Summary:
Art is an important part of human culture, and the understanding of works of art is a complex cognitive process. Art psychologist Gombrich analyzes the relationship between art and understanding through the lens of cognitive psychology. The purpose of this paper is to explore the significance of Gombrich's theory for the understanding of art, and to discuss the research and future prospects of contemporary art. Firstly, Gombrich's main theoretical perspectives are introduced, including the visual representation of artworks, the process of psychological cognition, and the individualized characteristics of artistic interpretation. Then, the enlightenment of Gombrich's theory to the study of contemporary art is analyzed, emphasizing the importance of individual subjective experience and cognitive processes in the understanding of art.
I. Introduction
Art is an important part of human civilization, it is not only a form of creation, but also a medium to express and convey emotions, thoughts and values. In different cultural and historical contexts, art has been endowed with a variety of different meanings and functions. First of all, art is a source of aesthetic experience. Through works of art, people can feel the enjoyment of beauty and appreciate the artist's pursuit and expression of beauty.
Secondly, art is a carrier of cultural inheritance. In the works of art, there is a wealth of cultural connotations and historical information, reflecting the thoughts, beliefs and lifestyles of people in different eras and different cultural backgrounds. Furthermore, art is a way of expressing emotions. The artist conveys his own emotions and emotions through his works, arousing the resonance and thinking of the viewer, thus realizing the exchange and sharing of emotions.
In addition, art is also a tool for social criticism and ideological enlightenment. In some works of art, the artist reveals the shortcomings of society and the limitations of human nature through observation and reflection on social reality and human destiny, and triggers people's reflection and discussion on social issues and human destiny.
II. Gombrich's Perspective on Cognitive Psychology
A. Application of Cognitive Psychology to Art
Cognitive psychology is a discipline that studies human cognitive processes, and it focuses on human activities such as thinking, perception, memory, and learning. In the field of art, the application of cognitive psychology provides us with new perspectives and methods for in-depth understanding of the creation, dissemination and reception of works of art.
First of all, cognitive psychology can help us understand the mental processes of artistic creation. When creating works, artists are often influenced by cognitive mental processes, such as attention, memory, imagination, and language. By studying the creative process of artists, we can reveal the cognitive mechanisms and psychological activities behind artistic creation, so as to better understand the connotation and meaning of the works.
Second, cognitive psychology can help us understand the process of receiving and understanding a work of art by viewers. When viewing a work of art, viewers are influenced by perception, cognition, and emotion, and these factors affect their understanding and evaluation of the work.
B. Gombrich's words of the opposite face
In his research, Gombrich explores the importance of configural perception in works of art. Face perception refers to the fact that people perceive and understand things through their overall features, rather than focusing on some of its details alone. In works of art, face perception plays a crucial role, as artists often express their emotions and meanings through overall compositions and combinations.
Gombrich argues that the viewer is also influenced by facial perception when interpreting a work of art, and they will focus more on the overall structure and organization of the work than on the details within it. By studying the application of physiognomy perception in artworks, we can better understand the viewer's understanding and feelings about the work, so as to provide theoretical support and practical guidance for artistic creation and education.
C. Interpretation and artistic understanding of the meaning of images
In a work of art, image meaning plays a crucial role. Image meaning refers to the meaning and symbolism expressed by images in a work of art, which often goes beyond the expression of words and language to convey emotions and ideas through visual forms. Gombrich believes that the meaning of images in a work of art is multi-layered and multi-dimensional, and it can be conveyed through aspects such as symbols, colors, composition, and style of the image.
When interpreting a work of art, the viewer needs to understand the connotation and meaning of the work by interpreting the meaning of these images. By studying the use of image meaning in artworks, we can deeply understand the artistic value and social significance of works, so as to better promote the development of artistic creation and dissemination.
III. The fiction of language and the expulsion of ideas left over from history
A. Gombrich's clarification of language
Gombrich's clarification of language is reflected in his in-depth reflection and analysis of the role and limitations of language in artistic expression. In his theoretical framework, language is seen as a form of expression, but not the only one. He argues that language, while a powerful tool, has limitations in artistic expression. Works of art often transcend the expressive power of language to convey emotions, ideas, and experiences through visual, audio, and other sensory forms.
Therefore, Gombrich calls on people not to rely too much on language to understand and interpret a work of art, but to understand the connotation and meaning of the work through direct perception and experience. His views challenge traditional linguist-centric notions and remind people to be more open to accepting and understanding works of art.
B. The influence of historical legacy ideas in art theory
The influence of historical legacy concepts in art theory is mainly reflected in the understanding and evaluation of art. In the past art theory, there were some inherent concepts and prejudices, which were often formed by the influence of historical and cultural backgrounds, and they restricted people's understanding and acceptance of art. For example, there has long been a prejudice against non-Western art in the history of Western art, treating it as a product of "primitive" or "barbaric", ignoring its unique artistic value and cultural significance.
Similarly, certain art genres or styles have historically been marginalized or devalued, leading to a biased perception of them. These historical concepts affect people's evaluation criteria and value orientation of art, leading to one-sided understanding and evaluation of works of art.
C. 贡布里希对虚假观念的批判
Gombrich's critique of false ideas is reflected in his exposure and reflection on the inherent biases and misconceptions in art theory. He believes that some ideas and prejudices in art theory are false, and they not only hinder the understanding of works of art, but also limit the development and innovation of art. For example, the standardized critique of works of art often leads to a rejection of innovation and diversity, which constrains artistic creation.
Gombrich advocated breaking these false notions, establishing a more open and inclusive art theory system, encouraging artists to experiment and innovate, and opening up new paths for the development of art. His perspective provides us with a perspective to re-examine art, reminding us to transcend traditional notions and prejudices and to be more open to accepting and understanding works of art.
IV. Freedom from physiognomy in the theory of art
A. The Concept and History of Face Reading
Face reading, also known as physiognomy or physiognomy, is an ancient concept that holds that information about a person's personality, fate, and other aspects can be inferred by looking at their facial features. This concept has been spread in various cultures in ancient times, such as Chinese physiognomy, Indian physiognomy, European physiognomy, etc.
Physiognomy believes that there is a certain correspondence between a person's facial features and their inner qualities, and that by observing the lines, bumps, colors and other characteristics of the face, information about a person's personality, destiny and numerology can be revealed. However, with the development of science and the deepening of people's understanding of modern psychology, face reading is gradually regarded as a superstition and pseudoscience, and its theoretical basis and empirical nature have been questioned.
B. Gombrich's art theory versus physiognomy
There is a fundamental difference between Gombrich's theory of art and physiognomy. First of all, Gombrich emphasized the independence and autonomy of the work of art, believing that the work of art should be regarded as an independent entity, rather than being influenced and controlled by external factors. On the contrary, face reading connects a person's facial features with information about their character, destiny, etc., believing that a person's facial features can reveal certain aspects of their inner world.
Secondly, Gombrich emphasized the diversity and openness of works of art, believing that works of art can take on a variety of different forms and styles, and their connotations and meanings also vary from person to person. However, physiognomy summarizes people's facial features into a fixed pattern, believing that different facial features correspond to specific personalities and destinies, and lacks recognition and respect for individual differences.
C. The modernization of art theory and the abandonment of physiognomy
With the development of science and the deepening of people's understanding of psychology, cognitive science and other fields, face reading is gradually regarded as a superstition and pseudoscience, and is gradually abandoned by society. In contrast, Gombrich's art theory is more in line with modern scientific cognition and people's aesthetic concepts.
Modern art theory emphasizes the diversity and openness of works of art, encourages people to accept and understand different forms of artworks with an open mind, pays attention to individual independence and autonomy, and respects the creativity and desire of artists. At the same time, modern art theory also focuses on the understanding and interpretation of the conceptual and meaning of works of art, and encourages people to explore the connotation and meaning of works of art through in-depth thinking and experience, so as to better understand and appreciate art.
V. New Perspectives on Art and Understanding
A. Diversity of artistic interpretations
The diversity of artistic interpretations is an important topic in modern art theory. Different viewers may have different understandings and interpretations of the same work of art, and this diversity reflects the differences between individuals and the openness and ambiguity of the artwork. For example, an abstract painting may be interpreted by some viewers as an expression of emotion, while others as an exploration of form and color. Therefore, the diversity of artistic interpretations reflects not only the viewer's personal experience and cultural background, but also the complexity and ambiguity of the artwork itself.
B. Gombrich's Revelations on the Interpretation of Art
Gombrich's cognitive psychology perspective provides us with a new framework for understanding the interpretation of art. He emphasizes the cognitive strategies and psychological mechanisms adopted by individuals in understanding and interpreting external information, and believes that art interpretation is an interactive process between individuals and works, involving multiple cognitive processes such as perception, memory, and imagination.
Gombrich's research reveals that artistic interpretation is not only a passive process of acceptance and understanding, but also a process of active participation and interaction, and that individuals are influenced by their own cognitive structures and psychological mechanisms when understanding and interpreting artworks, thus producing diverse interpretations and understandings.
C. The Development of Contemporary Art Theory and Gombrich's Influence
In the development of contemporary art theory, Gombrich's cognitive psychology perspective has had a profound impact on the study of art interpretation and understanding. On the one hand, more and more researchers have begun to pay attention to the cognitive strategies and psychological mechanisms adopted by individuals in the process of art interpretation, and explore the psychological processes and cognitive processes experienced by individuals in understanding and interpreting artworks.
On the other hand, Gombrich's theory also provides new ideas and methods for art education and art criticism, helping people to better understand and appreciate works of art. For example, by studying the perceptual and emotional responses of viewers, more effective teaching methods and strategies can be provided for art education. By analyzing the viewer's interpretation and understanding, it can provide a more in-depth and comprehensive analysis and evaluation for art criticism.
VI. Conclusion
Gombrich's cognitive psychology perspective provides a profound theoretical basis for artistic understanding. His research emphasizes the cognitive strategies and psychological mechanisms adopted by individuals in understanding works of art, revealing that artistic interpretation is an interactive process between individuals and their works. This perspective is important for us to understand the nature and meaning of a work of art.
Gombrich believes that a work of art is not only an external objective existence, but also a subjective experience constructed by individuals in the cognitive processes of perception, memory, and imagination. Therefore, artistic interpretation is not only the understanding and interpretation of the work, but also the communication and interaction between the individual and the work.
Author: Lu Xilin
Bibliography:
Zeki, S. (1999). Art and the brain. Journal of Consciousness Studies, 6(6-7), 76-96.
Shimamura, A. P., & Palmer, S. E. (Eds.). (2012). Aesthetic Science: Connecting Minds, Brains, and Experience. Oxford University Press.
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