Özet:

If we look at the relationship between art and philosophy from a phenomenological point of view, we can see that both of them are sent to the pre-subjectivity and objectivity area. In this context, art now becomes a creative activity that makes itself visible independently of all human values and judgments, rather than a representation of the objective world. Because creativity is formed not only according to the talent of the artist, but actually according to the formation of a bodily being. Perception is a sign of unconsumable creation, because the creation that throws iron into the world is faced with us as a creation activity. As a philosopher, the artist also has the ability to express this primary perception, which is the priority of all the corrections and arrangements of the mind, either with his words or by his brushing shots. The pre-reflective ground of perception indicates an individual and collective existence, filled with invisible horizons of meaning. Aesthetic experience occurs exactly in the capture of this existence. To understand this, the true nature of vision must be understood. This study tries to contact the role the aesthetic experience plays in making the logos visible to the original world. In this context, the relationship between Merleau-Ponty and Paul Cézanne, a very important figure for him, is evaluated from the point of view of both philosopher and painter as well as philosophy and art. What will come to us here, more than an art philosophy or aesthetics, is the artistic nature of the philosophy itself.

Anahtar Kelimeler:

Özet:

From a phenomenological point of view on the relationship between art and philosophy, we can see that both of them refer to a pre-subjective and a pre-objective field. In this context, art becomes a creative activity that makes the world itself visible in a way independent of all human values and judgments, rather than giving a representation of the objective world. However, its creativity is shaped not only due to the artistic abilities but to the fact of being actually a corporeal entity. Perceiving refers to an endless creation since it emerges as the founding activity of the body anchored in the world. The artist, like the philosopher, whether with words or brush strokes also has the possibility to express this primordial perception which is prior to all the correction and the arrangement of mind, in its birth. The pre-reflexive ground of perception refers to an existence which is both individual and collective as being filled with invisible meaning horizons. The aesthetical experience arises in seizing this existence. But in order to understand this, the true nature of the vision must be conceived. This paper tries to indicate the role that aesthetic experience plays in making the Logos of the primordial world visible. In this context, the relation between Merleau-Ponty and Paul Cézanne, who is a very important figure for him, is considered from both philosophy and art as well as from a philosopher and a painter. What we encounter here is not a philosophy of art nor an aesthetics, but the artistic nature of philosophy itself.