خلاصة:
مسئله پژوهش این است که «زندگی» چگونه در هنر نمود پیدا می‌کند. به این منظور این مقاله به بحث‌های میشل آنری، پدیدارشناس قرن بیستم می‌پردازد. مفهوم زندگی برای آنری از اهمیت زیادی برخوردار است. او سعی دارد معنای حقیقی زندگی را که نامرئی و درونی است و به‌زعم او در جهان‌بینی مدرن فراموش شده، احیا کند. هنر نیز نقشی مرکزی در پدیدارشناسی آنری بازی می‌کند. به این منظور او از هنر انتزاعی به‌ویژه از نقاشی‌های کاندینسکی کمک می‌گیرد. برای آنری از میان هنرها، نقاشی مهم است، زیرا می‌تواند ذات زندگی را آشکار کند. ایده اصلی او این است که در تفکر و آثار کاندینسکی انتزاع بیش از یک جنبش خاص در نقاشی است. زیرا هنر را از جهان بیرونی و مرئی رها می‌کند و حقیقت عمیق همة هنر را نشان می‌دهد: این را که همة هنر «انتزاعی» است. همچنین این مقاله با روش توصیفی و تحلیلی و با استفاده از چارچوب نظریات آنری به این نتیجه می‌رسد که در دنیای مدرن هنر می‌تواند مناسب‌ترین جایگاه برای آشکارکردن ارزش‌های زیبایی‌شناختی باشد؛ نقاشی انتزاعی ما را به سمت امکان‌پذیری همه نقاشی‌ها سوق می‌دهد و می‌تواند ما را به ذات زندگی نزدیک کند.
The question of research is what the essence of life is and how life manifests in art. This article addresses the arguments of Michel Henry, a 20th century phenomenologist. The concept of life is very important to Henry because life is a spontaneous manifestation, as a phenomenological life itself, which constantly presents itself as what Henry calls Pathos. He seeks to restore the true meaning of life, which is invisible and internalized in a forgotten modern worldview. Because modern worldview has reduced the value of life to the outer world by oblivion of all realities. Art plays a central role in Henry's phenomenology. He was interested in art before the eighteenth century as well as in the abstract art of the twentieth century. He has written a book on this subject, Seeing the Invisible (1988) and draws on Kandinsky's work in this work. Henry's explicit purpose in writing this book is to clarify the importance of discovering Kandinsky's abstract painting. In Kandinsky's writings, Henry discovers a kind of material phenomenology, for he believe’s that he [Kandinsky] has made a phenomenological reduction in the representation of the visible world, which reduces us to a mere conception of the elements of painting. Henry admires abstract art, wich art that seeks to fundamentally guide the artist and audience. He argues here that after Kandinsky, art no longer seeks to represent the world and its objects, and thus ceases its focus on the visible, and instead focuses on the invisible concept, or what Kandinsky and Henry call "inner", it changes. Thus, Henry is one of the phenomenologists who advocate the possibility of invisible experience with more attention to visual elements such as dots, lines, surfaces, shapes and colors. Henry's phenomenology of abstract painting, therefore, takes us one step further from Husserl and Merleau-Ponty. Henry's purpose in all his writings was to separate the inside from the outside. For him, painting is important because it can reveal the essence of life. According to Henry, Kandinsky's paintings express the phenomenological essence of life. What really stands out is not what we see in paintings, but what we feel. He sees the primary purpose of the art of painting as the expression of "invisible" forces, not the "irony of the visible world." Also his main idea is that in Kandinsky abstraction is more than a specific movement in painting, and Kandinsky shows the profound truth of all art, that all art is "abstract". In addition, an interview has been published entitled "The Art and Phenomenology of Life" (1996), which illustrates Henry's view of the aesthetics and philosophy of art. Our aim in this article is to show from Henry's perspective - how art can be the most appropriate place in the modern world for the manifestation of aesthetic values; how abstract painting leads us to all paintings; In short, how life manifests in art. In this short article, we will deal with these issues and the importance of painting from Henry's perspective in a descriptive and analytical way.
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