The direction of the discussion about the visual representation goes to not the way of that the image appears similar to an object, but the way of intending to the created reality without intending to the object reality. Lukacs has the strong cognitiv ...
The direction of the discussion about the visual representation goes to not the way of that the image appears similar to an object, but the way of intending to the created reality without intending to the object reality. Lukacs has the strong cognitive intention that we can perceive the objective reality as the truth, while the subjectivity can recognize the reality. The visual art reveals the essence of the reality in the external resemblance through the representation, but the ways of constituting it are very various. Gombrich also agrees with Lukacs on the point of considering the resemblance as the resemblance of the essence. What he regards as the most important in the representation isn't imitating the reality, but creating reality and seeing the objective reality newly in this created reality. In this case, the resemblance with the object is still important in the visual art because it plays the role in suggesting the reality of the object. Although Goodman excluded the resemblance from the necessary condition of the representation, he also notices the important role of the resemblance.
In modern arts, the way which we try to express the objects similary in our sense, has been deconstructed. But the many ways have been developed to approach to the reality. In this way, modern artists have turned from the external to the internal reality. For this purpose, they reduced the sensitive objects to the harmony of simple colors and forms that isn't similar with any objects in nature. Besides they denoted simply the object or presented mere the intention of the artist as work of art. This leads modern artists to try to see the unvisible inner reality in different way of the traditional representation. Some of modern artists, who think that we cannot express all the spiritual with the sensible, want to suggest the unvisible reality by the way of representing the visible thing at a minimum. We cannot conceptualize such reality, but we can create a sort of reality, projecting our desire for the reality we hope to exist. It's method is not to represent objects, but to present objects.
The discourses of post-modern theorists on the representation lead to reconsider fundamentally the traditional theory of representation that arts represent the reality by the resemblance. These theorists have attempted to replace 'resemblance' with such concepts as 'similarity(similitude)', 'simulacre', 'figure', 'become (devenir)'. By this Attempt, they are going to deconstruct conventional thoughts that limit the abundant world of arts into that of the narrow concepts. They commonly have willingness to make arts free from this reality, making it free from the objective reality.
Arts also allow us that we can see the invisible forces behind the visible things, sensation and life, process and event, what serves for abundantly expanding the aristotelian thoughts of arts, that is marked with the Mimesis of nature. This means that arts imitate the forces that lead the nature, the source or the essence of the visible things rather than do the outer resemblance of things.