تحلیل رابطۀ شناخت شناسی کانت و مبانی نظری هنر مدرن

برخلاف پژوهش های گوناگون پیرامون فلسفۀ هنر کانت، مقاله حاضر در صدد بررسی رابطۀ نظریۀ شناخت کانت و مبانی نظری هنر مدرن است. این امر با در نظر گرفتن روان شناسی گشتالت به عنوان ارتباط دهندۀ شناخت شناسی کانت و مبانی آموزش و سنجش بصری هنر مدرن امکان پذیر شده است. برای بررسی نظریۀ شناخت کانت، از یک سو بر مقولات پیشین، تبیین گر ساختار های مشترک ادراکی در انسان، تاکید و از سوی دیگر بر قوه ی تخیل متمرکز و از مباحث کانت در «نقد قوۀ حکم » نیز برای ارتباط دادن هنر و شناخت از منظر وی بهره گرفته شده است. پس از واکاوی این موضوعات، مقاله سعی نموده تا با مشخص نمودن نسبت نظریۀ شناخت کانت و روان شناسی گشتالت، به بررسی تاثیر این روان شناسی بر طیفی خاص از کتب آموزش هنرمدرن بپردازد و نحوۀ تبلور اندیشه وی در هنر مدرن را با مطالعه نظریات جئورگی کپس و رودولف آرنهایم مشخص سازد. روش پژوهش در این مقاله توصیفی-تحلیلی و هدف آن برقراری رابطۀ میان فلسفه کانت و هنر مدرن است. نتیجه پژوهش نشان می دهد که نظریۀ شناخت کانت و مبانی نظری هنر مدرن در پذیرش قوانین ثابت ذهنی حاکم بر شناخت «صورت » تشابه دارند و فلسفۀ کانت میتواند تبیین شناخت-شناسانۀ کامل تری را برای این موضوع فراهم آورد

The relationship between Kant’s epistemology and The Modern Art theoretical principles

Immanuel Kant, the 18thcentury philosopher whose works was initiated major changes in the field of epistemology, as many Enlightenment thinkers hold our mental faculty of reason in high esteem. In his works on aesthetics, he argued that our faculty of judgment enables us to have experience of beauty as part of an ordered world with purpose. His main ideas partly based on Baumgarten, who invented the modern use of the term aesthetics in the middle of 18th century. However, unlike Baumgarten beauty had more to do with rational ideas such as order and harmony for him. He holds aesthetic experience in relation to determinate judgments.  He discusses particular unique features of aesthetic judgments (four moments) according to his main divisions of the categories. In the fourth moment, Kant was attempting to show that aesthetic judgments must be according to the principle. Everyone must assent to his judgment because it follows from this principle. This point and his emphasis on universality of aesthetic judgement in the second moment had been used by next generation of thinkers as a way of finding the basic principles of understanding beauty through rigid universal principles.  Especially the Gestalt theorists, who was discovered the perception principles have been used in many early modern art movements as the universal way of obtaining beauty to any Good eye beholder in any art experience and they believed that it could be used as a secure way of teaching artists. Therefore, this article, instead of the previous ones that had been focused on Kant's aesthetics in the relationship with his ethical or metaphysical philosophy, was tried to investigate the connection between Kant’s epistemology and the Modern Art theoretical basis. Research tries to indicate the Gestalt psychology as the medium of his epistemology and the  Modern Art schools curriculum and the principles of the modern visual Art. His arguments in the Critique of Judgment have been used as a bridge between Art and the Kant’s theory of knowledge concepts like priori principles as the main reason of human's similar perception and the role of imagination in his transcendental synthesis. Then the Gestalt psychology was investigated to reveal its link with Kant’s philosophy and the educational system of Modern Art schools like Bauhaus and analytical theories of Rudolf Arnheim and György Kepes. Results show that the modern aesthetics based on the priori principles in Kant’s epistemology as the standpoint of human communication and the creator of mind steady principles of visual understanding are similar with the central concept of Kant's judgment of beauty. In what he called the free play between the cognitive powers of imagination and understanding. Whereas judgments of free beauty are made without having one determinate concept for the object being judged but a judgment of beauty is adherent if we do have such a determined concept in mind. These determined concepts must be based on the universal principles everyone can be understood, as some modern artists believe in it.