هم پوشاني نقد و امر زيباشناختي در هنر نو

The Overlap of Criticism and the Aesthetic in the Art Nouveau :(Criticism More Active Than Imagination)

زيباشناسي مدرن در مقوله هاي زيبايي و معنا حساب خود را از زيباشناسي كلاسيك جدا كرده و تجربه هاي زيباشناختي جديدي را شكل داده است. ديگر از نگرش انسان به ايستايي و ثبات جهان، حتي در حوزه ي تفسير و نقد، اثري نيست. وقتي كاري، مدرن يا پست مدرن توصيف مي شود، با الزام به درك نوعي پيچيدگي، كار نقد پوياتر و دشوارتر از هميشه خواهد شد. با وجود هم پوشاني نقد و امر زيباشناختي، دشواريِ تعريف و تشخيص هنر مدرن و پست مدرن، و دشواريِ معنا كردنِ معنا مسيله مي شود. وقتي نه معنايي هست (مثل ادبيات ابسورد)، و نه حتي فرمي تازه (مثل آماده - ساخت هاي دوشان و وارهول) بايد تجربه و لذت زيباشناختي را وسعت بخشيد. ازاين رو، دقت در كاربرد اصطلاحات و واژه هايي از قبيل معنا، تجربه و واكنش زيباشناختي براي نظم و انضباط بخشيدن به فرايند نقد لازم است. در هنري كه خود نوعي نقد فرهنگي است، نقش منتقدان در برقراري ارتباط ميان سوژه و ابژه زيباشناختي كه شرط اساسي لذت بخشي است، مهم تر از پيش است. از قرن هجدهم كه مفهوم ادراك هنر و تجربه زيباشناختي با يكديگر هم پوشاني داشته اند، با وجود تمركز بر اثر همچنان نوعي سوبژكتيويسم بر تمام نقدها ناظر است. در اين نوشتار نسبت تجربه هاي زيباشناختي جديد با نقد نو بيان مي شود.

Modern Aesthetic is separated its account from classic aesthetic in the categories as meaning and beauty, and is shaped new aesthetic experiences. In the modern time isn’t a trace from static and stable attitude to world in the science and even art. When a work describes with terms like modern and post modern, we must be expect that encounter difficulty in its understanding. The works have very complexities and thus their criticism will be more dynamic and difficult. The overlap of criticism and the aesthetic makes difficult distinguish and definition art and the meaning of meaning. When meaning and new and familiar form for example in the absurd literature or in the some works of Duchamp and Warhol’s, it is necessary that we extend aesthetic gratification and experience. Therefore, accuracy is necessary in the use of terms such as aesthetic meaning, experience, reaction. This is in order to give regulation and discipline to the criticism process. In a course of art gets as a cultural critique, relation between subject and object is a necessary condition and critics have more important role in the guidance of public perception. Since eighteen century, the conception of art perception and aesthetic experience are had together overlap and critics have been concentration on artwork or literary text as a form of subjectivism has oversees on all critiques with different approaches. In this passage we seek relation between new experiences with criticism and also the overlap of the aesthetic and criticism. Because, it seems that aesthetic experience is associated with the nature of art and its criticism. In the past, art and literary works were judged as theorems and theories and human action, today criticism is as a form of performance. Criticism is servant for art in order to create unity among people. In the level, both criticism and the aesthetic appear dynamic. It seems, criticism is more active than imagination. This can be regarded as a form of uncontrolled subjectivism. Therefore, now what gives life an artwork is more than an artist. Because of, the production of art doesn’t finish in the production process and continues until the perception of art. Even more than perception continues until art criticism. The difficulty understanding of the contemporary art needs to the help of commentators and critics. They can be easy the perception process for audience, that is, communication becomes easier, Communication among artist, artwork and audience. In addition, criticism can keep alive artwork and dialogue concerning it. Then, art criticism is supplement of the production process and perception. This is the productive role of art criticism. Although, criticism not praise the work of art. The constructive criticism makes more obvious its own the modern and contemporary periods, that is, in art nouveau. Today, aesthetic experiences are unconventional, meaning is absent, literary language is complex, but this isn’t unpleasant. This is pleasant in its new form. Any attempt to the definition of aesthetic experience and gratification and generally art is temporary. This is a dynamic attitude to art.