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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2005.12
- 수록면
- 129 - 149 (21page)
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The concept of ‘abstraction’ or ‘abstract art’, one of the most frequently used term about the 20th century art, implies not always the same content. From the fact it is raised a question why and how it differs in each case of using and we need to investigate the various meanings of it. This article studies to clarify the various meanings of the term abstraction. For the purpose of this the idea of the major researchers about this problem, Wilhelm Worringer, Harold Osborne and Lucian Krukowski, will be consulted.
Wilhelm Worringer defined abstraction in 1908 as a psychological-aesthetic term. In his highly reputed doctorial thesis “Abstraction und Einfuhlung(abstraction and empathy)” he distinguished the emotion of a man to the world as two modes, namely abstraction and empathy. He defines the nature of art as the result of the emotion of man. He explained empathy as the man’s urge to art in happier state with the world, but abstraction that of unharmonious relation between them. Worringer’s concept of abstraction is really a broad one, which contrasts itself with that of naturalism(including classicism). He evaluates the urge of abstraction higher than that of empathy, for abstraction is the result of pursuing the absolute nature, not in sensual reality. As examples of abstraction Worringer named the primitive and the ancient oriental art.
In contrast to Worringer Osborne tries to define the abstraction confined to the 20th century art’s phenomenon. Borrowing the methods from Information Theory he distinguished (in his Abstraction and artifice in 20th century art the information, the works of art delivers us as semantic, syntactical and expressive). And then from the result of this he defined abstract art as lacking the semantic information. So according to Osborne when the semantic information is partly abstracted the art work becomes ‘iconic’ abstraction, but when it is wholly abolished it is the ‘non-iconic’ abstraction. This contrast between two modes can be said as objective and non-objective, figurative and non-figurative abstraction. But the third information, which is the particularity of the 20th century art, is the expressive information. It takes part both in iconic and non-iconic abstraction. Usually the expressive abstraction is considered to deliver the inner state of the artist more than the geometrical abstraction. But if it always happens is still under question. The abstract paintings of the two major painters before the world war second, namely Kandinsky(especially in Blaue Reiter’s period) and Mondrian and their writings on art are the best examples of this contrast.
From the above results we can conceive that the term abstraction may have different meanings according to writers and art trends. Then how can we understand or justify this changing aspects of various abstractions and its meanings? A possible answer can be found in Krukowski’s thought. Krukowski, who is above all a philosopher, intended to explain the cause of meaning of abstraction on Hegel’s aesthetics. We know that Hegel thought art as the expression of ‘Zeitgeist’ and history as the process of the dialectical development. The reason why in a age or in a situation a certain kind of abstraction is flourished and in another time the other one, may be explained on the ground of Hegel’s conception. Many european artists in the first half of the 20th century tried to express their intentions of overcoming the present in their art work. Expecting utopia, ideal of aesthetic or even political, they sought to represent the essential reality, not the description of the mere present. For that reason they abandoned the literal representation for pursuing the absolute abstraction. Consequently their longing for utopia needs to be based on the progressive force, that is on Hegel’s concept of history. We can conclude that the spirit of avant-garde in Mondrian, Kandinsky and the Constructivists is certainly the force oriented in the future. But their way to abstraction and the concept of each abstraction remain always the various one.
Wilhelm Worringer defined abstraction in 1908 as a psychological-aesthetic term. In his highly reputed doctorial thesis “Abstraction und Einfuhlung(abstraction and empathy)” he distinguished the emotion of a man to the world as two modes, namely abstraction and empathy. He defines the nature of art as the result of the emotion of man. He explained empathy as the man’s urge to art in happier state with the world, but abstraction that of unharmonious relation between them. Worringer’s concept of abstraction is really a broad one, which contrasts itself with that of naturalism(including classicism). He evaluates the urge of abstraction higher than that of empathy, for abstraction is the result of pursuing the absolute nature, not in sensual reality. As examples of abstraction Worringer named the primitive and the ancient oriental art.
In contrast to Worringer Osborne tries to define the abstraction confined to the 20th century art’s phenomenon. Borrowing the methods from Information Theory he distinguished (in his Abstraction and artifice in 20th century art the information, the works of art delivers us as semantic, syntactical and expressive). And then from the result of this he defined abstract art as lacking the semantic information. So according to Osborne when the semantic information is partly abstracted the art work becomes ‘iconic’ abstraction, but when it is wholly abolished it is the ‘non-iconic’ abstraction. This contrast between two modes can be said as objective and non-objective, figurative and non-figurative abstraction. But the third information, which is the particularity of the 20th century art, is the expressive information. It takes part both in iconic and non-iconic abstraction. Usually the expressive abstraction is considered to deliver the inner state of the artist more than the geometrical abstraction. But if it always happens is still under question. The abstract paintings of the two major painters before the world war second, namely Kandinsky(especially in Blaue Reiter’s period) and Mondrian and their writings on art are the best examples of this contrast.
From the above results we can conceive that the term abstraction may have different meanings according to writers and art trends. Then how can we understand or justify this changing aspects of various abstractions and its meanings? A possible answer can be found in Krukowski’s thought. Krukowski, who is above all a philosopher, intended to explain the cause of meaning of abstraction on Hegel’s aesthetics. We know that Hegel thought art as the expression of ‘Zeitgeist’ and history as the process of the dialectical development. The reason why in a age or in a situation a certain kind of abstraction is flourished and in another time the other one, may be explained on the ground of Hegel’s conception. Many european artists in the first half of the 20th century tried to express their intentions of overcoming the present in their art work. Expecting utopia, ideal of aesthetic or even political, they sought to represent the essential reality, not the description of the mere present. For that reason they abandoned the literal representation for pursuing the absolute abstraction. Consequently their longing for utopia needs to be based on the progressive force, that is on Hegel’s concept of history. We can conclude that the spirit of avant-garde in Mondrian, Kandinsky and the Constructivists is certainly the force oriented in the future. But their way to abstraction and the concept of each abstraction remain always the various one.
목차
1. 시작하며
2. 보링거의 ‘추상’과 ‘감정이입’
3. ‘iconic’추상과 ‘non-iconic’추상
4. 기하학적(구성적) 추상과 표현적 추상
5. 추상의 다의성의 사상적 근원
6. 마치며
참고문헌
Abstract
「추상미술, 그 의미의 다의성」에 대한 질의(정무정)
참고문헌 (14)
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