앙리 말디네(Henri Maldiney)의 감각(sentir)의 미학 (Esthetics of Sentir according to Henri Maldiney)

서지정보

· 발행기관 : 한국미학예술학회
· 수록지 정보 : 미학예술학연구 / 26권 / 35 ~ 55페이지
· 저자명 : 허수은

초록

Henri Maldiney was professor of philosophy and esthetics at Lyon III University until 1980. He studied the phenomenology of art. The phenomenology of art for Henri Maldiney supposes an opposition of ‘sensation’ and perception.
Perception is intentional and constitutes an objective moment, but Sentir is not perceived, nor sensual. According to Maldiney, a sensation does not have an intentional structure or design. Sentir reveals its truth in work. The truth of Sentir is art.
The world that surrounds us demands that we make an effort to understand it. Tal-Coat suggests that we establish a bond with the world through nature. To do this, Tal-Coat sets aside as many hours as he can to walking in the countryside. Through these walks, he seems to find answers to questions about reality. What is real? What is the reality of the world? According to Maldiney, reality can be perceived in mobility. Tal-Coat draws while he is on the move because he believes it is impossible to seize the reality of the world without a fluid trajectory.
For Tal-Coat, the countryside, mountains give direct access to understanding and knowing the world. Maldiney said that ‘Being in world’ means we are allowed to feel the emotions of the world. In fact, the painter’s sole use for painting is to enable him to see the world. We think his preoccupation with reality comes from his fervour to find the true appearance of the world, the ‘Instant’. The meaning of what is painted comes from the ‘Instant’ of painting. It is at this moment that we perceive the reality of the appearance of the world. At that moment, the rhythm of man and the rhythm of the world meet and identify themselves in art. The image is an ‘Instant’ image, the image that the painter chose to capture. Maldiney calls this image a ‘form’. In fact, Maldiney distinguishes image, sign, and form.
The moment that the paint becomes matter it takes on meaning, or ‘form’. The ‘form’ is the fleetingness of the moment, in which elements obtain their own significance within painting.

영어초록

Henri Maldiney was professor of philosophy and esthetics at Lyon III University until 1980. He studied the phenomenology of art. The phenomenology of art for Henri Maldiney supposes an opposition of ‘sensation’ and perception.
Perception is intentional and constitutes an objective moment, but Sentir is not perceived, nor sensual. According to Maldiney, a sensation does not have an intentional structure or design. Sentir reveals its truth in work. The truth of Sentir is art.
The world that surrounds us demands that we make an effort to understand it. Tal-Coat suggests that we establish a bond with the world through nature. To do this, Tal-Coat sets aside as many hours as he can to walking in the countryside. Through these walks, he seems to find answers to questions about reality. What is real? What is the reality of the world? According to Maldiney, reality can be perceived in mobility. Tal-Coat draws while he is on the move because he believes it is impossible to seize the reality of the world without a fluid trajectory.
For Tal-Coat, the countryside, mountains give direct access to understanding and knowing the world. Maldiney said that ‘Being in world’ means we are allowed to feel the emotions of the world. In fact, the painter’s sole use for painting is to enable him to see the world. We think his preoccupation with reality comes from his fervour to find the true appearance of the world, the ‘Instant’. The meaning of what is painted comes from the ‘Instant’ of painting. It is at this moment that we perceive the reality of the appearance of the world. At that moment, the rhythm of man and the rhythm of the world meet and identify themselves in art. The image is an ‘Instant’ image, the image that the painter chose to capture. Maldiney calls this image a ‘form’. In fact, Maldiney distinguishes image, sign, and form.
The moment that the paint becomes matter it takes on meaning, or ‘form’. The ‘form’ is the fleetingness of the moment, in which elements obtain their own significance within painting.

참고자료

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