The Sensual Woman-Nature Relationship

The Sensual Woman-Nature Relationship

Between Aesthetics, Femininity and Philosophical Sublimation

Finally “we are returning to the former ones, as before” (have we ever changed?), We have regained our spaces after they have been taken away from us, and we are regaining our habits, coercively deprived of health-social moves at times draconian, sometimes precautionary, sometimes intelligent, sometimes the result of an irrational fear of a potentially ubiquitous enemy.

Nonetheless, returning as before means re-joining with one’s own defects, with one’s own ontological and cultural shortcomings: a lack of both ontological and cultural, both pre-coronavirus and “post” -coronavirus present, is human-nature involvement. Here we would like to specifically deal with the sensual relationship between woman and nature, given the presence of the thematic core “man-nature” in this year’s maturity exams (2019-2020).

To do this, we will take advantage of the artistic field, blending it with a pinch of philosophy and positive psychology.

Contact with nature has always been essential for the human being, who first contemplated its beauties (considering himself part of that beauty so much that he could “divinize” himself through the representation of divine figures with appearances attributable to him), then he tried to challenge the laws of nature realizing how “natura non vincitur nisi parendo” [1] (nature cannot be won unless obeyed), and then started to make – even! – things exist thanks to technology [2]. 

If a certain convenience is actually found, anthropologically speaking, in the man-nature relationship, there is a category of men who has never stopped being enchanted by the natural, and who has never stopped contemplating it, representing it, even if they were trembling in the presence so great and so powerful. We speak of the artists, of those who have found in nature, and in its aesthetic-artistic representation, the answer to their questions, or even just the care for their solitude, their melancholy, their anguish, their fears, their despair ; or again, on the contrary, which are, due to nature and its poignant and pervasive charm, sunk into an existential chasm even deeper than that of which they were already prisoners [3].

Kant, in the work “Kritik der Urteilskraft” (Critique of Judgment) of 1790, in fact, combines the category of the Sublime with Beauty, which is exposed as “what in comparison everything else is small” (pp. 171, Laterza , 2018); and in fact, the artists found in the Sublime the answer to the smallness of a society and a man who, drinking from the chalice of progress and development, had completely forgotten what it meant to be-man.

By focusing on today’s society, we have gone beyond this state of affairs, even going as far as to estrange ourselves from what we create, from production: a symptom of unbridled turbo-capitalism and a race for income; a utilitarian sick situation.

“For this reason, instead of becoming autonomous, that is, adults, through the constant growth of the experience and knowledge of the world, we increasingly slide back into the condition of those for whom the world is mainly unknown, new, foreign and impenetrable, the condition in other words of children. Experience is the antidote, actually the only one, towards extraneousness to the world, but today it has now lost its edge. Since what is familiar now is aging faster and faster and the future world will become increasingly different from the world we have experienced so far, which is why the world becomes alien – to us, to modern men – and we become alien to the world. Modern adults regress to childhood. ” (O. Marquard, Apologia del Caso, 1991, Il Mulino, Bologna, p.124)

Having made this – long but necessary – premise, we have now, synthetically but we believe effectively, framed the meaning of being-artist: the one who, more disposed towards the Sublime, through the representation of nature (understood in a broad sense), manages cathartically to forget the smallness of the world around it, with its hypocrisy, with its falsehoods and its horrors.

Having overcome the dermis and the muscles, let us now go into the apparatuses of this article: each artist, in order to experience the Sublime, needs a “tode ti” [4] that will give rise to the sensation; often and willingly, this “something” was represented by the woman.

Woman who at first had been stylistically conceived as an angelic manifestation, as a superior being whose refusal had to be accepted and one had to be pleased with a look, then directly approached to Nature as the maximum expression of the beauty of this man made: the Woman becomes art.

We will consider the work of an artist, Pietro Morea (1944-2014, Bari) who has represented, better than many others, the relationship between woman and nature in his works, since these are the undisputed protagonists of the woman and nature. his artistic production.

Blue sublimation

The work, present above, bears the name of “Blue Sublimation”, and features a naked woman, modestly protected in her private parts by a blanket of flowers, in perfect synergy, harmony and harmony, with Nature and one of its most magnificent productions: flowers. Flowers of a warm, yellow color; probably the artist had in mind the leopardian composition of the Ginestra, in which it is said that this flower, with its distinguishing yellow color, appears in the places protagonists of bad weather. In the Leopardian sense, this is the poetic symbol of the “social chain”: there is life even in the places most victims of pain, and the human being, albeit the victim of the greatest suffering (ie that of the non-knowledge of the sense of exist), must, through the sharing of their pains with another,

But what does the woman, transcending her purely and merely aesthetic artistic role, play in the aesthetic representation of the artist’s soul?

Woman has always been a form of inspiration as poetic as artistic, it is therefore not a novelty that is used as a character, yet: for what reason this, and above all for what?

It is self-evident to believe femininity [5]– mainly feminine and peculiar aspect of those who have such a soul – a peculiar, unique and inimitable element of the woman, which is absolutely not counterbalanced by a specular characteristic in the man: well, we really believe that the artistic research that brings the artist to experience the Sublime through the Woman-Nature is precisely the complete awareness of the latter and the uniqueness of the woman, the one he can never have, the sublime compared to a worldly and entirely material condition. Aware of this, Pietro Morea therefore tries in this case to represent the woman completely immersed in nature: not overlooked, let alone inserted as if she were a subject-other than the natural from which she is surrounded, but as one with the flowers ,

Woman is art to the extent that she demonstrates her femininity to the fullest, and therefore manages to express her being – sensually and modestly – woman to the best of her aesthetic abilities. The expression of Nature in Woman, then, is harmonious just when this femininity is not the result of ostentation and vulgar voluptuousness, but of genuine and natural disposition of mind towards adversity: the female soul transcends, sublimates man when it shows its sensitivity, without hiding it, without dissimulating, and without being ashamed of it.

Often, the superiority of the woman-woman lies in the fact that it is simple: no false ostentation, no hypocrisy, no falsehood; the courage to perform in one’s attractive simplicity is the greatest form of power one can have. Just like Nature, which is not ashamed to show its roses, but also its thorns, the female-woman shows her weaknesses but also her superiority in knowing how to show them in a transparent and non-rhetorical way. The relationship Woman-Nature, in conclusion, turns out to be, when pure, what is closest to the essence of Nature itself.

[1] Famous quote from the thought of the philosopher Francesco Bacone

[2] It is strongly recommended, if you want to investigate the matter, read “The Question of the Technique”, M. Heidegger

[3] We think above all of Van Gogh

[4] Aristotelian expression used to indicate something of which there is no certain knowledge, epistemologically incontrovertible

[5] Understood as an entirely sensual disposition and attitude towards things, events.