What art expresses. Art - the expression of the deepest thoughts in the easiest way

God lives in detail. Abi Warburg

The generous heart is the best inspiration of the mind. Alexander Bestuzhev

Art, like life, weak is not on the shoulder. Alexander Blok

The direct responsibility of the artist is to show, and not prove. Alexander Blok

Inspiration is the location of the soul to the living acceptance of impressions, therefore, to the rapid consistency of concepts, which contributes to the explanation of these. Alexander Pushkin

Art is possible only when there is a need to independently construct an image - through the development of the dictionary, forms and meaningful elements, and only then it ensures communication. Alexey Fedorovich Losev

No ingenious work has never been based on hatred or contempt. Albert Kama

Imagination is more important than knowledge. Albert Einstein

Art - the expression of the deepest thoughts in the easiest way. Albert Einstein

Art has two most dangerous enemy: an artisan not illuminated by talent and talent that does not own craft. Anatol de France

Art is an artist ordered by the artist, carrying the seal of his temperament, which manifests itself in style. Andre Morua

Expressiveness is not a passion for me, which suddenly illuminates the face or manifests itself in a stormy movement. She is in all of my painting. The place occupied by the objects, the gaps between them, their relationship is what matters. The composition is the ability to decoratively distribute different elements of the picture to express their feelings. Henri Matisse

The significance of the artist is measured by the number of new signs that it introduces into the plastic language. Henri Matisse

Each part of the picture plays its role, main or secondary. All that is not needed in the picture harm her. The work should be the harmony of all parts; Excessive detail may take something significant in the mind of the viewer. Henri Matisse

The main task of the color is to serve expressiveness. Henri Matisse

The most important thing for me is the idea. From the very beginning it is necessary to have a clear idea of \u200b\u200bthe whole. Henri Matisse

Accuracy is still not true (about painting). Henri Matisse

The experience is knowledge of a single, and art - knowledge of general. Aristotle

In front of the picture, everyone should stand just like in front of the king, waiting for him whether she will say something and what exactly will say, and both with the king, and with the picture he does not dare to talk first, otherwise he will hear himself only. Arthur Shopenhauer

Art requires knowledge. Bertold Brecht

Unmistakable sign that something is not art or someone does not understand art, is boredom. Bertolt Brecht

In painting who, having drawn his face, adds something else, he makes a picture, and not a portrait. Blaise Pascal

Through beautiful - to humane. Vasily Alexandrovich Sukhomlinsky

Creating a work is the universe. Vasily Kandinsky

Simplicity, true and naturalness - these are the three main signs of the Great. Victor Hugo

Art without thought that a man without soul is a corpse. Vissarion Grigorievich Belinsky

Disadvantages are always where creativity ends and work begins. Vissarion Grigorievich Belinsky

If science has a memory of the mind, the art is memory of feelings. Vladimir Alekseevich Soloohin

By depicting anything, we take a huge responsibility - to understand nature and portray it is possible. Vladimir Andreevich Favorsky

Portraitist who does not want to more express in the portrait character, personality history, - what is this portrait, what kind of artist is it, where is he doing? Vladimir Vasilyevich Stasov

It is only an art that answers valid feelings and thoughts, and does not serve as sweet dessert, without which you can do. Vladimir Vasilyevich Stasov

In art, all, the material is worth nothing. Heinrich Heine

Art has its task to disclose the truth in sensual form. Georg Wilhelm Friedrich Hegel

Art wins, turning away from vulgarity. Georgy Plekhanov

Painting is a passionate silence. Gustave Moro.

Sky through the branches, it is pearls and precious stones. Gustave Moro.

Color must be thought out, inspired, was donated. Gustave Moro.

Landscape from artists - usually this is a dish with spinach. Gustave Flaubert

The artist must be present in his work, like God in the Universe: to be omnipresent and invisible. Gustave Flaubert

Neither art nor wisdom can be achieved if they do not learn. Democritus

At that moment, when the artist thinks about money, he loses the feeling of beautiful. Denis Didro

Art is to find extraordinary in common and ordinary in unusual. Denis Didro

The country in which they would teach to draw in the same way as learning to read and write, would soon exceed all the other countries in all arts, sciences and skills of Deni Didro

Art only then on a proper place when it is subordinated to the benefits. His task - to teach lovingly; And it is shameful when it is only nice to people, and does not help them open the truth. John Reskin.

When love and skill connected, you can expect a masterpiece. John Reskin.

The brush, the hand and palette are needed to draw, but the picture is created at all. Jean Sharden

Use paints, but they write feelings. Jean Sharden

It does not matter where you take - it is important where (about creativity). Jean-Luke Godar

The one who has imagination, but no knowledge, has wings, but has no legs. Joseph Juber.

Science soothes, the art exists in order not to give to calm down. Georges marriage

Serious art, as well as a serious deal, requires all life. Ivan Alexandrovich Goncharov

In every product of art, great or small, right up to the smallest, everything comes down to the concept. Johann Wolfgang Goethe

Art is a mirror where everyone sees himself. Johann Wolfgang Goethe

Art is an intermediary of what cannot be expressed. Johann Wolfgang Goethe

Each artist has courage, without which talent is not thought. Johann Wolfgang Goethe

The poet - the rule of inspiration. He must command them. Johann Wolfgang Goethe

Technique in combination with vulgarity - the most terrible enemy of art. Johann Wolfgang Goethe

It is precisely because genuine art tends to something real and objective, it cannot be satisfied only by the visibility of the truth. Johann Friedrich Schiller

Bad paintings are mostly bad because they are poorly written, they are badly written because they are badly conceived. Johannes Robert Becher

Laws and theories are good in the situation of uncertainty. At the moments of inspiration, the tasks are allowed intuitively, by themselves. Johannes Iten

It is not necessary to copy the nature, but you need to feel its essence and free from accidents. Isaac Levitan

I never hurry to go to detail. Camille Coro

If you want to enjoy the art, then you should be an artistic person. Karl Marx

The picture is a poem without words. Quint Horace Flacc

The task of art is to worry the hearts. Claude Adrian Gelving

The artist's work is to give rise to joy. Konstantin Georgievich Powesty

No art without experience. Konstantin Sergeevich Stanislavsky

Simplicity, true and naturalness are the three great principles of the beautiful in all works of art. Christoph Glitch

Where thought does not work with her hand, there is no artist there. Where the Spirit does not drive the artist's hand, there is no art. Leonardo da Vinci

The painter, senselessly handling, guided by the practice and judgment, is like a mirror, which reflects all the opposite items, not possessing their knowledge. Leonardo da Vinci

Painting is a poetry that they see, and poetry is a painting that hear. Leonardo da Vinci

There are three varieties of people: those who sees; Those who sees when they are shown; And those who do not see. Leonardo da Vinci

A genuine artist is deprived of vanity, he understands too well that art is infinite. Ludwig van Beethoven

In the plan hidden talent, performed - art. Maria Ebner-Eschenbach

All arts are in the study of truth. Mark Tuly Ciceroon

Painting jealous and demands a person to belong to her entire entirely. Michelangelo Buonarroti

Without a sense of modernity, the artist will remain unrecognized. Mikhail Mikhailovich Svtain

The Creator God created a man in his image and likeness, that is, the Creator, and called him to his free creativity, and not to formal obedience to his strength. Free creativity is the answer of the creator on the great call of the Creator. And a creative feat of a person is the execution of a hidden will of the Creator, which requires a free creative act. Nikolay Berdyaev

Art seeks certainly good, positively or negative: whether it gives us the beauty of all the best that neither is in man, or laughs over the disgrace of the worst in man. If you put all the rubbish, what nor in man, and put it in such a way that everyone from the audience will receive a complete disgust for her, I ask: is it no longer praised everything is good? I ask: didn't it praise good? Nikolay Gogol

Art soften the morals. Ovidi

In essence, there is no wonderful style, nor a beautiful line, nor beautiful color, the only beauty is true,
which becomes visible. Auguste Roden.

The task of art is not to copy nature, but to express it. We must grab the mind, meaning, appearance of things and creatures. Honore de Balzac

Art is clothing nation. Honore de Balzac

True nature cannot be and never be true art. Honore de Balzac

Art reflects not life, but the viewer. Oscar Wilde

Art does not depict the visible, but makes it visible. Paul Klee.

To be truly good, a person must have a living imagination, he must be able to imagine himself in place of another. Imagination is the best instrument of moral improvement. Percy Shelly

The student copies not from the imitation, and from the desire to join the secret of the image. Peter Miturich

Inspiration is such a guest that does not like to visit the lazy. Peter Tchaikovsky

Creations of sensible shall with the creations of frantic. Plato

Even the most familiar thing for the eye is completely changing when we are trying to draw it: we notice that they did not know him that he had never seen him, in essence. Paul Valerie

Painting allows you to see things as they were once when they looked at them with love. Paul Valerie

The artist has two things: eye and brain, and they must help each other, you need to work to develop them: Eye - its vision of nature, the brain is the logic of organized impressions that give means of expression. Paul Cesanne

Art, it is a corner of nature, visible through a certain temperament. Paul Cesanne

It is impossible to separate the drawing and color; As you write, draw, the more harmonious color becomes, the more specifically the drawing becomes. When the color is given in its wealth of paints, the form is manifested in its fullness.

Contrasts and tones ratio are the secret of the drawing and model. Paul Cesanne

No art without exercise, and exercises without art. PROTAGOR.

No enthusiasm in art does not create anything real. Robert Schuman

Send light into the depths of the human heart - here is the appointment of the artist. Robert Schuman

The highest goal that art can serve is the ability to make people deeper than life and loved her more. Rockwell Kent.

Mount the artist who seeks to show his talent, and not his picture. Romain Rolland

Art deserves honors and love only if it is truly humane and appeals to all decisively people, and not to one pile of pedants. Romain Rolland

The artist thinks the drawing. Salvador Dali

Arts are useful only if they develop the mind, and do not distract it. Seneca Lucii Anne (Junior)

In some sources, the inspiration of the muses wash their feet. Stanislav Hezhi Lts.

There are no new directions in art, there is one - from a person to a person. Stanislav Hezhi Lts.

Our imagination is transferred not to pleasure to pleasure, but from hope to hope. Samuel Johnson

Do not colors make the shapes beautiful, but a good picture. Titian Veverielio

Inspiration gives an image, but does not dress it. Federico Garcia Lorka

Imagination - synonymous ability to discover. Federico Garcia Lorka

Without fantasy there is no art as not and science. Ferrenz Leaf

In all kinds of art, it is necessary to experience those sensations that you want to call in others. Frederick de Standal

I have never separated an artist from the thinker, as I can not separate the artistic form from artistic thought. Frederick de Standal

Architecture is frozen music. Friedrich Shelling

Painting those who study with me is lively, and those who imitate me - lifeless, dead. Qi Bay-Shi

If we take a look at the situation around us, whether it is a landscape or interior, we note that there is a peculiar connection between things that appear to our eyes, created by the atmosphere and various reflections of light, which, so to speak, involve every subject in some common Harmony. Eugene Delacroa

Painting is non-libly art, and in this, in my opinion, her considerable dignity. Eugene Delacroa

Laziness, of course, the greatest interference to the development of our abilities. Eugene Delacroa

The biggest triumph of the artist is if he makes thinking and feel those who are capable of it. Eugene Delacroa

The most stubborn realist is still forced by passing nature, resort to the known conventions of the composition or manners. If we talk about the composition, then it cannot just take a separate piece or even a few pieces and make a picture of this. It is necessary to put an idea into it in order to present the viewer something more than a random connection of non-interconnected parts, without this there would be no art. Eugene Delacroa

Talent is nothing more than a gift to generalize and choose. Eugene Delacroa

Ability to convey the whole - the main sign of a true artist. Eugene Delacroa

The habit of accurately draw, what we see gives the appropriate ability to accurately draw what we think ... Joshua Reynolds

The concept of "art" is known to everyone. It surrounds us throughout life. Art plays a big role in the development of mankind. It appeared long before creating writing. From our article you can learn about the role and tasks.

What is art? general information

The concept of "art" is quite multifaceted. Usually under it implies a branch of human activity that can satisfy one spiritual need, namely, love for the beautiful. Art is a special form of public consciousness. It is it that is an artistic reflection of human life. Thanks to him, it can be found out how people lived at another time interval.

The very first author, who revealed the concept of "art," was Charles Batu. He created a whole treatise in which it classified this branch of human activity. His book "Fine Arts, Ministed to one principle" was published in 1746. Charles Batya believes that they can be determined by several criteria. The author is sure that art brings pleasure, and it also has a spiritual, not a physical character.

The concept of "art" includes painting, music, poetry, architecture and much more, with which we are confronted daily. Any type of artistic activity is distinguished by certain positive qualities. Each art sector has a special way to reproduce reality and artistic tasks. All types of artistic activities are divided into childbirth and genres.
Usually art is divided into three groups:

• tonic (music and poetry);
• shaped (architecture, painting and sculpture);
• mixed (choreography, acting skills, oratory and others).

There are a variety of arts:

• spatial, in which, thanks to the construction, the visible image (sculpture, architecture) is revealed;
• temporary, in which the value acquires a real-time composition (poetry, music);
• spatio-temporary - spectacular art (circus performance, cinema, choreography).

Graphics

The art of graphics is a form that includes drawing and printed graphics of images (engraving, mining and other). Its expressive means - contour, barcode, background and stain. It is known that this is the most popular appearance of the visual art. According to its content and shape of the graph, there has a lot in common with painting.

The engraving is a type of graphics in which the picture is a printed print. Apply it to a special engraver. The engraving can be depicted on metal, wood and linoleum.

Another popular form of graphics is a special way of flat printing, in which the surface of the stone serves as a printed form. This species was invented in 1798. The image on the stone is applied using a special carcass or pencil.

The art of graphics is the oldest of all existing. The first images exist since the times of Neolithic and the Bronze Age. Our ancestors scratched the drawing on the walls of the caves and rocks. After some time, the images were applied to weapons and household items. After writing appeared, the schedule was used in the design of letters, books and letters.

Methods for copying drawings over the years have been unknown. That is why all the images were created in a single instance. It is no secret that today such graphics drawings are in demand from collectors.

In the middle of the 20th century, experts began to develop the technique of black and white graphics. More than 20 graphical invoices were created. Educational benefits were published. Today graphics occupies a leading place in art.

Bento

Bento is unusual art for children and adults. It is no secret that many parents do not know how to teach their child to healthy nutrition. Today there are a large selection of harmful and even hazardous food on the shelves. A new kind of art can come to the rescue - Bento. It appeared in China. In such a term, the Chinese call the food that they are spinning in special boxes and take with them to study or work. Bento is a work of art that can be eaten. Talented housewives and cooks create figures from food and small pictures. The main difference of such food is balancedness and the presence of a large number of vitamins. The Chinese create an edible work of art only from useful food.

Bento is an art for children and adults, thanks to which the child will gladly eat useful products. It is not so popular with us, but there are already several masters who have mastered this technique.

Effect of art on the consciousness and life of the child. How to explain to the child modern works of art activities?

Art plays an important role in the child's life and the development of his personality. Today, absolutely every person must have at least basic knowledge of this or that field of activity. The Company is developing rapidly, and therefore each person must be multifaceted. Many modern parents try to make love for art as early as possible. For this, a considerable number of education techniques that can be used from the first months of the child's life has been developed.

The concept of art types The child gets even at school. Usually parents, teachers and caregivers pay a lot of attention to writing, reading, account and other subjects for which the left hemisphere of the brain is responsible. For the development of the right, you will need to engage in music, dancing and other arts. It is important to develop both hemispheres of the brain in order to continue to become a fully formed personality.

Due to the mastering of art in a child:

• personality is formed;
• increases the level of intellectual potential;
• mathematical guidelines are formed;
• the ability of creative thinking;
• self-confidence appears and self-esteem increases;
• memory and attention develops;
• the horizons are expanding.

In order to introduce a child with art, it is primarily important to organize a zone in which all the materials necessary for creative activity will be stored. You will need to have some books about art. From early childhood, a child needs to read them. It is important to discuss everything learned. To get acquainted with the art, you will need at least once a month to visit Museums, galleries, theaters and exhibitions with the child. In no case should not throw drawings, appliques and crafts created by the hands of children. Thanks to them you can see the creative growth of the child. It is also important to write it as early as possible to the thematic circle, the classes in which will give him the soul.

Some works of contemporary art cause bewilderment from not only children, but also adults. Often, one or another child does not understand the architecture that was designed by modernists. It is important to explain to the schoolboy that any work of art is an important stage in the development of mankind.

Many questions in children cause abstract paintings. There is a considerable number of special publications, thanks to which parents can show the child how hard to create a similar artistic work. One of them is "Himself Kandinsky."

Often children are interested, is it possible to compare modern and primitive art? This and more you can find out in our article.

Art. HISTORY OF HIS DEVELOPMENT IN RUSSIA

A large number of diverse art types are known. Each of them has its own characteristics and advantages. What is visual art, almost everyone knows. He introduced children even at an early age.

This kind of artistic activity, thanks to which a master can reproduce the world with the help of special means. His story in Russia is divided into two periods, whose border denoted Petrovsky reforms. It was closely related to icon. Icons had their own kind of artistic style. The purpose of such works of arts is to show prayer collens and peacefulness in communicating with God. This is exactly what the presence of some artistic funds in the icons. Over time, the masters mastered the schools of iconography. The most famous work is considered the "Trinity" A. Rublev. Icons of the 15-16th centuries are characterized by harmony of paints.

In the 17th century, the icons of the "Fryazhsky Letters" were popular. They are characterized by elements of Western European painting, namely oil paints, like black and white modeling, the accurateness of people and nature. Interest in the icon as the work of art occurs only in the 19th century.

Ancient Russian sculpture existed in the form of a thread on stone and a tree. Most often, the masters depicted images of the saints. Special attention was paid to facial. In the 18th-19 centuries, sculptors and painters from other countries were in demand. After some time, domestic masters became popular.

In the 18th century, it becomes the most popular becomes characterized by the severity of the pattern, the convention of the flavor and the use of plots from the Bible and mythology. So, national art gradually emerged.

In 1860-1880, the first galleries are opening up, and domestic masters become famous worldwide. Gradually arise new directions. Each of them occupied an important place in the formation of cultural heritage. In the 18th-19 centuries, humanity not only knew that such visual arts, but also actively used it.

Themes disclosed in art

Surprisingly, all the themes and problems that reveal the masters in their artworks are relevant over the centuries. Ancient Romans argued that art, unlike human life, forever. It is no coincidence. Topics in art highlight public problems that are often found today. That is why they constitute a huge value for humanity. The masters often reveal in his works the theme of love, nature and friendship.

Over time, directions in art are changing and new masters appear, but the themes and images remain unchanged. That is why any work remains relevant over the years.

Art and his role

The role of art in the life of society is invaluable. It is based on the artistic and figurative reflection of reality. Art forms the spiritual appearance of people, their feelings, thoughts and worldview. The figurative recreation of reality creates our personality. Art helps to develop and self-improvement. And also know the world and yourself.

Art is a cultural heritage. Thanks to artwork, it is possible to find out how people lived at a time or another. Recently, various art techniques have specially popularity. Thanks to art, you can learn to control yourself. Creating an art object, you can forget about problems and get rid of depression.

Art and his tasks

Maxim Gorky believed that the tasks of art consist in moral and aesthetic assessment of all essential phenomena. The writer said that due to this you can learn to understand yourself, fight vulgarity, be able to understand people and find something good in them. Today there are three functions of artistic activities. The tasks of art are to research, journalism and enlightenment. The masters believe that the function of artistic activity is to carry a beautiful in the souls and hearts of people. Nikolai Vasilyevich Gogol argued that the task of art lies in the image of reality.

Modern and primitive art

Many are interested, at first glance, it is impossible. However, it is not. If you perceive art as a way of self-expression, then modern, and the primitive is in the same plane. Comparing them, you can understand how the perception of a person has changed.

Human thinking has become more abstract. This indicates the active development of intelligence. Over time, a person has changed priorities and today perceives life not as primitive ancestors. Previously, masters were interested in the appearance of the subject and his form, and now emotions are occupied by the main role in the works. Such a difference exists from the end of the 19th century.

Let's sum up

It is important from an early age to develop not only the left, but also the right hemisphere of the brain. To do this, you need to do art. It is especially important to pay due attention to the creative development of the child. We strongly recommend doing this from the first years of his life. Not everyone understands the role, tasks and types of art. Briefly described information in our article allows you to get basic knowledge about various artistic areas of activity.

The concept of art

Word " art" And in Russian, and in many other languages \u200b\u200bis used in two senses:

• in narrow the sense is the specific form of the practical spiritual development of the world;
• in wide - The highest level of skill, skills, regardless of which they appear in (the art of the cook, doctor, pekary, etc.).

- A special subsystem of the spiritual sphere of society, which is creative reproduction of reality in artistic images.

Initially, art called a high degree of skill in any matter. This meaning of the word is present in the language until now, when we are talking about the art of a doctor or teacher, about combat art or oratorical. Later, the concept of "art" became increasingly used to describe special activities aimed at reflection and transformation of the world in accordance with aesthetic standards. According to the laws of the beautiful. At the same time, the initial meaning of the word was preserved, as it takes the highest skill to create something excellent.

Subject The arts are peace and man in the aggregate of their relationship with each other.

Form of existence Art is an artistic work (poem, painting, play, film, etc.).

Art also uses special means for Real reality: For literature, this word, for music - sound, for fine art - color, for sculpture - volume.

purpose Dual arts: For the Creator, it is an artistic self-expression, for the viewer - the pleasure of beauty. In general, beauty is as closely connected with art as truth with science and good - with morality.

Art is an important component of the spiritual culture of mankind, the form of knowledge and reflection of the environment of reality. According to the potential of reflection and the transformation of reality, art is not inferior to science. However, the ways of understanding the world by science and art are different: if science uses strict and unequivocal concepts for this, then art.

Art as independent and as a branch of spiritual production grown out of the production of material, it was originally woven into it as aesthetic, but a purely utilitarian moment. By nature, the artist, and he everywhere else or else seeks to make beauty. The aesthetic activity of a person is constantly manifested in, everyday life, social life, and not only in art. Occurs aesthetic development of the world Public man.

Functions of art

Art performs a number public features.

Functions of art You can highlight, summarizing said:

• aesthetic function Allows reproducing validity according to the laws of beauty, forms aesthetic taste;
• social function It manifests itself in that art has an ideological impact on society, thereby transforming social reality;
• compensatory function allows you to restore sincere equilibrium, solve psychological problems, "escape" for a time of gray everyday life, compensate for the lack of beauty and harmony in everyday life;
• hedonistic function reflects the ability of art to enjoy a person;
• cognitive function Allows you to learn reality and analyze it using artistic images;
• prognostic function reflects the ability of art to build forecasts and predict the future;
• educational function It is manifested in the ability of works of art to form a person's personality.

Cognitive function

First of all, it cognitive function. Works of art are valuable sources of information about complex social processes.

Of course, not everything in the surrounding world is interested in art, and if you are interested, then in different degrees, and the art approach itself to the object of its knowledge, the aid of his vision is very specific compared to other forms of public consciousness. The main object of knowledge in art has always been and remains. That is why art as a whole and, in particular, fiction referred to a person.

Educational function

Educational The function is the ability to have an important impact on the ideological and moral formation of a person, it is self-improvement or a fall.

Nevertheless, cognitive and educational functions are not specific for art: other forms of public consciousness also perform these functions.

Aesthetic function

The specific function of art that makes it art in the true sense of the word is his aesthetic function.

Perceiving and comprehending the artwork, we do not just assimilate its content (like the content of physics, biology, mathematics), but we skip this content through the heart, emotions, we give sensual-specific images created by the artist, aesthetic assessment as beautiful or ugly, elevated or lowlands , tragic or comic. Art forms in us the ability to give such aesthetic estimates, to distinguish with a truly beautiful and sublime from all sorts of Erzatsians.

Hedonistic function

Cognitive, educational and aesthetic merged in art. Thanks to the aesthetic moment, we enjoy the content of the artistic work and it is in the process of pleasure that we educate and bring up. In this regard, talk about gedonistic (Translated from Greek - pleasure) functions art.

Many centuries in socio-philosophical and aesthetic literature continues a dispute about the ratio of beautiful in art and reality. At the same time, two main positions are detected. According to one of them (in Russia, I was supported by N. G. Chernyshevsky) The beautiful in life is always always in all respects above the beautiful in art. In the body of the case, art appears copies with the typical characters and items of reality itself and the surrogate of reality. It is preferable to obviously an alternative concept (G. V. F. Hegel, A. I. Herzen, etc.): Beautiful in art above the beautiful in life, as the artist sees more precisely and deeper, feels more and brighter and that is why he can inspire his The art of others. Otherwise (being surrogate or even duplicate) art would not need to society.

Works of art, Being the subject embodiment of human genius, become the most important spiritual and values \u200b\u200btransmitted from generation to generation, the property of aesthetic society. Mastering the culture, aesthetic education is impossible without admission to art. In the works of the art of past centuries, the spiritual world of thousands of generations is captured, without the development of which a person cannot become a person in the true meaning of this word. Each person is a kind of bridge between the past and the future. He must master what he left him the past generation, creatively comprehend his spiritual experience, understand his thoughts, feelings, joy and suffering, upshots and falls and convey all this to descendants. Only this is how the story moves, and in this movement it belongs to art, expressing the complexity and wealth of the spiritual world of man.

Kinds of art

The primary form of art was special syncretical (abused) complex of creative activity. For a primitive person, there was no separate music, or literature, or theater. Everything was merged together in a single ritual act. Later, individual types of art began to stand out from this syncretic act.

Kinds of art - It is the historically established forms of the artistic reflection of the world who use special tools to build an image - sound, color, television, word, etc. In each of the art types there are their special types - childbirth and genres, which together provide a variety of artistic attitude to reality. Briefly consider the main types of art and some of their varieties.

Literature Uses verbal and writing tools for building images. There are three main sorts of literature - drama, epos and lyrics and numerous genres - tragedy, comedy, novel, story, poem, elegy, story, essay, fellow, etc.

Music Uses sound tools. Music is divided into vocal (intended for singing) and instrumental. Music genres - Opera, Symphony, Overture, Suite, Romance, Sonata, etc.

Dance Uses plastic movements to build images. Allocate ritual, folk, ballrooms,

modern dances, ballet. Dance directions and styles - Waltz, Tango, Foxtrot, Samba, Polonaise, etc.

Painting Displays reality on plane with color tools. Painting genres - portrait, still life, landscape, and household, animalistic (image of animals), historic genres.

Architecture Forms a spatial environment in the form of structures and buildings for a person's life. It is divided into residential, public, garden and parking, industrial, etc. Also the architectural styles - Gothic, Barochko, Rococo, Modern, Classicism, etc.

Sculpture Creates artworks having a volume and three-dimensional form. Sculpture is round (bust, statue) and embossed (convex image). The size is divided into machine, decorative and monumental.

Decorative and applied art associated with applied needs. This includes art items that can be used in everyday life - dishes, fabrics, tools, furniture, furniture, decorations, etc.

Theatre Organizes a special stage action by playing actors. The theater can be dramatic, opera, doll, etc.

The circus Represents spectacular and entertainment with unusual, risky and funny numbers on a special arena. These are acrobatics, equilibristics, gymnastics, djigitovka, juggling, focuses, pantomime, clownade, animal training, and so on.

Movie It is the development of theatrical act on the basis of modern technical audiovisual funds. Types of cinema include playing, documentary cinema, animation. According to genres, they allocate filmcomy, drama, melodramas, adventure films, detectives, thrillers, etc.

The photo Fixes documentary visual images with technical means - optical and chemical or digital. Genres of photography correspond to the genres of painting.

Stage Includes small shapes of scenic art - diamature, music, choreography, illusions, circus numbers, original performances, etc.

You can add graphics, radio complishes to the listed art types, etc.

In order to show the general features of different types of art and their differences, various reasons are proposed for their classification. So, highlight arts:

• by the number of funds used - simple (painting, sculpture, poetry, music) and complex, or synthetic (ballet, theater, cinema);
• by the ratio of art and reality - visual, depicting reality, copying CE, (realistic painting, sculpture, photography), and expressive, where fantasy and imagination of the artist are creating a new reality (ornament, music);
• in relation to space and time - spatial (visual art, sculpture, architecture), temporary (literature, music) and space-temporary (theater, movies);
• by the time of emergence - traditional (poetry, dance, music) and new (photography, cinema, television, video), usually use enough complex technical means to build an image;
• according to the degree of applicability in everyday life - applied (decorative and applied art) and elegant (music, dance).

Each type, genus or genre displays a special side or a face of human life, but collected together, these components of art give a comprehensive artistic picture of the world.

The need for artistic creativity or enjoyment of artwork increases with the growth of human cultural level. Art becomes the more more necessary, the further the person comes from an animal state.

1. Problem-probable dynamics, or opportunity.

However, it is not necessary to get involved in only one formation and only one action that differs from the subject of art from the subject of science. It is necessary to remember all the time that in the field of art we have a case not just with action as with the organic structure of becoming, but that itself, the very formation arose here in Aristotle as a result of opposition to the categorical reasoning (as well as a logical necessity) is exactly the problematic possibility. Only taking this opportunity in the area of \u200b\u200bpure minds in the aspect of an organically inherent in it becoming both solid possibilities, we first get a more or less complete picture of the subject of art.

Aristotle writes: "... the challenge of the poet is not to talk about what happened (Ta Genomena), but about what could happen, about the possibility of probability or need" (Poet. 9, 1451 A 36 - B 1). So, Aristotle once it has broken with the subject of art, as with actual reality. Naked facts, taken by themselves, are not interested in the poet. He is interested in the fact that he is not perceived by itself, but as a source of other possible items and representations, or, as we would say, the art image is always symbolic or rather expressively symbolic Always indicates something else and calls to another.

Thoughts of Aristotle in this regard sound quite categorically:

"The historian 158 and the poet differ not by the fact that one speaks verses, and another prose. After all, the compositions of Herodota could be shifted into poems, and yet it would be the same story in meters, as without meters. The difference is, That one tells about what happened (Ta Genomena), the other - about what could happen "(B 1-6).

2. The generalized nature of this feature.

Finally, according to Aristotle, it is impossible that an artistic subject that he declared only one opportunity to somehow decrease - and with regard to community and in relation to the persuasive image. It would be possible to think that if the artist was prescribed to portray not what is, but what could be, the artist would have unleashed hands with respect to the image of anything. No, this can not be in any way, because we will not forget that the entire area of \u200b\u200bthe possibility is taken by all of the same theoretical mind that always operates only with shared categories.

"Poetry contains more philosophical and serious element than history: it represents more general And history - private. The general consists in the image of what you have to talk or do by probability or by the need to a person who has those or other qualities. Poetry seeks to this, giving names to those acting. And private, - for example, what did Alkiviad, or what happened to him "(B 6-12).

3. Fashionable art.

It is important to note here that the possible, about which art interprets is always characterized by some names. Now we would say otherwise. After all, it was still fundamentally dealt with only a clean, or theoretical reason, which acts with the help of general categories. But after all, the work of art is not just a system of logical categories. It is always a picture of certain persons with their names and certain actions Which with these persons occur. About the action Aristotle has already said, but he has not yet said about the heroes of the artistic work. And only now he says that the artwork always operates with those or others. names That is, with those or other heroes wearing certain names. If the Comedy is important in the advantage of the Fabul itself, and the names may be anywhere, and if there are names in the yambridge, but it is not depicted (B 12-15), it is quite different about the tragedy, where it is also given a certain phabula Myth, that is, a certain set of actions, and give "names", that is, the heroes wearing certain names belonging to them, and since mythology refers to the past, then the question of its actual reality is no longer raised. Once something was, it means that it could be; And therefore the tragedy completely satisfies the artistic principle of the possibility, not to mention its persuasive, arising from here, and, consequently, about her peculiar realism, not only not contradictory the principle of possibility, but it is most brightly carrying it out.

Here is what we read from Aristotle about this:

"In the tragedy adhere to names taken from the past. The reason for this is that it is possible [that is, in this case, the incident] causes confidence in the possibility of what has not yet happened, we do not believe; but what happened is obviously maybe since it would not have happened if it were not possible. However, in some tragedies, only one or two known name is found, while others are fictional as, for example, in the "flower" of Agafon. In this work the same fictional and Events and names, but still it gives pleasure "(B 15-23).

It is important here not only the latitude of the artistic horizon of Aristotle, but it is important here and the fact that among these arguments about the integrity, generality, peculiar realism of the mythological image, he does not forget to say also relative to the tragedy of pleasure (Eyphraifiein, or, or rather, would be translated, "joy ").

In conclusion, Aristotle emphasizes again nonphactarity artistic work, namely his making, manufacture, creative descriptive, its virtuoso image, which, according to aristotle, is always carried out by its effective creation:

"You should not necessarily put your task to adhere to the myths preserved by the legend, in the area of \u200b\u200bwhich the tragedy rotates. Yes, and it is funny to achieve it, since even the famous known to be a little, and meanwhile gives pleasure to everyone. Of this it is clear that the poet must be more Creator Fabul, than meters, since he is the Creator is inspired because it reproduces, and he reproduces actions. Even if he has to portray real events, he is still a creator, since nothing prevents some valid events to have probabilities and opportunities. That's why He is their creator "(B 23-33).

4. Expression as aesthetic chosenness of the art object.

Now, finally, we approached the Aristotelian understanding of the art as a sphere of expression. After all, it is done here that it is clear that this kind of the theory of the artistic subject, designed not just for the content, but on the virtuoso design of any content that besides the specific pleasure is just aesthetic expressions When it is not important that objectively exists, and not what is fictitious in the order of subjective arbitrariness, but the virtuosity of the expression itself and the specific pleasure associated with it.

but) In the last of the previous quotes, we were convinced that Aristotle although very loved by the well-known mythological plots, nevertheless believed that the artwork was not dependent on these well-known and understandable plots. The stories can be completely unknown to the public and completely incomprehensible in their novelty, and nevertheless, the public can receive aesthetic pleasure from these plots. And why? Because for Aristotle in the artistic work, it is important not "that", but "as", or rather, the full fusion of both in one expressive and thereby convincing formal-structural imagery. Below we will see how Aristotle and the origin of art determines the natural tendency of a person to "imitation", that is, to the creative reconciliation of everything around him, and to obtain pleasure from such imitation.

b) Now we will give a very interesting reasoning of Aristotle in "Politics":

"Children should be trained by generalized subjects not only in the interests of the benefit received from this, such, for example, learning, but also because, thanks to this training, it is possible to inform them a number of other information. This is the case with drawing: We are studying not in order not to fall in a mistake in your own deeds or not to undergo deception with a purchase or sale of homemade utensils, but drawing is studying because it develops eyes when determining physical beauty. In general, it is only less prior to search for only one benefit People of high mental qualities and freebies "(VIII 3, 1388 A 37 - 1388 B 4).

In other words, an artistic subject, according to Aristotle, in the same way and is vital and vital. Art is a completely specific area where neither "yes" says, nor "no", and nevertheless it is always the sphere of possible statements and denials. This is the sphere of expressive formation-actions. This is especially different Music (Polit. VIII 4-5), as we will make sure of this below when considering the creature of music and musical education.

in) That the beautiful generally above is simply physical, it can be seen from the aristotle's reasoning (Ethic. Nic. III 12) that for a fist soldier I am pleased to get a wreath and honors, but it hurts the blows during the struggle, and courageous acts are committed for the sake of excellent purpose and for avoiding Shame, although wounds and death do not at all represent something beautiful or pleasant. Aristotle wants to say here that beautiful effectively, but not in the sense of purely physical.

"In the works of art, perfection (to EY) lies with themselves, and it is enough for these works to appear according to the rules lying in the art" (II 3, 1105 A 27-28).

"Therefore, art can not be criticized because it depicts the wrong, impossible or incredible items. Of course, it would be better if all the arts depicted in art would be objectively correct, and objectively possible, and objectively probable, but if, for example, depicted A horse with two right legs put forward, the criticizing painter for it criticizes not the art of painting at all, but only the inconsistency of its reality. The art image may even be objectively impossible. However, it is preferable to the poetry, but probable, which is possible, but incredible "(Poet. 25, 1460 B 6 - 1461 A 9; 11-12).

The virtuoso structural structure of the artwork Aristotle assumes and then when appreciated in the tragedy the most connection between events, that is, what he calls the "myth", and not the most events. For example, tragedy, according to Aristotle, it is possible even without an image of characters, but it is not possible without decompressed and clearly pronounced events. This also applies to all other arts.

"Without the action of the tragedy, it is impossible, and without character possible" (6, 1450 A 24-25). "The same is noticed among artists, for example, if you compare Zevxid with a polygnot: a good characteristic painter, and the letter of Zevxid has nothing characteristic" (and 27-29). "If someone is slightly connecting the characteristic sayings and beautiful words and thoughts, he will not fulfill the tasks of the tragedy, and much more will reach her tragedy, although it used to leisurely to a lesser extent, but having a fabul and proper composition of events" (A 29-33).

Consequently, the artistic meaning of the tragedy is only as part of the incident, that is, in its very structure, and not in the incidents as such. This happens in painting.

"If someone widespread the best paints in disorder, he cannot even deliver such pleasure as the drawing with chalk" (and 33-36).

5. Philosophical substantiation of structural self-conformity of art.

Unfortunately, at the moment we cannot for a lack of place to bring completely the philosophical substantiation of the structural nature of the artistic, which is actually in Aristotle. The first treatise, which follows in the "Organon" for "categories", is called "about interpretation". The fact is that in addition to being taken in itself, there is always one or another interpretation for a person, a particular interpretation of his interpretation. This interpretation is, of course, and in relation to the entire space, taken as a whole. But such an interpretation of the cosmos, as we know well, is a cosmic mind for Aristotle. In the mentioned treatise Aristotle protects the rights of human interpretation of being in the face of being. Interpretation has a specific nature: not all that truly in being very, is true and in thinking; And the most contradiction that Aristotle prohibits for being, quite possible in thinking. So, "be" and "not to be" is an unacceptable contradiction. However, in thinking, in addition to real and categorical modality, there are also other modalities in respect of which it makes no sense to talk about truth or lies. Such is the entire sphere of possible being. It cannot be said about him that it is true, since it is not yet, nor the fact that it is false, since it is not yet allegedly approved. And especially striking is in this treatise that Aristotle sends us precisely to the poetics and rhetoric to consider this kind of being for whom nothing is approved and is not negotiated.

Aristotle writes:

"Not any question concludes [judgment], but only the one in which the truth or the falsity of anything, for example," Wish "(Eyche) is a speech, but not true or false. The rest of the speech are released here, For the study of them more enlightens rhetoric or poetics; only judgment (Logos Apophanticos) refers to the present consideration "(De Interpret. 4, 17 A 2-7).

Thus, the impossibility of using positive or negative judgments to art is proved by Aristotle in one of the most important treatises of its theoretical philosophy. Artistic being and is not there. It is only an opportunity, only problemability, only aquality and charge, but not a system of judgment on being, positive or negative. It only has expressiveness itself, and nothing else.

All of the above judgments from Aristotle and Aristotle can in the eyes of others to reduce all the teachings of Aristotle about art to empty and non-delayed formalism. This would not at all understand the aesthetics of Aristotle. The fact is that all this artistic "opportunity", "neutrality" and generally specific modality represent themselves (and we talked about it many times) not a form, unlike the content, as, however, not the content without a form, but It is that the form and content are identified, in which they do not differ among themselves and what their being and their non-existence merge until complete indistinguishability. How can you then say that Aristotle is interested in art only with his forms and only among his structures?

The whole 17th chapter "Poetics" is devoted to the specific design of art.

"Tragedy," says Aristotle, "it should be written so that it is clearer all, more convincingly and that the components of her scenes were clearer. The fascinating of all those poets who are experiencing feelings of the same character. Worried the one who worries himself, and causes Anger is the one who is really angry. As a result, poetry is a lot of feet or richly gifted by nature, or prone to man faintness. The first is able to reincarnate, the second is to come to ecstasy "(17, 1455 A 30-34).

Where is the aristotle formalism when it is the very essence of the artistic work?

Above it is based on such "formal" categories of Aristotelian aesthetics, as "beginning", "mid" and "end". We have already tried to prove there that here the Aristotle does not formalism, but only plastic, the sculptural way of worldview. We now see that Aristotle speaks of the concept of the period and about the aesthetic pleasure that is obtained from us due to its structural orderliness:

"I call a period of the phrase that in itself has the beginning, the middle and the end and the size of which it is easy to vise. Such style is pleasant and understandable; it is pleasant, because it is the opposite of speech unfinished, and the listener always seems that he gras something And that something has been over for him; and nothing to predicate and do not come to anything - it is unpleasant. It is clear that this is what it is easily remembered, and this comes from the fact that periodic speech has a number, the number is easier to be easier. That's why everyone remembers poems better than prose, since poems have the number they are measured "(Rhet. III 9, 1409 A 35 - 1409 B 8).

I will ask here, where is the aristotle aesthetic formalism when evaluating works of art?

Aristotle as a moralist stands against all extremes and everywhere preaches the middle, moderation. But in relation to objects of art, he does not know any middle and no moderation.

"Moderation must be observed in the lower, bodily pleasures, but not in the pleasures of the color of paintings, from the hearing of musical works and from thin elegant smells." "We do not call neither moderate nor impotence to those enjoying vision, for example, flowers, or forms, or paintings, although, maybe there are normal pleasures for such people, and excessive and insufficient. The same should be said about Enjoying hearing: no one will name impressive people who are too enjoying melodies and theatrical ideas, and does not call moderate those who enjoy it in moderation. Does not call like fans of smells enjoying the fragrance of fruits, roses or smoking herbs "(Ethic. Nic. III 13, 1118 A 1-9).

It is impossible to call a formalistic such attitude to art when the possibility of "e who knows no dimension in colors and shapes, in painting, to music and even incense. The same infinity of aesthetic enjoyment, we also find the same in another treatise, and moreover, even in Even more detailed (ethic. EUD. III 2, 1230 B 31).

7. Danger of modernization of the teachings of Aristotle about art.

Overlooking all previous arts in Aristotle and trying to analyze them from the point of view of art specificity, we really encounter a number of surprises that are usually absent in the presentation of the aesthetics of Aristotle. The most difference between the dynamic being from pure being, many may cause bewilderment. After all, it turns out more and no less as the fact that the artistic being is not positive, nor negatively, that it does not say any "yes", nor "no" that it is existently neutral and that it eventually has its roots in the subjective Areas of a creative artist. It is very easy at the same time to be confused and put the aesthetics of Aristotle on one plane with the modern nihilistic idealistic forms of thought, which they found a vivid expression for themselves in the gnoseology of Mach and Avenarius. Apparently, the author who made so much did to illuminate the Aristotelian aesthetics and to consider it in the plane of modern European and American theories to consider it in the plane of modern European and American theories, - Tatarkevich 159. He swept a lot from Aristotle this, which goes beyond the limits of traditional understanding and presentation of Aristotle; He cites a lot of these texts from Aristotle, who also play a far from the last role (but only we have these texts many times more). The main thesis V. Tatarkevich is reduced to the fact that Aristotle allegedly taught about the neutral-tool sphere of art than he, according to this author, and sharply differs from all the ancient philosophy (excluding Cicero) and what he is certainly close to our modern day. We also gave the above developed teaching about the dynamically energetic nature of the mind in the philosophy of Aristotle and also led texts about the primacy of subjectivity over the objective being in the theory of art from Aristotle. However, the whole side of the aesthetics of Aristotle should not lean from us and everything else that we find in it.

If Aristotle really preached this kind of theory, then V. Tatarkevich would be absolutely right that Aristotle is not at all an antique, but modern theorist of art. But the closer study of Aristotle indicates that this "Mahist" element should be able to accurately and unconditionally unite with the oversaliant ontologism of Aristotle, and its specificity of the artistic work to unite with the oversaluant teachings on art, nature and being. The mind, about which Aristotle teaches, not only does not contradict this dynamically energy concept, but as we proved many times, here Aristotle had unconditional unity and no one ontologism from this did not suffer from this. For the actual characteristics of the case of the case, we will now go into the theoretical reasoning, which we have already withdrawn a lot of pages, and we will touch only two narrower questions, where it is most likely to observe the general tendency of Aristotle to a passive understanding of the human entity, despite The fact that, according to Aristotle, it is in the human subject that something needs to be called art is rooted.

but) If we wondered how such a first-class philosopher of antiquity, and with more than an exceptional encyclopedist, feels the entire internal element of art, we would be amazed by the lethargy and passivity of the respective installations. Aristotle here, too, as elsewhere in antiquity, the term Enthoysiasmos, "enthusiasm", which, however, is not enthusiasm in our sense, but rather some passionate excitement, affective inspiration. Aristotle and determines: "Enthusiasm is an affect of an ethical order in our psyche" (Polit. VIII 5, 1340 A 11-12), and Ethos, "Etos" here should be understood not in the sense of ethics, but as the French and the British in The new and the latest time understand the term "moral", that is, in a broad psychological sense. This enthusiasm, about which the philosopher interprets a lot of music in relation to music, is actually regarded by them very moderately and soberly. Enthusiasm, ecstasy, of course, is useful. About one insignificant poet, Marack Syracuse, Aristotle says (Probl. XXX 1, 954 A 38-39), that he would be the best poet if it was in ecstasy. " But Aristotle rejects all the extreme forms of enthusiasm, considering this disease. Such ecstasies, like Hercules, who interrupted their children, or Ajax, who killed sheep instead of atrides, possess for Aristotel by all signs of the disease. In the same treatise (and 36-38) is given purely physiological Explanation of ecstatic states. For example, Siviles and Bakids operate on the basis of painful predispositions from nature. Black bile, improper nutrition and other essence of this "enthusiasm". To such "melancholics", Aristotle also refers many philosophers, including EmPedocla, Socrates and Plato (953 A 27-32). Instead of these unnatural states, Aristotle gives very sound advice to writers, like the one that we find, for example, in the 17th chapter of "poetics":

"When drawing up myths and processing their language, it is necessary to represent events as close as possible in front of your own eyes. At the same time, the condition of the poet, seeing them perfectly and, as it were, attending them, can find a suitable and best notice the contradictions" (1455 A 22-26 ).

This is a very calm and sound advice, which makes questions about inspiration on very realistic and psychological soil.

b) The question is also realistic about fantasy. We find the traits of passivity in this sense and by Plato. Especially this is characteristic of Aristotle, who is trying to give a sober psychological analysis here. Under the influence of ecstasy, people often accept images of their own ideas for reality: "They say that the view images (Phantasmata) were really and that they recall them" (De Memor. 1, 450 b 10-11). In general, fantasy is much weaker than real sensory feelings. In rhet. I 11, 1370 A 28-29 Aristotle directly approves: "Presentation (Phantasia) There is some kind of a weak feeling." However, this passivity should not blame us another, very important side.

in) The fact is that Aristotle, objection by Plato on the issue of ideas, as we already know well, actually does not deny the existence of ideas, but only puts their immanent things, reality. This immanentism can not, on the other hand, to understand rudely. This leads only to the fact that the idea taken together with the thing gets more sophisticated semantic pattern, becomes expressive form Without ceasing to be a clean meaning. Here is the raidness of Aristotelian "Fileness", or "Forms", "Eidosa". We observe the same symbolism from Aristotle and in his psychology. His soul thinks as a clean form of the body, but it exists "Not without body" (DE AN. II 2, 414 A 5-22), being, consequently, the semantic expressiveness of the body (415 B 7-27). Sensual perception has clean Eidosa, but not without matter (417 b 28 - 418 A 6). The same teaching, finally, and relatively thinking. According to Aristotle, thinking is under the same conditions as sensual perception, that is, it is a persistent condition under the influence of thought (III 4, 429 A 13-15). But the very thought of exactly this is that it does not cause affection, and therefore the mind itself is, in fact, abides outside of suffering. It contains Eidosa, and there is a potency of all imaginable. As a thinking all, he does not contain any impurity. He is only the potency of completed thought. And he is completely not involved in the body, since otherwise he would be warm or cold and would have any organ. It - place Eidos, And moreover potential. Developed thinking creates already entelech thoughts; here - entelchy Eidosa (429 A 15 - B 10). But the mind is not only clean and actors. He is also suffering, because it is not always thinking. Since the mind is in itself, thinks himself, being independent of anything sensual, - he is a thought of thought, and therefore his expression Finding B. self-awareness (In this case, thinking and thought is identical, 430 A 3-5). Because he thinks other, as if Afhected from this other, he finds his expression in figuratively or, better in intuitively implemented through a special mental thinking representative.

It is repeated from Aristotle the same involuntary antinomy, which we can state in other problems: the soul is not a body, but not without a body; The feeling is not a move, but not without movement. In relation to the mind, Aristotle says directly: "Never thinks without a picture" (Aney Phantasmatos) (III 7, 431 A 16-17), and images contribute to the very "change", or, in our interpretation, "expression "What the corresponding light environment makes in color in general.

"The thinking start thinking Eidosa in images" (413 b 2).

"Since, according to general recognition, there is not a single thing that would exist separately from (its) sensually perceived values, then the thought is given in felt eidos, with both the so-called abstract items and those associated with states and Affects of felt objects. From here - nothing perceived sensually can not recognize anything or understand anything, and when he mentally contemplates, it is necessary to contemplate him at the same time and a certain image of imagination (Phantasma), since the image of this exists like perception images With the exception [inherent in this last] matter. As the imagination differs from the approval and denial, so truth or a lie is one or another combination of thoughts. But what differ from the sensual images of the primary thoughts? Of course, they are not the essence [simply] other images, but they are - Not without images "(III 8, 432 A 3-14).

The mind is "clean" (III 5, 430 A 18, etc.), "Eidos Eidosov" (III 8, 432 A 1), there is not something driving (III 9, 432 B 26-27) and even there is no shower at all (II 2, 414 A 4-14), and on the other hand, energetic it is impossible without sensuality. Here, a complete repetition of the problems that we state in general form in "metaphysics": Eidosa are not facts, but they only have real significance in things where they receive their final expression. And both there energy is symbolically given in things the meaningful expressiveness, and here thinking is symbolically given in sensual images, all the same sense expressiveness.

d) It is easy to see what a thin print passiveness Lies on the whole of this symbolic descriptive aesthetics of Aristotle. Fantasy for it is a very balanced, calmed connection of pure thought and sensual image, which clear thought turns into a picture artwork and expressiveness, and the sensual image of the blind and deaf makes transparently symbolic and artistic. This relationship, of course, elementary: Her postulates every aesthetics on the very first page of his study of the psychology of art. Socrates demanded the same as we know, from artists; Plato deliberately used "sensuality" when building his "probable myth" in "Timea"; Plotin will also be on bodily grounds to remember its pure mind, etc. etc. But all the antique aesthetics understands this fundamental connection. internally passive contemplative, "classically"; Aristotle, in contrast to the dialectical structures of Platonism in the field of self-consciousness (mature form - in Plot. V 3) and, unlike the stoically-epicorean naturalism ("expirations", "Soul atoms", etc.), gives expressively semantic Description of fantasy, gives the expressive phenomenology of this oversaliant passive-plastic consciousness of the artist.

ART

I. In the broad sense of the word, denoting a high level of skill in any field of activity, not death and artistic, i.e. The perfect execution of this work, it becomes even directly aesthetic. meaning, t. Skillful activity, wherever, as it may be manifested, becomes beautiful, aesthetically significant. This also applies to the activity of the artist-poet, painter, musician whose creations are beautiful to the extent that the high mastery of their creator is captured and the aesthetic is caused. Admiration. but gL Distinctive artistic creativity consists not in creating beauty for the sake of excitation of aesthetic pleasure, but in the figurative development of reality, i.e. in the development of specific spiritual content and in the specifics. Social functioning.

In an effort to determine the meaning of the existence I. as a special sphere of activity, fundamentally different from I. In the broad sense of the word, theorists throughout the history of aesthetic. Thoughts went with two ways: some were convinced that "mystery" I. consists in some one of his ability, one calling and appointment - either in the knowledge of the real world, or in the creation of the world of fictional, ideal, or in expression internal the world of the artist, or in the organization of people's communication, or in self-owned, purely gaming activity; dr. Scientists, finding that each of the similar definitions absolutes some one inherent in I. qualities, but ignores others, it was the multidimensionality, versatility of I. and tried to describe it as a set of various qualities and functions. But at the same time I was inevitably lost, and appeared in the form of the sum of heterogeneous properties and functions, the method of uniting in, a qualitatively peculiar remained unclear.

The Marxist-Leninist aesthetics will consider I. as one of the land. Forms of spiritual development of reality. Relying on know. abilities of societies. man, I. stands in a row with such forms of societies. Consciousness as science, although it varies with it in its subject, in the form of reflection and spiritual development of reality, in its social function. Common and in scientific, and in art. Consciousness - the ability to objectively reflect the world, to learn reality in its essence. In this, I. Those of religions (although they are at identified stages of historical. Development were closely connected), since the Relig. Consciousness reflects the reality to be turned and unable to penetrate into the objective essence of things.

Unlike science, theoretically mastering the world, I. Masters reality aesthetically, covering the world holistically, in all wealth of living manifestations of the essence, in all senses. Brightness of a single, unique. But, at the same time, it is in the best works, the disclosure of truth, deep penetration into the essence of societies. Life. Aesthetic. The relationship of a person to the world is manifested in society in a variety of forms and, in particular, in any subject activity, creature is more or less free. Description of labor. This, in particular, explains the availability of art. Element in certain product material products. However, I. is historically formed as special, specific. The region of spiritual production, designed to explore reality aesthetically: is generalized in it, aesthetic is detected and developed. Relationship of society to the real world.

Art. Consciousness is not intended to give any special knowledge, he knows. Not related to any private industries. or societies. Practices and is not intended to allocate some special chain of patterns in phenomena, for example. physical, technology. Or, with others. Parties, specially economy., Psychological. etc. The subject I. is "All that is interesting for a person in life" (Chernyshevsky N. G., full. Cons. Op., Vol. 2, 1949, p. 91), it masters the world in all richness of its manifestations, since They turn out to be the object of practically concrete people's interest. From here - the holistic and comprehensive nature of art. Consciousness contributing to the individual in the awareness of his "generic essence" (Marx), in the development of its social self-consciousness as a member of society, determined. Class. I. It is designed to expand and enrich the practical spiritual experience of a person, it spreads the borders of the "direct experience" of individuals, being a powerful tool forming a human. Personality. Specific. The social function I. is that it, being a form of awareness of reality, condensing the infinite diversity of spiritual experience accumulated by humanity, taken not in its universal and final results, but in the process of living mutual relations. man with peace. Not only the result of knowledge, but also its path, a complex and flexible process of comprehension and aesthetic, is emitted in the work of I.. processing of the objective world. This is the most important distingacy. The feature of the "artistic ... development ... of the world" (see K. Marx, in the book: Marx K. and Engels F., Op., 2 ed., Vol. 12, p. 728). Since in I. The world appears mastered, meaningful, aesthetically processed, the picture of reality in a large, truly classic. The work of I. has an orderly, slim logic, beauty, even if it is about reproducing low-lying or ugly phenomena of life. This is not entered into the subject world by the arbitrariness of the subject, but is revealed by the artist in the process of spiritual development of reality (man creates "according to the laws of beauty" - see K. Marx, from the early production, 1956, p. 566). Perceiving the work of I., a person seems to re-make a creature. The development of the subject is made by the relationally fixed in I. practically spiritual experience, which causes a special sense of joy of spiritual possession of the world, aesthetic. , without a reaches, neither the creation nor the perception of art. Works.

A long history has awareness of societies. The roles of I. Understanding I. As the means of social education is already planned in antiquity (Plato, Aristotle) \u200b\u200band in classic. Aesthetics of the East (eg, in China - Confucius). According to antiquity thinkers, I. has the ability to configure the definition. The psyche of a person, to make it a full-fledged member of civil society, a useful servant of the state. Cf.-century. Philosophy interpreted this role in report-theological. sense; Renaissance opposed her an idea of \u200b\u200bthe meaning of I. in the free and comprehensive development of the personality (Campanella). Equity aesthetics clearly revealed the meaning of art. Consciousness in practical. Social struggle, emphasizing the moral-educational (school) and socio-mobilizing function I. (Didro). The most important role for understanding I. as active societies. Forces in the struggle for the liberation of a person played representatives of him. Classic. Aesthetics (Goethe, Schiller, Hegel), who understood I. as "freedoms." However, this problem was put it idealistically, which led to the opposition of a "fought life" a free statement (Kant). For contradictions. idealism indicated Rus. revolution. Democrats, seen in I. "Life Textbook" and seeing his function in the "verdict" of its phenomena (Chernyshevsky).

Marxism-Leninism put on the education. Roles I. on historic. soil. Being an instrument of awareness of reality, I. is an active force of societies. Self-consciousness, class society - class. The knowledge of the world in I. is inextricably linked with his aesthetic. Assessment, Kraya, being in nature social, it is necessary to include the entire system of issuing societies. man; Art. The work can organically express in its aesthetic. content of philos. morals., societies. and politics. Ideas. I. Advantagon, responding. The development of mankind plays a progressive role in the spiritual development of people, in their comprehensive ideological and emotion. Growth. Measure of freedom in the implementation of this it will upb. Roles are determined by specific social conditions. The exploitation of man by a person inevitably leads to one-sided, and sometimes an ugly manifestation of ideological education. Functions I. Only socialist. Provides I. Ability to freely form each member of society throughout the wealth of its life relations and subjective abilities.

The syncretic and predominantly ritual-magical nature of the "works of the primitive art of the Late Paleolithic Age (30-20 thousand years before N. E.), despite the necromaticness of acts of aesthetic began, nevertheless allows them to attribute them to the facts of art. Ancient sculptures, figures of animals and people, drawings on clay, rocky "frescoes" are distinguished by the liveliness, the immediacy and accuracy of the image, indicate knowledge and possession of the language and the means of conditional reflection on the plane, the ability to work with volumes. The definition of primitive art as a "realistic", "naturalistic" or "impressionistic" in essence fixes the "blood-study" relationship between the distant initial and subsequent stages of the development of art, its modern forms and typological characteristics.

A variety of interpretations of art concept reflect various aspects of its social nature and species specifics. So, the ancient aesthetics did the focus on the mimetic, "imitative" moment, emphasizing the cognitive importance and the moral value of art. In the Middle Ages, art is considered as a method and means of admiration for the "infinite", "divine" beginning: they see the carrier, albeit the imperfect, the image of spiritual, "disembodied" beauty. The Renaissance Returns returns and develops antique art as a "mirror", "imitating beautiful nature", joining Aristotle rather than to Platon. German classic aesthetics (Kant, Schiller, Hegel, etc.) considers art as "appropriate activity without a goal", "the kingdom of visibility", "the game of creative forces", the manifestation and expression of the "Absolute Spirit", introduces substantial adjustments to understanding the relationship of art With empirical reality, science, morality and religion. Russian aesthetics of realism insists on the idea of \u200b\u200borganic communication of art with reality, considering it the main subject "Everything that is interesting for a person in life" (Chernyshevsky N. G. Mr. Coll. Op., Vol. 2. M., 1947, with . 91). Modern "postmodern aesthetics", questioning and denial of the tradition and value of the "old", humanistic culture, is trying in the spirit of "new Mimesis" (J. Derrida) to overtake the relationship between works of art with what lies in the edges of the "text" and is classified as " reality".

The identification of the relationship of art and reality does not exhaust the problem of determining its essence. Specifiable nature of art is covered and revealed by a number of approaches involving and complementing each other; Among them, it is customary to distinguish the theoretical and cognitive (epistemological), value (axiological), aesthetic-sociological (functional). Considering art in the epistemology plan, which Plato did, or within the framework of the functions carried out by him, from which he began his analysis of the Greek tragedy Aristotle, theoretics, one way or another, determines the value and value of artistic knowledge and activities. In turn, the value approach cannot neglect the sociological characteristic of the essence and function of art. To understand the specificity of art, theoretical and informative and value aspects are of particular importance, and the place and role of art in public life is adequately seizable and detected through an aesthetic-sociological analysis. Kant, analyzing the "judgment of taste", convincingly showed independence (albeit relative) epistemological aspect. The question of the social essence of art arises only as part of the discussion of its communicative opportunities and functions. After all, the art in his own sense of the word itself forms the public, understanding it and capable of enjoying beauty.

Historically, art occurs when a person goes beyond the satisfaction of his immediate physical needs, practically utilitarian interests and goals and gets the opportunity to do universally, freely, producing things and objects delivering to him the enjoyment of the activity process itself. The emergence and art is associated with the satisfaction of the need, first monitored, and then conscious, in the production and reproduction of the actual human nature of its livelihoods, and itself as the beings of universal and universal. Art reveals, exposes and represents the illusory, in "visibility" what is secretive - as, the purpose and image of the action is concluded in the subject and social content of human activity, which is an objective source of individual activity. At the same time, the potential possibility of universal development of a public individual, art approves a secondary order - as a real possibility and relevant force, not messenger from sight, it is implemented under the conditions of the "kingdom of necessity".

Art, by its very nature, ahead of the norms and presentation of their time, in a certain sense, can set the goal. In the world of artistic imagination, a person warks over the necessary, without putting in the framework of compulsory compliance with "essentially". In this sense, art creates a "possible" dynamic "being" (Aristotle), the world "expediency is beyond all the goal" (Kant). External circumstances do not have the absolute authority over the internal norms of the human attitude to reality, which art produces "ideally". Therefore, the artwork is a projection of spiritual aspiration, finding feelings, fantasy desires, for a person is born from a person's need to convert its sensual attitude to reality that delivers this need for all the necessary material. Art does not turn out to be disgusted from the completeness of the manifestations of life (and in this sense there is nothing "forbidden"), but at the same time does not require, as L. Feyerbach noted, recognizing his works for reality. The force of art is manifested in its famous freedom from the factual side of life. It was this particular feature that Hegel meant, which represented the history of art as embodied in the images of the "self-confidence" of aesthetic ideal, and Belinsky, who saw the illusory form of the expression of the urgent needs of a public person who was characteristic of the ideal to the ideal. Ideal as a proper and possible reality gets in art its subject-true embodiment and justification. Reflecting and expressing validity from the standpoint of the highest needs of a developing person, art shows how the present is included in the future, which is belonging to the future

In principle, art is created by a person and appeals to the person. No area of \u200b\u200bhuman creative activity can compete with him in the completeness of the reflection of the whole manifold of human sensations. This also applies to the artist, the author of the work in which he "is expressing", often turning the reader, the viewer the most intimate secrets of his heart, mind, soul (cf. words of Flaubert about the heroine of his novel: "Emma is me"). Unprecedented art capabilities in the disclosure of the motives of human behavior, a deed, experiences. Removing already known, fixed values \u200b\u200bof facts, phenomena, events, the artist exposes and reproduces their inner meaning in an individually unique appearance and form, the environmentally different and the theoretical scientist (for details, see: Leontyev. N. Problems of the development of the psyche. M ., 1965, p. 286-290). As an act of creative and predensive, art is counting on an adequate response. In the process of perception, the work of art, as a rule, the act of deeply individual, unique personal, manifests the completeness of the universal, universal nature of the reader, the audience, the listener. All sorts of deviations caused by the difference in the level of development of taste, imagination, general and emotional culture of recipients, do not cancel this norm of truly artistic perception.

"Imaginary Being", the "possible reality" of art is not less (often more) valid than served as the initial point of contemplation and the presentation objectively existing world; And in form - this is an image of a whole in the "guide" of the artistic representation, where the generalization is based on the transition from one species to another, and so that the imaging with necessity acts as a sensecology (see the image of artistic. Typical). So, by means of art - a special type of spiritual and practical development of reality - the formation and development of the ability of a public person creatively to perceive and transform the world and itself according to the laws of beauty. Unlike other spheres and forms of public consciousness and activity (science, morality, religion, politics), art satisfies the most important human need - perception, the knowledge of real reality in the developed forms of human sensuality, i.e., with the help of a specific human ability of sensual ("aesthetic ", Clearly expressive) perception of phenomena, objects and events of the objective world as a" living specific integer ", embodied in artwork through creative," productive ", imagination. As art includes, as it were, in the removed form, all forms of social activity, its impact on life and person is truly limitless. This, on the one hand, deprives any sense to the claim of art on some exclusivity, except for the one that is dictated by his species essence. On the other hand, - providing a conversion impact on many public areas and institutions, art retains its inherent features and relative independence. Historically, art develops as a certain system of specific species. These are literature, music, architecture, painting, sculpture, decorative and applied art, etc. Their diversity and differences are recorded and classified according to the criteria developed by aesthetic theory and artificiality: according to the method of reflection of reality (epistemological criterion) - visual, expressive; According to the method of being an artistic image (ontological criterion) - spatial, temporary, spatial-temporary; According to the method of perception (psychological criterion) - auditory, visual and visual hearing. However, this is relative. The work on the advantage of "fine" is both "expressive" (for example, a picturesque portrait or landscape, acting art, etc. d.), And "Expressive" includes both the "pictorial" element (like, for example, "pictures from the exhibition" M. Mussorgsky, dance or architectural image). The classification under the principle of the dominant feature does not take into account that every type of art uses and represents (in different proportions) all forms and means of the artistic "language" - image, expressiveness, symbolization, temporary and spatial characteristics. A special place in this system of art species is literature, as the most "synthetic" form of artistic imagery. Types of art - the system is dynamically developing: in one or another era of some kind of species prevails, becomes dominant (Epos and tragedy - in ancient Greece, architecture and iconography - in the Middle Ages, cinema and television - at 20 centuries). With the development of science and technology, the improvement of communication funds arise new types of art; So, in the beginning. 20 V. A cinema appears, and at the end it is an art photography that uses the principle of "collage" (techniques developed by another marriage and Picasso) and applying for the status of new visual art.

The question is "What is art?" Acquires the relevance and sharpness with the advent of postmodernism, which puts for many "old", classical ideas, including about aesthetic, about art, and it became about art. For postmodernists, they retain their significance only as "transcultural, transversary values." Antique ideas about realism are subject to revisions. The idea of \u200b\u200bthe priority of the T. N is defended. tangible, not illusionist facilities, representing the original means of interaction between artistic expression and experience of everyday life. This principle of "Postmodernist" artistic practice is considered (more precisely - issue) for a new and unpredictable step in the convergence of art and life, allegedly merging into a "lump-sum experience". This approach to the art is quite consonant and adequate to the modernist abandonment of the holistic picture of the world, in reality discrete and unfinished. However, such a decisive gap with the past, the classic heritage is unlikely to be the most powerfulness of the spiritual and practical force of art itself, which continues to strive and give pleasure all the new generations of people.