Summary:
In this article, we explore the importance of image psychology in the study of art, as well as Gombrich's research in this field and its implications. First, we review Gombrich's classic work, Art and Illusion, as well as other related literature, to explore his theoretical views on the relationship between artistic expression and physiognomic perception. Secondly, we analyze the application of image psychology in art research, including an in-depth discussion of the influence of visual elements such as line, shape, and color in artworks.
I. Introduction
In the 50s and 60s of the 20th century, the German philosopher Ernst Gombrich made important contributions to the fields of art, psychology and philosophy with his unique perspective and deep thinking. In his collection of essays, Meditations on the Trojan Horse, Gombrich cites a symptom of physiognomy and uses this as a starting point to reflect on the metaphysical concepts behind artistic expressionism and the Hegelian way of writing art history.
Face reading, as an ancient concept, was once seen as a way to reveal the character and fate of a character. Rather than focusing on physiognomy per se, Gombrich sees it as a metaphor, a new perspective that reveals artistic expression and understanding. He delves into the meanings and symbols behind physiognomic perceptions, thereby challenging traditional notions in art history about the direct expression of an artist's emotions and the transcendent manifestation of the zeitgeist.
II. The metaphorical meaning of physiognomy perception
A. The metaphysical ideas behind Expressionism
One of Gombrich's metaphorical implications of the opposite physiognomy is the metaphysical idea behind Expressionism. In the passionate and emotional expression of artistic expressionism, Gombrich saw an inner spiritual quest that transcended the form of the senses. Expressionist artists sought to reveal inner truths through exaggeration, distortion, and abstraction, a quality that seeks to transcend superficial phenomena in much the same way as the interpretation of facial features in physiognomy.
Gombrich argues that just as physiognomy attempts to reveal the inner qualities and destiny of a character through facial features, expressionist artists also sought to express the true state of inner emotions and spirit through the transformation and distortion of form. Thus, the metaphor of physiognomy perception can help us better understand the metaphysical quest of expressionist art and how artists explore the truth of their inner world through the transformation of form.
B. Reflections on the Hegelian way of writing art history
Another metaphor that Gombrich explores is a reflection on the Hegelian way of writing art history. Hegel believed that art is the manifestation of the spiritual world, a reflection of human self-consciousness. Under this conception, art is given an importance that transcends sensory forms and is seen as an expression of the spirit and a witness to the historical process.
Gombrich, however, proposes a different perspective: art is not merely an expression of the spirit, nor is it a direct reflection of historical processes, but rather a sensory experience, an interaction between the viewer and the work. Through the metaphor of physiognomy perception, Gombrich challenges the Hegelian notion of the overemphasis on spiritual and historical significance in the Hegelian way of writing art history, emphasizing the importance of art as a sensory experience. Therefore, the metaphor of physiognomy can help us re-examine the meaning given to works of art in art historical writing, as well as the interaction between artists and viewers.
C. The relationship between the fallacy of physiognomy and artistic understanding
Finally, Gombrich delves into the relationship between the fallacies of physiognomy and artistic understanding. Physiognomy was once seen as a scientific method of revealing a character's character and fate, however, Gombrich argues that the fallacy of physiognomy lies in overemphasizing the direct correlation between facial features and inner qualities. Similarly, artistic understanding cannot simply rely on the superficial appearance of the work, but requires the viewer to perceive and understand the meaning behind the work.
Through the metaphor of physiognomy perception, Gombrich calls on us to pursue a deeper level of experience and understanding in our artistic understanding, not just to be satisfied with the superficial external form, but to explore the inner spirit and meaning behind the work. Therefore, the metaphor of physiognomy can help us better understand the complexity of artistic understanding, as well as the interaction between the work and the viewer.
III. Image Psychology and Artistic Expression
A. The Historical Place of Image Psychology in the Study of Art
As an interdisciplinary field, image psychology explores the relationship between visual perception and mental processes, which is of great significance for understanding artistic expression. In the study of art, the psychology of images provides a scientific method to parse the visual effects of works of art and the perceived experience of the viewer. Through research in the fields of visual perception, cognitive psychology, and neuroscience, image psychology has helped us understand the way humans process visual information and the impact of visual elements on emotions and emotions.
In artistic expression, artists often use the principles of image psychology to create visual effects that guide the viewer to produce a specific perceptual experience. For example, through the use of visual elements such as color, composition, and line, the artist is able to stimulate an emotional response and arouse emotional resonance in the viewer. The research results of image psychology provide artists with a deeper understanding, helping them to better express their inner world, and convey emotions and thoughts.
B. The Relationship between Face Perception and the Artist's Emotions
The metaphor of physiognomy reveals the close connection between the artist's emotions and artistic expression. In the same way that a physiognomist reveals the inner qualities and destiny of a character by observing facial features, the artist also expresses his emotions and thoughts through the visual elements of his work. A work of art is not only a product of the artist's creation, but also an expression of his emotions and a reflection of his inner world. Through the selection and use of visual elements such as color, form, and line, the artist is able to intuitively express his emotional state and transform his inner experience into a visual form.
The metaphor of facial perception further emphasizes the emotional resonance between the artist and the viewer. When viewing a work of art, the viewer is often influenced by the emotions expressed in the work, creating empathy and emotional connection. Through the expressiveness of the works, the artist communicates and communicates with the viewer emotionally, guides the viewer into the emotional world conveyed by the work, and realizes the resonance and exchange of emotions.
C. The liberation of art as a lock to the senses
The metaphor of physiognomy also reveals the liberation of art as a lock of the senses. Similar to the concept of face reading, which places too much emphasis on the direct relationship between facial features and inner qualities, people often fall into the shackles of superficial phenomena in the field of art, and pay too much attention to the form and external expression of the work. However, the liberation of art as a lock of the senses is precisely to break through the shackles of this superficial phenomenon, enter the inner world behind the work, and experience and feel the emotions and meanings conveyed by the work of art.
The liberation of art as a lock of the senses is not only the experience of the viewer, but also the creative pursuit of the artist. Through creation, the artist tries to liberate his inner emotions and imagination, transform them into a visual form, and communicate with the viewer emotionally. In this process, art, as a sensory experience, not only allows the viewer to feel the emotions and meanings conveyed by the artwork, but also allows the artist to find ways and means to express his emotions.
IV. Artist's Emotions and the Spirit of the Times
A. Multiple expressions of the artist's emotions
The artist's emotional expression is multi-dimensional, not only through the visual elements of the work, but also through the theme, form, and background of the work. First of all, artists can directly express their emotional state through visual elements such as color, composition, line, etc. For example, the use of chiaroscuro can create an oppressive or bright atmosphere, while the choice of color can convey emotions such as pleasure or melancholy.
Secondly, the artist can also express emotions through the themes and subject matter of the work. For example, for abstract artists, they may express their inner emotional experience through the abstraction of form, while realist artists may choose figurative subjects to express emotions. Finally, the artist's personal experience and creative background also affect his emotional expression. Artists may be able to closely connect their personal emotions with the artwork through deep reflection and expression of their own experiences and emotions.
B. The relationship between the zeitgeist and artistic creation
Artistic creation is inseparable from the spirit of the times, and artists are often influenced by the background and social environment of the times. The spirit of the times refers to people's common ideological concepts, cultural atmosphere, and social value orientation in a specific historical period. Through the perception and understanding of the spirit of the times, the artist creates works that reflect the social reality of the time and the inner experience of people. For example, the Impressionist movement at the end of the 19th century was a response to the social reality of the time, in which artists expressed their passion and feelings for real life by capturing the changes in natural light and their sensitivity to color.
C. Interpretation of the zeitgeist from the perspective of image psychology
Image psychology offers us a new perspective on the zeitgeist. Through the study of visual perception and mental processes, image psychology helps us understand the way people process visual information and the impact of visual elements on emotions and emotions. In artistic creation, artists can create visual effects through the principles of image psychology, guiding the viewer to produce a specific perceptual experience, so as to reflect and express the spirit of the times at that time. For example, in modern art, some artists express concern and reflection on issues such as division and anxiety in contemporary society through the destruction and reconstruction of forms and structures.
Through the interpretation of the zeitgeist from the perspective of image psychology, we can understand more deeply the meaning and value conveyed behind the works of art. Through his sensitivity and understanding of the spirit of the times, as well as the application of the principles of image psychology, the artist creates works with profound connotations and rich emotions, so as to communicate and communicate with the viewer emotionally, and trigger in-depth thinking and reflection on contemporary society and the inner world of human beings.
V. Artistic Expression and Inner Mind
A. Art as an expression of the inner heart
Art, as the expression of the inner soul, carries the emotions, thoughts and experiences hidden deep in the heart of the artist. Through artistic creation, artists can reveal their inner world to the audience and share their emotions and experiences with others. A work of art is a projection of the artist's inner world, an externalized expression of emotions and thoughts. For example, Van Gogh's "Starry Night" is an expression of his inner emotions, and the starry sky and villages in the picture are not only a representation of the real scene, but also an interpretation and expression of his inner world.
B. The connection between sensory experience and artistic creation
Sensory experience is the source of artistic creation and inspiration, and artists create colorful works through observation and experience of the sensory world. A work of art usually triggers a sensory experience for the viewer, triggering their senses such as sight, hearing, touch, etc., and triggering emotional and emotional resonance. Through the sensitivity and expression of sensory experience, the artist creates works with deep connotation and rich emotion. For example, musicians can express inner emotions and emotions through changes in sound and ups and downs of melodies, and painters can create visual impact and shock through the use of color and line.
C. The liberating effect of art on the locks of the senses
Art's liberating effect on the locks of the senses is manifested in many ways. First of all, a work of art can break the limitations of the senses, arouse the viewer's imagination and associative ability, and make it transcend the constraints of the real world and enter the spiritual world created by the artist. Secondly, a work of art can stimulate the viewer's sensory experience, so that they can immerse themselves in the enjoyment of beauty and emotional communication in the process of viewing the work of art. Finally, a work of art can also arouse the viewer's inner resonance and thinking, inspiring him to think about life, existence and the meaning of life, so as to touch and enlighten the inner soul.
Through the liberating effect of art on the locks of the senses, the viewer can experience the enjoyment of beauty and emotional communication beyond the senses, and at the same time, they can also feel the profound connotation and rich emotions contained in the artwork. Art, as a way of expressing the inner soul, opens a window to the inner world for the viewer through sensory experience and emotional expression, so that he can feel and understand the charm and meaning of art more deeply.
VI. Conclusion
Gombrich's theory offers us a new perspective on the relationship between artistic expression and physiognomic perception. Through his research, we delve into the application of image psychology in the study of art and discover the subtle interaction between the artwork and the viewer. Gombrich emphasizes the impact of visual elements in artworks on the viewer's emotions and cognition, revealing the curious connection between psychological mechanisms and physiognomy perception in artistic creation.
Author: Lu Xilin
Bibliography:
Kandel, E. R., Schwartz, J. H., & Jessell, T. M. (2000). Principles of Neural Science. McGraw-Hill Education.
Hagen, E. H., & Bryant, G. A. (2003). Music and dance as a coalition signaling system. Human Nature, 14(1), 21-51.
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