Принц Папа Жан


All texts and theories of genius, and above all the NEWLY DISCOVERED  theory of 1995  abouth the LOGICAL CHAIN – THE IMPLICATION OF OF THE DISCOVERED ENERGETIC LYSISM – A NEW STYLE OF PAINTING AND PHILOSOPHY OF LIFE  are the invention of the world renowned artist and author  Academician Professor Prince Papa Jan and have been published in the book “The Papa Jan Gellery” – book 1 – “A Shop for Airy Towers”  as well as books one and two of “The Lunar Orgasm” which have been published in Bulgaria  and protected by copyright.



 Energetic Lysism – a Dissolvent – Decomposer – Distinguisher – Analyser – Differentiator – Converter – Transformer – Transfigurer of everything  into everything (omnia in omnibus). Lysism is from the Greek lysis , i.e. “dissolution”

 The aim of the logical chain of Energetic Lysism is to show it simultaneously as a universal dissolvent (decomposer) and a universal transformer of everything into everything. Being a universal transformer, it is also a universal synthesizer (equivalenter-equalizer of everything).

It is universal analysis,  but  it  is universal synthesis, too.

Energetic Lysism is like the universal decomposer – universal analyser – universal distinguisher of everything from everything: it distinguishes everything from everything, as well as the thing from the thing itself. Energetic Lysism is a constant universal need of every thing to be different from itself, but being the thing different from itself means, by definition, including the other one. And it will be able to include (contain) in itself the other one only if its nature implies its ability to convert everything into everything, therefore Energetic Lysism can be a universal differentiator – distinguisher only if it is a universal  transformer – converter of  everything   into  everything.

Materius Rosenkroyzer (Timen Timev), being a writer and researcher, has already tried to prove the connection between Energetic Lysism and Contextualism (his modern theory of literature and text in general). Its publication in Western literary and schloarly circles is forthcoming and it is on the way of becoming the basis of future literary discussions on language, text and the cogito (thinking).

In my art of drawing – that of Prince Papa Jan, Energetic Lysism is a philosophical concept embodied compositionally in the specific technique of crating paintings: turning a point into a line, a line into a surface, a surface into volume, volume into multidimensional space (the multidimensional non-Euclidean geometry). Multidimensional space by definition, when gathered into a dimensionless point, is the construction of abstractionism. Gathering all genera of concreteness into a dimension-less point, we get abstractionism. Decomposing any  abstract   image,  we get  all genera of concreteness.

Therefore, Energetic Lysism presents the genealogy of abstractionism as a universal receptacle of all possible, present and future, drawing styles and techniques. That is why Energetic Lysism can only be shown in the All-World gallery, and vice versa, only Energetic Lysism can build the All-World gallery: since it would not be

 the style of all styles

 if, by means of its universal dissolubility method, it did not destroy every thing in itself in the thing’s own structure so that, through that destruction-deconstruction of the thing, it might show the thing’s relationship to any other thing. That is, Energetic Lysism proves that every destruction is new construction. We ourselves have been amazed to realize that Energetic Lysism pointed at the universal relationship of a life: of pictures and of books, and of the Papa Jean All-World gallery – Jeanoism as a universal world-view. In my attempt to live, I, Papa Jean, turned my life into a book. In my attempt to read it, I painted it. In my attempt to view it as a picture, I withdrew far enough for it to appear as a thought.

Jeanoism – Energetic Lysism, and when you go out of the World-Called-itself, then you turn back and see everything gathered into an All-World gallery where the world painted by me  is closed, but only out of it I amd present as a spirit and unthinkability. That is why he who has succeeded in painting everything and building up an All-World gallery is doomed to remain outside unpainted. Like God, who creates the world has to stay out of it. Here  is  the  eternal  refrain  of  all  philosophic  religions:

God  was  Nature,

God was Soul,

God  was  Language,

He  is  inestimable,

God is the unthought thinking one.

The   unspoken  speaking   one,

The   unfelt   feeling   one.

The spiritual life of  being,

And   the  material  life  of  having.

If you want an argument, here it is: “Could he who created the apple tree appear himself as a tree in  the Universe?”

Certainly not.

Vainly does Wittgenstein relate and summarise all transcendental   philosophies:

“The meaning of the world has to stay outside the world.” Since he who has created the tree, in case he appears as a tree himself, will in his turn need a Creator and a Maker, and in order to break the endless Creator-Creation logical circle, we have to mould an impassable abyss between the two. “The Creator is forbidden to    appear as a creation.”

We could judge of the Creator by the Creation but in it we do not see the Creator himself.

For a gallery to be an all-world one, not only should all facts in  it appear as  pictures,  but each  picture  should  contain all  other


pictures as its elements: a similar mental event occured to Leibniz and brought about the creation of monadology – the only hypothesis of the past which did not need a new genius (as Newton needed Einstein) to start modern natural science in the world of all possible worlds in quantum mechanics to the semantics of all possible semantics in modern logic and linguistics, in the general code of knowledge where sciences and arts gather as an algorithmic step towards the creation of any future metaphysical theory defined by Materius Rosenkreuzer as OMNISEMANTICISM; that Omnisemanticism was interpreted byme, Papa Jean, in my activity as an artist and writer, as a form of another activity distributing the same enchantment  –  Energetic  Lysism.

Over the years, I gradually realized that Energetic Lysism as dissolution of everything into everything is possible only if an orderly science and logic have proved the intertransparency and relationship between things: in other words, everything would not be connected into everything (the omnisemantic modification of Leibniz introduced by Materius Rosenkreuzer) had they not been previously interdissoluble, which is demonstrated by the new technique  of  Energetic  Lysism created by me.

Thus, all the old alchemy notions not been proved then by the modern transpontation of particles which has made evident the deduction of an element from any other one? Just as gold can be obtained from any chemical element nowdays, all other categories can be deduced from any notion, and in any drawn image all the rest can be read: my chief motive and inspiration of representing the world as an All-World gallery – what Borges imagined years ago as the All-World Cosmic Library where any book could give information of all the others. As a spontaneous artist, I, Jean, through combining meditation and erudition, started constructing my pictures so that even if all my pictures burnt up, it would be possible for them to be restored out of one picture only. The greatness of this method of intertransparency and interpenetration of facts one for another has its confirmation in the presence in different epochs of the same logic of interdissolubility aiming at the compensation of the shortcomings of secular monosemantic formal logic recommended, and comically prided on, by each century. Those who lack erudition could be reminded of Leibniz’s basic concept of ‘the world of all possible worlds’. The so-called ‘real world’ is to Leibniz just one of the possible worlds that can be built out of the initial monads, and the real world is actually ‘the Sum of all possible worlds’ that can be constructed out of the combination between the monads, hence, it is not our macroscopic world, just one of the possible worlds, that is the real one; what is real is the continuum of all possible worlds achieved through the combination of all possible   semantics.

Example:   thus   the   idea  of   a  picture  can   be  depicted   in  a variety   of   ways,   and   those  various   ways   of   painting   a   picture, Eidos, have been ascribed to various geniuses by the naive centuries.

Those sceptical genius had no idea that what they called their own art was their different interpretation of the same subject; the Great different self-interpretative quality of the picture to depict itself, thus deceiving mankind that it is created by various genii. Just as a picture carries in itself all other pictures, so is the language a continuum of texts where each text carries in itself all other texts about it. But only the Sole Divine and Divinely Inspired carries everything in itself.

The All-World gallery is the modern depiction of Leibniz’s monadology: just as in one monad all the rest are depicted, so are all other things reflected as unpainted in one picture of the All-World gallery  since  they can  only  be reflected  as unpainted  ones.

A monad is the spiritual atom interacting wilh all other atoms in the Universe not via a causal connection but from a distance, ‘per distantionem’, like a telepathic interaction: “The stochastic method of nonlocalily which has served as a basis of all quantum mechanics and the modern view of the structure of the Universe, as nonparticularism (the modern view of the Universe as a  nonspacial  extratemporal  energetic  being).

Since the difference between things as facts and things as images (‘Imago’) is that things as facts require physical interaction, while things as images are based on the stochastic quantum-mechanical link, in ancient times always referred to as ‘telepathy’. With aesthetic irony, we might say that a fact is guaranteed to acquire a quantum-mechanical telepathic status by its appearance in the mind as aesthetic energetics which is the light carrying the energy of   the  Universe and creates eternal Life.

Energetic Lysism

 as a style of all styles

 reproduces the light carrying the energy of the Universe. The light spectrum decomposition decomposes energy in colours. Each colour contains the purity of the essential brick of the Universe (the All-World’ gallery}, the light spectrum decomposition is the natural analysis of world energy. Analysing itself, world energy originates colours as a presentation. Colours are the modes of existence of the natural self-analysis of the Universe. If Energetic Lysism is to bear the name of a style or a drawing technique, it will be the Artist’s Human Subjective Repetition of the World Objective Self-Analysis of  the  Universe  through  which   It  Depicts  Itself  as  Colours and a Life-Creating Principle.

Energetic Lysism as a style of the universal Energetic All-Dissolubility of colours and shapes in one another discovered by me, Papa Jean and realized through my pictures that, receiving the Energy of his extrasensory activity, keep transmitting it as Art-Therapy-communication with positive remedial and aesthetic effects.

This is my  Manifesto to humanity for the purpose of humanity’s perfection in the way, iamge and model of the Creator!

This is from the world-renowned artist and author academician professor Prince Papa Jan.

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