Phenomenology of art in Roman Ingarden’s Philosophy

The subject of present thesis is phenomenology of art in Roman Ingardens philosophy. Roman Ingarden, Polish phenomenologist (1893-1970), is known as the faithful disciples of Husserl, who applied phenomenology as a method. Ingarden Aesthetics, which is subset of classical phenomenological tradition, is comprised of three main areas:

• First field is about the artwork phenomenology, aesthetics experience and perception of artwork.
• Value axiological of artworks.
• Ontology of Various types of artworks, including literature, theater, painting, sculpture, architecture, and film.

After a brief introduction to the Ingarden life and his configuration of the intellectual, the second chapter of this thesis is an excerpt from his philosophical system. The main subjects of this chapter are the topics related to division of Essensial objects, which is devided to the real objects, objects of intentional,   Ideal objects, essence and  God. Actually this chapter has indicated the role of art types as the intentional objects in the Ingarden aesthetics. The third chapter of thesis investigated the work of art, aesthetic experience and the aesthetic object. One of the major concerns of Ingarden is about the value of a work of art, value judgments art, value judgments and aesthetic object which is considered at the forth chapter. The fifth chapter of the thesis is devoted to the phenomenology of literary art by Ingarden. He began a new way, he studied the Literary work of art with a classical phenomenological approach as a new experience and this inspired many different schools of literary criticism. Final chapter is the conclusions and in the Appendix, Islamic Calligraphy with the Ingarden phenomenological approach to the study of art, has been studied.