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Art - the sphere of human activity covering creative work on the creation of aesthetically significant objects - works of art, methods of storing them and bringing them to the public by including them in the process of public communication.
Currently, there are many definitions of the concept of “art”. Here are some of them:
"Art- a special form of social consciousness, which is an artistic (figurative) reflection of life. By depicting the world, the artist embodies his thoughts, feelings, aspirations, and ideals in a work of art. He reproduces the phenomena of life and at the same time gives them his assessment, explains their essence and meaning, expresses his understanding of the world." /Soviet Encyclopedic Dictionary/
"Art(lat. ars) was the name for any ability to produce skillful work that requires talent, knowledge and experience."
"Art- the totality of all possible types artistic creativity, including literature"
Art is recognized and defined as a set of types of art, attempts to classify which can be considered only relatively successful.
From the point of view of the material conditions used, it is customary to divide art into three groups:
1) spatial (plastic)
Sculpture, painting, graphics and artistic photography constitute a special group of fine arts.
2) temporary
music (composing art)
literature
3) spatio-temporal
acting art (as well as the so-called synthetic art based on it: choreography, theater, cinema, television and video art, variety art, circus)
computer art
In each of these three groups of art, artistic and creative activity can be used
signs of a figurative type, i.e. suggesting the similarity of images with sensory-perceived reality (painting, sculpture, graphics - the so-called fine arts; literature; acting)
signs of a non-figurative type, i.e. not allowing recognition in images of any real objects, phenomena, actions (architecture, music, dance)
signs of a mixed figurative and non-figurative nature, characteristic of synthetic forms of creativity (synthesis of architecture or decorative and applied arts with fine art, etc.)
It should be taken into account that the list of types of art is not constant in time and space - in different cultures and societies we are dealing with different configurations, moreover, in some cases it is difficult to draw a rigid line separating artistic activities from non-artistic ones (various types of applied art, as well as design).
Art reflects the world holistically. The main subject of art is man, public life. The range of phenomena of reality depicted by the artist is usually called the theme of the work,
the inner world of the person depicted is called idea the artist’s emotionally expressed attitude towards the depicted - assessment . The theme, idea and assessment, being inseparable, constitute the content of a work of art.
We call modern works of art those where complete unity of content and form, design and implementation, and craftsmanship has been achieved. This unity is the basis of the beauty of art. Embodying the artist's ideal, works of art are created according to the laws of beauty, becoming the embodiment and personification of beauty.
Introduction
The concepts of "art" and "culture" are identical for modern man. But still, the concept of “culture” is much broader than the concept of “art”. It includes the entire entire system of arts and each of its types separately, the entire process of formation of works of art over many centuries, the process of perception of art, specialized cultural institutions (theaters, museums, concert halls) that store and transmit artistic values. All this complex system the existence of art in artistic culture is studied special disciplines- art history and aesthetics, providing material for cultural analysis.
We find the first aesthetic thoughts about art, about what beauty is, in the most ancient eastern treatises “Veda”, “Avesta”, among ancient philosophers, in religious medieval works. For the German philosopher I. Kant, aesthetics is “the science of sensuality in general.” Another understanding of aesthetics as a philosophy of art is presented in the most vivid form in German classical philosophy by G. G. Hegel.
In the 20th century, problems of art were dealt with by such modern sciences like sociology and psychology. The psychology of art studies the psychology of artistic creativity and the psychology of a certain perception of art. The sociology of art studies the patterns of interaction between art and society, their reflection in artistic creativity and performance.
The purpose of this work: to study the place and role of art in the cultural system, to consider the main issues related to the concept of art, its interaction with other spheres of culture.
Concept of art
The definition of art, its essence.
On this moment There are many definitions of art. Basic definitions of art:
1. Art is a specific type of spiritual reflection and mastery of reality. For many years, art researchers further added: “aimed at the formation and development of a person’s ability to creatively transform the world around him and himself according to the laws of beauty.” The very fact that art has a purpose is controversial. The concept of beauty is relative. In this regard, the standard of beauty can vary greatly in different cultural traditions.
2. Art is one of the elements of culture in which artistic and aesthetic values are accumulated.
3. Art is a form of sensory knowledge of the world. There are three methods of human cognition: rational (based on thinking); sensual (based on emotions); irrational (based on intuition). In the main manifestations of spiritual cultural activities human, denoting the symbolic appearance of culture (science, art, religion), all three are present. Each of these spheres has its own predominant areas: science - rational, art - sensual, religion - intuitive.
4. Art is the area of manifestation of human creative abilities.
5. Art is the process of a person’s mastery of artistic values, which gives him a certain pleasure and enjoyment.
Art is very multifaceted, as is the human soul. Art is richest world beautiful images, the desire to understand the meaning of life and human existence, the concentration of human creative powers.
Art is the perfection of ancient statues, the grandeur of medieval Gothic, the beautiful images of Renaissance Madonnas, these are the riddles that surrealism asks us. Art is the greatest creations of Dante and Michelangelo, Shakespeare and Pushkin, the paintings of Leonardo and Rubens, Picasso and Matisse, the brilliant music of Bach and Mozart, Beethoven and Chopin, Tchaikovsky and Shostakovich, the sculptures of Phidias and Polykleitos, Rodin and Maillol, the performances of Stanislavsky and Meyerhold, Brecht and Brook, films of Fellini, Bergman, Tarkovsky.
Art is everything that surrounds us in Everyday life, everything that comes into our home from TV and video screens, everything that sounds on the stage, in audio recordings.
Artistic images reflect not only reality, but also the worldview, the worldview of cultural eras, the originality of the culture of the people at different times. All these interpretations reflect the accumulated knowledge about art and open up the diverse facets of culture.
Based on the creative reproduction of the surrounding world in artistic images. In addition, in a broad sense, art can mean the highest level of skill in any field of activity, even not directly related to creativity (for example, in cooking, construction, martial arts, sports, etc.).
Object(or subject) art is the world in general and man in particular, and the form of existence is piece of art as a result of creative activity. Piece of art- the highest form of creative result.
Purposes of art:
- distribution of spiritual benefits;
- author's self-expression.
Functions of art.
- Cognitive. Art acts as a source of information about the world or a person.
- Educational. Art influences the moral and ideological development of an individual.
- Aesthetic. Reflects a person’s spiritual need for harmony and beauty. Forms the concept of beauty.
- Hedonistic. Close to the aesthetic function, but does not form the concept of aesthetics, but provides the opportunity for aesthetic pleasure.
- Prognostic. The function of trying to predict the future.
- Compensatory. Serves to restore psychological balance; often used by psychologists and psychotherapists (fans of the program “Dom-2” compensate for the lack of their own personal life and emotions by watching it; although I would not classify this show as art).
- Social. It can simply provide communication between people (communicative), or it can call for something (propaganda).
- Entertaining(for example, popular culture).
Kinds of art.
Kinds of art are different - it all depends on what criterion to classify them by. Generally accepted classification examines three types of art.
- art:
- static (sculpture, painting, photography, decorative, etc.);
- dynamic (for example, silent films, pantomime).
- Expressive arts(or non-figurative):
- static (architecture and literature);
- dynamic (music, dance art, choreography).
- Spectacular art(theater, cinema, opera, circus).
According to the degree of application in everyday life art can be:
- applied (decorative and applied);
- graceful (music).
By creation time:
- traditional (sculpture, literature);
- new (cinema, television, photography).
According to the time-space relationship:
- spatial (architecture);
- temporary (music);
- spatiotemporal (cinema, theater).
By the number of components used:
- simple (music, sculpture);
- complex (also synthetic: cinema, theater).
There are many classifications, and the definition and role of art is still a cause for constant debate and discussion. The main thing is different. Art can destroy the human psyche or heal, corrupt or educate, oppress or give impetus to development. The task of human society is to develop and encourage precisely the “light” types of art.
Art- this is a special type of formative activities a person who creates figurative and symbolic structures that have aesthetic, educational And communication functions. In this sense, art is understood as creative activity, aimed at creating works of art, more broadly, aesthetic and expressive forms. The term “art” is also customary to designate not only works of art, products of artistic activity, but also such concepts as “skill,” “skill,” “artistry,” and the like, manifested in any other field of activity (in craft, science, technology, etc.) others), often not directly related to art, but certainly indicating that creativity explicitly or implicitly present in them. In the process of human development, the concept of “art” is connotated historical changes(transformations) of forms and types culture(see ), their interactions, and, accordingly, the nature of philosophical, art criticism, artistic reflections and to date represents a multidimensional semantic formation, fundamentally open to the inclusion of new semantic elements generated by the continuously ongoing and transforming artistic and aesthetic experience of humanity, including - development of intercultural connections, communications, exchanges, technologies that ensure and support creativity and the broadcast of its products in society.
Historically, art arises when a person goes beyond the satisfaction of his immediate physical needs, practical-utilitarian interests and goals and gains the opportunity to create. Thus, art is a special form of human exploration of the world, in which the world appears in art through forms of activity, communication, and self-realization of people. It gives instant reflections and detailed projections of the human being(see), its spatial and temporal unity with the world. Art, understood as a certain conventional whole, can be interpreted as a picture of the world or a kind of ontology, concentrated on the dynamics of the objective-sensory existence of people. Being a special form of human activity, art combines in its images objective, communication, and individual aspects of activity, therefore it retains stimulating, transformative and cognitive principles, as well as collective and personal ideas. In different eras and in different areas of art, the emphasis in the relationship between these principles differs significantly, however, they are always co-present, and their relationship remains a constant subject for discussion about the purpose of art, about its role in the development of society.
Consideration of the phenomenon of art presupposes a complex division of types of human activity, when each of them became quite clearly isolated and then established itself in technical means; Accordingly, the specificity of art is revealed against the background of other types of activity: material and spiritual production, religion, morality, science. The problem, however, is that art retains the synthetic nature of human activity, although different stages history and in different types of culture, there are noticeable differences in the dominant images of art, methods of their creation, patterns of their functioning and transmission. The solution to the question of the specifics of art “in general view"gives rise to many difficulties. It seems more productive to consider the specifics of art on a specific social “background”, in certain systems of society, since each historical era had its own understanding of the phenomenon of art, determined by the place and role of the artist in the system of social division of labor and his position in society. Then the question of preserving the specificity of art in the changing systems of division and cooperation of human activity turns out to be essentially connected with the question of how art maintains its specific position due to shifting emphasis in use figurative means human exploration of the world.
In archaic societies, where consciousness and activity were not yet as divided and specialized as later, proto-art was present in all the main forms and means of human exploration of the world. Legends, dances, drawings, sculptures, jewelry, utensils, and tools recorded human forms of mastering existence, forms of its experience and comprehension. At the same time, the syncretic and predominantly ritual-magical nature of works of primitive art, despite the manifestation of aesthetic principles in them, does not allow them to be fully classified as art.
In traditional class-type societies, the specificity of art is revealed against the background of a rigid distribution of people according to social positions and types of activity. Important in this sense are the emerging division of material-productive and spiritual (including spiritual-practical) activities, the growing social significance of the work of the master who creates and wields tools, and, accordingly, the “distribution” of the art itself between the everyday behavior of laymen and initiates. In this regard, art turns out to be a kind of “quality mark”, indicating the skill and dedication of the author, and the corresponding characteristics of his product. The position of the artist, thus, is not yet sharply opposed to the position of the priest, scientist, artisan, but it is already isolated from the stream of everyday behavior of people and routine activities.
In Antiquity, art occupied an intermediate position between material and spiritual production. The ancient term “tέχνη” meant simultaneously science, craft, and art, united according to the criterion of their belonging to “expedient”, “ideologically meaningful”, “model-generating” activity. This terminological indistinguishability of artistic and craft activity itself reflected the internal connection of these areas of human activity, which in to the greatest extent characterizes classical period in the development of the ancient world. In the Homeric era, the division of labor was so weak that art, including technical crafts, had not yet been separated and opposed to spiritual activities. Therefore, in Homer the terms “σοφία” (skill, wisdom) and “tέχνη” (art, craft) were essentially identical: wisdom (σοφία) is understood as craft, creativity; art (tέχνη) is associated with the idea of wisdom and knowledge. However, as the division of labor progresses, there is a gradual divergence of the spiritual and material areas of activity. Ancient society had a rather arrogant attitude toward physical labor, seeing it as a dire necessity, and therefore sought to shift all its burden to slaves and semi-free artisans. Under these conditions, art is isolated from direct material practice and becomes the occupation of the freeborn. The arts are considered noble if they are a means of education, entertainment or intellectual leisure for the freeborn. But as soon as art becomes the subject of professional pursuits, it is immediately condemned as a crude craft and a barbaric occupation. Therefore, in ancient Greece there was a distinction between valor (arete) and technical mastery in any art (arete technes). Thus, Aristotle, justifying the need for practical training in the arts in the education of a citizen, opposed professional training in the arts free people. In particular, professional music training should be excluded from the education system, since studying it “for the sake of giving pleasure to your listeners” is a “crude goal” that turns people into artisans (Politics, 1341a). The opposition between art and craft was especially acutely realized in the Hellenistic era, when the opposition between physical and spiritual labor grew into the antagonism of slave and free labor. Seneca writes about this in his “Letters to Lucilius” and Cicero very sharply. “All artisans are engaged in despicable work, there can be nothing noble in the workshop, and crafts that serve pleasure deserve the least approval” (“On Duties”). In ancient times, the concept denoting the essence of art was the concept of “mimesis” (μίμησις - likeness, reproduction, imitation). Democritus already considered imitation as the basis of all human activity, including art. The theory of mimesis was developed and systematically presented by Plato, who believed that imitation forms the basis of all artistic activity. Plato created an idealistic version of the theory of mimesis. His theory served not only as an explanation of the essence of art, but also as proof of its weakness, imperfection, cognitive and aesthetic inferiority. After all, art is not an imitation of eternal and unchanging eidos, but of transitory, changeable and untrue sensual things. On this basis, Plato rejected some types and genres of art, considering them harmful, appearances and illusions that deceive people. Aristotle applies the theory of mimesis not only to the visual arts, but also to poetry, drama and music. His theory of imitation differs significantly from Plato's. If Plato taught about imitation of “eternal ideas,” then Aristotle spoke of art as an imitation of the existence of things. According to Aristotle, ideas are in the things themselves, and therefore only things can be imitated. By applying the theory of imitation to various forms of art, Aristotle developed one of the first systems of classification of the arts. An important point Aristotle's theory of mimesis was the statement that imitation in art brings pleasure and, in such forms as music and drama, is associated with catharsis (purification). The theory of mimesis - the general ancient idea of the essence of art - was subsequently inherited by the entire European aesthetics. In Plotinus, the greatest Neoplatonist philosopher (3rd century), the world deity turns into a demiurge artisan; nature, like a craftsman, creates prototypes and forms (eidos) of all things. The artist becomes an accomplice and exponent of the creative energy of the demiurge. If classical ancient aesthetics viewed art as an imitation (mimesis) of nature, now, on the contrary, the activity of nature becomes a mystical and symbolic reflection of craft or artistic activity.
In the Middle Ages, in the process of the formation of new forms of labor associated with the feudal mode of production, labor received moral sanction, and craft under the name “arte” was introduced into the system of medieval knowledge. Indeed, the medieval concept of “art” (ars) is included in the system of scholastic knowledge. The education system is based on the study of the seven “liberal arts,” which include grammar, rhetoric, logic, which constitute the “privium,” and geometry, arithmetic, astronomy, and music, which constitute the “quadrivium.” The weak distinction between the concept of art and the field of scientific knowledge is evidenced by the treatise of the 6th century Roman philosopher Cassiodorus “On the Sciences and Liberal Arts”. In this work, Cassiodorus tries to distinguish between science (disciplina) and art (ars). In his opinion, science is apodictic knowledge, while art is knowledge of the probable. The Middle Ages extended to art the hierarchical principle of dividing the earthly and the heavenly. Lowest place Fine arts occupy the hierarchy of arts. This understanding corresponds to the actual position of fine art in the system of material and spiritual culture of medieval society. At that time, painting, sculpture, architecture, like crafts, received a guild organization, with its own professional secrets, restrictions and traditions. Artists, like artisans, form guilds and guilds. The dualism of the sensual and supersensible, contemplation and speculativeness, characteristic of the aesthetic perception of the Middle Ages, is evidence of the gap that is characteristic of the feudal mode of production with its class and guild organization.
The new understanding of art that the Renaissance brings is associated with the revolutionary breakdown of old, feudal-social relations, with the liberation of the individual producer from class and guild restrictions that constrain his activities. Appreciating the purpose and dignity human personality, affirming the idea of the limitless development of its capabilities, the aesthetics of the Renaissance saw a concrete image of such a person in the artist. The fact that the search for a universal person led precisely to the artist, and not to the philosopher, scientist or politician, was not accidental. This was determined by the position that the artist occupied in cultural life era. The artist acted as a mediating link between physical and mental labor. Therefore, in his activities they saw a real way to overcome the dualism of theory and practice, knowledge and skill, on which the entire spiritual culture of the Middle Ages was based. It is no coincidence that the artist, his personality, life and work find themselves at the center of social thought of that time. He is considered a being of divine order, and the epithet “divino” - divine - is increasingly attached to his name. Numerous biographies of artists that appeared at this time and gradually became a special literary genre indicate that such an elevation of the artist’s personality was not so far from the truth. Outstanding artists of the Renaissance are comprehensively educated people with diverse knowledge in the field of science and art. The artist becomes a bearer of aesthetic and ethical values. The ethical concept of valor “virtu” - acquires an aesthetic meaning, denoting a person who is masterly and fluent in his work - “il virtuoso”. The traditional argument for proving the importance of a particular activity or craft is the idea of its “difficulty.” Thus, the medieval idea of a perfect person as an expert who knows how to contemplate everything and reason about everything is replaced by the ideal of a person who knows how to do everything.
However, the dominance of humanistic ideology, which placed the artist at the center of artistic and social life, did not last long. In the conditions of an increasingly progressive division of labor based on capitalist manufacturing production, art as an area of spiritual creativity stands out as an independent type of [artistic] activity. If in the Renaissance, due to the weak differentiation of types of artistic activity, the artist was simultaneously a sculptor, an architect, a decorator, and an engineer, now he becomes either exclusively a sculptor, or exclusively an architect, or exclusively a decorator, or exclusively an engineer. Moreover, there is a sharp differentiation between spiritual and material forms of labor. In aesthetics, this process is reflected in the emergence of a new aesthetic category, denoting the sphere of artistic creativity. This category is “fine arts”. Now what is denoted by the term “art” relates entirely to the field of spiritual activity. This disintegration of sensory and spiritual activity began already in the Renaissance, but it was finally completed only in the 18th century. In 1746, J. Betty wrote his famous “Three Treatises”, in which he uses the term “elegant “arts”. In the same year, C. Batteux published his treatise “Fine Arts Reduced to a Single Principle,” where he consolidates the practice of using the term “beaux “art.” This well-known separation of art from other areas of spiritual and practical development of the world is reinforced by German classical aesthetics, which saw the true nature of art in the knowledge of the “realm of the spirit.”
In an industrial society, the question of the specifics of art becomes fundamental, since production influences all spheres of society, and science claims a leading position in culture. On the one hand, art experiences these influences and “succumbs” to them: the importance of art technology increases, its instrumental base actively progresses (from printing to photography and cinema), in the images of art special meaning given their educational value. On the other hand, the question of the specificity of art as a specifically human way of mastering existence, that is, a method that cannot be reduced to forms of impersonal production and deindividualized knowledge, arises more and more acutely. As a result, directions (and concepts) of art arise that bring to the fore directly personal (individual, individual) ways of mastering existence, respectively, “pushing” into the background (or completely erasing) the communication, subject, cognitive aspects of the figurative mastery of reality.
In post-industrial types of society, the problem of the specificity of art is determined in the context of increasingly complex interactions between different social and cultural systems. The preservation of art as a specific form of formation, preservation and transmission of human experience turns out to depend on its “ability” to create images of human mutual understanding from heterogeneous cultural and historical material. In this situation, previously defined hierarchies and evaluation systems, as well as the importance of individual creativity and authorship, are questioned. There is a powerful tendency for art to dissolve in the media. Electronic means of reproducing art are becoming increasingly important. The communication principle of structuring the artistic (cultural) world, which by the end of the 20th century had assumed a total character, modifies the method and form of existence of art, which becomes predominantly a semantic-sign formation (discourse) that carries (transmits, communicates) value values. Along with this, art is increasingly being included in the system of mass culture, which is fundamentally oriented towards the mass art market and the production of ideologies of mass consciousness. Mass culture develops primarily in means of communication that directly represent the dominant political, economic and ideological references of society and directly include the socialization of individuals into total systems of power.
Contemporary art is a complex system of communicating forms and trends, often united by the so-called “postmodern project”. A feature of various “modernist” artifacts was the direct presence of the author-performer in the implementation of an artistic act, which is aimed at public provocation, which ends with the performance. As for the artistic (aesthetic) concept, it is realized in modernism in the form of a program, manifesto and anthropological reflections. In general, it can be stated that the phenomenon of “modern I”. - rather a humanitarian-anthropological project, sharply, sometimes aggressively directed against the totally dominant systems of social self-reference - political and economic. Because of this, the communities that arise in the process of an artistic act are marginal and temporary. However, “contemporary art” in its avant-garde forms far from exhausts modern artistic culture, which is held by the classical paradigm, framed in the form of the classical art education, museum concept, academic institutions, which are included in the system of mass communication and in relation to which modern forms of artistic activity identify themselves in aesthetic and artistic terms.
The process of art realizing its visual and expressive possibilities creates a significant number of concepts and terms related to the structure of art, such as “form” and “content”, “artistic image”, “symbol” and “allegory”, “artistic imagination”, “genius” and “talent” and others . These concepts are important for understanding the essence of art. Along with the study of artistic creativity, the study of the laws and principles of aesthetic perception plays a significant role. Along with aesthetics, a big role in understanding the essence of art and its social role such disciplines as psychology of art, theory and history of art, sociology of art and cultural studies play a role. Modern cultural studies consider art in the system of other cultural phenomena and global changes diff. types of cultures (“national - global”, “high - low”, “mass - elite”, and the like).
Historically, art develops as a certain system of specific activities, among which it is customary to highlight literature, music, architecture, painting, sculpture, and decorative and applied arts. Their diversity and differences are recorded and classified according to criteria developed by aesthetic theory and art history: according to the method of reflecting reality (epistemological criterion) - pictorial, expressive; according to the way of being of an artistic image (ontological criterion) - spatial, temporal, spatio-temporal; according to the method of perception (psychological criterion) - auditory, visual and visual-auditory. In connection with the emergence of new types of art, other principles of their classification appear. However, all such distinctions are largely relative.
Overall, art remains one of the most important forms of transmission and, therefore, preservation of human experience. It also acts as a form of renewal of this experience, because each generation expresses in its own special way the process of mastering existence. The emphasis in this role of art changes historically, and, in fact, the preservation of art, its specificity, its social function achieved in images that capture the constantly shifting balance between the reproduction and renewal of human experience.
1. Professional activity aimed at constructing figurative forms, presented in the form of special artifacts - works of I. The anthropological prerequisites for such activity are certain human properties that manifest themselves in relations with the environment: an ordering reaction to the uncertainty of the situation; representation of an uncertain situation in figurative form; external representation of images in the form of symbols, which can become objects of communication in social processes. interactions. These properties correspond to the specific abilities of people, which, with special expression and special development, allow them to become artists in in a broad sense this word: the ability to build compositions from elements of an uncertain situation; ability to build a holistic image; the ability to express this image in a culturally acceptable form. 2. Specialized area of culture, social. the significance of the cut is determined by the need for people to define their relationships with the environment in systems of shared ideas and the ability to give them an external figurative form. Since the relevant information is available on social media. significance, it turns out to be specially ordered in society and culture, and relevant types activities and public presentation of their results - institutionalized in a special way. The functional foundations and symbolic ways of expressing this order constitute the specific cultural code of I. For the purposes of research in the field of social science. sciences, the key characteristics of information are of particular importance, giving it self-identity that is stable over time and socially acceptable communicative features. Types of I.I. are usually divided into types. The basis for such a division is the “material”, which is formed through a figurative aesthetic organization. Fiction is a verbal representation of images of people’s relationships with the environment; art(painting, graphics) - symbolization of visual images; music - organization of sound symbolic systems; architecture - symbolic organization of living spaces; sculpture - aesthetic representation of the body in space; dance - aesthetic organization of movement in space; design - giving aesthetic form mass media(advertising, posters), interiors of residential, industrial and public buildings. premises, tools, household items. Mixed types of art can also be distinguished, combining elements of several “pure” types, for example: theater, artistic film production, photography, organization of mass events, etc. The division of art into types contributes to detachment, i.e., presentation in an unusual form differentiated types of connections between a person and the environment, connections that in everyday life appear in syncretic integrity. Genres of I. In I. it is customary to distinguish genres in relation to each of its types. The identification of genres is carried out in accordance with the type of aesthetic attitude to the environment: tragic, comic, dramatic, lyrical, satirical, farcical, etc. The identification of genres in each of the types of art captures the types of socially significant mental states and experiences that color the corresponding works of art. Art form. In art, it is customary to distinguish certain forms of works of art that characterize internal organization and external presentation. So, in fiction we can distinguish such forms as novel, story, short story, short story, etc. - in prose; poem, sonnet, ode, ballad, etc. - in poetry; symphony, sonata, oratorio, romance, suite, etc. - in music; painting, portrait, landscape, still life, etc. - in painting. The forms of I.’s works are also usually divided into large ones, for example: a novel in literature, a symphony in music, monumental painting, etc.; and small ones: a story - in literature, a prelude, a musical moment, an etude, etc. - in music; chamber painting and miniature - in painting. The identification of forms of works of art captures the cultural “space” offered by the author for detailed consideration. To highlight the principles of constructing an artistic image and artistic form in the field of art, it is customary to highlight special categories, such as style, artistic direction, creative manner. In art, style is usually understood as a set of principles for organizing aesthetic information characteristic of a certain era and a certain cultural region, which is normative, that is, generally accepted for professional artists. Style defines the sets of expressive means, techniques and technologies that are most common in a given era and in a given cultural region. Art movements can be defined as characteristic of various groups artists' sets of aesthetic principles, including elements of style, certain variations of stylistic forms, certain innovative elements. Depending on the combinations of these components, artistic movements (schools) can be components of a style, artistic trends gravitating towards it or deviating from it, innovative or principles of aesthetic formation opposed to style. The author's creative style is a stable set of individual artistic techniques, characterizing his identity in I. As in the case of artistic movements, a creative manner can fully correspond to the style, or be a variation of stylistic norms, or represent an innovative search for aesthetic principles, means of expression, and artistic techniques. The identification of categories that characterize the principles of constructing an artistic form fixes the basis for structuring the relations of the bearers of a certain culture with the natural and artificial environment. It is advisable to represent art as a certain cultural code, based on aesthetic, figurative principles of building connections between a person and the environment, on the basis of which professional artists in a symbolic form solve problems that arise in the field of these connections. This is also a specific cultural order, the structure of which characterizes the predominant interest of people in certain elements of the environment and building certain connections with them. An analysis of I.’s works makes it possible to identify in what forms of aesthetic detachment people imagine their connections with the environment, and to construct hypotheses about what determines such forms of detachment at a given time and in specific culture. Lit.: Bart R. Selected works. M., 1973; Vans-lov V.V. Aesthetics. Art. Art history. M., 1983; Art in the cultural system. L., 1987; Kagan M.S. Morphology of art: a historical and theoretical study of the internal structure of the world of art. L., 1972; Kiyashenko N.I., Leizerov N.L. Theory of reflection and problems of aesthetics. M., 1983; Morphology of culture. Structure and dynamics. M., 1994; Markov M. Art as a process: foundations of the functional theory of art. M., 1970. E.A. Orlova
Excellent definition
ART
a term used in two meanings: 1) skill, skill, dexterity, dexterity, developed by knowledge of the matter; 2) creative activity aimed at creating works of art, more broadly, aesthetic and expressive forms. The conceptual status of I. is directly related to the second meaning of the term, preserving the first as a technical condition for any creativity.
The concept of "I." connoted by historical changes (transformations) of forms and types of culture, their interactions, and, accordingly, the nature of philosophical, art history, artistic and poetic reflections and to date represents a multidimensional semantic formation, fundamentally open to the inclusion of new semantic elements generated by the continuously ongoing and transforming artistically -the aesthetic experience of humanity, including the development of intercultural connections, communications, exchanges, technologies that ensure and support creativity and the broadcast of its products in society. This kind of continuous change in the nature and volume of I., its “proteism,” makes the classical, positive definition of I. impossible. It is fundamentally apophatic both in relation to its substantial character and in relation to specific, socio-historical goal-setting. Due to its empirically factual indeterminability, information can be specified only phenomenologically, as an event (realization) of an always new, unknown meaning and those existential circumstances in which this meaning becomes possible.
The tradition of such a phenomenological understanding of I. had already developed in the ancient world, when three fundamental concepts were explicated, revealing I. in the form of a trinity: “POIESIS - MIMESIS - TECHNE”. POIESIS - expresses an act of creative action based on creative inspiration, identifying and creating the most artistic object (artistic-aesthetic objectivity), and not its likeness; in fact, this is where meaning-making begins, directed towards the truth. MIMESIS - imitation-reproduction (as a representation of a thing), the reliability of the work, its conformity with the law. TECHNE - craft, science, cunning, dexterity - doneness, completeness of a work, its expression. Art, as a creative and artistic phenomenon, embraces all three of these modes in their inseparability and complementarity. Ancient poetics (Aristotle, Horace), separating free (lyrical) art from craft, emphasized both the difference between artistic invention and external (formal-empirical) imitation, and the difference between formal-technical craft and intelligent (based on intelligent vision) creation. The poietic mode, which is decisive in the formation of the artistic status of a work, simultaneously sets the essential nature of its appearance and presence. This essential character of I. in the act of its direct representation (presence) for understanding perception (feeling) is AISTHETIKOS (literally - sensory cognition, perception, but taken in the entirety of feelings, sensations and their awareness). Thus, art, giving rise to the complex of artistic works that reveals it, simultaneously constitutes its own world - artistic culture - a world that is irrelevant in relation to empirical reality, has its own (immanent) conformity with laws, oriented towards the beautiful, in the direction of which art is only phenomenally realized . This method of implementing art as a phenomenal act establishes its two complementary coordinates, one of which is necessarily connected with the question of the existential presence of a person in art (through artistic culture). Here an anthropological sociocultural complex is formed, where the works set a situation that explicates and thematizes the teleological task of cultural self-determination of historically developing human communities. The existential presence in artistic culture is thematically determined by the complex of I.’s works as a present and defining artistic ideal. I. in this case directly appeals to the supreme values of the social order and equally becomes the subject social criticism. The second coordinate determines the focus of art as an artistic and creative process on truth, the possibility of its appearance for aesthetic consciousness. This problem is presented as an epistemological component of I.’s knowledge and its philosophical understanding. Here truth is considered in its appearance not in the noetic-logical system, but in its eidological form (“form” in the literal sense of the word). The most adequate form of such a disclosure of truth through its constitutive and positing eidos can be considered a myth (mythologem) - a semantic figurative formation in which “hierophany” is realized (the phenomenon of the sacred, and, therefore, law-abiding and necessarily existing). This tradition is characteristic of the understanding of the epistemological essence of history from the 3rd century. up to the New and modern times. In any case, in epistemological terms, I. establishes the phenomenal presence of a thing and is directed towards the transcendental foundations of any presence. Mythologem can be considered the most fundamental form of the phenomenon of creativity, in which the essential phenomenal aspects of the creative act are presented in unity: extra-linguistic (extra-sign) reality; a personally defined, in terms of presence, subject (artist, poet); a sign reality that represents and indicates the factuality in I. In the mythology, I. is revealed in the fullness of its being, but thereby it is not an independent type of purely artistic activity, capturing almost the entire totality of being as the unity of creativity and creation. Christianity, presupposing the transcendence of the absolute subject (personal God), offers a symbolic form of fulfillment of faith in the form of a symbol-revelation (covenant), constantly maintaining a connection (dialogue) between the Creator and the Creature. Such information has a God-given character (plots and revelations of the Holy Scriptures, theophanic canons of sacred images, visions, etc.). However, in this comprehension of the transcendent through the symbol, the creative self-will of the “creature,” the artist, already makes itself felt. During this period, the concept of "I." connoted with the semantic accent “temptation”, “temptation”. A symbol in Christian culture is not yet a work of art; it remains within the boundaries of the phenomenon of the phenomenon of symbolism itself, a phenomenon directly related to the transcendental foundations of creativity. In this regard, there is no clear boundary, for example, between an icon created by a master and a purely natural sign of theophany (the footprint of the Virgin Mary, imperishable relics, material symbols of Sacred history). An event that radically transformed the situation of I. can be considered the adoption by Western Christianity of the principle of the “filioque”, from which the doctrine of “two truths” postulated by Thomas Aquinas followed, which led to a certain emancipation of both human (created) knowledge of truth and, in fact, human creativity . Created reality (emancipated nature) itself is a relatively self-sufficient source of being, and man is assumed here as an epistemological and creative subject. Subjectively, the creator (artist) is already separated from the world, which is now opposed to him in the form of an object and subject of empirically set goals. In such a situation, I. is only able to describe and display the world in works of art, which, according to Feuerbach’s precise remark, “do not pretend to be reality.” Aspects of “techné” - skill, skill, and “mimesis”, in terms of formal imitation of nature, taken in its “natural law”, begin to dominate in artistic creativity. This is how the “classical” model of art develops as a world of artistic works, formed on aesthetic principles and addressed to a well-educated aesthetic feeling (perception) and judgment (taste). Since in the same period the most relevant component of human culture becomes historicism in the form of a total world history, which posits a solution to the teleological problem of humanity (Hegel, Marx), then at the same time the classical history of art (Winckelmann) arises, focused on comprehending (reproducing) the beautiful in its ideal aesthetic form. The classical model of the world of India becomes defining and foundational for the construction of the entire “European project,” which presupposes its correlation with all aspects of the Eurocentric world order.
The classical world of I. presupposes exemplaryness (normativity), both in terms of orientation towards a beautiful ideal, literally refined from the so-called classical historical eras(cf. “classical antiquity”, “classical (high) Renaissance”), and in terms of the transformation of life, expressed in the sociologized thematization of the relationship between “beautiful” and “life”. Formation of the objectified "classical world of I." together with the focus on the artistic (aesthetic) subject, leads to the emergence of a quasi-scientific paradigm for the study of art with a system of procedures that makes it possible to study, evaluate, and establish patterns of art development based on subjective criteria. The development of modern art is accompanied by art criticism, art theory (Wölflin), and art criticism. Art itself (the world of classical art) is considered as a specific system of adequate description (representation) of non-artistic reality, the main meaningful element of which is the artistic image. The problematic of the artistic image, most fully presented in Hegel's Aesthetics, was an attempt to resolve the contradiction between the factual objectivity of I.'s work (what and how it is presented) and its meaning (in terms of classical aesthetic theory - the contradiction between content and form). The artistic image was treated primarily as a product creative imagination, arising in the process of creating and perceiving a work. However, the strict binding of the artistic image to the procedure of reflecting reality - reliable and formalized - has led to a whole complex of paradoxes associated with the fundamental inadequacy of the “artistic” and “real” worlds. This situation was recorded by Schopenhauer and Nietzsche, recorded in the form of heightened attention to the theme of POIESIS as a necessary means of forming the artistic subjectivity itself, which remains relevant to this day. It was POIESIS, as the fundamental moment of artistic creativity, that became the basis on which diverse innovative movements arose, usually defined by the term “modern art,” which significantly transformed the entire concept, and together with the practice of art in the late 19th and early 20th centuries.
At the turn of the century, a period that lasted throughout the 20th century began. the conflict of classical and innovative traditions, in the depths of which the deep transformation of technology and its emergence into a completely new dimension are becoming increasingly clear human existence, quite accurately expressed by M. Heidegger: “Art moves into the horizon of aesthetics. This means: a work of art becomes an object of experience and, accordingly, art is considered an expression of human life.” This status of I. assumes a non-classical structure art world and equal coexistence and communication of diverse cultural worlds associated with the life activity of equally diverse, often dynamically changing human beings, self-organizing according to political, economic, ethnic, religious, ethical and value principles. The communicative principle of structuring the artistic (cultural) world, which by the end of the century had assumed a total character, modifies the method and form of life of art, which becomes predominantly a sign formation (discourse) that carries (transmits, communicates) value meanings.
Modern information is a complex system of communicating forms and trends, often united by the so-called “postmodern project.” A feature of various “modernist” artifacts has become the direct presence of the author-performer in the implementation of an artistic act, which is aimed at public provocation, which ends with the performance. As for the artistic (aesthetic) concept, it is realized in modernism in the form of a program, manifesto and anthropological reflections. In general, it can be stated that the phenomenon of “modern I.” - rather a humanitarian-anthropological project, sharply, sometimes aggressively directed against the totally dominant systems of social self-reference - political and economic. Because of this, the communities that emerge in the process of an artistic act are marginal and temporary in nature. However, "modern I." in its avant-garde forms far from exhausts modern artistic culture, which is held by the classical paradigm, framed in the form of classical art education, museum, academic institutions, which are included in the system of mass communication and in relation to which modern forms of artistic activity identify themselves in aesthetic and artistic terms . Finally, the picture of modern art and modern artistic culture would be incomplete without the phenomenon of mass culture, which is fundamentally oriented toward the mass art market and the production of ideologies of mass consciousness (the cult of stars, consumption, mass phobias, success in life). Mass culture develops primarily in means of communication that directly represent the dominant political, economic and ideological references of society and directly include the socialization of individuals into total systems of power.
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