Мутафов

Около тези книги се вдигна странен шум. Говореше се, че Енчо Мутафов пренесъл механично текстове от едната книга в другата. Дори в един провинциален вестник се появиха цитати, които „изобличаваха" автора, позволил си да издаде два пъти една и съща книга под различни заглавия. За всеки, който познава критика и теоретика Енчо Мутафов, тези твърдения изглеждат необясними - та той има публикувани статии не за две, а за поне пет книги - какво би могло да го накара да повтаря едни и същи текстове ? Внимателният прочит разсейва веднага съмненията ни и ние разбираме, че критикът ни предлага един интересен и, бързам да споделя мнението си, сполучлив експеримент - да разгледа някои от най-интересните явления в съвременната българска литература от две гледни точки: да види едни и същи събития, първо, в светлината на заложения в тях съвременен конфликт („Подвижният човек") и, второ, да открие в тях „наличието и функционирането на няколко вида художе ствени единства" („Време и художествено единство").

In his works Chavdar Mutafov poses the problem how to read his texts. He creates his words on the basis of a specific concept of art, which I define as art of the searching form. Developed as a possibility of self-identification, art seeks its forms in a diversity of artistic techniques and the plastic stylization of the word is one of them. Plastic stylization is created in the art concepts of the modern artists. Observations of the features of Chavdar Mutafov's "word painting" have been previously made by Edvin Sugarev, Katya Zografova, Lyubomir Milchev, Dimitar Avramov. Mutafov creates his painting into two parallel plans - objective and abstract. The sequence of object and abstraction takes part in the phenomenon of the plastic transformation of the image. Plastic line of the image is noticeable for one more feature: frequently it is especially, deliberately aesthetic. The principle of animation is another typical technique of plastic stylization in Mutafov's works. The principle of animation brings us to one of the great phenomena in the "Dilettante" novel: plastic images of emotionally experienced philosophical reflection. Plastic stylization of emotional experience which creates philosophical reflections is among the most expressive techniques in the human space rendering in the novel. Mutafov also utilizes the typical techniques of the fragment and ornament. Geometry figures play special role in the development of his plastic images play. Mutafov creates artistic messages throughout the figures of line, circle, spiral and sinusoid. All these techniques reveal the rich artistic potential of plastic stylization through words.

The paper examines Chavdar Mutafov's theory of modern art, based on the concepts of style, subjectivity, spirituality and synthesis, and explores the connections between the avant-garde artist and W. Kandinsky (as regards the concept of spirituality in art and the synthetic art), V. Voringer (on the matter of abstraction and sensation), L. Curtius (about ideoplastic art) and H. Barr (concerning the metaphor of the inner eye). Mutafov's aestheticism emphasizes the dynamics of stylistic processes such as impressionism, aestheticism, expressionism, primitivism and the arrival at a brand new objectivity - banal art as a revision of expressionism. At the heart of Mutafov's artistic experiment lies the thesis of art's duality - a synthesis between the decorative and the banal.