An Essay on the Semantic Analysis of Reception Aesthetics in the Ceramic Works by J. Miro

Abstract

The Aesthetics or Theory of Reception, which analyzes the meanings of literary works and the function of the reader with a reader-response perspective, is an original aesthetic theory that spread from Germany to the world and then to the other branches of art in late 1960s. In the dialogue between the received work of art and the receiver, the style and duration of reception differ fundamentally in each branch of art. As in literary works, the experience of reading and understanding the work in other realms of art depends on the language of the art form. Reception Aesthetics mainly investigates such matters as the conditions under which a work of art is to be comprehended, the styles of comprehension and their results. This study analyzes the changes in the conditions and styles of reception during a dialogue with works of Ceramic Art, and the refreshing influence of reception period on the work with an experimental approach. The reception period is analyzed in the exemplary ceramic works of J. Miro. There are two reasons why the works of Miro were selected for analysis. First, Miro is a versatile artist who has influenced not only contemporary art of painting but also the art of ceramics with his ceramic works. His contribution to ceramic art can be exemplified within his works. Second is the advantage provided by the contribution to the experimental period of analysis through publications about Miro in art literature and the advantage of the evaluating the findings of reception. It is thought that the reception period is a period of art-work analysis that responds to a wider recipient audience about the work of art. It is also considered to involve a period of synthesis revitalizing the work of art with each new receiver. A flexible and explicit approach in the evaluation of work of art will support the formation of aesthetic life and communication among a wider recipient audience.