Balicki, Jacek2024-02-182024-02-182019-12Warstwy Nr 3 (2019), s. 105-1072544-4824https://repozytorium.ur.edu.pl/handle/item/10153Landscapes belong to the system of symbolic forms. The structure of perceiving and expressing nature through art is manifested first as metahistorical and eternal, second, as a place of human existence, thus historical, solar time. Et in Arcadia ego is close to the reflections of Simone Weil cited by Janusz Krupiński. Beauty is harmony, therefore opposites must coexist; whereas necessity means suffering because in the Pythagorean aesthetics, harmony entails tension suffering is connected with. The world imagined by me, disregarding a concrete object, becomes a kind of painter’s longing, metaphorical and impressionistic, and through contemplation and reflection it is meant to encourage the viewer to explore truth in nature and the truth about man. As Janusz Karpiński observes, the category of a painting is a central category of human world, and landscape is a border case of transformation in which nature enters human world.polAttribution-NonCommercial-NoDerivs 3.0 Polandhttp://creativecommons.org/licenses/by-nc-nd/3.0/pl/sztukanaturaArkadiapięknoestetykaobrazartnatureArcadiabeautyaestheticspaintingarticle