Summary:
This article explores the art theorist Gombrich's ontology of art, focusing on its core idea: "There is no art, only the artist". The article first reviews Gombrich's academic career and the evolution and development of his concept of art, and then analyzes his reflection and critique of traditional concepts of art and the new methodology he proposed. Gombrich believes that art does not exist objectively, but is constructed by the artist's creation and the audience's perception. He emphasized the subjectivity and creativity of artists, and advocated a re-examination of art from an open and inclusive perspective.
I. Introduction
There are many scholars and thinkers in the history of art who have a variety of views on the nature, form and meaning of art. Gombrich is undoubtedly one of the most important figures. Gombrich's importance lies not only in his profound thinking and unique insights on art, but also in his systematic construction of art ontology and the shaping of his theoretical framework. As one of the most influential art historians of the 20th century, Gombrich has profoundly influenced the understanding and study of art through his classic works such as Art and Illusion.
One of Gombrich's contributions is his formulation and elaboration of the "schema". He regards conceptual images as the core concept of art ontology, believing that a work of art is not only a representation of external reality, but also an expression and communication of an internal concept. This concept has provided important ideological support for later generations of art research, enabling people to understand more deeply the meaning and purpose behind artistic creation.
II. An Introduction to Gombrich's Artistic Ontology
A. The importance of "conceptual images".
One of the central concepts of Gombrich's ontology of art is the "schema," a concept that is essential to understanding the creative process and meaning of a work of art. Conceptual image refers to the mental model or inner framework constructed by the artist in the process of creation, which not only contains the artist's observation and perception of the external reality, but also contains their expression of inner meaning and emotion.
First of all, conceptual images play an important guiding role in artistic creation. Gombrich believes that artists do not simply imitate external reality in the creative process, but construct and express their understanding and imagination of the world through internal conceptual images. This conceptual image not only includes the artist's observation and perception of the objective world, but also integrates his personal emotions and subjective experience, thus giving the work a unique inner meaning and expressiveness.
Secondly, conceptual images play a vital role in the interpretation and understanding of artworks. Gombrich emphasized that the meaning of a work of art does not only exist in the form and content of the work, but should also be understood and interpreted from the perspective of conceptual images. The artist transforms his thoughts and emotions into a concrete form of art through conceptual images, and the audience needs to comprehend the inner meaning and meaning of the work through the understanding and feeling of the conceptual image.
B. Definition of the categories of "seen" and "known".
In Gombrich's ontology of art, "seeing" and "knowing" are two key categories, which are both interrelated and have independent meanings and functions.
First of all, Gombrich defines "seeing" as the artist's observation and perception of external reality. Through the observation and experience of the objective world, the artist obtains images and information from them, and transforms them into visual elements and formal structures in the artwork. This process not only involves the imitation and reproduction of external forms, but also involves the understanding and expression of the meaning and emotions behind the image.
Secondly, "knowing" refers to the inner knowledge, experience and emotions of the artist. Gombrich believes that an artist's creation does not only rely on direct observation and imitation of external reality, but more importantly, on his understanding and expression of the inner world. Through the reflection and expression of his own knowledge and emotion, the artist endows the work with a deeper connotation and meaning, so that it goes beyond simple objective representation and has a deeper meaning and value.
C. Interpretation of the categories of "schema" and "amendment".
In his ontology of art, Gombrich proposed two important categories, "schema" and "correction", to explain the process of artistic creation and the meaning of the work.
First of all, "schema" refers to a basic pattern or internal framework that an artist uses in the creative process. This schema is not only influenced by external reality, but also incorporated into the artist's personal experience and emotions, thus constituting the basic form and structure of the work of art. Gombrich believes that artists do not create completely novel images and structures from scratch, but create and express them based on existing schemas and patterns.
Secondly, "correction" refers to the artist's adjustment and change of schema in the process of creation. Gombrich argues that artistic creation is not a static process, but a process of experimentation and adjustment. Through the correction and adjustment of the schema, the artist constantly improves and enriches the connotation and form of the work, making it more in line with his own understanding and expression.
III. The Ontological Status of the "Conceptual Image".
A. The Heart of Human Reproduction: Conceptual Images
Gombrich places conceptual images at the heart of artistic creation, believing them to be the key to human representation of the world. The conceptual image is not a simple visual image, but the embodiment of the artist's inner psychological model, the integration and expression of the external world and inner emotions. Artists transform perception, imagination, and emotion into works of art through conceptual images, creating unique experiences that transcend reality.
The formation of conceptual images is influenced by individual experiences, cultural traditions, and social environment. Each artist has a unique conceptual image, and this individual difference makes the artwork appear diverse and rich. Through conceptual imagery, the artist transcends the limitations of the objective world to create works with inner meaning and emotional resonance, allowing the viewer to have a spiritual dialogue and resonance with the work.
B. The Essence of Art: Representation and Representation
In Gombrich's view, the essence of art lies in representation and representation. The artist reproduces the external world and inner emotions through conceptual images, while expressing his unique perspective and emotional experience through the form and structure of the works. A work of art is not only a representation of the objective world, but also an expression of inner emotions and meanings, and a medium and carrier for the artist's dialogue with the world.
The reproducibility of art allows the viewer to perceive and understand the diversity and complexity of the world through the work, while also stimulating the viewer's imagination and emotional resonance. The expressiveness of art gives the work a unique personality and charm, making it go beyond the simple form and content, and have a deeper connotation and meaning. Through representation and representation, the artwork becomes a bridge of communication between the artist and the viewer, achieving emotional resonance and spiritual exchange.
C. The meaning and purpose of artistic creation
The significance of artistic creation lies in the realization of the artist's understanding of the world and the expression of emotions through the expression and transmission of conceptual images. Through the creation of works of art, the artist not only realizes the catharsis and expression of personal emotions, but also provides a window for the viewer to perceive and experience the world, and promotes the development of human culture and spiritual life.
The purpose of artistic creation is to enlighten the human mind, expand human horizons, and promote the development of human thought. Through the transmission of conceptual images, artworks stimulate the viewer's thinking and imagination, guide people to re-examine the world and life, promote the inheritance and innovation of culture, and promote the progress and development of human civilization.
IV. Analysis of the categories of "seen" and "known".
A. Visual perception and knowledge transfer of artworks
In Gombrich's ontology of art, "seeing" is closely related to "knowing", and the artwork not only conveys information through visual perception, but also guides the viewer's understanding and interpretation of the work through the transmission of knowledge. First of all, the visual perception of a work of art is one of the important ways for the viewer to obtain information and experience. Through the form, color, composition and other visual elements of the work, the viewer can perceive the emotion, theme and meaning expressed by the artist, so as to generate intuitive perception and emotional resonance of the work.
Secondly, the artwork guides the viewer to deeply understand and interpret the work through the transmission of knowledge. Through the cultural symbols, historical backgrounds, artistic traditions and other knowledge elements contained in the works, the artist inspires the viewers to think about the meaning and connotation behind the works, and promotes the audience's cognition and understanding of the works. Therefore, the visual perception and knowledge transmission of the artwork are intertwined, which together constitute the viewer's comprehensive perception and understanding of the work.
B. The interaction between the viewer and the work
In Gombrich's ontology of art, the interaction between the viewer and the work is crucial. The artwork does not exist in isolation, but blends with the viewer's emotions, experiences, and knowledge, forming a unique perception and understanding. First of all, the viewer establishes an emotional connection and spiritual resonance with the work through visual perception and emotional resonance of the work. The emotions and themes expressed in the work trigger the viewer's innermost emotions and thoughts, making them resonate and communicate emotionally with the work.
Secondly, through the cognition and interpretation of the work, the viewer establishes a rational connection and cognitive resonance with the work. Through thinking and interpreting the knowledge and meaning behind the work, the viewer has cognitive interaction and dialogue with the work, which promotes the in-depth understanding and perception of the work. Therefore, the interactive relationship between the viewer and the work is an indispensable part of the process of artistic creation and appreciation, and it is an important way for the viewer to perceive and understand the work.
C. The Role of Perception and Cognition in Art
In Gombrich's ontology of art, perception and cognition play an important role in art. First of all, perception is the basis for the viewer to perceive and understand the work. Through visual and auditory perceptions, the viewer perceives the form, color, music and other audio-visual elements contained in the work, and produces an intuitive perception and emotional experience.
Secondly, cognition is the basis for the viewer's in-depth understanding and interpretation of the work. Through the knowledge and understanding of the culture, history, and artistic tradition behind the works, the audience deepens their understanding and perception of the works, so as to obtain a richer and deeper artistic experience. Therefore, perception and cognition complement each other, jointly promoting the viewer's perception and understanding of the work in the process of artistic creation and appreciation, and enriching the viewer's artistic experience and emotional resonance.
V. Discussion of the Categories of "Schema" and "Amendment".
A. Standardization and innovation of art forms
In Gombrich's ontology of art, he deeply thinks about and explores the norms and innovations of art forms. First of all, Gombrich emphasized the normativity of the art form, that is, the work of art follows a certain norm or tradition in its expression. This kind of normativity comes from the influence of historical, cultural and social factors, and reflects the aesthetic concepts and value orientations of a specific era and region. For example, in classical art, symmetry, proportion, and order are common normative requirements, while in modern art, more attention is paid to individual expression and aesthetic breakthroughs.
Secondly, Gombrich also emphasized the innovation of art forms, that is, works of art have a certain degree of creativity and innovation in expression. Through the reinterpretation and re-creation of traditional forms, artists create new art forms and styles, which promote the development and evolution of art. For example, Renaissance artists pioneered new artistic styles and expressive techniques, such as perspective, light and shadow, through the study and imitation of classical art. Therefore, Gombrich believes that the norms and innovations of art forms complement each other, and together they constitute the expressive and aesthetic characteristics of works of art, reflecting the diversity and change of art in different historical stages and cultural backgrounds.
B. Dialogue between tradition and modernity: the evolution of artistic styles
Gombrich conducts an in-depth study and analysis of the dialogue between tradition and modernity and the evolution of artistic styles. There is a connection and dialogue between traditional art and modern art, and the two influence and exchange with each other, and jointly promote the development and evolution of art. First of all, traditional art provides rich historical and cultural resources for modern art, and has become an important reference and reference object for modern art creation. Through the study and inheritance of traditional art, the artists absorb the essence and characteristics of it, and provide inspiration and support for their own creation.
Secondly, modern art has criticized and innovated traditional art, breaking the shackles of tradition and opening up new artistic fields and expressions. Through the subversion and re-deconstruction of traditional forms, modern artists have explored new artistic languages and styles, promoting the diversity and innovation of art. For example, the modernist art movement completely subverted traditional artistic concepts and forms, advocated individual expression and aesthetic breakthroughs, and laid the foundation for later artistic creation and development. Therefore, the dialogue between tradition and modernity not only reflects the historical origin and inheritance relationship of art, but also reflects the changes and evolution of art in different eras and cultural environments.
C. Gombrich's contributions and critique of art history
Gombrich's contribution to art history is mainly reflected in the in-depth study and analysis of the laws of artistic development and historical evolution. Through systematic combing and comparative research on various art forms, styles and genres in art history, he reveals the internal laws and historical trends of art development. Gombrich's book The Story of Art is a classic work that embodies his research on art history, systematically summarizing the historical context and evolution of art.
At the same time, Gombrich critiques and reflects on the linear evolutionary view of traditional art history. He believes that the linear evolutionary view of traditional art history ignores the diversity and complexity in the development of art, overemphasizes the absolute value and superiority of a certain art form or style, and leads to the neglect and marginalization of other forms or styles. Therefore, Gombrich advocates re-examining and understanding art history from a more open and inclusive perspective, emphasizing diversity and change in the development of art, and providing new ideas and methods for the study of art history.
VI. Conclusion
In Gombrich's ontology of art, he puts forward the core of the idea that "there is no art, only artists", which challenges the traditional notion of art subversively. Gombrich believes that art is not an objective existence or an independent entity, but a product created and shaped by the artist. The meaning and existence of a work of art is not fixed, but constantly changing and evolving with the artist's creation and the viewer's perception.
Therefore, the essence of art lies in the creativity and imagination of the artist, rather than some objective reality or absolute value. This viewpoint emphasizes the importance of the artist's subjectivity and creative activities, breaks the mystification and worship of works of art in the traditional concept of art, and provides new perspectives and methods for the understanding and interpretation of art.
Author: Lu Xilin
Bibliography:
Merleau-Ponty, Maurice. "Phenomenology of Perception." Routledge, 2012.
Dewey, John. "Art as Experience." Penguin Books, 2005.
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