یک خوانش پدیدارشناختی از انتزاع در نقاشی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این موضوع که تصاویر قادر به نمایش چیزهایی کاملاً متفاوت از خودشان هستند، از زمان افلاطون برای فیلسوفان جذاب بوده است. از جمله فیلسوفانی که به این حوزه پرداخته اند پدیدارشناسان هستند، آنها از زوایای مختلف به تصاویر نزدیک می شوند. در این مقاله سعی می شود به این سؤال پاسخ داده شود که چگونه می توان از مفاهیم پدیدارشناختی برای درک انتزاع در نقاشی کمک گرفت؟ در این نوشتار متأثر از ادموند هوسرل، از مفاهیم [افق، تقلیل پدیدارشناختی، زیست جهان، اپوخه] کمک گرفته شده است تا نشان بدهد چه ارتباطی بین انتزاع، جهان و تقلیل پدیدارشناختی وجود دارد. نتیجه مورد تأکید مقاله این است که هنرمند مانند پدیدارشناس از جهان طبیعی و روزمره دور می شود و عمیق تر به جهان نگاه می کند و زیست جهان فراموش شده را دوباره احیا کرده و شکاف بین آگاهی و جهان را پُر می کند. از این نظر دو نتیجه قابل تحصیل است: یکی اینکه کارکرد انتزاع در هنر نشان دادن این بازگشت به جهان و روابط درونی ناشناخته آن است. دیگر اینکه تمام نقاشی ها انتزاعی هستند. زیرا دنیای قابل رؤیت را نشان نمی دهند، بلکه نیروهای نامرئی فعال در جهان را نشان می دهند. همچنین مفهوم اپوخه پدیدارشناختی و تمایزش با اپوخه زیبایی شناختی نشان می دهد، نقاشی ها معنایی فراتر از عناصر تصویری دارند که باید با تمرین طولانی اندیشیدن هنری آن را آموخت.A Phenomenological Reading of Abstraction in Painting
I mages are able to show completely different things from themselves and have fascinated philosophers since Plato. Among the philosophers who have dealt with this field are phenomenologists, who approach images from different angles. Some philosophers who study phenomenological aesthetics consider art as the perception of the visible. In this article, we try to answer the question, what is the importance of art and aesthetics for philosophy, and how can phenomenological concepts be used to understand abstraction in painting? Does phenomenology add anything new to our understanding of painting? Influenced by the founder of phenomenology, Edmund Husserl, we draw on specific concepts - horizon, phenomenological reduction, life-world, epoch - and show what the connection is between abstraction, the world, and phenomenological reduction. Abstraction shows the relationship between the world and the horizon. Pictorial reduction reveals how the horizon of the world and surprises the viewer. Or how past horizons make up for our present experience. Relying on Husserlian framework and descriptive-analytical method, we must be prepared to look at artwork without any presuppositions, to set aside habitual expectations, and to react directly to the dynamic relationships of the visible elements of color and form. Thus, this reading works by reducing, eliminating, and concentrating, and it requires an active response, not a passive acceptance. In this reading, the work of art is an object to motivate thought, but not in the way that inanimate nature, landscape, portrait, or narrative might be. In fact, our judgment of the effect depends on how the effect penetrates our consciousness and affects our feelings and thoughts. Thus, the artist, like a phenomenologist, moves away from the natural and everyday world and looks deeper into the world, reviving the forgotten biosphere and filling the gap between consciousness and the world. In other words, they both rebuild the world and both return to the world. It thus refers to the abstract concept of the return to the world and the internal relations of the world that are not known. With this reading we have shown that abstraction is not a separation from the world or nature, but a different experience of it. In fact, abstraction is a useful tool for expressing a variety of experiences and ideas. In other words, abstraction may mean something positive, a “return” to a deeply global relationship, though not explicitly recognized. Also, considering the distinction between the phenomenological epoch and the aesthetic epoch, we conclude that the whole painting is abstract and non-figurative. Finally, and surely art has long been the subject of phenomenological philosophical studies, which in turn gives way to the expression of human life. However, the tradition of phenomenological aesthetics is still in its infancy and its identity is very fluid, and the possibility of phenomenological aesthetics can still be posed as a living question.
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