Empathy Theory Ripps Brief Description of the Difference Between Empathy Theory and Gestalt Psycho

It is one of the representative beauty theories in traditional Western aesthetics, which is to move our subjective feelings to external objects, which are the vitality of external objects and have human feelings. It exaggerates the role of empathy, reduces the root and essence of beauty to human empathy, and denies the objective existence of beauty. The main feature is the outward projection of feelings.

1. The creation and impact of "empathy theory".

"Empathy" is one of the most influential schools of Western modern aesthetics, and it is also one of the most representative theories in the school of psychological aesthetics. The German psychologist and esthetician Lipps made a comprehensive and systematic exposition of the "empathy theory" in his book "Spatial Aesthetics", and people usually regard Lipps as the main representative and founder of the empathy theory.

2. The main content of the "empathy theory" represented by Lipps.

"From a psychological point of view, the idea that human beauty is a psychological illusion, an illusion of seeing oneself in objective things." It argues that the root cause of beauty lies in "empathy". The so-called "empathy" is the "projection" of our emotions onto things, so that feelings become the attributes of things, and reach the realm of the same thing and self.

That is to say, we transfer our human feelings, emotions, and wills into things that are external to us, so that the originally inanimate things seem to have feelings, thoughts, emotions, wills, and activities, and produce a realm of the unity of things and self. "Empathy" holds that it is only in this state that one can feel that such things are beautiful.

3. A brief analysis of the "empathy theory".

Lipps's "empathy theory" focuses on the experience of the subject's psychological function, raises the subject's feelings and emotions to the status of aesthetic objects, and reveals that aesthetic perception includes the psychological illusion of the aesthetic subject.

But Lipps's "theory of empathy" is based on idealism. Its greatest flaw is that it denies the objectivity of aesthetic objects; When emphasizing the active role of the subject factor, the analysis of the external factor of the object is neglected.

Zhu Liyuan's aesthetic is all about the essential characteristics of emotional activities and the root of their origins.

Empathy is proposed by the subjectivist Ripps, who advocates that aesthetic emotions are not inherent in aesthetic objects, and that the subject transfers his personality and emotions into the object and blends with the object, so that the object presents personified emotional characteristics. He emphasized the viewer's agency in aesthetics, but he regarded aesthetic experience as having nothing to do with the aesthetic object, but only playing with the subject's own emotional experience, which was one-sided.

Gestalt psychological aesthetics is proposed by Arnheim, isomorphism, the reason why natural things and art forms have emotional characteristics is because the external world has an isomorphic correspondence with the inner world of people. He rejects Ripps's theory of empathy, reducing affective characteristics to the interrelationship between subject and object. Only the physiological basis of the phenomenon of emotions is pointed out, and it does not rise to the level of philosophical reflection.

But he overcame the one-sidedness of the theory of empathy. I don't know if you're satisfied.

Please refer to the answer to the aesthetic principle of the Superstar MOOC.

Aesthetics and fine art are completely different things!

Aesthetics belongs to the category of philosophy, which deals with purely theoretical problems;

Fine art belongs to the category of art, which studies technique and expression.

Anything counts, because beauty is just an adjective.

To be precise, aesthetics belongs to philosophy.

Aesthetic aesthetics (měixué).

The science of studying man's aesthetic relationship to reality. The main object of research is art, but it does not study the specific expression issues in art, but studies the philosophical issues in art, so it is called "the philosophy of the art of beauty". The basic problems of aesthetics include the nature of beauty, the relationship between aesthetic consciousness and aesthetic objects, etc.

Generally, it can be divided into basic aesthetics (which can be subdivided into philosophical aesthetics, psychological aesthetics and sociological aesthetics), practical aesthetics and historical aesthetics. Clothing is beautiful, and it has a certain relationship with art, so clothing aesthetics also has a reason to exist. The aesthetics of clothing belongs to the aesthetics of utilitude.

Practical aesthetics also includes branches such as decorative aesthetics, technical aesthetics, and social aesthetics. Costume aesthetics are related to all of these branches. To paraphrase the above definition of beauty, we can say"Costume aesthetics is the study of clothing and its design centered on aesthetic experience"。

Since the aesthetics of clothing is a practical aesthetics, it is not necessary or able for us to dwell on the debate of some basic concepts and propositions of aesthetics (which is the task of basic aesthetics), but to directly quote conclusions that we think are useful. For example, since 1799, Schlegel gave the meaning of beauty to a series of categories such as spicy and rude, which are opposed to the classical aesthetic category, modern aesthetics has regarded ugliness as an aesthetic value, so the grotesque, exaggerated, and ugly works in modern fashion can also be evaluated as aesthetic objects. In addition, such as Ripps's theory of empathy, Rodolf Arnhein's Gestalt, Jon's personality mask, Kant's theory of disinterest, etc., are also widely used in the aesthetics of clothing.

An important aspect of clothing aesthetic activities that distinguishes them from other artistic aesthetic activities is that the aesthetic subject and the aesthetic object are often combined. Clothing itself often cannot be regarded as an aesthetic object alone, and clothing is often organically combined with the human body and is examined and appreciated. The wearer of the costume not only constitutes the aesthetic object with the costume, but also often becomes the first and most important aesthetic subject.

In order to carry out this unique aesthetic activity more clearly and perfectly, the wearer almost always resorts to a mirror (or the surface of the water like a mirror). At this point, strictly speaking, the aesthetic object is no longer the real wearer and his costume, but the reflection in the mirror. Although, it is believed that the image in the mirror is almost exactly the same as the entity, once in fact this is not the case.

Even leaving aside the differences due to the nature and reflection of mirrors, we cannot ignore the fact that mirrors are presented with varying degrees of idealized selves. This kind of concurrent exchange between aesthetic objects and aesthetic subjects, as well as the replacement of images and entities, has increased the complexity and difficulty of many clothing aesthetic propositions. But that doesn't stop many from talking about it.