The Meaning Of Phenomenology Methods And Concepts For The Research About Art Nature

This paper mainly researched the thoughts about art of the phenomenology theorists, and analyzed the methods and concepts of phenomenology such as intentionality and horizon which were important for our research about art nature.The introduction discussed how the phenomenology and the aesthetics and artistics of our country researched art nature. The problem of our aesthetics and artistics was we did not have a clear definition about art and had many prejudices about this question. The phenomenology methods could overcome the prejudices. The aesthetics thoughts of phenomenology included the analysis about art creation,works and acceptance which was connected with intentionality, and the relationships between art and being or the truth which was connected with vision. Both the concepts were used by different phenomenology theorists but have some different meanings. So we should compare them to understand them deeply.The task of "Chapter 1" was to explain the idea of "beautiful art" and the idea about art nature of traditional aesthetics and artistics. The idea of "beautiful art" became an important question during the art became mature. The traditional aesthetics thought art was perceptible, but on the other hand it should be connected with rationality. There was contradictions in the idea which was based on the position of dualism. The art researched art nature by empiricism methods, but distinguished art and beauty, and replaced art nature with the origin and elements of art.The "Chapter 2" and "Chapter 3" discussed the relationship between art nature and aesthetic consciousness and between it and being or truth.The task of "Chapter 2" was to explain the intentionality concept, including objectivating,founding,eidetic intuition,value intuition and the variants of intentionality concept, such as "care" of Heidegger,"intentionality" of Sartre,"body intentionality" of Merleau-Ponty. By analyzing these concepts we researched the aesthetic consciousness. The first part discussed the intentionality and eidetic intuition which could overcome the dualism. The methods of phenomenology changed the idea about the relationship between nature and phenomenon. But Husserl insisted on the position of consciousness philosophy, and looked nature as idea. At the same time, art nature——beauty could not be looked as idea. And eidetic intuition was similar with art intuition, but one was theory act the other was perceptible, they were different. The second part analyzed the aesthetic consciousness by objectivating and founding concepts. The aesthetic consciousness should include aesthetic intuition and aesthetic feeling, but according to Husserl' thought, feeling was not objectivating act, so it had no object of itself. We could not unified aesthetic intuition and aesthetic feeling. Scheler looked eidetic intuition as value intuition, thought feeling had its object——value, so aesthetic consciousness had its object too. But Scheler' value was beyond perceptible things and it was different from the beauty of art. So we could not research art nature only by aesthetic consciousness.The task of "Chapter 3" was to explain the horizon concept, including primordial,absent,being,intersubjectivity,life-world and the variants of vision concept, such as "earth" of Heidegger,cogito of Sartre,"flesh" of Merleau-Ponty,"history horizon" of Gadamer. By analyzing these concepts we researched the relationship between art and the world. The first part discussed the horizon concept, which changed our thoughts about being and took "absent" into west philosophy. The world horizon was not based on subjectivity but intersubjectivity, so the being of the world was based on intersubjectivity. Husserl,Sartre and Merleau-Ponty researched this concept, but they did not overcome the contradictions between intersubjectivity and subjectivity. Sartre and Ingarden looked art as communication among different people, which was important for the objectivity of art. The second part discussed the attributions of art as a way to look at the world by the distinction between life-world and science world and philosophy world. Life-world was not an object but a world horizon, which was looked as a topic by science and philosophy and so on. Heidegger thought being was absent, and human could cover being at the same time uncover being. Or there was dialectical relationship between the culture world and "the earth", and art was better than science at uncovering the meaning of the absent being. This idea was meaningful because it took "absent" into our research. In hermeneutics and reception aesthetics, the horizon concept was changed with history horizon which was more specific, but the question about the subjectivity and objectivity of art appeared again. The third part discussed the relationship between art and "the truth" by Heidegger'thought about truth. Heidegger' thought about truth was different from the traditional thought, because the traditional thought was only connected with present things, but Heidegger' truth was connected with the absent things, so it was connected with beauty. This idea told us that art nature was not abstract and fixed, but appeared livingly during the art activities.The "Chapter 4" and "Chapter 5" discussed the relationship between art works and aesthetic consciousness.The task of "Chapter 4" was to explain the aesthetics perception and imagination. Both of them were the key links of art creation, but making the material carrier was also important. Merleau-Ponty changed the consciousness intentionality with body intentionality, which unified the perception and things, even the absent things. So the contradiction between intentionality and substantiality of the aesthetic object was overcame, so did the contradiction between perception and emotion. We analyzed the art form by perception concept, and thought art form influenced all the process of art creation. Sartre looked imagination as transcendental from existence to freedom, and the real world was meaningless but the imagination could create absent totality, so imagination was the art nature. We analyzed the art fiction by imagination concept, and thought fiction, which was based on aesthetics imagination, could be beyond the real time and space, create a fictional world. But both Merleau-Ponty and Sartre had not unified perception and imagination.The task of "Chapter 5" was to explain the art works and art acceptance. The difference between Ingarden' thought about art works and those of formalism and structuralist was that he looked works as intentional but not substantial. So the works were equal to art acceptance, works were not objective thoroughly and acceptance was not subjective thoroughly. Both of them should be unified. Literature was based on language and visual arts were based on image, so we could look literature as symbols consciousness and visual arts as image consciousness. According to Husserl' analysis about symbol and image, they both had three objects, including material carrier,meaning and the object. Literature and visual arts were different from general symbols and image, because they were not idea or entities, the relationship of the three objects was different from that of general symbols and image, the relationship between meaning and objects were weakened, and they created fictional objects, which were not only present and limited, but also absent and unlimited. But the symbols consciousness and image consciousness in art acceptance were not split from aesthetics perception, Dufrenne thought that aesthetics perception was the key factor in art acceptance, and it included the aesthetics imagination,emotion,symbols consciousness and image consciousness, this ensured the objectivity of art works.The "Chapter 6" tried to explain Chinese traditional concepts such as "yixiang","qing"and"jing". These concepts reflected the Chinese traditional philosophy thoughts about "you"and"wu","xu"and"shi", at the same time, they were similar to the phenomenology concepts such as present and absent,limited and unlimited, so we could explain them with phenomenology concepts and got deeper knowledge about art creation and acceptance. Yixiang reflected the dialectical relationship among "yan" "xiang" and "yi", and there was dialectical relationship between "qing" and "jing", the relationships could be compared with that of aesthetics perception,imagination,emotion,symbols consciousness and image consciousness.