Gombrich’s term of ‘representation’ is dependent upon his notion of our perception and experience of objects in the outer world and is related to his term of ‘pictorial representation.’
The cognitive, biological, psychological and linguistic capacities of human inner factors make it possible for human beings to perceive and experience the outer objects, however human empirical perception and experience are conditioned by the outer factors of society, culture and history in a given context. These inner and outer factors consist of the foundation of human mental set. Based on the mental set, perception and experience occur as a result of trial and error correction which idea is adopted from Popper’s positive methodology of the growth of objective, scientific knowledge conjecture and refutation, and can be traced back to Darwinian theories of evolution. On the completion of the process, the meaning of the object is ascertain or even invented by the active critical human mind.
* Lecturer of Hongik University
These features of Gombrich’s perception and experience and the method of trial and error, or guessing and testing, which he adopted are applied both to an artist’s seeing and creation of images and to an observer’s seeing and experience of a work of art. Any changes in any one of the four factors is bound to bring about the changes in both the artist’s seeing the objects and creation of work of art and the observer’s seeing, interpretation and experience of works of art. This influences the questions, how artistic forms can be moulded and changed in history and how art can have a history.