ABSTRACT

The present paper focuses on the figurative senses of abstract art, which can be rooted in human bodily experiences, interconnections between cognitive domains as well as mental concepts arising from the perception of colour. We take a closer look at the works of art created by, among others, Wassily Kandinsky, Yves Klein, Mark Rothko, Barnett Newman and analyse particular uses of colour in search of their deeper meaning expressed beyond the purely material surface. The concepts of physiognomic perception, emotional responses to art, and synaesthesia are briefly discussed as well. However, it is Joseph Grady's theory of primary metaphors which is the main point of reference for the undertaken discussion and interpretation of colour applications and their possible meanings. Even if declared abstract and non-semantic, the discussed works of art evoke certain emotions and reactions due to basic cognitive operations resulting from correlations in experience (they constitute an essence of primary metaphors). As proved in the body of this paper, they render some works of art metaphorical.

摘要

本文重点关注抽象艺术的具象意义，它可以植根于人类的身体体验、认知领域之间的相互联系以及由颜色感知产生的心理概念。我们仔细研究瓦西里·康定斯基、伊夫·克莱因、马克·罗斯科、巴尼特·纽曼等人创作的艺术作品，并分析色彩的特殊运用，以寻找其在纯粹物质表面之外表达的更深层次的意义。还简要讨论了相貌感知、对艺术的情感反应和联觉的概念。然而，约瑟夫·格雷迪的基本隐喻理论是对颜色应用及其可能含义进行讨论和解释的主要参考点。即使声明为抽象且非语义的，所讨论的艺术作品由于经验相关性产生的基本认知操作而引起某些情绪和反应（它们构成了初级隐喻的本质）。正如本文正文所证明的，他们使一些艺术作品具有隐喻性。