King of The Flowers in Abstract Expresionism Poetry

The peony or paeony is a flowering plant in the genus Paeonia, the only genus in the family Paeoniaceae. They are native to Asia, Europe and Western North America. Scientists differ on the number of species that can be distinguished ranging from 25 to 40, although the current consensus is 33 known species. The relationships between the species need to be further clarified.

Most are herbaceous perennial plants 0.25–1 metre (0.82–3.28 ft) tall, but some are woody shrubs 0.25–3.5 metres (0.82–11.48 ft) tall. They have compound, deeply lobed leaves and large, often fragrant flowers, in colors ranging from purple red to white or yellow, in late spring and early summer.

Peonies are among the most popular garden plants in temperate regions. Herbaceous peonies are also sold as cut flower on a large scale, although generally only available in late spring and early summer.

The peony is among the longest-used flowers in Eastern culture. Along with the plum blossom, it is a traditional floral symbol of China, where the Paeonia suffruticosa is called 牡丹 (mǔdān). It is also known as 富貴花 (fùguìhuā) “flower of riches and honour” or 花王 (huawang) “king of the flowers”, and is used symbolically in Chinese art. In 1903, the Qing dynasty declared the peony as the national flower.(wikipedia)

Many artist from long time ago, make several artwork based from idea about beauty of Peonies flower, some of them make in craft, poetry, drawing, painting etc.

In this gold-engraved lacquerwarefood tray from the Song dynasty (960–1279), the two long-tailed birds represent longevity, and the peony seen at the top center represents prosperity

 

Here the artist references Takarai Kikaku whose poem was inspired by the 14th century samurai Kusunoki Masashige:

AH! The Peonies
For which
Kusonoki
Took off his Armour

The noble warrior has put aside his symbols of the arts of war in deference to the beauty of a majestic bloom. And to gaze at beauty is to take off one’s armor and make yourself vulnerable to death and decay.(democraticunderground.com)

 

 

 

 

One of great American painter in Abstract Expresionism was Cy Twombly. He was interested in the layering of time and history, of painting and drawing, and of various meanings and associations. His art situates itself in the context of the history of Western civilization as well as the process-oriented aspects of Abstract Expressionism. Writing and language also served as major conceptual foundations for Twombly’s mostly abstract art. In addition to the written word – in the form of poems, myths, and histories – he also focused on the process of writing, both by sketching unidentifiable doodles and splotches or words directly onto the canvas and by creating line-based compositions, often inspired by handwriting. Through these methods, he was often able to suggest subtle narratives that lay beneath the surfaces of his paintings.

 

 

Twombly made his Peony Blossom Paintings in Gaeta during the late fall of 2006 and the early winter of 2007. The group comprises six 18-foot-long horizontal multipanel paintings executed in thin acrylic with wax crayon and pencil, the crowning achievement of which is Untitled 2001. For this work, Twombly coated the six wood panels with an all-over yellowish light green wash. He then rendered five rosettes in a darker saturated green that dripped copiously down the canvas. Twombly overpainted these blossoms with white, again allowing trails of drips beneath each blossom. The effect, overtly sumptuous and lush, is one of melting, dissolving flowers, which seem to be flourishing and withering at the same time.

 

 

 

 

 

 

 


 

 

In an essay in the catalogue to the 2011 Dulwich exhibition (see below), Katharina Schmidt summarizes the scope and technique of Twombly’s œuvre:

“Cy Twombly’s work can be understood as one vast engagement with cultural memory. His paintings, drawings and sculptures on mythological subjects have come to form a significant part of that memory. Usually drawing on the most familiar gods and heroes, he restricts himself to just a few, relatively well-known episodes, as narrated by poet-historians, given visible shape by artists and repeatedly reinterpreted in the literature and visual art of later centuries…..His special medium is writing. Starting out from purely graphic marks, he developed a kind of meta-script in which abbreviated signs, hatchings, loops, numbers and the simplest of pictographs spread throughout the picture plane in a process of incessant movement, repeatedly subverted by erasures. Eventually, this metamorphosed into script itself.”