Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study
specifically focuses on drawings of the South African landscape and how it led to
knowledge of our country. The Western perception of the concept of nature in relation to
culture or civilisation is investigated by brief reference to a few periods in Western
history. It is argued that man and nature was separated in Western thought by the
establishment of rational thinking. This concept led to man's exploitation of nature to his
own advantage. The division between man and nature was broadened in the quest for
technological advancement. The first European travellers came to South Africa with a
Western mind set, hoping for better economical conditions. The illustrated traveller's
report reflects the verbal and visual capturing and exploitation of the South African
landscape. It is further argued that European travellers tried to structure the landscape
according to Western aesthetical traditions. Drawings appear to be picturesque but have
radical political, economical and social implications. Colonial depictions created
knowledge, but in fact symbolically legitimise the expansion of power. Until the middle
of the twentieth century Western aesthetic traditions were applied to visual depictions of
the South African landscape. During this period, artists were uncritical of the oppressive
political system and in doing so gave their tacit consent. Ever since the middle of the
twentieth century, several artists voiced their opinions against the unfair policy of the
ruling political party. Visual images asked subtle questions and gave radical judgements;
thus knowledge was created and a contribution made to the freedom of all South
Africans. My drawings of South African landscapes are to be understood against this
theoretical background. I use drawings to ask questions about the relationship between
the visual image and the establishment of knowledge. I also refer to the relationship
between the original and the copy, reality, the photo and the drawing. I conclude the
following: drawings lead to the creation of knowledge and landscape depictions have
implications of power. The solution to this problem lies, in the end, once more III
drawings.My depictions of South African landscapes are given as an answer. / AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees.
Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot
die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in
verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar
periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die
mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het
daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die
natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper
geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n
Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese
vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die
Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers
die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies,
probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese,
ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid
magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die
twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap.
Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in
werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die
twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid
van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale
uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid-
Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese
agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele
beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen
oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge
kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe
magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge.
My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:sun/oai:scholar.sun.ac.za:10019.1/53613 |
| Date | 12 1900 |
| Creators | De Kock-Wiesener, Cornelia |
| Contributors | Dietrich, K. H., Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Visual Arts . |
| Publisher | Stellenbosch : Stellenbosch University |
| Source Sets | South African National ETD Portal |
| Language | af_ZA |
| Detected Language | Unknown |
| Type | Thesis |
| Format | 88 leaves : ill. |
| Rights | Stellenbosch University |
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