Summary:
This paper explores the importance of schema in art problems and its impact on artistic creation, understanding and appreciation. H. Gombrich). Firstly, Gombrich's concept and importance of schema are introduced, and it is pointed out that schema is a kind of cognitive structure that is ubiquitous in human cognitive and aesthetic activities. Secondly, the role of schema in artistic creation is analyzed, emphasizing that artists create unique works of art through the use and transformation of schemas.
I. Introduction
Schema plays an important role in the discussion of art issues, not only as a knowledge structure, but also as an important concept in art theory and practice. In Gombrich's system of thought, schema is seen as an interpretive framework for artistic phenomena and at the same time as a challenge to traditional notions of art. Through the study and discussion of schemas, we can have a deeper understanding of the nature of artistic creation and the interactive relationship between artworks and viewers.
II. The Concept and Origin of Schemas
A. Definition and interpretation of schemas
In Gombrich's theory of art, schema is an important concept that derives from his study of the activity of human understanding and is used to explain the relationship between a work of art and the viewer. Schema can be understood as a cognitive structure or pattern, which is a preconceived notion or framework held by the viewer when they come into contact with a work of art, which is used to interpret and understand the meaning and form presented by the work. Gombrich argues that the viewer's schema is determined by his or her prior experience, cultural background, and personal preferences, so that different viewers may hold different schemas and thus produce different interpretations and understandings.
Schemas are not only a product of individual cognition, but are also influenced by cultural and social factors. Gombrich sees schema as an expression of cultural tradition and historical accumulation, which reflects the social environment and cultural context in which the viewer lives. Therefore, the meaning of a work of art is not fixed, but is determined by the schema held by the viewer. This also means that the meaning of a work of art is open and diverse, and different viewers can get different inspirations and experiences from it.
B. The development of schemas in philosophy and psychology
The concept of schema was not coined by Gombrich, but originated from early research in the fields of philosophy and psychology. Philosophically, schemas were first proposed by Immanuel Kant and further developed and explored by later philosophers such as Georg Wilhelm Friedrich Hegel and Friedrich Hölderlin. Kant defined schema as an intermediary between understanding and imagination, and it is a conceptual form used to transform perceptual perception into rational thinking. According to Kant, schemas are the basis of epistemic activity, which enables us to understand and grasp the structure and laws of the world.
In the field of psychology, the concept of schema was further developed and applied by cognitive psychologists such as Jean Piaget and Lev Vygotsky. They regard schema as the basic unit of cognitive development, and believe that children adapt to the environment and understand the world by constantly constructing and adjusting schemas in the cognitive process. In particular, Vygotsky emphasized the role of sociocultural factors in the formation of schemas, arguing that children acquire and internalize schemas through the process of socialization and construct their own cognitive structures through interaction with others.
Building on these earlier studies, Gombrich introduced the concept of schema into art theory and gave it new meaning and value. He argues that the understanding of a work of art depends not only on the schema of individual cognition, but also on cultural traditions and historical contexts. Therefore, to understand the true meaning of a work of art, it is necessary to take into account the schema held by the viewer and the cultural context in which the work is located. This viewpoint provides new ideas and methods for later art criticism and interpretation, and also provides important enlightenment for us to understand the interactive relationship between artworks and viewers.
III. The critical role of schema in artistic problems
A. Criticism of the "Innocent Eye".
In Gombrich's art theory, the critique of the "naive eye" is one of his important points. Traditionally, it has been believed that viewing a work of art should be conducted with an "innocent" vision, that is, without being influenced by any preconceived notions or prejudices, and to fully feel and experience the beauty and emotion presented by the work. However, Gombrich points out that this idea of an "innocent eye" is unrealistic and difficult to manifest in practice.
First of all, Gombrich argues that it is impossible for each viewer to be completely free from the influence of his or her own personal experience, cultural background, and social environment, and therefore to view a work of art with its own schema and bias. Even children or culturally closed communities can accumulate certain cognitive structures and cultural traditions in their lives, which affect their understanding and feelings of artworks. Therefore, Gombrich argues that it is impossible to have a true "innocent eye", and that the viewer's perception is always conditioned and influenced by the social and cultural environment in which he lives.
Second, Gombrich points out that the "innocent eye" view ignores the importance of the historical and cultural context of the artwork itself to the viewer's understanding. Works of art often do not exist in isolation, but are closely related to the time and cultural context in which they are located. Therefore, to understand the true meaning of a work of art, it is necessary to take into account the historical context and cultural traditions in which the work is located. Gombrich argues that the meaning of a work of art is not fixed, but constantly evolving and reconstructing over time and cultural context. Therefore, if we simply look at a work of art with an "innocent eye", it is easy to ignore the historical and cultural connotations behind the work, and thus fail to obtain its true meaning and value.
B. The relationship between schema and artwork
Gombrich's theory of art emphasizes the close relationship between the viewer's schema and the work of art. Schema can be understood as a cognitive structure or pattern that the viewer holds when they come into contact with a work of art, and it is the framework that the viewer uses to interpret and understand the meaning and form presented by the work. The viewer's schema is influenced by his or her personal experience, cultural background, and social environment, so different viewers may hold different schemas and thus produce different interpretations and understandings.
The interaction between a work of art and the viewer is not just a one-way perceptual process, but a two-way process of communication and understanding. The meaning of a work of art is not fixed, but is determined by the schema held by the viewer. As a result, different viewers may receive different inspirations and experiences from the same work of art. Gombrich believes that this diversity of interpretations and understandings is the value of a work of art, which gives it an openness and diversity that provides the viewer with a rich intellectual and emotional experience.
In addition, Gombrich emphasized the importance of the historical and cultural context of the artwork itself to the viewer's understanding. A work of art is often closely related to the time and cultural context in which it is situated, so to understand the true meaning of a work of art, it is necessary to take into account the historical context and cultural traditions in which it is situated. The viewer's schema not only reflects the characteristics of individual cognition, but is also influenced by cultural traditions and social factors, so the meaning of the artwork is open and diverse.
IV. Correlation of schemas with knowledge structures
A. Empirical generation of schemas
A schema is a cognitive structure or pattern that the viewer holds when they come into contact with a work of art, which does not arise out of thin air, but is gradually formed based on the viewer's personal experience and cultural background. Gombrich believes that the process of schema generation is a dynamic process that is deeply influenced by experience, which is affected by many factors such as the social environment, family background, and educational experience of the viewer.
First of all, personal experience plays a crucial role in schema generation. As everyone grows up, they accumulate a wealth of personal experiences, including perception and understanding of human behavior, emotional experiences, cultural traditions, etc. These personal experiences form a cognitive structure in the viewer's mind, which becomes the basis for the viewer to understand and perceive the world. When the viewer is confronted with a work of art, they interpret it according to their own personal experience and form a schema accordingly.
Secondly, cultural context also has a profound impact on the generation of schemas. Different cultural backgrounds will give viewers different values, belief systems, and aesthetic standards, which will affect their understanding and evaluation of artworks. For example, in Eastern culture, people may pay more attention to the expression of inner spirituality and artistic conception, while in Western culture, more attention is paid to the expression of form and the use of skills. Therefore, the cultural background of the viewer will directly affect the schema they hold, and thus affect their perception and evaluation of the artwork.
B. The relationship between schemas and accidental shapes
In Gombrich's art theory, fortuitous shape refers to those shapes or elements in a work of art that appear seemingly by chance, which are not intentional, but can trigger the viewer's association and imagination, triggering unexpected aesthetic experiences. There is a close relationship between schemas and accidental shapes, and they interact with each other to influence the viewer's understanding and perception of the artwork.
First of all, schemas play an important role in the perception and understanding of accidental shapes. A viewer's schema is a cognitive structure or pattern that they hold when they come into contact with a work of art, and they affect the way the viewer perceives and understands the work. When the viewer is confronted with accidental shapes in a work of art, they interpret the shapes according to the schema they hold and give them meaning and value accordingly. Thus, the viewer's schema determines their perception and understanding of accidental shapes.
Secondly, accidental shapes are also important for the challenge and reconstruction of schemas. Accidental shapes in works of art often break the viewer's inherent cognition and expectations, triggering unexpected associations and imaginations. This kind of surprise and breakthrough can stimulate the imagination and creativity of the viewer, and promote the renewal and reconstruction of its schema. Therefore, accidental shapes are not only a reflection of the viewer's schema, but also a challenge and reconstruction of the schema, providing the viewer with a new aesthetic experience and thinking path.
V. Continuity and Variability of Schema and Art History
A. The Evolution and Inheritance of Schema in Art History
Schemas play an important role in art history, and they continue to evolve and be passed down over time, reflecting aesthetic concepts and cognitive patterns in different historical periods and cultural contexts.
First of all, the evolution of schema in art history reflects the changes in human understanding and pursuit of beauty. With the development of society and the progress of culture, people's understanding and pursuit of beauty are also constantly evolving. For example, in ancient art, people often pursue the imitation and reproduction of reality, and schema is mainly embodied in the direct observation and depiction of the objective world; In modern art, people pay more attention to the expression of inner emotions and spiritual realms, while schemas emphasize more on individual subjective experience and imagination. This evolution not only reflects the change of human aesthetic concepts, but also reflects the diversity and innovation of artistic creation and expression.
Secondly, the inheritance of schema in art history reflects the continuity of human culture and the continuation of tradition. Although artworks from different historical periods and cultural backgrounds present different styles and characteristics, there is often a relationship of inheritance and continuity between them. This inheritance is reflected not only in the theme and form of the artwork, but also in the way the viewer understands and feels the work.
For example, during the European Renaissance, people re-examined and borrowed from ancient Greek and Roman art, so that the classical schema was continued and reproduced in Renaissance art. In modern art, people's reflection and reinterpretation of the creations of their predecessors also provide new possibilities and paths for the inheritance of schemas.
B. The Influence and Challenges of Schema on Art History
Schema is not only a cognitive model and conceptual structure in art history, but also an important influencing factor for the way of understanding and evaluating artworks. However, schemas can also pose certain challenges to art history, prompting people to reflect on and re-examine the nature and meaning of art.
First of all, the inheritance of schemas may lead to the limitations of artistic innovation. With the inheritance and continuation of schema in art history, people may fall into inherent cognitive patterns and aesthetic preferences, and lack understanding and acceptance of new and unique art forms and styles. This constraint of traditional schema may inhibit the development of artistic innovation and limit the diversity and creativity of artistic expression.
Secondly, the inheritance of schemas can also lead to misunderstandings and misinterpretations of works of art. With the passage of time and changes in cultural context, works of art that originally had a specific historical and social context may be given new meanings and interpretations. However, if the viewer still uses the schemas and concepts of the past to understand these works, it is easy to misunderstand and misinterpret them. This misreading will not only affect the viewer's true understanding and appreciation of the work, but also distort the knowledge and understanding of art history.
VI. Conclusion
In his research, Gombrich highlights the importance of schema in the problem of art and presents a range of perspectives to explain the influence of schema on artistic creation and understanding. First of all, he believes that schema is a kind of cognitive structure that exists universally in human cognitive and aesthetic activities, and is the basis for people's understanding and expression of the world. Schemas provide a concise and effective way for people to understand and interpret the world through the abstraction and generalization of perceptual experience.
Secondly, Gombrich emphasized the important role of schema in artistic creation. He believes that through the use and transformation of schemas, artists can create works of art with unique expressiveness and appeal, thereby leading the viewer to rethink and experience the world. Finally, Gombrich also points out the role of schema in the understanding and appreciation of art. He believes that through the interpretation and perception of schemas in works of art, the viewer can gain a new understanding and experience of the world, so as to realize the appreciation and understanding of art.
Author: Lu Xilin
Bibliography:
Baxandall, M. (1988). Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style. Oxford University Press.
Freedberg, D., & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience. Trends in cognitive sciences, 11(5), 197-203.
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