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An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art Mengzhong Zhao

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An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art Mengzhong Zhao An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art Mengzhong Zhao To cite this version: Mengzhong Zhao. An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art. Philosophy. Université de Lyon; East China normal university (Shanghai), 2019. English. NNT : 2019LYSEN034. tel-02489783 HAL Id: tel-02489783 https://tel.archives-ouvertes.fr/tel-02489783 Submitted on 24 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Numéro National de Thèse : 2019LYSEN034 THESE de DOCTORAT DE L’UNIVERSITE DE LYON opérée par l’Ecole Normale Supérieure de Lyon en cotutelle avec l’Université Normale de l’Est de la Chine Ecole Doctorale N° 487 École Doctorale de Philosophie Discipline: Philosophie Soutenue publiquement le 20/09/2019, par : Mengzhong ZHAO An Exploration of the Essence of Art at the Light of the Contemporary Situation of Art Une Exploration de l'Essence de l'Art à la Lumière de la Situation Contemporaine de l'Art Devant le jury composé de : POUVET, Roger professeur Université de Lorraine Rapporteur ZONG, Desheng professeur Université des finances et de l’économie de Shanghai Examinateur ZHUO, Yue professeure Université de Shanghai Examinatrice ROY, Jean-Michel professeur École Normale Supérieure de Lyon Directeur JIANG, Yuhui professeur Université Normale de l’Est de la Chine Co-tuteur Après l’avis de : PELLETIER, Jérôme MCF HDR Université de Bretagne Occidentale POUIVET, Roger professeur Université de Lorraine Résumé en français Cette thèse cherche à répondre à une question fondamentale de la philosophie de l'art: qu'est-ce que l'art? Après avoir examiné les réponses apportées à cette question par plusieurs théories de l’art, il propose d’abord que la définition de l’art proposée par le philosophe Arthur Danto soit celle qui se conforme le plus à la réalité de l’art, bien qu’elle souffre de certaines imperfections et insuffisances. Sur la base de cette conclusion critique ainsi que d'une analyse minutieuse de ce qui est considéré actuellement comme un art, il tente de modifier la définition de Danto et de la transformer en une nouvelle définition, capable de mieux se conformer à la réalité des phénomènes artistiques. Il se compose de cinq chapitres. Le premier chapitre présente brièvement la situation actuelle de l’art et les théories de l’art existantes qui n’ont pas réussi à rendre suffisamment justice à la totalité de ce qui est considéré comme artistique. Par un regards critique des définitions de l’art proposées par ces théories, il tente de montrer que les conditions suffisantes et nécessaires pour être l’art qu’elles proposent sont soit insuffisantes, soit pas nécessaires. Et par conséquent, le problème de la définition de l’art reste en suspens. Le deuxième chapitre tente de lever les obstacles à la possibilité de donner une définition de l'art créés par des théoriciens anti-essentialistes qui insistent que l'art ne peut être défini de manière classique, et de montrer en conséquence que la définition de l'art sous la forme de conditions nécessaires et suffisantes est encore possible. L'argument principal des anti-essentialistes repose sur le concept de «ressemblance familiale» proposé par Wittgenstein, selon lequel il n'y a pas de propriété commune à toutes les œuvres d'art mais seulement des similitudes à des degrés divers. Cet argument est réfuté en appliquant l’affirmation de Danto selon laquelle la propriété artistique d’une œuvre réside dans la relation dans laquelle elle est impliquée et ne peut être capturée en observant l’apparence. Le troisième chapitre est une présentation complète de la définition de Danto de l’art. Danto commence par comparer une paire d'objet ayant les mêmes apparences, alors que l'un est une œuvre d'art et l'autre non. Il conclut que l'œuvre d'art est la représentation d'un sujet alors que son jumeau non artistique ne l'est pas. Danto compare ensuite une représentation tel qu’un diagramme, à l'œuvre d'art ainsi conçue, et propose que la spécificité de la représentation artistique est d’être une représentation avec une ellipse métaphorique, alors que la représentation schématique n’est pas métaphorique. Il affirme aussi que l'œuvre d'art est une représentation dotée de style. Il introduit également le concept de «style matrix», qui consiste en un ensemble de prédicats sur l'art. L'idée de Danto est que chaque oeuvre représente l'histoire de l'art en manifestant ou en rejetant consciemment ces prédicats, ou même en ajoutant de nouveaux, afin de se situer dans l'évolution historique de l'art. Le quatrième chapitre présente les critiques principales formulées à ce jour contre la définition de l’art de Danto. Certaines de ces critiques sont jugées injustes et par conséquent rejetées pour permettre de défendre la validité de plusieurs aspects essentiels de la théorie de Danto; d'autres sont considérés corrects. En outre, le chapitre confronte la théorie de Danto à la réalité de la scène artistique actuelle et formule des critiques supplémentaires qui n’ont pas été proposées jusqu'à présent. La plus important est que son concept de style révèle des incohérences à travers les différentes présentations de sa théorie. En plus, bien que d’importance moindre substantielle, un autre est que représenter l’histoire de l’art n’est ni nécessaire ni suffisant pour être une œuvre d’art, car de nombreuses œuvres acquièrent la signification historique pas en représentant consciemment l’histoire de l’art. Le cinquième chapitre, qui est le plus important de cette thèse, s'attache à élaborer les éléments essentiels d'une nouvelle définition de l'art basée sur les parties acceptables de la définition de Danto: c'est-à-dire l'affirmation selon laquelle l’œuvre d'art est une représentation métaphorique. La définition proposée par cette thèse considère l'œuvre d'art comme le résultat d'un type d'action artistique, étant parfois le produit transitif de ces actions, parfois ces actions elles-mêmes. Une action artistique est elle-même analysée comme une action tentant à représenter métaphoriquement quelque chose. L'étude de différents exemples montre que les œuvres d'art sont artistiques à des degrés divers: certaines sont plus artistiques que d'autres. Ce phénomène de gradation résulte de la possibilité que l’intention spécifique d’une action artistique est gênée par d’autres intentions non artistiques, ainsi que des conditions contextuelles supplémentaires, par exemple, le manque d’habileté à réaliser pleinement son intention artistique. Cette définition de l'art basée sur l'action fournit une nouvelle perspective sur l'ensemble du domaine de la recherche artistique en transformant les problèmes de l'art en types spécifiques de problèmes de l'action. C’est la raison pour laquelle il lie des éléments de la définition de Danto avec des éléments de la théorie de l’action de Searle, bien qu’il reconnaisse explicitement que son affinement ultérieur demande une base complète sur une théorie de l’action plus détaillée. Enfin, bien que fortement en accord avec Danto, cette définition l’interrompt en défendant l’idée que la définition n’est pas insurmontable, car une théorie de l’art devrait toujours suivre l’évolution de la réalité de l’art et que cette évolution n’est pas terminée, même si elle arrive à une période assez stable. Résumé en anglais This thesis seeks to answer a basic question of the philosophy of art: What is art? After examining the answers provided to this question by several art theories, it firstly proposes that the definition of art offered by the philosopher Arthur Danto is the one that most conforms to the reality of art, although it suffers from certain imperfections and insufficiencies. On the basis of this critical conclusion and through a careful analysis of what is categorized as art in the present time, it attempts to modify Danto’s definition and to transfigure it into a new one, capable of better conforming to the reality of art phenomena. It firstly briefly introduces the contemporary situation of art and the existing art theories which didn’t successfully do sufficient justice to the totality of what is considered as artistic. Through a critical examination of these theories, it tries to show that the sufficient and necessary conditions for being art that they propose are either not sufficient or not necessary. Consequently, the problem of defining art remains unsolved. It then tries to clear up the obstacles to the possibility to define art that have been put forward by the anti-essentialists, who claim that art cannot be defined in a classical way, and accordingly tries to show that a definition of art in the form of necessary and sufficient conditions is still possible. The thesis then provides a comprehensive presentation of Danto’s definition of art. Through several comparisons, Danto proposes that the specificity of artwork consists in being a representation with a metaphorical ellipsis, while the non-artistic object fails to be representational and the diagrammatic representation fails to be metaphorical. Furthermore, he claims that an artwork is a representation endowed with style. He also introduces the concept of “Artworld” in the form of a “style matrix”, which consists of all the existing artistic predicates that for each one of them an artwork can choose to manifest or reject, in order to locate itself in the historical evolution of art.
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