Summary:
Based on Gombrich's image theory, this paper explores the role of the viewer in the co-creation of art and the ambiguity of the interpretation of artworks. Firstly, Gombrich's image theory is introduced, and the importance of the subjective experience and personal experience of the viewer in the appreciation of works of art is expounded. Secondly, the role of the viewer in the co-creation of art is analyzed, and the influence of the viewer's subjective feelings and cultural background on the understanding of the artwork is emphasized. Then, the ambiguity of the interpretation of the artwork is discussed, and it is pointed out that different viewers may have different understandings and feelings about the same work.
I. Introduction
The intersection between art and cognitive psychology is an enlightening interdisciplinary dialogue that examines and interprets art as a unique cognitive experience. Cognitive psychology aims to understand the mechanisms of human thinking and cognitive processes, and art, as a form of expression, provides a rich variety of stimuli that elicit complex and profound psychological responses. Therefore, combining the theories of cognitive psychology with art can provide an in-depth exploration of the process of human perception, understanding, and appreciation of works of art.
Under the framework of cognitive psychology, art is regarded as an information processing process that involves the interaction of multiple cognitive functions such as perception, attention, memory, and thinking. A work of art conveys information through elements such as color, shape, line, and space, and the viewer subjectively perceives and understands this information in the process of receiving it. Therefore, cognitive psychology provides a theoretical basis and methodological support for analyzing the meaning and impact of works of art.
II. Basic Perspectives of Image Theory
A. Co-creation between the viewer and the artist
Gombrich's image theory emphasizes the co-creative relationship between the viewer and the artist, which is of great significance in the process of art appreciation and interpretation. Traditionally, a work of art has often been seen as the result of the artist's individual creation, and the viewer's role is limited to passively receiving and interpreting the artwork. Gombrich argues, however, that the work of art is not a static entity, but is constantly evolving and evolving through the participation and interpretation of the viewer. The viewer interacts with the artwork through their own perspectives, experiences, and emotions, giving it new meanings and interpretations, thus achieving co-creation with the artist.
The viewer's participation is not only reflected in the subjective interpretation of the artwork, but also in the emotional resonance and personal projection of the artwork. Each viewer has their own unique life experiences, cultural backgrounds, and emotional states that influence their understanding and feelings about a work of art. As a result, the same work may take on different meanings and emotional overtones, as different viewers will give them different personal meanings and emotional connotations. In this process, the viewer and the artist jointly create a rich and colorful artistic experience, realizing multiple interpretations and expressions of the artwork.
B. The influence of visual field habits on the aesthetic experience of 2D and 3D images
Gombrich's image theory also focuses on the influence of the viewer's visual habits on the aesthetic experience of two- and three-dimensional images. In modern society, people come into contact with various forms of image presentation in their daily life, including flat pictures, stereoscopic images, digital images, etc. These different forms of images have a profound impact on the viewer's visual habits and aesthetic experience, thus influencing their perception and understanding of the work of art.
For viewers who are accustomed to two-dimensional images, they may be more inclined to appreciate works of art with flat pictures, such as paintings, drawings, etc. This is because they are more familiar with the perception and understanding of flat images, and are more likely to immerse themselves in them and experience the beauty and meaning they contain. Conversely, for viewers who are accustomed to three-dimensional images, they may prefer to appreciate three-dimensional works of art, such as sculptures, installations, etc. This is because they are more sensitive to the perception and understanding of three-dimensional space, and can experience the visual impact and sense of space brought by three-dimensional images more deeply.
However, Gombrich points out that the viewer's visual habits are not static, but are constantly changing over time and experience. As a result, artists sometimes take advantage of the viewer's visual habits to create works of art with unique effects. For example, some artists skillfully use perspective, light and shadow and other techniques to present a three-dimensional sense of flat pictures, thus breaking the viewer's inherent perception of two-dimensional images and arousing the viewer's thinking and amazement. This kind of challenge and innovation of visual habits not only enriches the form and expression of the artwork, but also expands the viewer's aesthetic vision and imagination.
III. Reaction analysis of mimics and substitutes
A. Comparison of toy cat and cat drawing
In Gombrich's theory of images, we can delve into the aesthetic value of imitations and substitutes by comparing toy cats and cat paintings.
First of all, from a formal point of view, toy cats and cat paintings are both forms of expression of works of art, but they have very different formal characteristics. As a physical object, the toy cat has a three-dimensional form and texture, and the viewer can experience its existence through touch and perception. Cat paintings, on the other hand, are presented in the form of a flat surface, and the viewer can only perceive its image and meaning through vision. Therefore, in terms of form, toy cats and cat paintings present different artistic expressions and aesthetic effects.
Secondly, in terms of meaning, the meanings and symbols represented by toy cats and cat paintings are also different. Toy cats are often seen as a type of children's toy, and it often symbolizes the joyful and carefree time of childhood. In the process of interacting with the toy cat, the viewer can evoke fond memories of childhood and experience an innocent and warm emotion. Cat painting, on the other hand, reflects more of the artist's aesthetic expression and emotional expression of cats, which may express the form and temperament of cats through artistic techniques such as lines and colors, as well as the artist's perception and experience of life and nature. Thus, in meaning, toy cats and cat paintings present different emotional connotations and symbolic meanings.
B. The aesthetic value of imitations and substitutes
In Gombrich's image theory, both imitation and substitution have their own unique aesthetic value, and each of them presents the beauty and meaning of the work of art through different forms and expressions.
First of all, imitations, as representations of the real world, usually have intuitive perceptual effects and visual impact. By observing the images and scenes presented by the imitations, the viewer can quickly understand and feel the emotions and themes expressed in the artwork. For example, a realistic painting of flowers and birds or a landscape painting, through the imitation and reproduction of natural scenes, can make the viewer feel as if they are in the picture and feel the beauty and tranquility of nature. Therefore, the imitation has an intuitive aesthetic effect and appeal, which can arouse the resonance and emotional resonance of the viewer.
Second, substitutes, as reconstructions and recreations of the real world, often have more abstract and profound aesthetic characteristics. Through the reinterpretation and re-creation of form, structure, color and other elements, the artist creates a work of art with a unique style and meaning. The viewer often needs more thought and imagination to understand the artist's intentions and themes when appreciating the alternatives.
For example, an abstract work of art may not have a specific image or scene, but it expresses the artist's emotions and thoughts through abstract elements such as lines and color blocks, triggering deep thinking and association among the viewer. As a result, the substitute has a more abstract and profound aesthetic meaning, which can inspire the viewer's thinking and imagination, and promote their understanding and experience of the work of art.
IV. Ambiguity of image interpretation
A. Find the original meaning of the work
In Gombrich's image theory, finding the original meaning of the work is an important part of understanding the ambiguity of image interpretation. The original meaning of the work refers to the original intention and theme expressed by the artist when creating it, which is the basic meaning and inner spirit of the image. In order to find the original meaning of the work, the viewer can start from the following aspects:
The artist's life and background: Understanding the artist's life and background can help the viewer understand the context and context in which the work was created, so as to better grasp the original meaning of the work. The artist's experiences, thoughts, and emotions are often reflected in the work, so studying the artist's life can provide important clues to understanding the work.
Style and technique of the work: Analyzing the style and technique of the work can reveal the aesthetic goals and expressive techniques pursued by the artist in the creation, and then infer the original meaning of the work. Different styles and techniques often reflect the artist's preferences and choices of form, structure, and expression, so analyzing these aspects allows for a deeper understanding of the meaning of the work.
Symbols and symbols in the work: The symbols and symbols in the work are often specific images and symbols chosen by the artist to express the theme and emotion of the work. By interpreting the symbols and symbols in the work, the viewer can reveal the implicit meaning and deep connotation of the work, and thus find the original meaning of the work.
B. Analyze the multiple meanings of image interpretation
The multiple meanings of image interpretation refer to the possibility of different interpretations and understandings of the same work by the viewer, and this ambiguity often comes from the subjective feelings and cultural backgrounds of the individual viewers. In order to analyze the multiple meanings of image interpretation, the following aspects can be discussed:
Subjective feelings and emotional resonance: Each viewer will be affected by their own subjective feelings and emotional resonance when appreciating a work, so they may have different emotional experiences and understandings of the same work. A work may evoke different memories and emotions in the viewer, triggering different emotions and associations in the viewer, and thus generating multiple interpretations and understandings.
Cultural Background and Cognitive Differences: The viewer's cultural background and cognitive level will also affect their understanding and interpretation of the work. Viewers from different cultural backgrounds may have different interpretations of the symbols, symbols, and imagery in the work, resulting in a variety of interpretations and understandings. For example, for a work depicting a natural scene, viewers from different cultural backgrounds may assign different cultural connotations and symbolic meanings.
Historical Context and Social Context: The historical and social context in which the viewer lives will also affect their understanding and interpretation of the work. With the changes of the times and the development of society, people's aesthetic concepts and value orientations for works of art will also change, so the same work may have different interpretations and understandings in different times and social backgrounds.
V. The Viewer's Duty and Artistic Interpretation
A. The viewer's subjective experience and interpretation of the artwork
The viewer's subjective experience plays a crucial role in the interpretation of a work of art. Each viewer is an individual with their own unique life experiences, emotional experiences, and cognitive frameworks, so their understanding and feelings about the same work will show diverse characteristics. The following are the effects of the viewer's subjective experience on the interpretation of the artwork:
Emotional Resonance and Emotional Experience: The process of the viewer's emotional resonance with the artwork is one of the important manifestations of the viewer's subjective experience. When the work shows the emotional content that the viewer is familiar with or resonates with, the viewer often has an emotional resonance, and then emotionally connects with the work. For example, an oil painting depicting loneliness may empathize and understand a viewer who has experienced loneliness, and thus find their own emotional experience in the work.
Personal Experiences and Associative Memories: The viewer's personal experiences and life background can have a profound impact on the interpretation of a work of art. The viewer may associate and contrast his or her own personal experiences with the plots, themes, or symbols in the work, and thus find content related to his or her own life in the work. This kind of association and memory of personal experience can enrich the interpretation of the work, so that the viewer can have a deeper understanding and resonance with the work.
Aesthetic Preferences and Cultural Context: The viewer's aesthetic preferences and cultural background also influence their interpretation of the artwork. Different viewers will have different evaluations and understandings of artworks due to their different education, cultural backgrounds, and aesthetic concepts. For example, a work of abstract art may be viewed more highly by a viewer who likes abstract art, while a viewer who doesn't like abstract art may be confused or puzzled.
B. The role of the viewer in art appreciation
The viewer plays an active role in art appreciation, and their subjective experience and interpretation play a crucial role in the understanding and dissemination of the work. Here are just a few aspects of the viewer's role in art appreciation:
Understanding and Interpretation: The viewer understands and interprets the artwork through their own subjective experience and cognitive framework, thereby giving the work a deeper meaning and meaning. The viewer's interpretation can not only help them better understand the work, but also provide new ideas and perspectives for other viewers, enriching the interpretation and discussion of the work.
Communication and Sharing: Viewers often resonate with their thoughts and emotions in the process of appreciating artworks, and are willing to share their feelings and understandings with others. Through communication and sharing with others, viewers can expand their horizons, enrich their cultural experience, and promote the dissemination and exchange of artworks.
Criticism and Reflection: The viewer can not only understand and appreciate the work of art, but also criticize and reflect on it. Through criticism and reflection, the viewer can discover the shortcomings of the work and put forward suggestions for improvement, so as to promote the continuous progress and development of the work of art. A work of art needs criticism and reflection from the viewer to constantly improve itself and realize the continuous improvement and innovation of artistic creation.
VI. Conclusion
Gombrich's image theory provides us with food for thought, revealing the important role of the viewer in art appreciation and the ambiguity of the work of art. This theory suggests that our understanding and interpretation of works of art should pay more attention to the subjective and personal experiences of the viewer, recognizing that each viewer is an independent individual, and their understanding and feelings are unique and valuable.
Author: Lu Xilin
Bibliography:
Lopes, D. M. (2010). Four arts of photography: An essay in philosophy. Wiley-Blackwell.
Elkins, J. (2003). Visual studies: A skeptical introduction. Routledge.
Disclaimer: All articles (including graphics, papers, audio and video, etc.) under my account can be reprinted or quoted at will after 72 hours from the date of publication, without informing me. If you need to request a manuscript, please contact [email protected]