{"id":175,"date":"2021-12-12T18:25:44","date_gmt":"2021-12-12T18:25:44","guid":{"rendered":"https:\/\/muresan.galhosting.com\/?page_id=175"},"modified":"2022-04-13T16:27:19","modified_gmt":"2022-04-13T16:27:19","slug":"calatoria-magica-a-ducelui-d-ivry","status":"publish","type":"page","link":"https:\/\/muresan.galhosting.com\/en\/opera\/pictura\/calatoria-magica-a-ducelui-d-ivry\/","title":{"rendered":"1998-2005: The Magical Travel of Duke d\u2019Ivry"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"175\" class=\"elementor elementor-175\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-4936069 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"4936069\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-edb2eaf\" data-id=\"edb2eaf\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-8da9985 elementor-widget elementor-widget-shortcode\" data-id=\"8da9985\" data-element_type=\"widget\" data-widget_type=\"shortcode.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-shortcode\"><div class=\"aioseo-breadcrumbs\"><span class=\"aioseo-breadcrumb\">\n\tHome\n<\/span><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2db4009 elementor-widget elementor-widget-spacer\" data-id=\"2db4009\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.e-container.e-container--row .elementor-spacer-inner{width:var(--spacer-size)}.e-container.e-container--column .elementor-spacer-inner,.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-fff52a8 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"fff52a8\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-e803d4e\" data-id=\"e803d4e\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-11d67ea elementor-widget elementor-widget-text-editor\" data-id=\"11d67ea\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#818a91;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#818a91;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p>\u201dThe game seems simple: the painter Ioan Aurel Mure\u0219an stages a fiction, calls his character the \u201cDuke d\u2019Ivry\u201d, and distributes himself in the role of \u201ccourt painter\u201d at his service.<\/p><p>But what kind of a fiction is this and who is the character chosen or destined to grant his author the noble title? What exactly covers up the transparent substitution Author\/Narrator\/Character? It\u2019s true that the Bovarysme \u201cle duc c\u2019est moi!\u201d is staged with a tacit complicity, but a secondary text, this time Rimbaudian, permeates subversively the sumptuous fabric, to tell a different story, that is \u201cJe est un autre\u201d. Only now an entry passage is opened to the ultra-marine world of the duke: more than a double, we find somewhere, in the depths of the painting, a deviation from the norms of grammar and visual rhetoric. The incongruity of the phrasing, its hiatus, points to a fracture somewhere along the axis Author\/Narrator\/Character, an euphemism for its grandiose staging\u201d (see below).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-7884adf elementor-widget elementor-widget-image-gallery\" data-id=\"7884adf\" data-element_type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.elementor-image-gallery .gallery-item{display:inline-block;text-align:center;vertical-align:top;width:100%;max-width:100%;margin:0 auto}.elementor-image-gallery .gallery-item img{margin:0 auto}.elementor-image-gallery .gallery-item .gallery-caption{margin:0}.elementor-image-gallery figure img{display:block}.elementor-image-gallery figure figcaption{width:100%}.gallery-spacing-custom .elementor-image-gallery .gallery-icon{padding:0}@media 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srcset=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/02-Padurea-300x300.jpg 300w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/02-Padurea-150x150.jpg 150w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/02-Padurea-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"7884adf\" data-elementor-lightbox-title=\"C\u0103l\u0103toria magic\u0103 a Ducelui d\u2019Ivry (V\u00e2n\u0103toarea), III, 1998, acrilic pe p\u00e2nz\u0103, triptic, 3 x 200 x 130 cm, datat \u0219i semnat cu majuscule, dreapta jos \u201dMURI 1998\u201d, semnul \u201dsc\u0103ri\u021b\u0103\u201d \u0219i titlul scris jos, cu culoare\" 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data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"7884adf\" data-elementor-lightbox-title=\"C\u0103l\u0103toria magic\u0103 a Ducelui d\u2019Ivry IV (Kagemusha), 2000, acrilic pe p\u00e2nz\u0103, triptic, 3 x 200 x 130 cm, datat \u0219i semnat cu majuscule, dreapta jos \u201dMURI 2000\u201d, semnul \u201dsc\u0103ri\u021b\u0103\u201d \u0219i titlul scris jos, cu culoare (The Magic(al) Travel of the Duke d\u2019Ivry)\" e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6NTU3LCJ1cmwiOiJodHRwczpcL1wvbXVyZXNhbi5nYWxob3N0aW5nLmNvbVwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyMVwvMTJcLzA0LUthZ2VtdXNoYS5qcGciLCJzbGlkZXNob3ciOiI3ODg0YWRmIn0%3D\" href='https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/04-Kagemusha.jpg'><img width=\"300\" height=\"300\" src=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/04-Kagemusha-300x300.jpg\" class=\"attachment-shop_catalog size-shop_catalog\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/04-Kagemusha-300x300.jpg 300w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/04-Kagemusha-150x150.jpg 150w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/04-Kagemusha-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"7884adf\" data-elementor-lightbox-title=\"C\u0103l\u0103toria magic\u0103 a Ducelui d\u2019Ivry V (Copacul), 2000, acrilic pe p\u00e2nz\u0103, triptic, 3 x 200 x 130 cm, datat \u0219i semnat cu majuscule, dreapta jos \u201dMURI 2000\u201d, semnul \u201dsc\u0103ri\u021b\u0103\u201d \u0219i titlul scris jos, cu culoare (The Magic(al) Travel of the Duke d\u2019Ivry)\" 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srcset=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/06-Ianus-Bifrons-300x300.jpg 300w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/06-Ianus-Bifrons-150x150.jpg 150w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/06-Ianus-Bifrons-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"7884adf\" data-elementor-lightbox-title=\"C\u0103l\u0103toria magic\u0103 a Ducelui d\u2019Ivry VII (Femeia-\u0219arpe), 2000, acrilic pe p\u00e2nz\u0103, triptic, 3 x 200 x 130 cm, datat \u0219i semnat cu majuscule, dreapta jos \u201dMURI 2000\u201d, semnul \u201dsc\u0103ri\u021b\u0103\u201d \u0219i titlul scris jos, cu culoare (The Magic(al) Travel of the Duke d\u2019Ivry)\" 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landscape'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"7884adf\" data-elementor-lightbox-title=\"C\u0103l\u0103toria magic\u0103 a Ducelui d\u2019Ivry VIII (Leviathanul), 1999, acrilic pe p\u00e2nz\u0103, triptic, 3 x 200 x 130 cm, datat \u0219i semnat cu majuscule, dreapta jos \u201dMURI 1999\u201d, semnul \u201dsc\u0103ri\u021b\u0103\u201d \u0219i titlul scris jos, cu culoare (The Magic(al) Travel of the Duke d\u2019Ivry)\" e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6NTYxLCJ1cmwiOiJodHRwczpcL1wvbXVyZXNhbi5nYWxob3N0aW5nLmNvbVwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyMVwvMTJcLzA4LUxldmlhdGhhbnVsLmpwZyIsInNsaWRlc2hvdyI6Ijc4ODRhZGYifQ%3D%3D\" href='https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/08-Leviathanul.jpg'><img width=\"300\" height=\"300\" src=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2021\/12\/08-Leviathanul-300x300.jpg\" class=\"attachment-shop_catalog size-shop_catalog\" alt=\"\" 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titlul scris jos, cu ro\u0219u (The Duke d\u2019Ivry\u2019s Magic(al) Travel)\" e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6OTE5NSwidXJsIjoiaHR0cHM6XC9cL211cmVzYW4uZ2FsaG9zdGluZy5jb21cL3dwLWNvbnRlbnRcL3VwbG9hZHNcLzIwMTlcLzAxXC9DaWNsdWwtXHUyMDFlQ2FsYXRvcmlhLW1hZ2ljYS1hLUR1Y2VsdWktZEl2cnktYWNyaWxpYy1wZS1wYW56YS10cmlwdGljLTIwMFx1MDBkNzEzMC1jbS1zY2FsZWQuanBnIiwic2xpZGVzaG93IjoiNzg4NGFkZiJ9\" href='https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/Ciclul-\u201eCalatoria-magica-a-Ducelui-dIvry-acrilic-pe-panza-triptic-200\u00d7130-cm-scaled.jpg'><img width=\"300\" height=\"300\" src=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/Ciclul-\u201eCalatoria-magica-a-Ducelui-dIvry-acrilic-pe-panza-triptic-200\u00d7130-cm-300x300.jpg\" class=\"attachment-shop_catalog size-shop_catalog\" alt=\"\" loading=\"lazy\" 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e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6OTE5NCwidXJsIjoiaHR0cHM6XC9cL211cmVzYW4uZ2FsaG9zdGluZy5jb21cL3dwLWNvbnRlbnRcL3VwbG9hZHNcLzIwMTlcLzAxXC9DaWNsdWwtXHUyMDFlQ2FsYXRvcmlhLW1hZ2ljYS1hLUR1Y2VsdWktZEl2cnktMjAwNS1hY3JpbGljLXBlLXBhbnphLXRyaXB0aWMtMjAwXHUwMGQ3MzkwLWNtLXNjYWxlZC5qcGciLCJzbGlkZXNob3ciOiI3ODg0YWRmIn0%3D\" href='https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/Ciclul-\u201eCalatoria-magica-a-Ducelui-dIvry-2005-acrilic-pe-panza-triptic-200\u00d7390-cm-scaled.jpg'><img width=\"300\" height=\"300\" src=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/Ciclul-\u201eCalatoria-magica-a-Ducelui-dIvry-2005-acrilic-pe-panza-triptic-200\u00d7390-cm-300x300.jpg\" class=\"attachment-shop_catalog size-shop_catalog\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/Ciclul-\u201eCalatoria-magica-a-Ducelui-dIvry-2005-acrilic-pe-panza-triptic-200\u00d7390-cm-300x300.jpg 300w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/Ciclul-\u201eCalatoria-magica-a-Ducelui-dIvry-2005-acrilic-pe-panza-triptic-200\u00d7390-cm-150x150.jpg 150w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/Ciclul-\u201eCalatoria-magica-a-Ducelui-dIvry-2005-acrilic-pe-panza-triptic-200\u00d7390-cm-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1ab33cb elementor-widget elementor-widget-text-editor\" data-id=\"1ab33cb\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div><b><span style=\"font-family: arial, sans-serif;\">Critical references<\/span><\/b><\/div><div><span style=\"font-family: arial, sans-serif;\"><span class=\"yiv2707582910gmail-Bodytext2\"><b>Ioan Aurel Mure\u015fan on the Silk Road<\/b><\/span><br \/><\/span><\/div><div><span style=\"font-family: arial, sans-serif;\">Ramona Novicov<\/span><\/div><p>\u00a0<\/p><p>\u201dThe game seems simple: the painter Ioan Aurel Mure\u0219an stages a fiction, calls his character the \u201cDuke d\u2019Ivry\u201d, and distributes himself in the role of \u201ccourt painter\u201d at his service.<\/p><p>But what kind of a fiction is this and who is the character chosen or destined to grant his author the noble title? What exactly covers up the transparent substitution Author\/Narrator\/Character? It\u2019s true that the Bovarysme \u201cle duc c\u2019est moi!\u201d is staged with a tacit complicity, but a secondary text, this time Rimbaudian, permeates subversively the sumptuous fabric, to tell a different story, that is \u201cJe est un autre\u201d. Only now an entry passage is opened to the ultra-marine world of the duke: more than a double, we find somewhere, in the depths of the painting, a deviation from the norms of grammar and visual rhetoric. The incongruity of the phrasing, its hiatus, points to a fracture somewhere along the axis Author\/Narrator\/Character, an euphemism for its grandiose staging.<\/p><p>But Ioan Aurel Mure\u0219an knows too well the rules of the game with the image, he knows what a splendid and dangerous camouflage the painted canvas can be; as it does not merely hold the projection of an entire fictional universe, but, in addition, it carries the tension of the intersection between this highly personalized, authorial universe and the nothingness behind it; from passive screen it becomes an interface, a plastic, pulsating diagram able to stand the pression of the collision of the two worlds: the one before and the one behind the painting. And yet, how are we to know where the point is up to which the painted canvas (fragile convention) is just a curtain, a camouflage, an alibi, a subterfuge, a substitute, a tool of seduction... and where it becomes real, that is not beautiful or ugly, but true, a piece of evidence and a pledge for the indubitable, unique, and necessary existence of a certain painter called now Ioan Aurel Mure\u0219an?<\/p><p>We know that the answer to these introductory questions is embedded in the painterly matter. We know that the painting itself is stratified and boundless writing that contains all the questions and all the answers that Ioan Aurel Mure\u0219an, willingly or not, has planted in the field of the image from the abundance of his culture and sensibility.<\/p><p>What justifies then the commentary of a story that already has a narrator, a story that seems, at times, autogenous and which, at the climax of its narrative fervor, tends to occasionally outrun its own creator? If the \u201cinitiative of the image\u201d has the power to reverse the relation creator-creation, then the storyteller could be the one that becomes narrated, that is assimilated, intertwined, swallowed by the narrative flow \u2013 and, sometimes, even created by it. Here, in these dangerous waters, a metonymy par excellence, we could find the plausible justification for what follows, entitled<\/p><p><em>The Silk Road<\/em><\/p><p>The Wonderful Travel of Duke d\u2019Ivry is a confirmation that an adventure begins at the very moment when exasperation and exaltation coincide. The mix is incendiary, amplifying in the splendor of the hours the calling of the ultra-marine shores of the Levant. The duke knew that it was there, across, that he will find the gold of the big cats, of the nights when he did not dream, he did not love, he did not believe in anything, of \u201cone thousand and one nights\u201d that harbor in their depths a storyteller wrapped in silks waiting for him. Therefore, no matter how dangerous it might be, the road to her remains\u00a0<em>the Silk Road.<\/em>\u00a0Because he is not the wandering knight, pure and phantasmagoric, but the heroic explorer, Marco Polo. He knows where he is coming from, he has a \u201chome\u201d, he knows how many literary texts and visual quotations are plaited in the\u00a0<em>The Silk Road<\/em>\u00a0or in Scheherazade\u2019s braid, he knows how to sneak in, like a chameleon, in her palace through the nets of the chromatic fabric and how to amplify the fineness of the stroke or how to deconstruct the efflorescence of the duct of the gesture. And precisely because he knows all these, he deliberately leaves behind the alcove of the wonderful hours and assumes the risks of escaping from them and from everything that is defining, protecting, comforting, making him happy. He must leave, and the adventure he lets himself lured by presents itself as a play of seduction and alterity; because, in this existential fracture, \u201cJe est un autre\u201d. The emblem of this travel could be the double volute, a geminated visual syntagm, interiorized, speculative, a good camouflage for a heraldic key-image we could call Ivry Bifrons, with the entire adjacent cortege of double games \u2013 conditioning, competition, obstruction, substitution, usurpation, interference, jamming, blockage, complicity. The simultaneous contrast is, at the limit, suicidal.<\/p><p>The travel has become anyway inevitable, as it is necessary; only by making it the access to a new initiating stage can be reached. The painted image condenses the customs and dangers along the road: temptations, disguises, abandonments, moments of bliss.<\/p><p>But what is the sense invested in all this demonstration of forces?<\/p><p>A Borgesian answer seems very tantalizing: \u201conly to have a drawing!\u201d But a drawing that contains the whole world, from beginnings till the end, one that can only be kept hidden, for example in the infinite net of the arabesques or in the depths of a story or in the living fur of the jaguar or\u2026 anyway, in an indestructible language, one of a wonderful gratuity and evidence \u2013 there the secret of the \u201cwriting of the god\u201d is kept. And the Duke d\u2019Ivry knows, as he can sense the cipher of this magical writing in the main fabric, that this is what he has been looking for in the search for the Holy Grail or Sindbad\u2019s treasure, reinventing the Persian stories, the legends of the Knights of the Round Table or ambiguous personal mythologies; or maybe he is not looking for, maybe he lets himself being looked for, maybe he is the one who abandons himself to the\u00a0<em>entrelacs<\/em>to their dangerous embracement.\u00a0<em>Lacs d\u2019amour<\/em>As if a bundle of keys is scattered on the surface of a Persian rug. One door after another opens, threshold after threshold, warm, cold, warm, warm, hot, the room of secrets is here, at the center of the arabesque maze \u2013 and? is this not enough? The wonderful dizziness that gave the name to the duke is not a satisfactory reward per se? is this not the prize for his magical travel? it could be, but it is not. Because the duke is fundamentally a dual, cleft, conflicting character. As much seduction\/as much solitude, as much victory\/as much solitude, as much voluptuousness\/as much solitude. So much solitude!\u00a0<\/p><p>Let\u2019s focus on this cleavage: \u201cJe est un autre\u201d. Je n\u2019est pas moi. And why can he not be? because the interior crevice turns the duke into an \u201cabyssal\u201d character. He misses, simultaneously, both the West and the Est, the \u201cGarden of Delights\u201d and that of the Olive Trees, the \u201ccologne and delicatessen\u201d, but also the \u201cPromised Land\u201d. Bi-location, this simultaneous abrupt contrast, indicates the existence of a split in the axis of the being, the so much feared\u00a0<em>abyssos<\/em>.<\/p><p>But this is not the only one. There is there, as an underlying sign of the ducal adventures, a one more beyond, an ultra-space: the ultra-marine abyss, the absolute vertical horizon. The call of the Indies, of the artificial paradise is fueled by the aquatic fascination which the duke, as his court painter confesses, feels intensely. And the sign of this fascination can be none other than the single invariant of all the images of the travel: the winding path. Everything is tangential to this vibration, to this immemorial, infinite respiration. Here it is, at the foundation of images, in the planning of their birth, pulsatile diaphragm whose pitching involves practicing a passage ritual. We are entering a new territory; we are following a new script. Its composition is fixed: the triptych. Three is a privileged number and, in addition, it dissolves the double. But the succession of images is not one, two, three but three, one, two. The beginning is the end. At first, we are being shown the ending of the adventurous episode, following what and how has happened. Thus, the temporal sequences get, by reversal, a cyclic form; and it is so because the duke senses, or maybe he already knows, that the adventure predates him. Like a poem with fixed form, a gazel, for example, the story experienced by the duke has been told, woven, lived before, and the beings that populate it have been transformed into words. Or in colored stalks. Each image with the duke is nothing but its recalling. Three, two, one, the snake bites its tail. The visual space becomes recurrent, contained, inexorably cyclic. The wheel of the world throws him back in the game, dice in the hand of a Persian princess. Or maybe king on her chessboard?<\/p><p>The duke\u2019s adventure is protected by a winding thread of silk. Seen from above, among the palaces and poems, it looks like a supple drawing on the checkerboard of the Eastern empires. A delicate and persistent drawing, able to survive even after the empires have been dissipated in other poems and fabrics.<\/p><p>We change the perspective, diving into the image. We choose as first moment of the assault the episode of the duke\u2019s re-birth. Expelled from the mouth of Jonah\u2019s whale as its first utterance, the duke erotically\/heroically enters the worlds naked, thirsty, and perplexed. The baptism by water (waves, tears, veils, clouds) and by fire (vivid red, the hot skin of the painting, gold, purple) makes the duke a porphyrogenitus! This round, final moment of the epiphany opens up retrospectively to a<em>how was<\/em>\u00a0<em>it posisble<\/em>\u00a0Here is how\u201d: the court painter also takes his role, and nothing seems too much to him to demonstrate his storytelling skills. From chansons de geste to epithalamium, every tonality seems right. Now the images depict the duke as a ripe fruit in the belly of the whale: whirling, inseminations, and ecstatic deaths, transmutations, babblings, opus magnum, silkworms. Luz, blue citadel, the foam of your immortality is carried by now on the garments of Duke d\u2019Ivry \u2013 would probably say a minstrel.<\/p><p>Another episode, the contemplative one: in the golden rain, under the transparent shade of the palm tree, in front of his demonic face, of the \u201cother\u201d Ivry, the duke stays quiet. Totally detached, he contemplates the play of the opposites; he looks across the barren precipice of the chalk ridges. He is far away from the funerary procession, he doesn\u2019t see any more the crown jewel from the country of the shadows, the purple chariot; he is also far away from the hell\u2019s gate packed with skulls. He is no longer chained by crazy virgins either, flames over the ashes of some foreign treasures. From an axial perspective, he stands on the edge of nothingness, reclining on the border of the frame. The \u201cSilk Road\u201d is winding meanderingly and endlessly while he stands upright, unruffled, still. It\u2019s his moment of illumination when, under the shade of a palm tree, he himself has turned into a golden rain.<\/p><p>Another moment is that of the vision of the Great Wheel of the world that suppresses any duality. Everything is already inscribed there, \u201call that is as it is, all that isn\u2019t as it isn\u2019t\u201d, only the writing is encrypted. The duke can only read it by bathing in the flow of its manifestation, remaining, in the height of the battle, in the saddle of the blue gryphon. From above, from a cosmological perspective, the duke comes down abruptly in the world by means of a powerful raccourci; suddenly touched by a\u00a0<em>coup-de- foudre<\/em>, we see him prancing in front of a radiant purple mandorla. But the duke has already crossed its hot threshold and we know this as the entire imagine is now lit by the black sun. It\u2019s the sun that the missionaries see when they are blinded by the flash of a revelation; it\u2019s the sun seen from the inside of the world, as pure immanence. And, in the space of a vision, the eclipse invests the painting with a radiant glow; how? by suppressing the shadows. There is no chiaroscuro anymore, everything is happening outre-mer: pure glow, gold, and blinding azure.\u00a0<em>outre-mer<\/em>: str\u0103lucire pur\u0103, aur \u015fi azur orbitor.<\/p><p>In another triptych (let\u2019s call it Fitzcarraldo), all the gardens in which the duke has relished now look like a jungle, a paradise that has lost its innocence. The comfortable order and clarity of the garden is now invaded by gigantic vegetation because the duke wishes to dive into it, to hide and rest in its vegetable alcove. Now everything has become not only wonderful to be looked at, but also wonderful to be tasted. Among cactuses, cauliflower fungi and, above all, giant strawberries, he wants this world to welcome him into its warm bosom \u2013 and only then he turns into a violet, melancholic and heavy, wild, and sad bison.<\/p><p>The Kagemusha triptych: the moment has come for returning home from a foreign land; reconcentration, reunion. The sway of duality has vanished, the duke has reabsorbed his shadow, his lookalike, he has found himself as One. He has overcome him dual condition only when he was able to remain neutral, equidistant. He is now in the antechamber of freedom. If \u201cman becomes what he is\u201d, then he became Nobody. Unruffled, fending off any sort of tropism, he has reabsorbed himself in a single impersonal face that contains all the others. He, the chained, the exalted the Duke d\u2019Ivry, knows now a different drunkenness: that of silence and stillness, of contemplation, of gratuity, of the equivalence between being\/not being. Against this background, the duke resembles Kagemusha \u2013 in the height of the battle, he remains still! That is all. The ceremonial battle dress which he is wearing in this triptych is like the sacred robe of liberation. The whole story is inscribed there, in the majestic triptych. Like a drop in the ocean, there is here also the story of the duke, with everything he is, wanted to be and had ever been, everything is woven there, his story and the story of those who are relating about him, together with the silences surrounding the story. Now there is nothing else to be said, apart from a ceremonious final sentence, preferably a quotation, a text in a text. The sentence we offer to view after prolonged textual arabesques and which we have kept up the sleeve so far so that the game doesn\u2019t end too soon, makes the argument of a book on the \u201cindubitable body\u201d of writing, a body of delight, woven, seems to us now, from the threads of silk of the road to the East. Therefore, we have chosen the concluding sentence from Diana Adamek\u2019s book\u00a0<em>Trupul ne\u00eendoielnic<\/em>The Unmistakable Body) to also end this text:\u00a0<em>\u201cSo, Scheherazade liked to tell the story of an emperor who believed that \u2018even the most beautiful garden is yet another bookcase\u2019.\u201d<\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e039e88 elementor-widget elementor-widget-text-editor\" data-id=\"e039e88\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>A Few Considerations on the Magical Travel of Duke d\u2019Ivry As It Has Been Documented by His Court Painter, Ioan Aurel Mure\u0219an<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-7896058 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"7896058\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-09e8ff9\" data-id=\"09e8ff9\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5503718 elementor-widget elementor-widget-spacer\" data-id=\"5503718\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e0dd3c3 elementor-widget elementor-widget-heading\" data-id=\"e0dd3c3\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h6 class=\"elementor-heading-title elementor-size-default\">A Few Considerations on the Magical Travel of Duke d\u2019Ivry As It Has Been Documented by His Court Painter, Ioan Aurel Mure\u0219an <\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-cede594 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"cede594\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-60e7144\" data-id=\"60e7144\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-32c5ab8 elementor-widget elementor-widget-spacer\" data-id=\"32c5ab8\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f53e14b elementor-widget elementor-widget-text-editor\" data-id=\"f53e14b\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Painter, born in 1956, graduate and professor at the University of Art and Design from Cluj, he becomes, unwillingly, \u201coptzecist\u201d.  In 1991, he takes part in the S\u00e3o Paulo Biennial 21, breaks away from the \u201coptzecist\u201d label and resorts to a heteronym: Duke d\u2019Ivry. He becomes court painter in the duke\u2019s service; this is when the series <em>The Wonderful Hours of Duke d\u2019Ivry<\/em> and, more recently, <em>The Magical Travel of Duke d\u2019Ivry<\/em>a hallucinating and personal manifestation of postmodernism in art \u2013 are born.<em>\u00a0<\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-24b1ba4 elementor-widget elementor-widget-text-editor\" data-id=\"24b1ba4\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><em>\u201cAnd I will nibble blissfully<\/em><\/p><p><em>Sweet grains from the palm of your hand\u201d<\/em><\/p><p>Mircea C\u0103rt\u0103rescu, <em>Levantul<\/em><\/p><p><em>\u00a0<\/em><\/p><p><em>\u201cCe poison va rester dans toutes nos veines\u2026\u201d<\/em><\/p><p>Arthur Rimbaud, <em>Matin\u00e9e d&#8217;ivresse<\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-9b2a231 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"9b2a231\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-b5edb3c\" data-id=\"b5edb3c\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5002256 elementor-widget elementor-widget-text-editor\" data-id=\"5002256\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>It might be that on such Levantine morning the Duke d\u2019Ivry renounced the easeful, fulfilled, and over joyous exultation of the Wonderful Hours to answer the call of the Magical Travel.<\/p><p>It came as a natural decision for the charming character, eager to start a new adventure \u2013 even more staggering, more risky, more unparalleled.<\/p><p>but where does this wanderlust come from? the position of a crusader troubadour that searches for the Promised Land, but dreams of \u201ccologne and delicatessen\u201d, of the fabulous overseas Indies\u2026 outre-mer &amp; or &amp; amour?<\/p><p>and for what, in the end, this Magical Travel, what is its sense? does it hide in its labyrinth of <em>entrelacs<\/em>the very question that can lead to a crucial answer for the duke, that answer that might help define his two-folded personality?<\/p><p>maybe this is the only way, by taking this road, by assuming the travel as stigmata, to escape the closed game of doubling, to undo the exasperating syntagm of his character and his double, the tie by which the two of them are sentenced to compete against each other and to put each other in the shadow.<\/p><p>for, here: as much fiction\/as much reality, as much diaphanous feeling\/as much cruelty, as much histrionics\/as much vulnerability, as much defeat\/as much brilliance, as much Marco Polo\/as much Kublai Khan, as much victory\/as much solitude, as much voluptuousness\/as much solitude, as much\u2026 and so on, endlessly, the confusing doubling, the obsessive chasm\u2026<\/p><p>and again, the emblematic image of this ducal adventure comes out: the labyrinth of incandescent mirrors, the only way out appearing to be the \u201clost path\u201d.<\/p><p>who is, in fact, the duke?... but he is no more, he has no more; he passes through \u2013 that is, he is weaving fabrics, fighting dragons, mounting starry gryphons, contemplating the wheel of the world and the hell\u2019s gate, composing gazels, making love in the shadow of Scheherazade\u2019s tent in the ever lessening, yet ever more precious wonderful hours.<\/p><p>he explores impetuously spatial segments with the interstices full of chalky skulls, ghostly virgins, and jaws of an apocalyptic beast; he lunges and charges with the suppleness of a tongue of fire, prodigally inseminates over exultated chromatic fields, contemplates as an accomplished connoisseur the erotic body of Levantine aroma, sniffing the secondary game of beauty as he is enjoying his pipe or twisting his brigand moustache\u2026<\/p><p>and he would almost let himself entailed in the nets of the tactile writing woven by his very steps, the steps of a nocturnal explorer of forbidden cities, wondering what might happen if he gives in, at times, to the tentation of remaining the privileged hostage of his own conquests \u2013 a character, therefore, completely Alexandrine.<\/p><p>and all this adventure overseas and over lands is ordered by its binding to the sign of the triptych; thus, the painting is simultaneously continuous and sequential; it has the coherence of a certain discursive logic but also the compelling force of a plastic rupture, of a raccourci; as much adventure\/as much order.<\/p><p>the duke is still on his way, the road is closed on both ends, and he is still on the bridge over the abysses; confined to its space, any gesture becomes magical.<\/p><p>will the duke ever be the creator of his own travelling shadow, or will he remain chained on the wheel of the world, watching fascinated the dance of the cobra?<\/p><p>maybe the painting that contains and nourishes him is the anagram of this answer.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bf5859c elementor-widget elementor-widget-text-editor\" data-id=\"bf5859c\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>Ramona Novicov<\/p><p>(\u201cIoan Aurel Mure\u0219an pe Drumul M\u0103t\u0103sii\u201d, in Ioan Aurel Mure\u0219an, <em>C\u0103l\u0103toria magic\u0103 a Ducelui d\u2019Ivry: incursiune exoreic\u0103 \u00een po(i)etica imaginal\u0103, Oradea: Editura Universit\u0103\u021bii din Oradea, 2005, pp. 106-113)<\/em>, Editura Universit\u0103\u021bii, Oradea, 2005, pp. 111-113)<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>\u201eJocul pare simplu: pictorul Ioan Aurel Mure\u015fan pune \u00een scen\u0103 o fic\u0163iune, \u00ee\u015fi nume\u015fte actorul \u201educele d\u2019Ivry\u201d, apoi se pune \u00een slujba lui ca \u201epictor de curte\u201d. Dar ce fel de fic\u0163iune este aceasta, \u015fi cine este personajul ales sau destinat s\u0103-i acorde autorului s\u0103u nobila investitur\u0103? Ce anume acoper\u0103 transparenta substituire Autor\/Narator\/Personaj? E adev\u0103rat [&hellip;]<\/p>","protected":false},"author":1,"featured_media":0,"parent":135,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mi_skip_tracking":false},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v18.5.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>1998-2005: C\u0103l\u0103toria magic\u0103 a Ducelui d&#039;Ivry - Ioan Aurel MURE\u0218AN<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"1998-2005: C\u0103l\u0103toria magic\u0103 a Ducelui d&#039;Ivry - Ioan Aurel MURE\u0218AN\" \/>\n<meta property=\"og:description\" content=\"\u201eJocul pare simplu: pictorul Ioan Aurel Mure\u015fan pune \u00een scen\u0103 o fic\u0163iune, \u00ee\u015fi nume\u015fte actorul \u201educele d\u2019Ivry\u201d, apoi se pune \u00een slujba lui ca \u201epictor de curte\u201d. Dar ce fel de fic\u0163iune este aceasta, \u015fi cine este personajul ales sau destinat s\u0103-i acorde autorului s\u0103u nobila investitur\u0103? Ce anume acoper\u0103 transparenta substituire Autor\/Narator\/Personaj? 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