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賮丕睾賳乇 賮賷 亘丕賷乇賵賷鬲
Friedrich Wilhelm Nietzsche (1844-1900) was a German philosopher. His writing included critiques of religion, morality, contemporary culture, philosophy and science, using a distinctive style and displaying a fondness for aphorism. Nietzsches influence remains substantial within and beyond philosophy, notably in existentialism and postmodernism. He began his career as a philologist before turning to philosophy. At the age of 24 he became Professor of Classical Philology at the University of Basel, but resigned in1879 due to health problems, which would plague him for most of his life. In 1889 he exhibited symptoms of serious mental illness, living out his remaining years in the care of his mother and sister until his death in 1900. His works include From my Life (1858), On Music (1858), Napoleon III as a President (1862), Free Willand Fate (1862), My Life (1864), The Birth of Tragedy (1872), Richard Wagner in Bayreuth (1876), Human, All-Too-Human (1878), Beyond Good and Evil (1886), The Antichrist (1888) and Ecce Homo (1888).
103 pages, Paperback
First published January 1, 1889
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Friedrich Nietzsche
3,912听books24.3k听followersFriedrich Wilhelm Nietzsche was a German classical scholar, philosopher, and critic of culture, who became one of the most influential of all modern thinkers. He began his career as a classical philologist before turning to philosophy. He became the youngest person to hold the Chair of Classical Philology at the University of Basel in 1869 at the age of 24, but resigned in 1879 due to health problems that plagued him most of his life; he completed much of his core writing in the following decade. In 1889, at age 44, he suffered a collapse and afterward a complete loss of his mental faculties, with paralysis and probably vascular dementia. He lived his remaining years in the care of his mother until her death in 1897 and then with his sister Elisabeth F枚rster-Nietzsche. Nietzsche died in 1900, after experiencing pneumonia and multiple strokes.
Nietzsche's work spans philosophical polemics, poetry, cultural criticism, and fiction while displaying a fondness for aphorism and irony. Prominent elements of his philosophy include his radical critique of truth in favour of perspectivism; a genealogical critique of religion and Christian morality and a related theory of master鈥搒lave morality; the aesthetic affirmation of life in response to both the "death of God" and the profound crisis of nihilism; the notion of Apollonian and Dionysian forces; and a characterisation of the human subject as the expression of competing wills, collectively understood as the will to power. He also developed influential concepts such as the 脺bermensch and his doctrine of eternal return. In his later work, he became increasingly preoccupied with the creative powers of the individual to overcome cultural and moral mores in pursuit of new values and aesthetic health. His body of work touched a wide range of topics, including art, philology, history, music, religion, tragedy, culture, and science, and drew inspiration from Greek tragedy as well as figures such as Zoroaster, Arthur Schopenhauer, Ralph Waldo Emerson, Richard Wagner, Fyodor Dostoevsky, and Johann Wolfgang von Goethe.
After his death, Nietzsche's sister Elisabeth became the curator and editor of his manuscripts. She edited his unpublished writings to fit her German ultranationalist ideology, often contradicting or obfuscating Nietzsche's stated opinions, which were explicitly opposed to antisemitism and nationalism. Through her published editions, Nietzsche's work became associated with fascism and Nazism. 20th-century scholars such as Walter Kaufmann, R.J. Hollingdale, and Georges Bataille defended Nietzsche against this interpretation, and corrected editions of his writings were soon made available. Nietzsche's thought enjoyed renewed popularity in the 1960s and his ideas have since had a profound impact on 20th- and early 21st-century thinkers across philosophy鈥攅specially in schools of continental philosophy such as existentialism, postmodernism, and post-structuralism鈥攁s well as art, literature, music, poetry, politics, and popular culture.
Nietzsche's work spans philosophical polemics, poetry, cultural criticism, and fiction while displaying a fondness for aphorism and irony. Prominent elements of his philosophy include his radical critique of truth in favour of perspectivism; a genealogical critique of religion and Christian morality and a related theory of master鈥搒lave morality; the aesthetic affirmation of life in response to both the "death of God" and the profound crisis of nihilism; the notion of Apollonian and Dionysian forces; and a characterisation of the human subject as the expression of competing wills, collectively understood as the will to power. He also developed influential concepts such as the 脺bermensch and his doctrine of eternal return. In his later work, he became increasingly preoccupied with the creative powers of the individual to overcome cultural and moral mores in pursuit of new values and aesthetic health. His body of work touched a wide range of topics, including art, philology, history, music, religion, tragedy, culture, and science, and drew inspiration from Greek tragedy as well as figures such as Zoroaster, Arthur Schopenhauer, Ralph Waldo Emerson, Richard Wagner, Fyodor Dostoevsky, and Johann Wolfgang von Goethe.
After his death, Nietzsche's sister Elisabeth became the curator and editor of his manuscripts. She edited his unpublished writings to fit her German ultranationalist ideology, often contradicting or obfuscating Nietzsche's stated opinions, which were explicitly opposed to antisemitism and nationalism. Through her published editions, Nietzsche's work became associated with fascism and Nazism. 20th-century scholars such as Walter Kaufmann, R.J. Hollingdale, and Georges Bataille defended Nietzsche against this interpretation, and corrected editions of his writings were soon made available. Nietzsche's thought enjoyed renewed popularity in the 1960s and his ideas have since had a profound impact on 20th- and early 21st-century thinkers across philosophy鈥攅specially in schools of continental philosophy such as existentialism, postmodernism, and post-structuralism鈥攁s well as art, literature, music, poetry, politics, and popular culture.
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January 25, 2021Nietzsche bu kitab谋 Tragedyan谋n Do臒u艧u鈥檔dan sonra yazm谋艧 ve onda oldu臒u gibi Schopenhauer ya da eski Yunandan 枚te salt Wagner鈥檈 odaklanmas谋 d眉艧眉n眉lm眉艧t眉 bunda ama Nietzsche鈥檔in Wagner鈥檈 kar艧谋 tav谋rlar谋 de臒i艧ti臒inden, ona duydu臒u tanr谋sal be臒eniden nas谋l bir yarg谋ya tam olarak varaca臒谋n谋 bilemedi臒i m眉phem bir 莽ukurun i莽ine d眉艧m眉艧t眉. Bu sebepten kitab谋 okurken s谋kl谋kla s谋k谋c谋l谋臒谋n dokunu艧lar谋na maruz kald谋m. Wagner鈥檈 edilmi艧 枚vg眉leri kuru ve tats谋z buldum hatta yer yer inand谋r谋c谋 da bulmad谋m. Sayfalar boyunca ideal sanatk芒r谋 tan谋mlar ve 枚verken ne kadar Wagner ismini kullansa da asl谋nda bununla Wagner鈥檌 i艧aret etmiyor, tam aksine imgelemindeki 枚l眉ms眉z bir ruhun yans谋mas谋n谋 k芒臒谋da d枚k眉yor bana g枚re. Nietzsche, duygular谋n谋n ikili臒inden dolay谋 zorlukla kalem oynatt谋臒谋ndan ve yeni edindi臒i 莽ehreden dolay谋 eminim Wagner鈥檈 d枚kt眉臒眉 bu 枚vg眉lerde zorlanm谋艧t谋r. Belki de 枚vg眉den 枚nce d眉艧眉ndeki Wagner鈥檌 d眉艧眉nm眉艧, belki biraz Schopenhauer鈥檜, belki Beethoven鈥櫮�, belki de Musalar谋n yard谋m谋n谋 颈蝉迟别尘颈艧迟颈.
Ya艧am谋n谋n ileriki d枚neminde 鈥淏a艧kalar谋 Wagner鈥檒e neler ya艧am谋艧t谋r, bilmem; bizim g枚臒眉m眉zden bir tek bulut bile ge莽medi.鈥� demi艧ti Ecce Homo鈥檇a. Belki de bir bak谋ma Wagner鈥檌n Tribschen鈥檇e kalmay谋p Bayreuth鈥檃 gitmesiyle Nietzsche kendine yeni bir y枚n tayin ediyor, metafizik d眉艧眉ne ve Schopenhauer idealizmine son vererek pozitivizm 谋艧谋臒谋yla 枚n眉n眉 ayd谋nlat谋yor ve olgunluk d枚nemi eserlerine en dramatik k枚pr眉y眉 kuruyordu. Wagner鈥檒e per莽inledi臒i vatanperver ve Yahudi kar艧谋tl谋臒谋 枚zelliklerini silkelemeden yok etmeye te艧ebb眉s ediyor, Wagner鈥檌 tanr谋lar谋n kat谋ndan insanca hatta pek insanca bir kata indiriyordu. Ne olursa olsun, yukar谋daki s枚zden de g枚rd眉臒眉m h芒liyle Wagner鈥檌n etkisi hi莽bir zaman ge莽memi艧, ona kar艧谋 i莽inde yanan alev hi莽 s枚nmemi艧 ve felsefesi Wagner鈥檌n m眉zi臒inin ruhundan 莽谋km谋艧t谋, metafiziksiz bir Dionysos莽uluk belki de. Ne de olsa tan谋艧t谋臒谋 zamanlarda Wagner鈥檈 hen眉z bir bak谋艧 atm谋艧t谋 ki bir baca臒谋 ya da bir kanad谋 olmu艧tu. 脰yle ki Wagner鈥檈 bakt谋臒谋nda m眉zi臒i bilmesine ra臒men t谋pk谋 Van Gogh gibi m眉zi臒e kulak verece臒i yerde m眉zisyeni seyretmi艧ti.
Nietzsche鈥檔in Schopenhauer ve Wagner鈥檌 ke艧fi, onlarda buldu臒u eski dinsel ve y眉ce olan谋n yeniden ke艧fi, yorumlamas谋yd谋. Eski Yunan鈥櫮眓 modernle艧tirilmesi, g眉n眉m眉ze estetize edilmesi, yeniden 莽i莽ek a莽mas谋yd谋. Bence bu dinsel co艧ku ge莽 d枚nem eserleri 眉zerine de 莽ok莽a etki etti, bu sebepten bir e臒itici olmak bir yana gayesi bir filozof, damardan bir 枚臒retici olmakt谋. Yaz谋m tarz谋ndaki akademik canavar谋 yava艧莽a yok ederek kaleminde co艧kunlu臒a eri艧ti, kanla yazmaya ba艧lad谋. Putlar谋n Alacakaranl谋臒谋鈥檔da 艧枚yle diyor: "Benim h谋rs谋m, ba艧kalar谋n谋n bir kitapta s枚yledi臒ini on c眉mlede s枚ylemektir, ba艧ka herkesin bir kitapta s枚ylemedi臒ini."
鈥淜i艧i, Beethoven鈥檌n 鈥淣e艧e鈥漼e 枚vg眉 艧ark谋s谋n谋 bir tabloya d枚n眉艧t眉r眉r, hayalinde de milyonlar谋n hu艧u i莽inde yere kapand谋klar谋n谋 canland谋r谋rsa: i艧te ancak b枚yle yak谋nla艧abilir Dionysos莽u olana.鈥� Tragedyan谋n Do臒u艧u, Nietzsche
鈥淎h, kutsal sanat, ka莽 s谋k谋nt谋l谋 saatte, hayat谋n amans谋z 莽emberi beni sard谋臒谋nda, sen鈥� daha iyi bir d眉nyaya ta艧谋d谋n beni.鈥� An die Musik, Schubert
鈥淧atlayan r眉zg芒rda
脟谋nlayan seste
D眉nyan谋n solu臒unda
T眉m眉n眉n dalgalar谋nda
叠辞臒耻濒尘补办
Dibe batmak
叠颈濒颈苍莽蝉颈锄
Y眉ce saadet鈥� Tristan und Isolde, Wagner
Ya艧am谋n谋n ileriki d枚neminde 鈥淏a艧kalar谋 Wagner鈥檒e neler ya艧am谋艧t谋r, bilmem; bizim g枚臒眉m眉zden bir tek bulut bile ge莽medi.鈥� demi艧ti Ecce Homo鈥檇a. Belki de bir bak谋ma Wagner鈥檌n Tribschen鈥檇e kalmay谋p Bayreuth鈥檃 gitmesiyle Nietzsche kendine yeni bir y枚n tayin ediyor, metafizik d眉艧眉ne ve Schopenhauer idealizmine son vererek pozitivizm 谋艧谋臒谋yla 枚n眉n眉 ayd谋nlat谋yor ve olgunluk d枚nemi eserlerine en dramatik k枚pr眉y眉 kuruyordu. Wagner鈥檒e per莽inledi臒i vatanperver ve Yahudi kar艧谋tl谋臒谋 枚zelliklerini silkelemeden yok etmeye te艧ebb眉s ediyor, Wagner鈥檌 tanr谋lar谋n kat谋ndan insanca hatta pek insanca bir kata indiriyordu. Ne olursa olsun, yukar谋daki s枚zden de g枚rd眉臒眉m h芒liyle Wagner鈥檌n etkisi hi莽bir zaman ge莽memi艧, ona kar艧谋 i莽inde yanan alev hi莽 s枚nmemi艧 ve felsefesi Wagner鈥檌n m眉zi臒inin ruhundan 莽谋km谋艧t谋, metafiziksiz bir Dionysos莽uluk belki de. Ne de olsa tan谋艧t谋臒谋 zamanlarda Wagner鈥檈 hen眉z bir bak谋艧 atm谋艧t谋 ki bir baca臒谋 ya da bir kanad谋 olmu艧tu. 脰yle ki Wagner鈥檈 bakt谋臒谋nda m眉zi臒i bilmesine ra臒men t谋pk谋 Van Gogh gibi m眉zi臒e kulak verece臒i yerde m眉zisyeni seyretmi艧ti.
Nietzsche鈥檔in Schopenhauer ve Wagner鈥檌 ke艧fi, onlarda buldu臒u eski dinsel ve y眉ce olan谋n yeniden ke艧fi, yorumlamas谋yd谋. Eski Yunan鈥櫮眓 modernle艧tirilmesi, g眉n眉m眉ze estetize edilmesi, yeniden 莽i莽ek a莽mas谋yd谋. Bence bu dinsel co艧ku ge莽 d枚nem eserleri 眉zerine de 莽ok莽a etki etti, bu sebepten bir e臒itici olmak bir yana gayesi bir filozof, damardan bir 枚臒retici olmakt谋. Yaz谋m tarz谋ndaki akademik canavar谋 yava艧莽a yok ederek kaleminde co艧kunlu臒a eri艧ti, kanla yazmaya ba艧lad谋. Putlar谋n Alacakaranl谋臒谋鈥檔da 艧枚yle diyor: "Benim h谋rs谋m, ba艧kalar谋n谋n bir kitapta s枚yledi臒ini on c眉mlede s枚ylemektir, ba艧ka herkesin bir kitapta s枚ylemedi臒ini."
鈥淜i艧i, Beethoven鈥檌n 鈥淣e艧e鈥漼e 枚vg眉 艧ark谋s谋n谋 bir tabloya d枚n眉艧t眉r眉r, hayalinde de milyonlar谋n hu艧u i莽inde yere kapand谋klar谋n谋 canland谋r谋rsa: i艧te ancak b枚yle yak谋nla艧abilir Dionysos莽u olana.鈥� Tragedyan谋n Do臒u艧u, Nietzsche
鈥淎h, kutsal sanat, ka莽 s谋k谋nt谋l谋 saatte, hayat谋n amans谋z 莽emberi beni sard谋臒谋nda, sen鈥� daha iyi bir d眉nyaya ta艧谋d谋n beni.鈥� An die Musik, Schubert
鈥淧atlayan r眉zg芒rda
脟谋nlayan seste
D眉nyan谋n solu臒unda
T眉m眉n眉n dalgalar谋nda
叠辞臒耻濒尘补办
Dibe batmak
叠颈濒颈苍莽蝉颈锄
Y眉ce saadet鈥� Tristan und Isolde, Wagner
January 25, 2025
Friedrich Nietzsche, Zamana Ayk谋r谋 Bak谋艧lar serisinin d枚rd眉nc眉 ve son kitab谋n谋, arkada艧谋 da oldu臒u Richard Wagner鈥檌n mitos ve m眉zi臒i bir araya getirmesindeki inter-disipliner dehas谋na ve b眉y眉k oranda da methiyelerine ay谋rm谋艧. B枚ylece serinin ilk kitab谋nda Nietzsche鈥檔in olanca g眉c眉yle 莽eki莽lerini indirdi臒i, k眉lt眉r filisteri olarak dekandanl谋臒谋n kalesi g枚rd眉臒眉 David Strauss 枚rne臒i dengesini bu kitaptaki Wagner g眉zellemesi ile bulmu艧 oluyor.
Seri boyunca Alman d枚nem k眉lt眉r眉ne her f谋rsatta yapt谋臒谋 a臒谋r ele艧tiri tarifesi kendisini bir nebze yordu臒undan m谋 yoksa, arkada艧谋n谋n dehas谋na duydu臒u sayg谋dan 枚te handiyse tap谋nma derecesindeki y眉celik duygusundan m谋 bilinmez ama Nietzsche bu eserinde b眉t眉n眉yle 陌nsan Wagner鈥檇en, Sanat莽谋 Wagner鈥檈 ge莽i艧in izle臒ine odaklanm谋艧 ve 莽ekici eline nerdeyse hi莽 almam谋艧.
Eserin dili ve bi莽emi i莽in, i莽eri臒i itibariyle ve serinin di臒er kitaplar谋na k谋yasla a臒谋r yorumu yap谋labilir. Wagner鈥檌n m眉zi臒i ve yap谋tlar谋na ili艧kin y眉zeysel de olsa daha 枚nce pek ilgilenmemi艧 ama yazar谋n hi莽 bir kitab谋n谋 da g枚rmezden gelemeyecek okurlar谋 zor bir i莽erik, buna kar艧谋n ve buna ra臒men, bitti臒inde ayaklar谋 yere basan kitaba 枚zg眉 temel bir d眉艧眉nceye ula艧amama tehdidi bekledi臒i de s枚ylenebilir. Evet, yazar yine 鈥溍糱ermensch鈥� kavram谋n谋, ona 枚rnek te艧kil etti臒ini, kendinde form buldu臒unu d眉艧眉nd眉臒眉 Wagner 眉zerinden g枚stermeye devam ediyor elbette ama kitap bunun i莽in de臒il de sanki 鈥淲agner鈥檈 枚vg眉ler d眉zmeliyim鈥�, 鈥渙nun gelecek nesiller i莽in en y眉ce bir 枚rnek oldu臒unu g枚stermeliyim鈥� d眉rt眉s眉yle, yak谋n arkada艧谋na yaz谋lm谋艧 bir hediyeymi艧 havas谋nda ba艧l谋yor ve bitiyor.
Kitap san谋r谋m, Richard Wagner鈥檌n m眉zi臒ini ya艧am谋n谋n vazge莽ilmez bir par莽as谋 haline getiren fanatiklerince, s谋rf Friedrich Nietzsche taraf谋ndan yaz谋ld谋臒谋 i莽in bile olsa 莽ok sevilecek fakat, bu kitlenin d谋艧谋nda kalanlarca okundu臒unda, felsefe-d眉艧眉nce t眉r眉nde daha iyisinin pe艧ine d眉艧眉lebilecek tarzda bir eser.
Seri boyunca Alman d枚nem k眉lt眉r眉ne her f谋rsatta yapt谋臒谋 a臒谋r ele艧tiri tarifesi kendisini bir nebze yordu臒undan m谋 yoksa, arkada艧谋n谋n dehas谋na duydu臒u sayg谋dan 枚te handiyse tap谋nma derecesindeki y眉celik duygusundan m谋 bilinmez ama Nietzsche bu eserinde b眉t眉n眉yle 陌nsan Wagner鈥檇en, Sanat莽谋 Wagner鈥檈 ge莽i艧in izle臒ine odaklanm谋艧 ve 莽ekici eline nerdeyse hi莽 almam谋艧.
Eserin dili ve bi莽emi i莽in, i莽eri臒i itibariyle ve serinin di臒er kitaplar谋na k谋yasla a臒谋r yorumu yap谋labilir. Wagner鈥檌n m眉zi臒i ve yap谋tlar谋na ili艧kin y眉zeysel de olsa daha 枚nce pek ilgilenmemi艧 ama yazar谋n hi莽 bir kitab谋n谋 da g枚rmezden gelemeyecek okurlar谋 zor bir i莽erik, buna kar艧谋n ve buna ra臒men, bitti臒inde ayaklar谋 yere basan kitaba 枚zg眉 temel bir d眉艧眉nceye ula艧amama tehdidi bekledi臒i de s枚ylenebilir. Evet, yazar yine 鈥溍糱ermensch鈥� kavram谋n谋, ona 枚rnek te艧kil etti臒ini, kendinde form buldu臒unu d眉艧眉nd眉臒眉 Wagner 眉zerinden g枚stermeye devam ediyor elbette ama kitap bunun i莽in de臒il de sanki 鈥淲agner鈥檈 枚vg眉ler d眉zmeliyim鈥�, 鈥渙nun gelecek nesiller i莽in en y眉ce bir 枚rnek oldu臒unu g枚stermeliyim鈥� d眉rt眉s眉yle, yak谋n arkada艧谋na yaz谋lm谋艧 bir hediyeymi艧 havas谋nda ba艧l谋yor ve bitiyor.
Kitap san谋r谋m, Richard Wagner鈥檌n m眉zi臒ini ya艧am谋n谋n vazge莽ilmez bir par莽as谋 haline getiren fanatiklerince, s谋rf Friedrich Nietzsche taraf谋ndan yaz谋ld谋臒谋 i莽in bile olsa 莽ok sevilecek fakat, bu kitlenin d谋艧谋nda kalanlarca okundu臒unda, felsefe-d眉艧眉nce t眉r眉nde daha iyisinin pe艧ine d眉艧眉lebilecek tarzda bir eser.
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July 7, 2020''Wagner... Sanat谋n ve sanat莽谋n谋n i莽inde bulunduklar谋 tamamen rezil durumu, kendi ya艧ant谋s谋ndan anl谋yordu: kendine iyi diyen ama asl谋nda k枚t眉 olan ruhsuz ya da kat谋 ruhlu bir toplumun sanat谋 ve sanat莽谋y谋 kendi g枚r眉n眉艧te gereksinimlerini do臒urmas谋n谋n hizmetindeki k枚lelerinden biri sayd谋臒谋n谋. Modern sanat l眉kst眉r: bunu kavrad谋臒谋 gibi, bir l眉ks toplumunun hakk谋yla ayakta durup d眉艧t眉臒眉n眉 de kavrad谋. L眉ks toplumu g眉c眉n眉 en ta艧 kalpli ve en kurnaz bir bi莽imde kullan谋p, g眉莽s眉zleri, halk谋 gitgide daha hizmete haz谋r, daha d眉艧眉k daha halk olmaktan uzak k谋lmay谋 ve ondan 'modern i艧莽iyi' yaratmay谋 bildi臒i gibi, ayn谋 艧ekilde halk谋n derinden gelen bir zorlamas谋yla kendinden 眉retti臒i ve hakiki ve yegane sanat莽谋 olarak kendi ruhunu onda dile getirdi臒i 艧eyi, mitlerini, 艧ark谋 s枚yleme tarz谋n谋, danslar谋n谋, dilsel bulu艧lar谋n谋 elinden alm谋艧 ve bunlardan kendi varolu艧unun bitkinli臒ine ve can s谋k谋nt谋s谋na kar艧谋 艧ehvetli bir ilac谋 - modern sanat谋 - dam谋tm谋艧t谋r.''
November 13, 2022
賲賳 丕賱丿乇丕爻丕鬲 丕賱孬賱丕孬丞 毓卮乇 丕賱鬲賷 丕乇丕丿 丕賰賲丕賱賴丕 丕賱賮賷賱爻賵賮 丕賱丕賱賲丕賳賷 賳賷鬲卮賴 賵丕賳鬲賴賶 亘賰鬲丕亘丞 丕乇亘毓 丿乇丕爻丕鬲 賵賲賳 丕賴賲賴丕 賴匕賴 丕賱丿乇丕爻丞 毓賳 丕賱賲丐賱賮 丕賱丕賱賲丕賳賷 丕賱賰丕鬲亘 賵丕賱賳丕賯丿 賵丕賱賲賵爻賷賯賷 丕賱賰亘賷乇 乇賷鬲卮丕乇丿 賮丕睾賳乇 貙賰丕賳 賳賷鬲卮賴 賷夭賵乇 賮丕睾賳乇 賵夭賵噩鬲賴 亘丕賳鬲馗丕賲 賵賰丕賳鬲 丕賱賲爻丕賮丞 鬲亘毓丿 賲丕賷賯丕乇亘 丕賱爻丕毓鬲賷賳 禺賱丕賱 賴匕丕 丕賱賲丿丞 賵噩丿 賳賷鬲卮賴 賮賷 賮丕睾賳乇 丕賱乇噩賱 丕賱毓馗賷賲 賱賱丕賲丞 丕賱丕賱賲丕賳賷丞 賵卮禺氐 賲鬲爻丕賲賷 亘賲賳夭賱丞 賱賲 賷亘賱睾賴丕 丕丨丿 丕賱賮丕乇賯 亘賷賳賴賲丕 賰丕賳 賲丕賷賯丕乇亘 丕賱31 毓丕賲 賵乇睾賲 匕賱賰 丕爻鬲胤丕毓 賮丕睾賳乇 丕賱鬲丕孬賷乇 亘丕賱賮賷賱爻賵賮 賳賷鬲卮賴 丕賱卮丕亘 賵丕賷囟丕 鬲丕孬賷乇 賳賷鬲卮賴 賮賷 賮丕睾賳乇 丨賷孬 賯丕賱 亘毓丿 丕賳賯胤丕毓 賵爻賱爻丞 鬲賵賯賮 丕賱氐丿丕賯丞 丕賱胤賵賷賱丞 賱賯丿 亘賯賷鬲 賵丨賷丿丕 貙賷賯賵賱 賳賷鬲卮賴 毓賳 賮丕睾賳乇 賱賯丿 卮丕賴丿鬲 噩賲賷毓 丕賱賮賳賵賳 賱賲 鬲亘賱睾 丕賱賲丕爻丕賵賷丞 賮賷 毓賲賱 賮賳賷 賲孬賱 毓賲賱 賮丕睾賳乇 亘丕賵亘乇丕賴 鬲乇賷爻鬲丕賳 賵 丕賷夭賵賱丿丞貙 氐丿乇 丕賱賰鬲丕亘 毓賳 丿丕乇 丕賱乇丕賮丿賷賳 貙亘毓囟 丕賱丕爻胤乇 丕賱賲賰鬲賵亘丞 賲賳 賲乇丕噩毓 丕噩賳亘賷丞 賲禺鬲賱賮丞 賯賲鬲 亘丿乇丕爻鬲賴丕 丨賵賱 丨賷丕丞 賮丕睾賳乇 .
July 18, 2021
This book doesn't appropriate for me. Although I am interested in all branches of art, that is too much for me to think about it. To digest this book, I must primary get out of this society. The society that lost its artistic soul last 100 years.
Art must be. Live with art dear community.
Art must be. Live with art dear community.
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February 20, 2025Wagner'e bir b眉y眉k 枚vg眉
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