چکیده:
تصاویر قادر به نمایش چیزهای کاملاً متفاوت از خودشان هستند و از زمان افلاطون فیلسوفان را مجذوب خود کردهاند. از جمله فیلسوفانی که به این حوزه پرداختهاند پدیدارشناسان هستند، آنها از زوایای مختلف به تصاویر نزدیک میشوند. در این مقاله سعی داریم به این سؤال پاسخ دهیم که اهمیت هنر و زیباییشناسی برای فلسفه چیست و چگونه میتوان از مفاهیم پدیدارشناسی برای درک انتزاع در نقاشی کمک گرفت؟ آیا پدیدارشناسی چیز جدیدی به درک ما از نقاشی اضافه میکند؟ ما در این نوشتار متأثر از ادموند هوسرل مؤسس پدیدارشناسی، از مفاهیم [افق، تقلیل پدیدارشناختی، زیست جهان، اپوخه] کمک میگیریم و نشان میدهیم، چه ارتباطی بین انتزاع، جهان و تقلیل پدیدارشناختی است. این مقاله از نظر روش توصیفیـ تحلیلی است و با استفاده از چارچوب نظریة هوسرل نوشته شده است. نتیجة مورد تأکید مقاله این است که هنرمند مانند پدیدارشناس از جهان طبیعی و روزمره دور میشود و عمیقتر به جهان نگاه میکند و زیست جهان فراموش شده را دوباره احیا و شکاف بین آگاهی و جهان را پُر مینماید. بهعبارتی، هر دو جهان را از نو میسازند و هر دو بازگشت به جهان دارند. بنابراین مفهوم انتزاعی یعنی بازگشت به جهان و روابط درونی جهان را که شناخته نشده است، نشان میدهد.
Images 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 and 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? In this paper, influenced by the founder of phenomenology, Edmund Husserl, we draw on the concepts [horizon, phenomenological reduction, life-world, epoch] and show what the connection is between abstraction, the world, and phenomenological reduction. Shows the abstraction of the relationship between the world and the horizon. How the pictorial reduction reveals the horizon of the world and surprises the viewer. Or how past horizons make up for our present experience. This article is descriptive-analytical and has been written using Husserl's theory framework. The result is that in this reading we must be prepared to look at it 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. It is confrontational and requires an active response, not a passive acceptance. In this reading, the work of art is an object to motivate thought, but not as the works of inanimate nature or landscape or portrait or narrative may 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. In the end, there is no denying that art has long been the subject of phenomenological philosophical texts, and that aesthetics and the arts are essential and represent the expression of human life. Thus, 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.