Apotismo, being based on Cosmosemiology, is a cosmic conception of art, a school, we might say; is a metaphysical notion, which refers to outer space as a plan, a canon that allows the incorporation of elements to be used for the creation of a work of art. To this canon was given the name of Canon Nagarika (Sanskrit name whose prefix Naga, literally snake is applied to the Sages and the suffix Rica, among other meanings, has that of the heart, soul … and it’s also referred to astronomical concepts of the Moon, Cosmos, Space, etc. ..), a rule whose origin is lost in the prevedical haze. This canon is a division of the Cosmos which classifies the cosmic spaces in specific meanings. In fact, the Canon Nagarika is the archetype of the human head, whose anthropological symbol is the Head of Antropos, which includes a knowledge that opens up a world of unlimited possibilities.

The apotista artist moves using the archetypes of the Canon Nagarika, that is manifestations of the Arupa sphere (Sanskrit name which means “that which has no form, that is the mental world”), the ideal abstract archetypes that the artist achieve in the world of form. From the above it is concluded that the work of art is always a surprise to his author that even though has conceived and expected a certain result, always gets something unpredictable. In this regard, Picasso said, “… the true work of art never correspond to the one You have thought.” Actually it is not the artist who chooses the work, but rather it is the work that chooses the artist, the subject and the right time to be brought on the physical plane. Or at least this is the case when the work of art can be said “apotista”.

It is not enough for a work of art to enter in art history as an example of a particular historical moment, a school, style, etc.., in order to be qualified as Art Apotelesmatica. The beauty and perfection of a work of art and its place in the Art Apotista are different things. There is the possibility that from the hands of great artists may have been created some works which may be regarded as apotista, works in which the artist, inspired unconsciously, applied the Nagarika Canon.2 In fact, every great artist bears in himself the Apotist spirit. In synthesis: the idea of the interest in the contemplation of the world of magic, the mythical and the sacred. He carries in his mind an imaginary museum, but not that to which it refers Malraux 3 when he says that exist in memory, but the other that is in memory, but that one Edenical, magical and original. 4

The propedeutics to Apotismo applied to plastic arts does not maintain any relationship with those related to traditional as well as unconventional schools.

Luca Temolo Dall’Igna