Abstract
Art forgery is generally discussed from such perspectives as its aesthetic value, artistic value, and artistic system, but little attention has been paid to the cognitive value of forgery. The cognition of fakes involves “confusing the real with the fake” and “replacing the real with the fake”, which is relevant to the cognitive probability problem of inductive logic. The cognition of forgery is connected to the inductive paradox proposed by Nelson Goodman. Whether it is “confusing the real with the fake” or “replacing the real with the fake,” our cognitive process of forgery engages a “symbolizational intentionality” process, that is, the three stages of perceptual intuition, formal intuition, and essential intuition. The ultimate goal is to leave the artistic text and enter the final “essential intuition,” in which there is a possible space for exploring the philosophical dimension of art semiotics. Through exploring the dialectical tension between empiricism and idealism from the cognitive logic of fakes, breaking the binary opposition between the two, and further integrating human intellectual resources on the basis of practice, art semiotics is made possible for us to truly move towards the realm of philosophy and face the ultimate pursuit of human thought.
Keywords
symbolizational intentionality, cognitive probability, forgery, art semiotics
First Page
137
Last Page
145
Recommended Citation
An, Jing. 2022. "From Symbolizational Intentionality to the Philosophical Dimension of Art Semiotics: A Reinvestigation of Forgery Issues from the Perspective of Inductive Cognition." Theoretical Studies in Literature and Art 42, (2): pp.137-145. https://tsla.researchcommons.org/journal/vol42/iss2/35
