Psychological Approach on Art: Problem of Visual Perception
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This thesis discusses on what are needed to revitalize the psychological approach on art which is currently in stagnation, by focusing on the problem of visual perception. To achieve this aim, it first looks at the Fechner’s experimental aesthetical approach and the gestaltpsychological approach to examine how the psychological approach on art was started and what kinds of study have been done on this subject from the 19th century to the early 20th century. Subsequently, it attempts to search out the possibility of a new development of the psychological approach on art by critically considering the limits and possibilities of these two approaches. According to the experimental aesthetics approach and the gestaltpsychological approach, perception plays a vital role in understanding art. Perception as the significant field of study in psychology has mainly been explored from the epistemological perspective in tradition. The empirical and scientific methodology of study has been employed to analyze the ways in which behavior of perception,such as perceiving shapes and objects and reasoning the positions of that objects, occurs. The theory of perception based on such concepts of perception demonstrates * Professor of Sunmoon University limits in explaining the fundamental aspects of art like dynamic interactions between elements constituting a painting and the unspeakable feeling of being deeply moved when seeing a picture. Therefore, it requires more comprehensive sense of perceptual psychology study which is appropriate for understanding the complex phenomena of art. A study of perception as sensuous cognition has been proposed as an alternative to this kind of study. In fact, that Baumgarten’s aesthetics was originally a study of sensuous cognition implies a very important point. Furthermore, the gestaltpsychological approach suggests a great possibility in studying sensuous cognition through a systematic study on the perceptual process like the principle of perceptual organization. Arnheim’s visual thinking develops it further to provide a theoretical foundation for perception as sensuous cognition. The detailed study on perception as sensuous cognition is expected to make a great contribution to extending the comprehension of the complex phenomena in art.
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