The Artistic Image from a Phenomenological Perspective: Husserl and Ingarden

The article presents an analysis of the concept of the “artistic image” through the “Bildobjekt - Bildsujet” model proposed by Edmund Husserl to understand the specificities of image perception. First of all, the author clarifies both the specifics of realization of phenomenological study in a case of analysis of perceived objects and the importance of their intuitive discretion for the phenomenology; also there is an idea of importance of implementation of ἐποχή’s attitude, approved as a basis of both phenomenological and aesthetic perception. Next, there is the unfolding of the concept of “image consciousness” over the course of the philosopher’s life: i.e. the transformation of the understanding of this phenomenon, the result of which is the rejection of the model “Bildobjekt – Bildsujet”. To clarify the appropriateness of such a refusal the author further refers to a philosophical project of Roman Ingarden: an important concept of the Polish thinker is the idea of “layering” of a work of art, along with an affirmation of its dual nature (the material and ideal layers of the work). At the same time, these observations require the development of the ontological research plan, although they do not deny the methodological phenomenological orientation to consciousness and the implementation of appropriate procedures (reduction and ἐποχή). In the conclusion, the author indicates the preferred nature of Ingarden’s interpretation in the study of the artistic image. However, it is noted that this approach is definitely ‘contaminated’ by the premises - the aesthetic categories - on which the Polish phenomenologist rests, but which provides a comprehensive approach to aesthetic experience.