The contemplation of things as they are,
without error or confusion, without substitution or imposture,
is in itself a nobler thing than a whole harvest of invention.
– Francis Bacon, 16-17th century English philosopher
Robert Spellman – Two Cups, acrylic on canvas
On his MoonBlog, painter Robert Spellman speaks of the challenge of contemplating “things as they are”. He points out that Bacon’s words above are a “good description of what meditators sometimes call “non-fabrication”, seeing things without opinion or subjective conceptual overlay”. Yet as all meditators know, this is easier said than done. Spellman observes:
It is one of the maddening things of artistic practice to not know what you are doing. It’s easy enough to come up with a scheme and easy enough to draw conclusions about what has been done, but clarity in the moment of doing is elusive. This, by the way, is why mindfulness practice holds my interest: it turns out to be quite difficult to steady the mind; it’s always on its way elsewhere. I suspect that this flitting quality of the mind is why artistic practice is both useful and surprisingly demanding.
Elsewhere he mentions in more detail how engagement in an art practice is not only useful for taming the monkey-mind, but also that it can lead to a sense of contented completeness:
… artistic practice of the most ordinary sort can lead to a recognition of wholeness, completeness. If you feel complete, you don’t consume so much. If you feel whole it seems natural to be curious about people and things and not so much about your self. This is no small thing if you multiply it by the billions of us on the earth right now. Our needy habits are neither fulfilling nor necessary, and are proving to be catastrophically expensive.
Recently I’ve been revisiting one of my favourite writers – Marion Milner – and I continue to be in awe of her persistent experiments with the processes of her thinking and perceiving. In A Life of One’s Own she sets out to grapple with the question “What do I really want from life?” and discovers that certain ways of attending, of looking, of moving, can bring surprising joy and contentment. Her professional background was in science rather than the arts, although she was a serious painter. To my knowledge she wasn’t a formal meditator, but I think that she and Robert Spellman are riding the same moonbeam when it comes to their diversely gained insights into the workings of perception.
One of her ongoing experiments involved simply sitting with a mundane object – for “it was obvious that I had so often failed to get the most out of whatever I did because my attention was always wandering to something else. So I began to try, and the result was a sense of new possibilities in richness of thought.” She turned her attention to a lump of coal on her hearth:
From having been aware of it simply as something to burn I began to feel its blackness as a quite new sensation, to feel its ‘thingness’ and the thrust of its shape, to feel after its past in forests of giant vegetation, in upheavings of the land passing to eons of stillness, and then the little men tunnelling, the silence and cleanness of forests going to make up London’s noisy filth.
Then I chose a small tin mug. It was an ugly object. Nevertheless I tried to keep my thoughts fixed upon it for fifteen minutes. This time I did not become concerned with its origin but simply let its form imprint itself upon my mind. Slowly I became aware of a quite new knowledge. I seemed to sense what I can only call the ‘physics’ of that mug. Instead of merely seeing its shape and colour I felt what I described to myself as its ‘stresses and strains’, the pressures of its roundness and solidity and the table holding it up. This sense did not come at once and I suppose it might never have come if I had not sat still and waited. But from this few minutes’ exercise on a tin mug I had found a clue which eventually led me to understand what was the significance of many pictures, buildings, statues, which had before been meaningless.
By a simple self-chosen act of keeping my thoughts on one things instead of dozens, I had found a window opening out across a new country of wide horizons and unexplored delights.
She expands this view with a beautiful account of the way her senses were restored from fragmentation to wholeness, bringing deep contentment:
I sat motionless, draining sensation to its depths, wave after wave of delight flowing through every cell in my body. My attention flickered from one delight to the next like a butterfly, effortless, following its pleasure; sometimes it rested on a thought, a verbal comment, but these no longer made a chattering barrier between me and what I saw, they were woven into the texture of my seeing. I no longer strove to be doing something, I was deeply content with what was. At other times my senses had often been in conflict, so that I could either look or listen but not both at once. Now hearing and sight and sense of space were all fused into one whole.
– Marion Milner, A Life of One’s Own
Have you ever sat with a mundane object – even something you would normally consider “ugly” – for fifteen minutes, with a mind totally empty of narrative? With no interest in its value, its history or its future? With what some meditators call “beginner’s mind”?
If yes – were you surprised at what revealed itself?
If no – please have a go… you wouldn’t want to miss out on those “wide horizons and unexplored delights” would you?
Robert Spellman and Marion Milner are also featured on pages in this site:
Robert Spellman at the artisans’ gallery
Marion Milner: knowing with the whole body
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David Bohm and Rouault’s clown
One thought on “on mindfulness, contentedness and a tin mug”
Yes! Art as practice!
So glad to have found your blog!