File talk:Turner, J. M. W. - The Fighting Téméraire tugged to her last Berth to be broken.jpg

As the learners and the appreciators living in this postmodernist era, we always need to review the works from the multiple-disciplinary fields including fine arts. The purpose is to borrow the ancient elements and the spiritual 'block chords', then integrate them with the digital technologies and the materials in reality, to construct our own life-channels for traveling to the beautifully dreaming and peacefully reasonable heavenly-garden. Here and today when you opened the painting of J.M. Turner (1775 - 1851)'s (There are some introductions about his life and painting-style in Wikipedia: https://en.wikipedia.org/wiki/J._M._W._Turner), we can have some discussions in terms of this transitional English artist who was applying the romantic pathway into his impressionist root for accounting landscapes. We are able to take the internationally comparative perspectives for seeing his impacts on the global painting history and attempt to take more transcendentalist senses about the staged expressions from this piece in his later life. I am not the expert to mention too much about its historical background and its symbolist meanings behind (of which the very detailed information can also be found in Wikipedia: https://en.wikipedia.org/wiki/The_Fighting_Temeraire), such as the sun-set representing the fading of Royal Navy's time, the new silver moon symbolizing 'the commencement of new industry era' etc. In the river of history, after all of the relative issues of this painting fading alongside the time-waves' passing-by, we still need to ask ourselves what is the naturally atheistic taste left to us by this painting as our first impression facing it. It should be the nature of this painting which was attracting our attentions in the first time and deeply touched our hearts. Afterwards, every time when we are attempting to pick up one painting from our memories-sea and willing to teach our next generations about somethings what was named impressionism, we would like to remind ourselves this work and can also point out several points of the soft heart-touching. Here, I want to share some appreciations from my views:

Sun-setting or Sun-rising?
To be honest, if just let me talk about my first impression, I didn't think the huge background is under the sun-setting's last warmth but a new day's dawn-beginning. One the sea, it's hard to distinguish the orientations of sun. Somehow, sun's orientation was depending on your heart's orientation. I can feel the lights from the sun and its sea-projection have made a warm-coloured channel, which is penetrating the heavy clouds from the horizon between the sea and the sky and directly press the sunshine into my eyes and also into my heart. Compared with the heavy and grey cool-coloured left part. I would like to think it was the right that was attempting to change the left. Furthermore, I has heard a Tibetan symbolized saying goes like that: Standing on the top of Qomolangma Mountain, you would see a sky with the sun, the moon and the stars shining beautifully. life didn't give me the chance and energy to test its feasibility. However, this painting has also summarized the seascapes of both night's and day's. In my mind, they were integrated as a centralized power together pushing the whole scene forward in front of us, which can be considered as the historical progress in the 'tunnel'. Somehow, the postmodernist meanings can reflect out from this understanding.

Realities or Shadows; materials or spirituality - What did impressionism bring to us?
It's to say that Turner has applied the lights as the spirit of God and usually was willing to leave the distractions on the water reflecting lights' play upon artificial matters, especially in his later paintings. In this painting, we can also find this pathway. There is the information shown that: influenced by French impressionism, usually, Turner's later works have the impressionistic style. (Introduction from Wikipedia: https://en.wikipedia.org/wiki/Impressionism) I can get the senses of impressionism from my musical synaesthesia. I have some experiences of playing Debussy's music, such as Moonlight (Introduction of Debussy: https://en.wikipedia.org/wiki/Claude_Debussy). I found the sub-branches of this school originally from fine arts usually presented some similarly basic principles (some from oil painting ) for innovation: 1. Rubbing colours into merging and getting them mixed together as warm-group and heavy-group without being distinguished very clearly; 2. Following the first step, the detailed imagery pixels have been fuzzed which means usually facing nearby would make you feel no senses; 3. However, if you hold your vision back with a long-distance, post-layout effect and visual inertia will make the shapes represented by the grouped and varying colours stereoscopically standing upon paintings' square; Are the details of impressionist works clear and exact? Not really, even some were from Chaos. In other words, the realities in impressionists' eyes are without too much fundamentalism; but more attentions would be paid on the vitalities of every item's subjective spirits jumping out and firing on the paper vividly. The fuzzed colour-ensemble, to some degree, accounted a ecologically spiritual field for the growth of the emphasised imageries.

Give up an golden era, or take it together forward - New integration between Machine Age and Classical Theological Age
As this painting was introduced in the part 'Symbolism' of our Wikipedia(https://en.wikipedia.org/wiki/The_Fighting_Temeraire):

'The composition of this painting is unusual in that the most significant object, the old warship, is positioned well to the left of the painting, where it rises in stately splendour and almost ghostlike colours against a triangle of blue sky and rising mist that throws it into relief. The beauty of the old ship is in stark contrast to the dirty blackened tugboat with its tall smokestack, which scurries across the still surface of the river.'

The emotion of classical fear in terms of being broken by the black-smock produced by tugboat has almost been expressed. This image raised my curiosity. In this session, I would like to have a discussion about my vision in watching this part: The three imagines have formed a holistic portfolio together positioned on the left part of our painting. On one side, they are almost talking about a story representing the damages towards classical traditions from modern techniques - the black-smoke somehow dirtied the sky in left. However, on the other side, do you think the frame was driven by the dramatics mechanism of the 'blackened tugboat'? They are in a integration progressing in front of our face? It gave me a vision that the splendour warship was carried by the tugboat and together moving forwards. Tugboat provided the energies for the civilized travelling together. Joining the third long-distant small boat, they together gave me a sense of aesthetic trinity. That's why I has given a new topic somehow regarding the Theological Age. I think it would content some indications

Following this vision and linking it updating, question came out: could the postmodernist civilization gave a pollution to the classical glory? I didn't think so. Oppositely, I would like to positively predict that it should be another kind of driving force. But why? you can find the entire beauties have all been kept in the left. The screen has almost been moving with this force in left part. The old Golden time has always been up-dated with new fashions. The world's beauties can never be terminated away from changing, but make the sustainable development with new energies and new motivating points.

From British old paining, we need to see some new confidences!

Neo-development of Impressionist fine-arts in Postmodern Era
I think: Recently, if our artists can borrow some benefits from this school but developing more 'channels' in one painting for appreciators with different interests supported by digital technologies - somehow, some customers can use certain 'glasses' to make the realist participant-observations; meanwhile, some postimpressionists would take the long-distance back for spiritual communications. It would be another mixed and balanced development waiting us to research in academy.