 1800). He considers the world soul to be a substance created by God and interprets it metaphysically as a finite universal form. In his view, this understanding of the world soul is compatible with the scientific knowledge of his time. In 1790, Immanuel Kant defines hylozoism as the physical variant of the realism of the purposefulness of nature. This realism bases "the purposes in nature on the analogue of a faculty acting according to intention, the life of matter (in it, or also through an animating inner principle, a world soul)". Accordingly, for Kant, the world soul is a physical, inner-worldly principle of the explanation of the purposefulness of nature through an intrinsically existing being, in contrast to the assumption of a divine being bringing forth with intention according to the "hyperphysical" explanation offered by theism. The theory of the world soul describes the relationship between the world and God as a community (commercium) along the lines of the community of body and soul. In the Opus postumum, Kant determines the organic natural body as a machine, that is, as a body intentionally formed according to its form. According to his reasoning, however, "having an intention can never be a faculty of matter". Thus, such a body "cannot have its organisation solely from the moving forces of matter". Therefore, a "simple, therefore immaterial being, whether as a part of the sensory world or a being distinct from it, must be assumed as a mover outside this body or in it". Kant considers it impossible to decide whether this being possesses understanding "as it were as a world soul" or only a faculty "analogous to understanding" in terms of its effects. In a reflection on anthropology, Kant considers the possibility of tracing the commonality of man's mental faculties back to participation in such an overarching instance. The "unity of the world soul" could be the explanation. In doing so, Kant starts from the consideration that the human spirit "goes to the general" and is thus "created from the general spirit". In modern times, Schelling took up the term "world soul" and even made it the subject of his writing "On the World Soul" (1798). However, he understood it only as a metaphor for an organising principle that, in his view, continuously connects organic and inorganic nature and links all of nature into a general organism. He attributed to the ancient philosophers an inkling of this principle that had led them to think of a world soul. Goethe, who held Schelling in high esteem and was familiar with his writing on the world soul, renamed his poem Weltschöpfung (World Creation), first printed in 1803, to Weltseele (World Soul) under the influence of his reading of Schelling. Goethe also referred to the world soul in his poem Eins und Alles (One and All), written in 1821: Weltseele, komm, uns zu durchdringen! He was concerned with the experience of the unity and vitality of nature. In Romantic literature, in which "soul" is one of the key concepts, the expression "world soul" occurs frequently, especially in Novalis. Friedrich Schlegel wrote a poem The World Soul in 1800. This is a poetic use of language with no claim to philosophical unambiguity. Hegel rarely used the term "world soul". In a letter to Friedrich Immanuel Niethammer of 13 October 1806, in which he reported on the occupation of Jena by Napoleon's troops, he wrote: The Emperor - this world-soul - I saw riding out through the city to reconnoitre; - it is indeed a marvellous sensation to see such an individual, concentrated here on one point, seated on a horse, reaching over the world and dominating it. In his Encyclopaedia of the Philosophical Sciences in Outline, he stated that the "general soul" need not be fixed as a world-soul, as it were, as a subject, for it is only the general substance, which has its real truth only as singleness, subjectivity. The American writer Ralph Waldo Emerson (1803-1882) used the term "oversoul"; he described the all-soul as the life principle of nature and as a unity in which the individual existence of every human being was contained and united with all others. Another proponent of the idea of the ensoulment of the cosmos was the natural philosopher Gustav Theodor Fechner (1801-1887), an outsider in the scientific establishment of the time. The Russian religious philosopher Vladimir Sergeyevich Soloviev (1853-1900), influenced by Schelling, took up Gnostic ideas by assuming a fall of the world soul; it had fallen out of the centre of the all-unity of divine existence into the periphery of creaturely multiplicity. In doing so, it had alienated itself from its own essence and pulled the entire creation down into disorder. From the resulting chaos, evil arose, the fruit of which was suffering. The Irish poet William Butler Yeats (1865-1939) imagined the world soul as a collective reservoir of mental content of human history to which individual human souls had access. The interpretation of Carl Gustav Jung, who related the world soul concept to the "collective unconscious" common to the individual souls, also aims in this direction. Visionary art is art that purports to transcend the physical world and portray a wider vision of awareness including spiritual or mystical themes, or is based in such experiences. The Vienna School of Fantastic Realism, first established in 1946, is considered to be an important technical and philosophical catalyst in its strong influence upon contemporary visionary art. Its artists included Ernst Fuchs, Rudolf Hausner, Arik Brauer, Wolfgang Hutter and Anton Lehmden among others. Several artists who would later work in visionary art trained under Fuchs, including Mati Klarwein, Robert Venosa, Philip Rubinov Jacobson and De Es Schwertberger. Visionary art often carries themes of spiritual, mystical or inner awareness. Despite this broad definition, there does seem to be emerging some definition to what constitutes the contemporary visionary art 'scene' and which artists can be considered especially influential. Symbolism, Cubism, Surrealism and Psychedelic art are also direct precursors to contemporary visionary art. Notable visionary artists count Hilma af Klint, Hieronymous Bosch, William Blake, Morris Graves (of the Pacific Northwest School of Visionary Art), Emil Bisttram, and Gustave Moreau amongst their antecedents.

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