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There is long time since the traditional distinction between temporal arts and spatial arts  has been called into question. In my opinion , Mikel Dufrenne's phenomenology of art provides us with a convincing account of how this worn distinction can not appreciate  the fact that each artform  has both spatial and temporal elements  and how these are interpenetrated, so that one can speak of the temporalization of space and  the spatialization of time in artforms.In this paper, I will show that why and in what senses Dufrenne, largely in his magnum opus, Phenomenology of Aesthetic Experience, says that painting ,qua a pictorial art which traditionally was regarded as a  spatial artform, has its own "times" and temporality. As required by the phenomenological approach which  pays attention to the various "modes" of appearance of phenomenon, Dufrenne attempts to describes  the various layers of time in painting, from historical time to that layer of temporality which is immanent in the pictorial work itself. I will consider how  and to what degree this description  does justice to the phenomenon of Painting time.

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Masoud Olia (Iran) 10845
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