14.02.2011, 13:49 | Язык оригинала: Русский #11 | ||
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Ingarden also makes provisions for the purposes of painting, his task - descriptive: to figure out why a masterpiece differs from daub or indifferent craft crafts. The highest value paintings he believed in the presence of "image", the harmonic (possibly includes working on the image of disharmony), difficult to organize, is intrinsically linked to the integrity of the aesthetic and artistic qualities. Moreover, this synthetic value of the paintings he viewed as a qualitative determination, ie, not reducible to other values, and therefore falls outside of the hierarchy: "So, for example, works by Rembrandt will be fine in a different way than the paintings of Raphael or Leonardo da Vinci. And almost impossible to say that the product of one higher than another, that For example, a self-portrait by Rembrandt in the fez beautiful than any portrait of Leonardo da Vinci's Mona Lisa, or his. " Theory, according to Ingardenu can put the problem of creating a synthetic high integrity, but is unable to solve it. And therefore, could not provide a wizard like what he saw. Achieving this wholeness - akin to a miracle, to express the richness of the content of the masterpiece in conceptual form as possible: "... this is another major problem: what and how the selection of quality, indifferent in value terms, should serve in any thing, or be created by us, that they have aesthetic value, respective artistically valuable, and that they could lead to the constitution of a work of art. And I must say, great artists of their creative acts, as a rule, successfully resolve this problem, though usually more or less deeply aware of it. But such a practical success by itself does not lead to a theoretical resolution of the issue and its conceptual expression. Therefore, the theory of art, as well as the theory itself aesthetic values behind the creative work of artists and usually appears before us only as a purely scientific problem ". (Ingarden) (emphasis added) As to the "spiritual component, it can relate to what Ingarden calls a" metaphysical qualities. " Here's an interesting excerpt from the book "On the structure of the picture, clarifying the issue of possible reflection of these qualities in the abstract art: Цитата:
Последний раз редактировалось Art-lover; 14.02.2011 в 15:25. Причина: добавлен текст |
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14.02.2011, 14:50 | Язык оригинала: Русский #12 |
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Indeed, very interesting and important topic. Thank you so much for its discovery.
I would here like to touch here is some perspective. Professed Roman Ingardenom phenomenological method in the approach to the perception of abstract art is certainly very important and productive. However, let's look at this issue from the other side - from the "metaphysics of abstraction. And here, of course, necessary to the discovery of psychoanalysis. Freud postulated the existence of a great man trudnopostizhimoy for the study areas - the unconscious. It is to her, in my opinion, in the first place and appeals abstract (or non-figurative) art. In contrast to figurative art, which is primarily addressed to our conscious field with preconceived notions out there about the form, composition, structure, space, etc. Our conscious installation in a sense, prevented deeper penetration into the unconscious message of the artist. Abstract art as remove all barriers to such penetration, and directly appeal to our psychological depth. Also remind of the widest distribution of the so-called projective psychology, where the use of abstraction is the key to the deep layers of the human psyche and helps people better understand the source of some of his views on the world, actions and deeds. The simplest example - spot Rorschach (appendix). And here the question arises: whether to apply to the assessment of abstract (non-figurative) art of the same criteria as for figurative art, given the fact that they are addressed to different spheres of human consciousness?
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14.02.2011, 17:33 | Язык оригинала: Русский #13 | |
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Fold the paper in two and pour in the middle of the ink or gouache and get your orrriginalnoe spot.
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14.02.2011, 21:25 | Язык оригинала: Русский #14 | |
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Added after 9 minutes Art-lover, you completely understand me saying about teosofnoy trehstupenchatosti.Tem at least say that the availability of the product "image", one way or another is sealed in my suzhdenie.Bolshaya mountain covers a smaller hill. Последний раз редактировалось Peter; 14.02.2011 в 21:34. Причина: Добавлено сообщение |
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14.02.2011, 22:46 | Язык оригинала: Русский #15 | |
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Set out in the same Art-lover 'om the material we are talking just about the aesthetic value images of quality of their content, universal (at least with some statistical significance) for a certain group of people in a certain historical period and for particular society. |
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14.02.2011, 22:57 | Язык оригинала: Русский #16 |
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fabosch, all right.
But the question is, which I announced: What are the criteria (aesthetic), we come to abstract art? Would it be the same criteria that we normally are guided toward figurative art?
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14.02.2011, 23:13 | Язык оригинала: Русский #17 |
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Why only abstraknomu art?
The work of art, no matter how much has been invested there high emotions, intellect, can not be so without passing the test of aesthetics. |
14.02.2011, 23:15 | Язык оригинала: Русский #18 | |
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14.02.2011, 23:21 | Язык оригинала: Русский #19 |
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Samvel, what if you think that the main criteria for the value of works of art?
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14.02.2011, 23:27 | Язык оригинала: Русский #20 | ||
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Incidentally, the same Ingarden, writes on the example of Picasso, that combine abstraction with figurative "inserts" creates a special aesthetic quality that combines the advantages of abstraction and figuration, that is, the image fills the additional context. Added after 6 minutes Цитата:
Последний раз редактировалось fabosch; 14.02.2011 в 23:34. Причина: Добавлено сообщение |
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