![]() This way, then, the artist represents the reality. Some words remind us the action of their meaning (blinking). the relationship between the sight and sound. In the second part, he talks how the representation is done. Style, therefore, differs from a person to person. There might be dominance of society but the production of the artist is something his won (about style). ![]() But his will not be diverted from the reality. He acknowledges that there can be the anxiety of influence of the predecessors. Everything is an interpretation just as the sound of a cock differs in different countries.Įvery art is therefore, the interpretation of reality brought by the artist. The onomatopoeic words are only the approximation. The meaning is somewhat triggered by the sounds (traditionally). His examples are related to the onomatopoeic words. There is the relation between the physical representation and the meaning they represent. So imitation is largely related to the tradition. The onomatopoeic words are also the part of tradition and the artists who use such symbols to signify thins are good. When we utter the sound “book”, the concept or image of book appears to us, and that is only through convention, tradition and interpretation. It is not necessary for an image to resemble the real the real may not be similar to the image we perceive because there is always possibility of perceiving something differently by different persons. When it is interpretation, it is substitution, not the reality. This view leads him to emphasize the matter of artistic conventions.Īrt is also the interpretation of real. The making of images is based psychologically on the making of substitutions. For him, all art is fundamentally the making of images. The real artistic effect is brought out due to the unity in creator and viewer (writer and reader). This representation in art can be made equivalent to the language in literature. The art simply creates an image that corresponds the reality, not the total exactness. It is, therefore, substitution, not the mere imitation. Art is not the blind imitation but making of images of the reality. He talks about art more than about literature. (ii) The assumption that a representation copies a “motif in the artists’ inner world.” (i) the assumption that a “representation” is a copy of “external form” of an object rather than a substitution of some sort. Regarding literary criticism, Gombrich discusses two error frequently made by critics. He, in fact, takes substitution as more important than imitation.
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