Abstract:

At the end of the nineteenth century, German aesthetists used the term "einfühlung" to define the identity established between the substance and the object. According to the einfühlung, which means that man is able to eradicate or enter an object, it is not true that we reflect into the object before we live an inner act. Those who think and think are in an unparalleled whole. The sensitivities arising to nature in today’s art re-establish the importance of einfühlung. Today, the difference between the “Western identity” cultural world’s instrumental approach to nature and the empathic kind of approach that the essence establishes with the object is more contradictory. Since the ecological problems and the thought structure of the culture that exists are common, we can divide the history of the art into two categories as the difference in the thought structure: on the one hand, the instrumentalization of nature (the object) and on the other hand, the ethics of existence with it. Vincent van Gogh's work (1853- 1890) as a prominent artist that fills the concept of Einfühlung is a rejection of the Western tactical perspective. His partnership in the intensity that cannot be reduced to the natural landscapes is the experiences in which the object-object distinction has been removed.After 1960, the object-centric perspective in the Environmental Art Productions has re-established. Through progress in nature, the studies carried out in the process and with the minimum intervention in nature enter the field of intuitive knowledge and rebuild the life-thinking, empathic, respectful, careful morality that the world needs today.

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