摘要：Multidimensionality and plurality of views and opinions, from psychology and sociology of art, over art history, to philosophical aesthetics, is what characterizes contemporary aesthetics, as well as Andrić’s fragmented prose. Andrić did not identify with any philosophical system, and he did not insist on creating in accordance with any aesthetical theory. Andrić developed a unique personal poetical aesthetics that might correspond to some philosopho-aesthetical dispositions and understandings, that might diverge from other, and even anticipate the premises of certain aesthetical theories. His aesthetical way of painting and articulating the world was grounded in the binary-oppositional system of relations, as well as in bi-set relations of signs that defined the system.
