Abstract

V članku obravnavamo Husserlovo teorijo podobe in jo primerjamo z Ingardnovo. Najprej pokažem, da je Husserlov pristop, ki podobo razdeli na tri sloje, smiseln in razumen. Ingarden Husserlovo teorijo podobe zgolj prevzame in ji ne doda kakih svojih bistvenih prvin. Na koncu članka opozarjam na bistveno pomanjkljivost tako Husserlove kot Ingardnove analize.The paper considers Husserl's conception of image and then compares it with the view as was developed by Ingarden. I point, from the very beginning, to the reasonabless of Husserl's approach which looks on an image as basically threelayered item. Ingarden adopts Husserl's conception of image without any key improvements. At the end of the paper I disclose what is, in my opinion, the main shortcoming of both phenomenologists, namely that there is essential hiatus between painting as physical bearer and painting as object of aesthetic experience.