The Materiality of Artworks and Aesthetic Experience

藝術作品的物質性與美感體驗

薛佛(Jean-Marie SCHAEFFER)

《哲學與文化》 49卷3期 (2022/03) Pp. 5-19

摘要

The aim of this paper is to discuss the importance of the physical incarnation of (visual) artworks in our aesthetic experience of these works. The paper studies more precisely the complex relationship between three layers of the ontology of visual artworks: perceptible and non-perceptible material properties, phenomenal properties and cultural (＂symbolic＂) properties. It is then proposed to displace the question from the ontological level to the cognitive level. The paper outlines a tentative answer in terms of a synergy of bottom-up perceptual and top-down cognitive processes. The analysis is grounded on an empirical study (by way of eye-tracking) of how onlookers visually process a famous work of art, Matthias Grünewald's The Isenheim Altar (1512-1516), before and after its restoration. One of the foremost changes of the restoration is a foregrounding of many phenomenal properties of the works that, due to the loss of transparency of the varnish were ＂hidden＂ before the restoration. By comparing the visual experiences of visitors before and after the restoration, it is possible to understand in a more fine-tuned way the way the foregrounding of phenomenal properties affects the holistic experience of artworks and interacts with different cultural backgrounds.

關鍵字

Painting ； Materiality ； Phenomenal Properties ； Perception ； Cultural Schemata

並列摘要

本文主旨在於論述視覺藝術作品的物體具現、對該作品的美感體驗的重要性。更確切而言，本文探討視覺藝術作品三層存有學的複雜關係：可感知與不可感知的物質性，現象性、文化（象徵）性。其次將提問從存有學轉向認知的層次。本文根據自下而上的感知和自上而下的認知過程的偕同作用，勾勒一個初步的答案。本文以眼動追蹤（eye-tracking）的實證分析法，研究觀者在視覺上如何進行對格呂內瓦爾德（Matthias Grünewald）的名作《伊森海姆祭壇畫》（Isenheim Altar, 1512－1516）修復前後的觀看。在修復前，由於表層清漆不再透明，作品的許多現象被「隱匿」，因此修復後最重要的一個變化，就是讓這些現象得以清楚顯現。對比修復前後觀看者的視覺體驗。便可以更細緻地了解現象性的前景化對藝術作品整體體驗的影響，及其與不同文化背景的相互作用。

並列關鍵字

繪畫 ； 物質性 ； 現象性 ； 感知 ； 文化圖式

參考文獻

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