Artistic image of the artist. What is an artistic image in literature

According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, images-motives, topoi and archetypes (mythologems).

Individual images characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in the "Notre Dame Cathedral" by V. Hugo, the Demon in poem of the same name M. Lermontov, Woland in "The Master and Margarita" by A. Bulgakov.

Characteristic image, in contrast to the individual, is generalizing. It contains common traits of characters and morals inherent in many people of a certain era and its social spheres (characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky).

typical image represents the highest level of the characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of 19th-century realistic literature. Suffice it to recall Father Goriot and Gobsek Balzac, Anna Karenina and Platon Karataev L. Tolstoy, Madame Bovary G. Flaubert and others. called eternal images) - Don Quixote, Don Juan, Hamlet, Oblomov ...

Images-motives and topoi go beyond the individual images of the characters. An image-motif is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements (“village Russia” by S. Yesenin, “Beautiful Lady” by A. Blok).

topos denotes general and typical images created in the literature of an entire era, a nation, and not in the work of an individual author. An example is the image of the "little man" in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.

Recently, in the science of literature, the concept is very widely used. "archetype". For the first time this term is found among the German romantics in early XIX century, however real life in various fields of knowledge gave him the work of the Swiss psychologist C. Jung (1875-1961). Jung understood the "archetype" as a universal image, unconsciously transmitted from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, literally “stuffed” all of humanity, and the archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes. Jung wrote: "As a doctor, I had to bring out the images of Greek mythology in the delusions of purebred Negroes."

Much attention in literary criticism is paid to the problem of the relationship between image and symbol. This problem was mastered in the Middle Ages, in particular, by Thomas Aquinas (XIII century). He believed that artistic image must reflect not so much the visible world as express what cannot be perceived by the senses. Thus understood, the image actually turned into a symbol. In the understanding of Thomas Aquinas, this symbol was intended to express, first of all, the divine essence. Later, among the symbolist poets of the 19th – 20th centuries, symbolic images could also carry earthly content (“eyes of the poor” by Ch. Baudelaire, “yellow windows” by A. Blok). The artistic image does not have to be divorced from objective, sensual reality, as Thomas Aquinas believed. Blok's Stranger is an example of a magnificent symbol and at the same time a full-blooded living image, perfectly inscribed in the "objective", earthly reality.

Image-experience in lyrics it has an independent aesthetic meaning and is called the lyrical hero (the hero of poetry, the lyrical "I"). The concept of a lyrical hero was first used by Y. Tynyanov in relation to the work of A. Blok. Since then, disputes about the legality of the use of this term. Discussions were conducted, in particular, in the first half of the 50s, then in the 60s. Both professional critics, literary critics and poets participated in them. But these discussions did not lead to the development of a common point of view. There are still both supporters of the use of this term and its opponents.

The means and form of mastering life by art; way of being a work of art. The artistic image is dialectical: it combines living contemplation, its subjective interpretation and evaluation by the author (and also by the performer, listener, reader, viewer). An artistic image is created on the basis of one of the means: image, sound, language environment, or a combination of several. It is inseparable from the material substratum of art. For example, meaning internal structure, clarity musical image largely determined by the natural matter of music - acoustic qualities musical sound. In literature and poetry, an artistic image is created on the basis of a specific language environment; in theatrical art all three are used. At the same time, the meaning of the artistic image is revealed only in a certain communicative situation, and final result such communication depends on the personality, goals and even the momentary mood of the person confronted with him, as well as on the specific culture to which he belongs.

The artistic image is a form of artistic thinking. Image includes: reality material, recycled creative fantasy the artist, his attitude to the depicted, the wealth of the creator's personality. Hegel believed that the artistic image "reveals to our eyes not an abstract essence, but its concrete reality." V. G. Belinsky believed that art - creative thinking. For positivists, an artistic image is a visual demonstration of an idea that delivers aesthetic pleasure. Theories arose that denied the figurative nature of art. Thus, the Russian formalists replaced the concept of image with the concepts of construction and device. Semiotics has shown that the artistic image is created by a system of signs, it is paradoxical, associative, it is an allegorical, metaphorical thought that reveals one phenomenon through another. The artist, as it were, pushes phenomena against each other and carves out sparks that illuminate life with a new light. In art, according to Anandavardhana (India, ninth century), figurative thought (dhvani) has three main elements: a poetic figure (alamkara-dhvani), meaning (vast-dhvani), mood (rasa-dhvani). These elements are connected. The poet Kalidasa thus expresses the dhvani of mood. This is what King Dushyanta says to the bee circling near the face of his beloved: “You keep touching her trembling eyes with their moving corners, you gently buzz over her ear, as if telling her a secret, although she waves her hand away, you drink her nectar lips - the focus of pleasure. O bee, indeed you have reached your goal, and I wander in search of the truth. The poet, without directly naming the feeling that took possession of Dushyanta, conveys to the reader the mood of love, comparing the dreaming of a lover's kiss with a bee flying around the girl.

AT ancient works the metaphorical nature of artistic thinking appears especially clearly. Thus, the products of Scythian artists in the animal style whimsically combine real animal forms: predatory cats with bird claws and beaks, griffins with the body of a fish, human face and bird wings. Images mythological creatures are a model of an artistic image: an otter with a human head (tribes of Alaska), the goddess Nui-wa - a snake with a woman's head ( Ancient China), god Anubis - a man with the head of a jackal ( Ancient Egypt), centaur - a horse with a torso and a man's head ( Ancient Greece), a man with a deer head (Lapps).

Artistic thought combines real phenomena, creating an unprecedented creature that whimsically combines the elements of its progenitors. The ancient Egyptian sphinx is a man represented through a lion, and a lion understood through a man. Through a bizarre combination of man and the king of beasts, we come to know nature and ourselves - royal power and domination over the world. Logical thinking establishes the subordination of phenomena. Equivalent objects are revealed in the image - one through the other. Artistic thought is not imposed on the objects of the world from the outside, but organically follows from their comparison. These features of the artistic image are clearly visible in the miniature of the Roman writer Elian: “... if you touch a pig, it naturally starts to squeal. A pig has no wool, no milk, nothing but meat. When touched, she immediately guesses the danger that threatens her, knowing what people are good for. Tyrants behave in the same way: they are always full of suspicions and are afraid of everything, because they know that, like a pig, they must give their lives to anyone. Elian's artistic image is metaphorical and built like a sphinx (man-lion): according to Elian, a tyrant is a man-pig. A comparison of beings far from each other unexpectedly gives new knowledge: tyranny is disgusting. The structure of the artistic image is not always as clear as in the sphinx. However, even in more complex cases in art, phenomena are revealed one through the other. So, in the novels of L.N. Tolstoy's heroes reveal themselves through the reflections and shadows that they throw at each other, at the world around them. In War and Peace, the character of Andrei Bolkonsky is revealed through love for Natasha, through relationships with his father, through the sky of Austerlitz, through thousands of things and people that, as this mortally wounded hero realizes in agony, are associated with every person.

The artist thinks associatively. The cloud for Chekhov’s Trigorin (in the play “The Seagull”) looks like a piano, and “and the neck of a broken bottle shines on the dam and the shadow of the mill wheel blackens - that’s Moonlight night ready." The fate of Nina is revealed through the fate of the bird: “The plot for short story: a young girl has been living on the shore of the lake since childhood ... she loves the lake like a seagull, and is happy and free, like a seagull. But by chance a man came, saw and, having nothing to do, ruined her, like this seagull. In the artistic image, through the conjugation of phenomena far apart from each other, unknown parties reality.

Figurative thought is ambiguous, it is as rich and deep in its meaning and meaning as life itself. One of the aspects of the ambiguity of the image is understatement. For A.P. Chekhov, the art of writing is the art of crossing out. E. Hemingway compared a work of art with an iceberg: part of it is visible, the main part is under water. This makes the reader active, the process of perception of the work turns out to be co-creation, painting the image. However, this is not arbitrary conjecture. The reader receives an impulse for reflection, he is asked emotional condition and an information processing program, but it retains free will and scope for creative imagination. The understatement of the artistic image stimulates the thought of the perceiver. This also manifests itself in incompleteness. Sometimes the author breaks off the work in mid-sentence and keeps silent, does not untie storylines. The image is multifaceted, it has an abyss of meaning that opens up in time. Each era finds in classic look new sides and gives him his interpretation. In the 18th century Hamlet was considered as a reasoner, in the 19th century. - as a reflective intellectual ("Hamletism"), in the 20th century. - as a fighter "with a sea of ​​troubles" (in the interpretation, he noted that he could not express the idea of ​​\u200b\u200bFaust with the help of a formula. To reveal it, one would have to write this work again.

An artistic image is a whole system of thoughts, it corresponds to the complexity, aesthetic richness and versatility of life itself. If the artistic image could be fully translated into the language of logic, science could replace art. If it were completely untranslatable into the language of logic, then literary criticism, art criticism and art criticism would not exist. The artistic image is not translatable into the language of logic, because during the analysis there remains a “super-semantic residue”, and at the same time we translate, because, penetrating deeply into the essence of the work, it is possible to more fully reveal its meaning. Critical analysis is a process of endless deepening into the infinite meaning of the artistic image. This analysis is historically variable: new era gives a new reading of the work.

ARTISTIC IMAGE - one of the most important terms of aesthetics and art history, which serves to indicate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, a feature of which is the expression of an abstract idea in a specific sensual form. Such a definition makes it possible to single out the specifics of artistic and figurative thinking in comparison with other main forms of mental activity.

A truly artistic work is always distinguished by great depth of thought, the significance of the problems posed. In the artistic image, as the most important means of reflecting reality, the criteria for the truthfulness and realism of art are concentrated. Connecting real world and the world of art, the artistic image, on the one hand, gives us the reproduction of real thoughts, feelings, experiences, and on the other hand, it does this with the help of conventional means. Truthfulness and conventionality exist together in the image. Therefore, not only the works of great realist artists are distinguished by vivid artistic imagery, but also those that are entirely built on fiction ( folk tale, fantasy story and etc.). Imagery collapses and disappears when the artist slavishly copies the facts of reality, or when he completely evades the depiction of facts and thereby breaks the connection with reality, concentrating on the reproduction of his various subjective states.

Thus, as a result of the reflection of reality in art, the artistic image is a product of the artist's thought, but the thought or idea contained in the image always has a concrete sensory expression. Images are called both separate expressive devices, metaphors, comparisons, and integral structures (characters, characters, the work as a whole, etc.). But beyond this, there is also a figurative system of directions, styles, manners, etc. (images of medieval art, the Renaissance, the Baroque). An artistic image can be part of a work of art, but it can also be equal to it and even surpass it.

It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derived from a work of art. If a work of art is a unity of material, form, content, i.e., everything with which the artist works to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed result. creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original idea and sometimes the material, i.e. practice creative process makes its own corrections to the very core of the artistic image. The art of the master here is organically merged with the worldview, the aesthetic ideal, which are the basis of the artistic image.

The main stages, or levels, of the formation of an artistic image are:

Image-intention

Piece of art

Image-perception.

Each of them testifies to a certain qualitative state in development. artistic thought. So, the further course of the creative process largely depends on the idea. It is here that the artist’s “illumination” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-design plays an equally important and necessary role in the creative process of both the artist and the scientist.

The next stage is connected with the concretization of the image-concept in the material. Conventionally, it is called an image-work. This is as important a level of the creative process as the idea. Here the regularities associated with the nature of the material begin to operate, and only here the work receives a real existence.

The last stage at which their own laws operate is the stage of perception of a work of art. Here imagery is nothing but the ability to recreate, to see in the material (in color, sound, word) ideological content works of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time have a huge educational impact on him.

Art occupies an important place in the theory of aesthetics. She studies its role in life, patterns of development and features. Aesthetics considers art as a form of aesthetic exploration of the world. Art is a means of reflecting life and thinking in the form of artistic images. The source of artistic images is reality. The artist, reflecting the world, thinks figuratively and emotionally, and by influencing the feelings and minds of people with his works, he seeks to evoke similar emotions and thoughts in them.

The specificity of art is that it has an impact on a person due to its aesthetic merits, due to the influence of the system of artistic images. The artistic image is associated not only with the figurativeness of sensual-concrete thinking, but also with abstract concepts; it contains the depth and originality of meaningful artistry.

In the essence of the artistic image, certain levels can be distinguished. The abstract level of artistic thinking is ideal when awareness occurs artistic idea and creating an image is an intelligent operation. The next level is mental, when the role of unconscious mechanisms is significant. artistic creativity. This is the level artistic feelings and emotions, due to which the images of the work are experienced in the process of perception. The artistic image is associated with an aesthetic attitude towards it, with feelings, with assessments, with needs. Finally, the third level of existence of an artistic image is material, i.e. in what material "shell" the image is presented: in color, in sound, in a word, in their combinations.

When studying an artistic image, all the above levels should be taken into account: ideal, mental, material.

In art, the accuracy of the image of nature does not in itself create a work, it arises only when the image becomes an artistic image in which this or that object or phenomenon is illuminated by the thought and feeling of the creator.

The artistic image is the result of a certain creative orientation of the author and is associated with the nature of his talent. Art at its core has an image of sensually perceived reality, but the degree of artistic generalization of it is different. In order to correctly understand the nature of the artistic image, one should also take into account such highlights as the individuality of the artist's vision and his aesthetic ideal.

These two moments are interconnected and at the same time relatively independent. The aesthetic ideal acts as a guide for the author, it directs his vision, it is determined by the uniqueness of a particular historical time. And at the same time, each creator sees the world in his own way, and the individuality of the author's artistic vision enriches the aesthetic vision as a whole, expanding the range of perception of the world. The individuality of the artist's vision may be barely noticeable or, on the contrary, pronounced, but in any case it is obligatory in a talented work of art.

Artistic image artistic image

AT fine arts, a form of reproduction, comprehension and experience of the phenomena of life by creating aesthetically affecting objects (paintings, sculptures, etc.). Art, like science, learns the world. However, unlike a scientist who seeks to discover and explore the objective laws of nature and society that do not depend on his will, the artist, reproducing forms and phenomena visible world, expresses, first of all, his attitude, feelings and state of mind. An artistic image is a complex alloy of professional skill and creative inspiration, fantasies of the master, his thoughts and feelings. The viewer feels work of art feelings of joy or loneliness, despair or anger. Image of nature in landscape always humanized, bears the imprint of the personality of the painter.

In a work of art, unlike a scientific work, there is always something unsolved. Each era and each person sees something different in the image created by the artist. The process of perception of a work becomes a process of co-creation.
The source of creating artistic images for many masters is a direct appeal to the outside world (landscape, still life, household painting). Other artists recreate the events of the past (historical painting). A deep study of historical material is complemented by creative insight in the paintings of N.N. Ge, IN AND. Surikov taking us to other eras. Art is able to recreate through an artistic image even that which does not exist in the visible space, to convey to the viewer the dreams, fantasies, aspirations of the master, to embody a fairy tale in visible images (V. M. Vasnetsov, M. A. Vrubel) and the highest reality of the Divine world (Old Russian icons, biblical sketches by A.A. Ivanova).

(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)

See what an "artistic image" is in other dictionaries:

ARTISTIC IMAGE, a form of artistic thinking. The image includes: the material of reality, processed by the artist's creative imagination, his attitude to the depicted, the richness of the creator's personality. Hegel (see HEGEL Georg Wilhelm Friedrich) ... ... encyclopedic Dictionary

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For the term Image, see other meanings. An artistic image is a general category of artistic creativity, a form of interpretation and development of the world from the standpoint of a certain aesthetic ideal by creating aesthetically affecting objects ... Wikipedia

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Books

• Artistic image in scenography. Textbook, Sannikova Lyudmila Ivanovna. The book is study guide for students studying the art of theater directing and directing theatrical performances and is designed to help young directors in working with ...