Reason And Tradition:a Study Of Gombrich’s Art Aesthetic Philosophy

E. H. Gombrich is one of the greatest art historians, theorists and critics of the 20th century. His greatness lies not merely in his impressive erudition and wide-ranging publications, but in his firm conviction in cultural tradition, his advocacy of a canon of master-works, his life-long commitment to the ideal of humanism and vigorous condemnation of dehumanization of the humanities. This paper begins with an analysis of his starting point: "There really is no such thing as Art. There are only artists", the opening sentence in The Story of Art. The paper scrutinizes Gombrich’s priorities and principles in art history and reveals his humanistic insights for aesthetics and art history methodology.Chapter One provides a brief biography and history of his academic research, focusing on the incidents and experiences influential in shaping his aesthetic philosophy and rationalistic belief, followed by a survey of his major publications to discover the construct of his art research theory, and concludes with the latest trends in Gombrich-related research, both at home and abroad.Chapter Two, traces the evolving meaning of the word "art", then examines the on-going disputes and controversies among scholars over its definability. Lastly it considers Gombrich’s stance and dominant concerns for the issue.Chapter Three, provides a brief analysis of the Hegelian view of art history, the historicism and progressivism reflected in his interpretation of the Renaissance and the French Revolution. The chapter then considers the significance of Gombrich’s condemnation of "art with a capital A", and his alternative to Hegelianism. These are considered in combination with other thinkers, philosophers and critics’ views on the Renaissance and the French Revolution and their criticism of Hegelianism, and are included deliberately to demonstrate a consensus among scholars on these issues. Gombrich is not alone in his opposition.Chapter Four, looks at the German Humanists’ concept of Bildung, and Western scholars’reflections on Romanticism and Nazism. The chapter outlines the tension between Bildung’s indifference and Romantic fervour, and proposes Bildung as the foremost influence shaping Gombrich’s aesthetic philosophy. It is here that we find the source of his rationalist principles and the values he places upon art.Chapter Five expounds Gombrich’s views on the canon of masterworks, illustrated with a case study of Raphael, Vermmer and other old masters’ remarkable achievements, the necessity and merit of traditional schemata in picture making. The chapter then traces the origin and implications of cultural relativism to reveal its full threat to the humanities.Chapter Six reviews Gombrich’s theory of conceptual schemata in pictures, then shows how proper interpretation is achieved by reconstructing the artist’s intentions through observing relevant social institutions. This approach opposes the over-interpretation in iconological and psychoanalytical approaches. In closing, the dichotomy between the rational and emotional aspects to pictorial interpretation is discussed.Chapter Seven firstly surveys Gombrich’s attitude and comments on modern art, alongside contemporary scholars’ evaluations. The purpose is to assess the source and problems for modern art. The chapter then scrutinizes Gombrich’s concrete analyses of modern artworks to probe the rational principle of his art philosophy and concludes with a suggestion for the rational acceptance of novelty in modern art.Chapter Eight deals mainly with the contemporary scholars’ scepticism and criticism of Gombrich’s approach. The focus is on the textual dialogue between Gombrich and James Elkins, and the defence of Gombrich supporters, to ponder the conflict between the old and new in the field of modern art research and criticism, and eventually finding out the latest trends in the studies of Gombrich.Undeniably, Gombrich has made a remarkable contribution to art history, aesthetics and research methodology. His outstanding achievements have influenced generations of scholars, and also attested to the enduring significance of tradition, reason and classic masterpieces. No further argument is needed in establishing Gombrich’s value. What is needed is appreciation of his constant pursuit of traditional values and humanistic ideals. Evidence for this and how much he still has to offer must lie in further study.