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Register a new userThe problematic of the non-objective (Geometrical Equal) in the lyrical abstractionism of Kandinsky
إشكالية اللا موضوعية (المعادل الهندسي) في تجريدية كاندنسكي الغنائية
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إن الفن التجريدي المعاصر واحداً من الاتجاهات الفنية التي تسعى إلى تحطيم الشكل الواقعي وصولاً إلى جوهره و مضمونه الداخلي، معبراً عن ذلك بكونه اللاموضوعي. و برزت في هذا الاتجاه تجريدية كاندنسكي الغنائية و نظريته اللاموضوعية، إذ اهتم كاندنسكي باللون على حساب الشكل و أسمى فنه (فن الضرورة الداخلية) و أطلق النقاد على هذا الفن اسم (اللاصوري أو اللاموضوعي). و أصبح ظاهرة من ظواهر الفن التشكيلي في بداية القرن العشرين بكونها تتمثل في تخليص الشكل أو الشيء من شكله الواقعي وصولاً إلى اللاموضوع، و هذا ما يتطابق مع مفهوم التجريد بأنه اللاصوري و اللاتمثيلي، كما توصل كاندنسكي إلى الرسم باللون فقط مقترباً إلى مرتبة النُظم النغمية الموسيقية.
The contemporary abstract art was one of the artistic trends which tried to destroy the reality form to get into the substance and inner content. It represented non-objective art. Following this trend the lyrical abstractionism of Kandinsky emerged. Kandinsky attended to the color more than the form, and he called his art the internal necessity art. Critics named this art a non-figurative or non-objective art and it became one of phenomena of the plastic art in the beginning of the twentieth century. And this is in line with the concept of abstractionism, which is non-figurative and non-representative. Kandinsky arrived at painting by color only approaching the rank of musical melody systems.
References used
أمهز، محمود، الفن التشكيلي المعاصر، دار المثلث، (بيروت، 1981 م).
بهنسي، عفيف، الفن في أوروبا من عصر النهضة حتى اليوم، دار الرائد اللبناني، (بيروت، 1982 م).
شموط، عز الدين، نقد الفن التجريدي، كنعان للدراسات والنشر، (دمشق، 1998 م).
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