Gombrich의 Seeing 이론의 발전과 그 양상

Abstract

This Essay aims at outlining the aspects and tendencies of the topics and issues that have been developed from and since Gombrich`s Art and Illusion in 1960. The primary issues in the 1960s were as follows: the idea of ``Seeing-as`` (Gombrich: 1960, Wollheim: 1963, 1969, Rogers: 1965), the analogy between the pictorial arts and verbal arts (Mothersill 1965, Aldrich: 1968), naturalism and conventionalism and the corresponding issues of perception, resemblance (Gombrich: 1960, 1963, Goodman: 1969) and perspective (Gombrich: 1960, Gibson: 1960, 1966). In the 1970s, the main issues were the information theory (Gombrich: 1965, 1972, 1974, Gibson: 1971, 1978, 1979), the research into the methodologies which Gombrich had adopted to form his views about art (Gablik: 1973, Richter: 1976, Novits 1976, Richmond: 1976 (1994)), the development of the theory that the observer plays a significant role, and the theories of ``Seeing-as``, ``Make-believe game`` (Walton: 1973) and ``Seeing aspect`` (Wilkerson: 1978). Research into the subjects of art history and historicity of techniques (Carrier: 1983, Bryson: 1983) continued into the 1980s, when the following ideas also became important: the perceptual symbolism between Gombrich and Goodman (Blinder: 1983), whether perceptual seeing is natural or cultural (Wilson: 1982, Neander: 1987, Peetz: 1988), the recognition of the pictorial subject in symmetry with the pictorial medium (Podro: 1983), the inner pictorial structure of representational painting and its effect on an observer`s perception of it (Puttfarken, 1985), the theory of natural generativity in pictorial interpretation and experience (Schier: 1986), and the sensational theory of depiction experience (Peacocke: 1983, 1987). New ideas about pictorial realism or depiction were developed in the 1990s: the depiction theory of perceptual phenomenology in opposition to Peacocke (Budd: 1994), the account of the tacit process of pictorial perception and experience (Ujlaki: 1993), the rccognitional theory of pictorial realism in disagreement with Wollheim and Hopkins (Lopes: 1995, 1996, 2000), and the evolutionary theory of pictorial experience based on animal behaviour, in opposition to Goodman (Brook: 1997). Some additional arguments based on other theories also surfaced: recognition of resemblance and similarity which relied on Gombrich and Schier (Sartwell: 1991, 1994), pictorial experience, which depended on Walton and Feagin`s action theory of image making (Maynard: 1994), the appreciation theory in unity with Podro, and, in opposition to both Walton and Peacocke, Goodman and Lopes` variation theory (Winters: 1998). Since the start of the new millennium 2000, Wollheim, Peacocke (Charlton: 2000) and Hopkins`s theories of perceptual experience of depiction have been criticized. A new interest in pictorial medium (Hyman: 2000; Dilworth: 2002) and style (Gaiger: 2002), and a search to connect recognitional theory of pictorial realism to cognitive science (Lopes: 2003) have developed. The topics and arguments at the forefront of discussion have thus become various and diverse. They can be divided into four main branches. The theory of seeing or perception and experience of the pictorial representation has developed since Gombrich used the term ``illusion``, or seeing it as a real object, to include the ideas of ``seeing-as``; ``seeing-in``; ``make-believe``; ``seeing aspect``; the appreciation theory of the pictorial subject and content; the theory of natural generativity; the sensational theory of depiction; the depiction theory of perceptual phenomenology; the tacit process of perception and experience of depiction; and the recognitional theory of depiction. The debates about objectivism and relativism and related topics, such as naturalism and conventionalism, symbolism of perception and representation, perceptual information, pictorial resemblance or likeness, perspective, the comparison of the pictorial art and verbal art and the evolutionary theory of pictorial realism, have progressed. The methodologies and method of art history and changes in style, and the idea of the historicity of art, which Gombrich adopted, have been researched. Recently, arguments have moved from an observer`s role of seeing and experience of a painting to the surface structure and semiotic arrangements of the medium, and the artistic means of expression in creating a painting. Consequently, many of the issues, topics and debates discussed above have been directed towards certain arguments, which has led to them being developed further to deal with specific points of view, particularly in the philosophical area of the observer`s perception and experience of pictorial representations.