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Zwischen Sehen und Tasten. Zum Paradigmenwechsel in der deutschen Ästhetik des 18. Jahrhunderts

100%
Tkaczyk K.
Acta Philologica
|
2015
|
issue 47
17-25
PL
Refleksja o świetle prowadzi w estetyce niemieckiej XVIII w. do rewizji reguł dotyczących percepcji sztuki. Winckelmannowski imperatyw oglądania dzieł sztuki w świetle dziennym i z pewnej odległości oddaje pole koncepcji Herdera, który wprowadza w obszar estetyki zmysł dotyku i brak światła, i zaleca dotykanie rzeźb nocą, co ma uzmysłowić odbiorcy sztuki ich dosłowną i metaforyczną wielkość. Z kolei Moritz postuluje oglądanie rzeźb o zmierzchu, w ożywiającym je migotliwym świetle pochodni.
EN
In German aesthetics of the 18th century, reflections on light lead to the revision of rules regarding the perception of art. Winckelmann’s conception of viewing art in daylight and from a certain distance gives way to the theory of Herder, who introduces the sense of touch and lack of light into aesthetics and suggests that in order to fully understand them, sculptures should be touched at night. This will make the public aware of both their literal and metaphorical greatness. Moritz, in turn, postulates viewing sculptures at dusk, when they come to life in the flickering light of a burning torch.
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Historyzm wobec starożytności w dziełach J.J. Winckelmanna, W. von Humboldta i F. Schlegla. Próba rekonstrukcji i zarys polskiej recepcji

86%
Junkiert M.
Slavia Occidentalis
|
2013
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issue 70/2
7-25
PL
The second half of the XVIIIth century contributed to a radical change in the cultural relationship with the past. Historicism, understood as the widespread method of conceptualization of human inventions, appeared not only in historiography, but also marked its presence in literature, philosophy, architecture and art. The aim of this article is to explore some of the outlooks on the connection between historicism and classical antiquity in the works of Winckelmann, Humboldt and Schlegel, important German thinkers with a significant impact on Polish literature and culture.
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Agalmatophilic Pygmalions: Burke and Winckelmann on the Beautiful and the Sublime

86%
Antal É.
Eidos. A Journal for Philosophy of Culture
|
2024
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vol. 8
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issue 1
39-68
EN
There is a good chance that “each critic becomes a Pygmalion” (as Leo Curran put it) when they bring the work of art to life in their narcissistic (and almost amorous) attention, unfolding its meaning so that they should be able to write their own interpretation. The starting point of the present text is the perfection of sculptural forms, and the author discusses “traditional” aesthetic concepts: the beautiful and the sublime along with the difference and interplay of the two qualities, bearing in mind their variations and relations. The framework is provided by the occurrence of these two in the discourses on the self and taste in the eighteenth-century while the focus is on subjective criticism concerning the beautiful versus the sublime in the artistic and sensual experience of statues. Within the given framework, the author is planning to force Edmund Burke, stiffened by the experience of the sublime, and Winckelmann, softened by the sight of the Greek statues, into a dialogue on individual taste.
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