Piece of art. artistic image. artistic reality. Artistic image and its role in art

the method and form of mastering reality in art, a universal category of art. creativity. Among other aesthetic categories category X. o. – of relatively late origin. In ancient and middle ages. aesthetics, which did not distinguish the artistic into a special sphere (the whole world, space - an artistic work of the highest order), art was characterized primarily. canon - a set of technological recommendations that ensure imitation (mimesis) of the arts. the beginning of existence itself. To anthropocentric. The aesthetics of the Renaissance goes back to (but was later fixed in terminology - in classicism) the category of style associated with the idea of ​​the active side of art, the right of the artist to shape the work in accordance with his creativity. initiative and immanent laws of a particular type of art or genre. When, following the deaestheticization of being, the deaestheticization of practicality revealed itself. activity, a natural reaction to utilitarianism gave a specific. understanding of the arts. forms as organization according to the principle of internal purpose, and not external use (beautiful, according to Kant). Finally, in connection with the process of “theorizing” the lawsuit will end. separating it from the dying arts. crafts, pushing architecture and sculpture to the periphery of the art system and pushing into the center more “spiritual” arts in painting, literature, music (“romantic forms”, according to Hegel), the need arose to compare the arts. creativity with the sphere of scientific and conceptual thinking to understand the specifics of both. Category X. o. took shape in Hegel’s aesthetics precisely as an answer to this question: the image “... puts before our gaze, instead of an abstract essence, its concrete reality...” (Soch., vol. 14, M., 1958, p. 194). In his doctrine of forms (symbolic, classical, romantic) and types of art, Hegel outlined various principles for the construction of art. as different types of relationship “between image and idea” in their historical. and logical sequences. The definition of art, going back to Hegelian aesthetics, as “thinking in images” was subsequently vulgarized into a one-sided intellectualism. and positivist-psychological. concepts of X. o. end 19 – beginning 20th centuries In Hegel, who interpreted the entire evolution of being as a process of self-knowledge, self-thinking, abs. spirit, just when understanding the specifics of art, the emphasis was not on “thinking”, but on “image”. In the vulgarized understanding of X. o. came down to a visual representation of a general idea, to a special cognizance. a technique based on demonstration, showing (instead of scientific proof): an example image leads from the particulars of one circle to the particulars of others. circle (to its “applications”), bypassing abstract generalization. From this point of view, art. the idea (or rather, the multiplicity of ideas) lives separately from the image - in the head of the artist and in the head of the consumer, who finds one of the possible uses for the image. Hegel saw knowledge. side X. o. in his ability to be a bearer of specific art. ideas, positivists - in the explanatory power of his depiction. At the same time aesthetic. pleasure was characterized as a type of intellectual satisfaction, and the entire sphere cannot be depicted. the claim was automatically excluded from consideration, which called into question the universality of the category “X. o.” (for example, Ovsyaniko-Kulikovsky divided art into “figurative” and “emotional”, i.e. without? figurative). As a protest against intellectualism in the beginning. 20th century ugly theories of art arose (B. Christiansen, Wölfflin, Russian formalists, partly L. Vygotsky). If positivism is already intellectualistic. sense, taking the idea, the meaning out of brackets X. o. - in psychology area of ​​“applications” and interpretations, identified the content of the image with its thematic. filling (despite the promising doctrine of internal form, developed by Potebnya in line with the ideas of V. Humboldt), then the formalists and “emotionalists” actually took a further step in the same direction: they identified the content with the “material”, and dissolved the concept of image in the concept form (or design, technique). To answer the question for what purpose the material is processed by form, it was necessary - in a hidden or overt form - to attribute to the work of art an external purpose, in relation to its integral structure: art began to be considered in some cases as hedonistic-individual, in others – as a social “technique of feelings”. Cognizant. utilitarianism was replaced by educational-"emotional" utilitarianism. Modern aesthetics (Soviet and partly foreign) returned to the figurative concept of art. creativity, extending it to the non-depicted. claim and thereby overcoming the original. intuition of “visibility”, “vision” in letters. in the sense of these words, it was included in the concept of "X. o." under the influence of antiquity. aesthetics with her plastic experience. claim-in (Greek ????? - image, image, statue). Russian semantics the word “image” successfully indicates a) the imaginary existence of art. fact, b) its objective existence, the fact that it exists as a certain integral formation, c) its meaningfulness (an “image” of what?, i.e. the image presupposes its own semantic prototype). X. o. as a fact of imaginary existence. Each work of art has its own material and physical. the basis, which is, however, directly bearer of non-arts. meaning, but only an image of this meaning. Potebnya with his characteristic psychologism in the understanding of X. o. comes from the fact that X. o. there is a process (energy), the crossing of creative and co-creative (perceiving) imagination. The image exists in the soul of the creator and in the soul of the perceiver, and is an objectively existing piece of art. an object is only a material means of exciting fantasy. In contrast, objectivist formalism considers the arts. a work as a made thing, which has an existence independent of the intentions of the creator and the impressions of the perceiver. Having studied objectively and analytically. through material senses. the elements of which this thing consists, and their relationships, one can exhaust its design and explain how it is made. The difficulty, however, is that the arts. a work as an image is both a given and a process, it both abides and lasts, it is both an objective fact and an intersubjective procedural connection between the creator and the perceiver. Classical German aesthetics viewed art as a certain middle sphere between the sensual and the spiritual. “In contrast to the direct existence of objects of nature, the sensuous in a work of art is elevated by contemplation into pure visibility, and the work of art is in the middle between direct sensuality and thought belonging to the realm of the ideal” (Hegel W. F., Aesthetics, volume 1, M., 1968, p. 44). The very material of X. o. already to a certain extent dematerialized, ideal (see Ideal), and natural material here plays the role of material for material. For example, the white color of a marble statue does not appear on its own, but as a sign of a certain figurative quality; we should see in the statue not a “white” man, but an image of a man in his abstract physicality. The image is both embodied in the material and, as it were, under-embodied in it, because it is indifferent to the properties of its material basis as such and uses them only as signs of its own. nature. Therefore, the existence of the image, fixed in its material basis, is always realized in perception, addressed to it: until a person is seen in the statue, it remains a piece of stone, until a melody or harmony is heard in a combination of sounds, it does not realize its figurative quality. The image is imposed on consciousness as an object given outside it and at the same time given freely, non-violently, because a certain initiative of the subject is required for a given object to become precisely an image. (The more idealized the material of the image, the less unique and easier to copy its physical basis - the material of the material. Typography and sound recording cope with this task for literature and music almost without loss; copying works of painting and sculpture already encounters serious difficulties, and architectural structure hardly suitable for copying, because the image here is so closely fused with its material basis that the very natural environment of the latter becomes a unique figurative quality.) This appeal of X. o. to the perceiving consciousness is an important condition its historical life, its potential infinity. In X. o. There is always an area of ​​the unspoken, and understanding-interpretation is therefore preceded by understanding-reproduction, a certain free imitation of internal. the artist’s facial expressions, creatively voluntary following it along the “grooves” of the figurative scheme (to this, in the most general terms, comes the doctrine of internal form as an “algorithm” of the image, developed by the Humboldt-Potebnian school). Consequently, the image is revealed in each understanding-reproduction, but at the same time remains itself, because all realized and many unrealized interpretations are contained as intended creative work. an act of possibility, in the very structure of X. o. X. o. as individual integrity. Similarity of arts. works for a living organism were outlined by Aristotle, according to whom poetry should “...produce its characteristic pleasure, like a single and integral living being” (“On the Art of Poetry,” M., 1957, p. 118). It is noteworthy that the aesthetic. pleasure (“pleasure”) is considered here as a consequence of the organic nature of the arts. works. The idea of ​​X. o. as an organic whole played a prominent role in later aesthetics. concepts (especially in German romanticism, in Schelling, in Russia - in A. Grigoriev). With this approach, the expediency of X. o. acts as its integrity: every detail lives thanks to its connection with the whole. However, any other integral structure (for example, a machine) determines the function of each of its parts, thereby leading them to a coherent unity. Hegel, as if anticipating criticism of later primitive functionalism, sees the difference. features of living integrity, animated beauty are that unity does not appear here as abstract expediency: “... members of a living organism receive... the appearance of randomness, that is, together with one member it is not given also the certainty of the other" ("Aesthetics", vol. 1, M., 1968, p. 135). Like this, arts. the work is organic and individual, i.e. all its parts are individuals, combining dependence on the whole with self-sufficiency, for the whole does not simply subjugate the parts, but endows each of them with a modification of its completeness. The hand on the portrait, the fragment of the statue produce independent art. impression precisely due to this presence of the whole in them. This is especially clear in the case of lit. characters who have the ability to live outside of their art. context. The "formalists" rightly pointed out that lit. the hero acts as a sign of plot unity. However, this does not prevent him from maintaining his individual independence from the plot and other components of the work. On the inadmissibility of dividing works of art into technically auxiliary and independent ones. moments spoke to many. Russian critics formalism (P. Medvedev, M. Grigoriev). In arts. the work has a constructive framework: modulations, symmetry, repetitions, contrasts, carried out differently at each level. But this framework is, as it were, dissolved and overcome in the dialogically free, ambiguous communication of the parts of the X. o.: in the light of the whole, they themselves become sources of luminosity, throwing reflexes at each other, the inexhaustible play of which gives rise to internal. the life of figurative unity, its animation and actual infinity. In X. o. there is nothing accidental (i.e., extraneous to its integrity), but there is also nothing uniquely necessary; the antithesis of freedom and necessity is “removed” here in the harmony inherent in X. o. even when he reproduces the tragic, cruel, terrible, absurd. And since the image is ultimately fixed in the “dead”, inorganic. material - there is a visible revival of inanimate matter (the exception is the theater, which deals with living “material” and all the time strives, as it were, to go beyond the scope of art and become a vital “action”). The effect of “transforming” inanimate into animate, mechanical into organic - Ch. source of aesthetic the pleasure delivered by art, and the prerequisite for its humanity. Some thinkers believed that the essence of creativity lies in the destruction, overcoming the material with form (F. Schiller), in the violence of the artist over the material (Ortega y Gaset). L. Vygotsky in the spirit of the influential in the 1920s. Constructivism compares a work of art with a flyer. apparatus heavier than air (see “Psychology of Art”, M., 1968, p. 288): the artist conveys what is moving through what is at rest, what is airy through what is ponderous, what is visible through what is audible, or what is beautiful through what is terrible, what is high through what is low, etc. Meanwhile, the artist’s “violence” over his material consists in freeing this material from mechanical external connections and couplings. The freedom of the artist is consistent with the nature of the material so that the nature of the material becomes free, and the freedom of the artist is involuntary. As has been noted many times, in perfect poetic works, verse reveals such an immutable internality in the alternation of vowels. compulsion, edge makes it similar to natural phenomena. those. in general language phonetic. In the material, the poet releases such an opportunity, forcing him to follow him. According to Aristotle, the realm of claim is not the realm of the factual and not the realm of the natural, but the realm of the possible. Art understands the world in its semantic perspective, re-creating it through the prism of the arts inherent in it. opportunities. It gives specificity. arts reality. Time and space in art, in contrast to empirical. time and space, do not represent cuts from a homogeneous time or space. continuum. Arts time slows down or speeds up depending on its content, each time moment of the work has a special significance depending on its correlation with the “beginning”, “middle” and “end”, so that it is assessed both retrospectively and prospectively. Thus the arts. time is experienced not only as fluid, but also as spatially closed, visible in its completeness. Arts space (in spatial science) is also formed, regrouped (condensed in some parts, sparse in others) by its filling and therefore coordinated within itself. The frame of the picture, the pedestal of the statue do not create, but only emphasize the autonomy of the artistic architect. space, being an auxiliary means of perception. Arts space seems to be fraught with temporal dynamics: its pulsation can only be revealed by moving from a general view to a gradual multiphase consideration in order to then return again to a holistic coverage. In arts. phenomenon, the characteristics of real being (time and space, rest and movement, object and event) form such a mutually justified synthesis that they do not need any motivations or additions from the outside. Arts idea (meaning X. o.). The analogy between X. o. and a living organism has its own limit: X. o. as organic integrity is, first of all, something significant, formed by its meaning. Art, being image-making, necessarily acts as meaning-making, as the constant naming and renaming of everything that a person finds around and within himself. In art, the artist always deals with expressive, intelligible existence and is in a state of dialogue with it; “For a still life to be created, the painter and the apple must collide with each other and correct each other.” But for this, the apple must become a “talking” apple for the painter: many threads must stretch from it, weaving it into whole world . Every work of art is allegorical, since it speaks about the world as a whole; it does not “investigate” s.-l. one aspect of reality, and specifically represents on its behalf in its universality. In this it is close to philosophy, which also, unlike science, is not of a sectoral nature. But, unlike philosophy, art is not systemic in nature; in particular and specific. in the material it gives a personified Universe, which at the same time is the artist’s personal Universe. It cannot be said that the artist depicts the world and, “in addition,” expresses his attitude towards it. In such a case, one would be an annoying hindrance to the other; we would be interested in either the fidelity of the image (naturalistic concept of art), or the meaning of the individual (psychological approach) or ideological (vulgar sociological approach) “gesture” of the author. Rather, it’s the other way around: the artist (in sounds, movements, object forms) gives expression. being, on which his personality was inscribed and depicted. How the expression will express. being X. o. there is allegory and knowledge through allegory. But as an image of the personal “handwriting” of the artist X. o. there is a tautology, a complete and only possible correspondence with the unique experience of the world that gave birth to this image. As the personified Universe, the image has many meanings, for it is the living focus of many positions, both one and the other, and the third at once. As a personal Universe, the image has a strictly defined evaluative meaning. X. o. – the identity of allegory and tautology, ambiguity and certainty, knowledge and evaluation. The meaning of the image, the arts. An idea is not an abstract proposition, but it has become concrete, embodied in organized feelings. material. On the way from concept to embodiment of art. an idea never goes through the stage of abstraction: as a plan, it is a concrete point of dialogue. the artist's encounter with existence, i.e. prototype (sometimes a visible imprint of this initial image is preserved in the finished work, for example, the prototype of the “cherry orchard” left in the title of Chekhov’s play; sometimes the prototype-plan is dissolved in the completed creation and is only perceptible indirectly). In arts. In a plan, thought loses its abstraction, and reality loses its silent indifference to people. "opinion" about her. From the very beginning, this grain of the image is not only subjective, but subjective-objective and vital-structural, and therefore has the ability to spontaneously develop, to self-clarify (as evidenced by the numerous confessions of people of art). The prototype as a “formative form” draws into its orbit all new layers of material and shapes them through the style it sets. The author's conscious and volitional control is to protect this process from random and opportunistic moments. The author, as it were, compares the work he is creating with a certain standard and removes the unnecessary, fills the voids, and eliminates the gaps. We usually acutely feel the presence of such a “standard” “by contradiction” when we assert that in such and such a place or in such and such a detail the artist did not remain faithful to his plan. But at the same time, as a result of creativity, a truly new thing arises, something that has never happened before, and therefore. There is essentially no “standard” for the work being created. Contrary to Plato’s view, sometimes popular among the artists themselves (“It’s in vain, artist, you imagine that you are the creator of your own creations...” - A.K. Tolstoy), the author does not simply reveal art in the image. idea, but creates it. The prototype-plan is not a formalized reality that builds up material shells on itself, but rather a channel of imagination, a “magic crystal” through which the distance of the future creation is “vaguely” discernible. Only upon completion of the arts. work, the uncertainty of the plan turns into a polysemantic certainty of meaning. Thus, at the stage of artistic conception. the idea appears as a certain concrete impulse that arose from the “collision” of the artist with the world, at the stage of embodiment - as a regulatory principle, at the stage of completion - as a semantic “facial expression” of the microcosm created by the artist, his living face, which at the same time is also a face the artist himself. Varying degrees of regulatory power of the arts. ideas in combination with different materials gives different types of X. o. A particularly energetic idea can, as it were, subjugate its own art. realization, to “acquaint” it to such an extent that the objective forms will be barely outlined, as is inherent in certain varieties of symbolism. A meaning that is too abstract or indefinite can only conditionally come into contact with objective forms, without transforming them, as is the case in naturalistic literature. allegories, or mechanically connecting them, as is typical of allegorical-magic. fantasy of ancient mythologies. The meaning is typical. the image is specific, but limited by specificity; characteristic feature of an object or person here becomes a regulatory principle for constructing an image that fully contains its meaning and exhausts it (the meaning of Oblomov’s image is in “Oblomovism”). At the same time, a characteristic feature can subjugate and “signify” all the others to such an extent that the type develops into a fantastic one. grotesque. In general, the diverse types of X. o. depend on the arts. self-awareness of the era and are modified internally. laws of each claim. Lit.: Schiller F., Articles on Aesthetics, trans. [from German], [M.–L.], 1935; Goethe V., Articles and thoughts about art, [M.–L.], 1936; Belinsky V.G., The idea of ​​art, Complete. collection soch., vol. 4, M., 1954; Lessing G.E., Laocoon..., M., 1957; Herder I. G., Izbr. op., [trans. from German], M.–L., 1959, p. 157–90; Schelling F.V., Philosophy of Art, [trans. from German], M., 1966; Ovsyaniko-Kulikovsky D., Language and Art, St. Petersburg, 1895; ?fucking?. ?., From notes on the theory of literature, X., 1905; his, Thought and Language, 3rd ed., X., 1913; by him, From lectures on the theory of literature, 3rd ed., X., 1930; Grigoriev M. S. Form and content of literary art. proizv., M., 1929; Medvedev P.N., Formalism and formalists, [L., 1934]; Dmitrieva N., Image and Word, [M., 1962]; Ingarden R., Studies in Aesthetics, trans. from Polish, M., 1962; Theory of literature. Basic problems in history lighting, book 1, M., 1962; ?Alievsky P.V., Arts. prod., in the same place, book. 3, M., 1965; Zaretsky V., Image as information, "Vopr. Literary", 1963, No. 2; Ilyenkov E., About aesthetics. the nature of fantasy, in: Vopr. aesthetics, vol. 6, M., 1964; Losev?., Artistic canons as a problem of style, ibid.; Word and image. Sat. Art., M., 1964; Intonation and music. image. Sat. Art., M., 1965; Gachev G.D., Content of the artist. forms Epic. Lyrics. Theater, M., 1968; Panofsky E., "Idea". Ein Beitrag zur Begriffsgeschichte der ?lteren Kunsttheorie, Lpz.–V., 1924; his, Meaning in the visual arts, . Garden City (N.Y.), 1957; Richards?. ?., Science and poetry, N. Y., ; Pongs H., Das Bild in der Dichtung, Bd 1–2, Marburg, 1927–39; Jonas O., Das Wesen des musikalischen Kunstwerks, W., 1934; Souriau E., La correspondance des arts, P., ; Staiger E., Grundbegriffe der Poetik, ; his, Die Kunst der Interpretation, ; Heidegger M., Der Ursprung des Kunstwerkes, in his book: Holzwege, , Fr./M., ; Langer S. K., Feeling and form. A theory of art developed from philosophy in a new key, ?. Y., 1953; hers, Problems of art, ?. Y., ; Hamburger K., Die Logik der Dichtung, Stuttg., ; Empson W., Seven types of ambiguity, 3 ed., N. Y., ; Kuhn H., Wesen und Wirken des Kunstwerks, M?nch., ; Sedlmayr H., Kunst und Wahrheit, 1961; Lewis C. D., The poetic image, L., 1965; Dittmann L., Stil. Symbol. Struktur, M?nch., 1967. I. Rodnyanskaya. Moscow.

Artistically call any phenomenon creatively recreated in a work of art. An artistic image is an image created by the author in order to fully reveal the described phenomenon of reality. Unlike literature and cinema, fine art cannot convey movement and development over time, but this has its own strength. Hidden in the stillness of the pictorial image enormous strength, which allows us to see, experience and understand exactly what passes through life without stopping, only fleetingly and fragmentarily touching our consciousness. An artistic image is created on the basis of media: image, sound, linguistic environment, or a combination of several. In x. O. mastered and processed creative imagination, imagination, talent and skill of the artist, a specific object of art is life in all its aesthetic diversity and richness, in its harmonious integrity and dramatic collisions. X. o. represents an inextricable, interpenetrating unity of objective and subjective, logical and sensual, rational and emotional, mediated and direct, abstract and concrete, general and individual, necessary and accidental, internal (natural) and external, whole and part, essence and phenomenon, content and shapes. Thanks to the merging of these opposite sides during the creative process into a single, holistic, living image of art, the artist has the opportunity to achieve a bright, emotionally rich, poetically insightful and at the same time deeply spiritual, dramatically intense reproduction of human life, his activities and struggles, joys and defeats , searches and hopes. Based on this fusion, embodied with the help of material means specific to each type of art (word, rhythm, sound intonation, drawing, color, light and shadow, linear relationships, plasticity, proportionality, scale, mise-en-scène, facial expressions, film editing, close-up, angle and etc.), images-characters, images-events, images-circumstances, images-conflicts, images-details are created that express certain aesthetic ideas and feelings. It is about the X. o. system. The ability of art to carry out its specific function is connected - to give a person (reader, viewer, listener) deep aesthetic pleasure, to awaken in him an artist capable of creating according to the laws of beauty and bringing beauty into life. Through this single aesthetic function of art, through the system of art. its cognitive significance, powerful ideological, educational, political, moral impact on people are manifested

2)Buffoons are walking across Rus'.

In 1068, buffoons were first mentioned in the chronicles. The image that appears in your head is a brightly painted face, funny disproportionate clothes and the obligatory cap with bells. If you think about it, you can imagine next to the buffoon some musical instrument, like a balalaika or a gusli, what’s missing is a bear on a chain. However, such a representation is completely justified, because back in the fourteenth century this is exactly how the monk-scribe from Novgorod depicted the buffoons in the margins of his manuscript. True buffoons in Rus' were known and loved in many cities - Suzdal, Vladimir, the Moscow Principality, throughout Kievan Rus. The buffoons danced beautifully, inciting the people, played the bagpipes and harp superbly, banged wooden spoons and tambourines, and blew horns. People called buffoons “cheerful fellows” and composed stories, proverbs and fairy tales about them. However, despite the fact that the people were friendly towards the buffoons, the more noble sections of the population - the princes, clergy and boyars - could not stand the cheerful scoffers. This was due precisely to the fact that the buffoons gladly ridiculed them, turning the most unseemly deeds of the nobility into songs and jokes and exposing them to ridicule by the common people. The art of buffoonery developed rapidly and soon buffoons not only danced and sang, but also became actors, acrobats, and jugglers. Buffoons began performing with trained animals, organizing puppet shows. However, the more the buffoons ridiculed the princes and sextons, the more the persecution of this art intensified. Novgorod buffoons began to be oppressed throughout the country, some of them were buried in remote places near Novgorod, others left for Siberia. A buffoon is not just a jester or a clown, he is a person who understood social problems, and in his songs and jokes he ridiculed human vices. For this, by the way, the persecution of buffoons began in the era late Middle Ages. The laws of that time prescribed that buffoons should be immediately fatally beaten upon meeting, and they could not pay off the execution. Gradually, all the buffoons in Rus' disappeared, and in their place were wandering jesters from other countries. English buffoons were called vagants, German buffoons were called spielmans, and French buffoons were called jongers. The art of traveling musicians in Rus' has changed greatly, but such inventions as puppet theater, jugglers and trained animals remain. Just like the immortal ditties and epic tales that buffoons composed remained

Artistic image

Typical image
Image-motive
Topos
Archetype.

Artistic image. The concept of artistic image. Functions and structure of the artistic image.

Artistic image– one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
An artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of the artist’s feelings, thoughts, aspirations, and aesthetic emotions.
Its main functions: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal the specific features of the image; each of them individually characterizes only one aspect of it; isolated consideration of individual functions not only impoverishes the idea of ​​the image, but also leads to the loss of its specificity as a special form of social consciousness.
In the structure of an artistic image, the main role is played by the mechanisms of identification and transference.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, and characteristics are combined into one whole; Moreover, identification is only partial, extremely limited: it borrows only one feature or a limited number of features of the object person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes - transference.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed by associative paths to ever new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating the so-called in dreams and neuroses. thickening.

Conflict as the basis of the plot of the work. The concept of “motive” in Russian literary criticism.

The most important function of the plot is to reveal life’s contradictions, that is, conflicts (in Hegel’s terminology, collisions).

Conflict- a confrontation of contradiction either between characters, or between characters and circumstances, or within character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of one single conflict. In works of large volume, the number of conflicts increases.

Conflict- the core around which everything revolves. The plot least of all resembles a solid, unbroken line connecting the beginning and end of an event series.

Stages of conflict development- main plot elements:

Lyric-epic genres and their specificity.

Lyric-epic genres reveal connections within literature: from lyricism - theme, from epic - plot.

Combining an epic narrative with a lyrical beginning - a direct expression of the author’s experiences and thoughts

1. poem. – genre content can be either epic dominant or lyrical. (in this regard, the plot is either enhanced or reduced). In antiquity, and then in the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method; it is equally represented in romanticism (“Mtsyri”) and in realism (“ Bronze Horseman), in symbolism (“12”)…

2. ballad. - (French “dance song”) and in this sense it is a specifically romantic poetic work with a plot. In the second meaning of the word, ballad is a folk genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.

3. fable- one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) a feature of the genre form of the phenomenon. Inclusion in the text (at the beginning or at the end) of a special short stanza - morality. A fable is connected with a parable; in addition, a fable is genetically connected with a fairy tale, an anecdote, and later a short story. rare fable talents: Aesop, Lafontaine, I.A. Krylov.

4. lyrical cycle is a unique genre phenomenon belonging to the field of lyric epic, each work of which was and remains a lyrical work. All together, these lyrical works create a “circle”: the unifying principle of the phenomenon. theme and lyrical hero. Cycles are created “at once” and there may be cycles that the author forms over many years.

Basic concepts of poetic language and their place in the school literature curriculum.

POETIC LANGUAGE, artistic speech, is the language of poetic (verse) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike ordinary (practical) language, whose main function is communicative (see Functions of language), in P. i. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression. General imagery and artistic uniqueness of literature. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, i.e., the actual communicative and poetic functions of language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. I., in their opinion, differs from the usual one in the perceptibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; the main thing in it is to “experience the making of a thing” (V.B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in understanding P. Ya., poetry itself is nothing more than “as a statement with an attitude toward expression (...). Poetry is language in its aesthetic function."
P. I. is closely related, on the one hand, to literary language(see), which is its normative basis, and on the other hand, with the national language, from which it draws a variety of characterological language means, eg. dialectisms when conveying the speech of characters or to create local color depicted. Poetic word grows out of real word and in it, becoming motivated in the text and performing a certain artistic function. Therefore, any sign of language can, in principle, be aesthetic.

19. The concept of artistic method. The history of world literature as the history of changes in artistic methods.

Artistic method(creative) method is a combination of the most general principles aesthetic assimilation of reality, which is consistently repeated in the work of one or another group of writers forming a direction, trend or school.

O.I. Fedotov notes that “the concept of “creative method” differs little from the concept of “artistic method” that gave birth to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire movements.”

The concept of artistic method appeared in the 1920s, when critics of the “Russian Association of Proletarian Writers” (RAPP) borrowed this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of “proletarian” writers.

The artistic method has an aesthetic nature; it represents historically determined general forms of emotionally charged figurative thinking.

Objects of art are the aesthetic qualities of reality, that is, “the broad social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changing phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through historical changes in the subject of art, but also through historical changes in the aesthetic qualities of reality. The object of art contains the vital basis of the artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the artist’s general philosophical and political worldview. “The method always appears to us only in its specific artistic embodiment - in the living matter of the image. This matter of the image arises as a result of the artist’s personal, intimate interaction with the concrete world around him, which determines the entire artistic and mental process necessary to create a work of art” (L.I. Timofeev)

The creative method is nothing more than a projection of imagery into a specific historical setting. Only in it does the figurative perception of life receive its concrete implementation, i.e. is transformed into a specific, organically emerged system of characters, conflicts, and storylines.

The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically determined understanding of it in the light of those basic questions that life poses to art at each new stage of its development.

The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of an artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The similarity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, similarity of characters, homogeneity of conflicts and plots, and manner of writing. For example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.

The artist's method is felt through style his works, i.e. through individual manifestation of the method. Since the method is a way of artistic thinking, the method represents the subjective side of the style, because This method of figurative thinking gives rise to certain ideological - artistic features art. The concept of method and the individual style of the writer are related to each other as the concept of genus and species.

Interaction method and style:

§ variety of styles within one creative method. This is confirmed by the fact that representatives of one or another method do not adhere to any one style;

§ stylistic unity is possible only within one method, since even external resemblance the works of authors adhering to the same method do not provide grounds for classifying them as a single style;

§ reverse influence of style on method.

Full use of the stylistic techniques of artists who adhere to one method is incompatible with consistent adherence to the principles of the new method.

Along with the concept of the creative method, the concept also arises direction or type of creativity, which in a wide variety of forms and relationships will manifest themselves in any method that arises in the process of development of the history of literature, since they express the general properties of the figurative reflection of life. Taken together, the methods form literary movements(or directions: romanticism, realism, symbolism, etc.).

The method determines only the direction creative work the artist, and not her individual properties. The artistic method interacts with the creative personality of the writer

The concept of “style” is not identical to the concept « creative individuality writer". The concept of “creative individuality” is broader than what is expressed by the narrow concept of “style”. A number of properties are manifested in the style of writers, which in their totality characterize the creative individuality of writers. The concrete and real result of these properties in literature is style. A writer develops his own individual style based on one or another artistic method. We can say that the creative individuality of the writer is a necessary condition further development of each artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individuals of writers become common and represent a new quality in their totality.

The artistic method and creative individuality of the writer are manifested in literature through the creation literary images, construction of motives.

Mythological school

The emergence of a mythological school at the turn of the 19th–19th centuries. The influence of the Brothers Grimm’s “German Mythology” on the formation of the mythological school.

Mythological school in Russian literary criticism: A.N. Afanasyev, F.I. Buslaev.

Traditions of the mythological school in the works of K. Nasyiri, Sh. Mardzhani, V.V. Radlov and others.

Biographical method

Theoretical and methodological foundations of the biographical method. The life and work of S.O. Saint-Beuve. Biographical method in Russian literary criticism of the 19th century. (scientific activity of N.A. Kotlyarevsky).

Transformation of the biographical method in the second half of the twentieth century: impressionistic criticism, essayism.

Biographical approach to heritage studies major artists words (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. Using a biographical approach in studying the works of M. Jalil, H. Tufan and others. Essays at the turn of the 20th-21st centuries.

Psychological direction

Spiritual and historical school in Germany (W. Dilthey, W. Wundt), psychological school in France (G. Tarde, E. Hennequin). Reasons and conditions for the emergence of a psychological trend in Russian literary criticism. Concepts by A.A. Potebnya, D.N. Ovsyaniko-Kulikovsky.

Psychological approach in Tatar literary criticism at the beginning of the twentieth century. Views of M. Marjani, J. Validi, G. Ibragimov, G. Gubaidullin, A. Mukhetdiniya and others. Work of G. Battala “Theory of Literature”.

Concept psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.

Psychoanalysis

Theoretical foundations of psychoanalytic criticism. Life and work of S. Freud. Psychoanalytic works of Freud. Psychoanalysis by C. G. Jung. Individual and collective unconscious. Archetype theory. Humanistic psychoanalysis by Erich Fromm. The concept of the social unconscious. Research by J. Lacan.

Psychoanalytic theories in Russia in the 20s. XX century (I.D. Ermakov). Psychoanalysis in modern literary criticism.

Sociology

The emergence of sociology. Difference between sociological and cultural-historical methods. Features of application sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Works of G. Nigmati, F. Burnash.

Vulgar sociologism: genesis and essence (V.M. Friche, late works of V.F. Pereverzev). F.G. Galimullin about vulgar sociologism in Tatar literary criticism.

Sociologism as an element in literary concepts of the second half of the twentieth century (V.N. Voloshinov, G.A. Gukovsky).

The emergence of new concepts and trends that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the capabilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.

Sociologism on a global scale: in Germany (B. Brecht, G. Lukács), in Italy (G. Volpe), in France, the desire for a synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.

Formal school.

Scientific methodology of the formal school. Works of V. Shklovsky, B. Eikhenbaum, B. Tomashevsky. The concepts of “technique/material”, “motivation”, “defamiliarization”, etc. Formal school and literary methodologies of the 20th century.

The influence of the formal school on the views of Tatar literary scholars. Articles by H. Taktash, H. Tufan on versification. Works of H. Vali. T.N. Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague linguistic circle and the Geneva linguistic school in the formation of structuralism. Concepts of structure, function, element, level, opposition, etc. Views of J. Mukarzhovsky: structural dominant and norm.

Activities of the Parisian semiotic schools (early R. Barthes, C. Levi-Strauss, A. J. Greimas, C. Bremont, J. Genette, U. Todorov), the Belgian school of sociology of literature (L. Goldman and others).

Structuralism in Russia. Attempts to apply the structural method in the study of Tatar folklore (works of M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis (A.G. Yakhin), in the study of the history of Tatar literature (D.F. Zagidullina and others).

Emergence narratology - theories of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.

B.S.Meilakh about complex method in literary criticism. Kazan base group of Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Works of Yu.G. Nigmatullina.

A complex method in the research of Tatar literary scholars T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.

Hermeneutics

The first information about the problem of interpretation in Ancient Greece and in the East. Views of representatives of the German “spiritual-historical” school (F. Schleiermacher, W. Dilthey). Concept of H. G. Gadamer. The concept of the “hermeneutic circle”. Hermeneutical theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).

Artistic image. The concept of artistic image. Classification of artistic images according to the nature of their generality.

Artistic image- a method of mastering and transforming reality inherent only in art. An image is any phenomenon creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
By the nature of their generality, artistic images can be divided into individual, characteristic, typical, image-motifs, topoi and archetypes (mythologems).
Individual images are characterized by originality and uniqueness. 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 “Notre-Dame de Paris” by V. Hugo, the Demon in poem of the same name M. Lermontov, Woland in “The Master and Margarita” by A. Bulgakov.
Characteristic image, is generalizing. It contains common character traits and morals inherent in many people of a certain era and its public spheres(characters from “The Brothers Karamazov” by F. Dostoevsky, plays by A. Ostrovsky).
Typical image represents the highest level of characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of realistic literature of the 19th century. It is enough to recall Father Goriot and Gobsek Balzac, Anna Sometimes both the socio-historical signs of an era and the universal character traits of a particular hero can be captured in an artistic image.
Image-motive- this is a steadily recurring theme in the work of any writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “Beautiful Lady” by A. Blok).
Topos(Greek topos - place, locality) denotes general and typical images created in the literature of an entire era, nation, and not in the work of an individual author. An example would be the image “ little man"in the works of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term first appears in German romantics at the beginning of the 19th century, however true life The works of the Swiss psychologist C. Jung (1875–1961) gave him knowledge in various fields. Jung understood an “archetype” as a universal human image, unconsciously passed on from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, are literally “stuffed” with all of humanity, and archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.

Thought in art is expressed not in the form of formulas or some other rational constructions, as is the case in science, but through an artistic image. It is the artistic image that is the main carrier of content in art. An artistic image is a form of thinking in art, a form of expression of the artist’s ideas and worldview. No artistic image - no content. An artistic image is a specific, inherent way of art to reflect reality, its generalization from the standpoint of an aesthetic ideal in a concrete, sensual, directly perceived form. The term “artistic image” is used in two senses (meanings, plans): as a designation of a character in a work of art (the image of Tatyana in Eugene Onegin) and as a designation of the entire work of art.

The artistic image has a number of features:

An artistic image is a combination of objective and subjective. Images are created by the artist in the creative process, therefore they are the result of comprehension of reality;

The artistic image is associative. This is an indispensable condition. The artist puts associativity into it, but the viewer must also see it. Artist without associative thinking– nonsense: there is no ability to create associations, which means there is no ability to create an artistic image;

The artistic image has many meanings. This makes it possible to choose different versions in its interpretation, the breadth of issues;

An artistic image often remains unsaid. This leaves room for the thoughts and feelings of the perceiver (reader, viewer, listener). The more ambiguous the image, the more complex and ambiguous it is in perception. It can be deciphered not only by the artist’s contemporaries, but also by representatives of other generations and eras. Understatement, like diversity, makes the recipient active, he is given the opportunity to co-create with a writer, artist or director. The perceiver, as it were, has a starting point, but at the same time retains a certain free will. Understatement stimulates thought;

The artistic image is multifaceted. This means that one reading of its content does not simultaneously cancel the other. Thanks to its versatility, the image can be interpreted in different ways and none of the interpretations will be false. That is why we are simultaneously interested in Hamlet by Smoktunovsky and Vysotsky; The story of King Lear is interesting, interpreted from different positions: as a family drama (the betrayal of his daughters), as a political drama (due to his own tyranny, Lear started dividing the state at the most inopportune moment), as a tragedy of personality (Lear discovers that his idol - power - turned out to be false). In science, polysemy is not in use due to objective circumstances (if you change the formula of water, you will get some other substance). At the same time, the possibility of different interpretations of an artistic image does not mean that the artistic image is absolutely gutta-percha, that there is no internal logic in it. On the contrary, an artistic image has internal self-development and is determined by many factors: it is not for nothing that writers often talk about how a character begins with certain moment live your life and dictate to the author further development events, i.e. seems to be out of control;

An artistic image is a dialectic between the typical (i.e. widespread, universal) and the individual. An artistic image may have a specific name (Demon, Ophelia, Faust, Hamlet), but at the same time it can express a universal idea. Moreover, it is impossible to express the universal or abstract in art outside of the individual. Since the universal in art is shown through the individual, the particular, the individual, the artist must capture the most essential in an object or phenomenon. Otherwise, he will not be able to rise to the level of generalization in his work and in his images;

An artistic image is a fusion of the emotional and the rational. Art is impossible without their union. Sometimes it seems that the work is based on pure impression (for example, a sketch), but this is only an appearance, since experience and individuality play a role here too. If thoughts and feelings are not melted together, then the work can degenerate either into a cold, dry scheme, or into empty and shallow emotions.

Often a work of art contains not one image, but a whole system of artistic images - different and multifaceted. The system of images is more difficult to perceive and analyze, since each of the images not only interacts with others, but is itself in dynamics. The content of a work is not a copy of life. Art processes reality, creates its own special conditional world, which has its own structure and exists according to its own laws.

GOALS:

• give an idea of ​​the essence of a work of art and its structure;
• develop skills in analyzing works of art;
• develop the ability to distinguish between different ways of creating artistic imagery and the ability to explain and justify them.

1) Features of a work of art.

2) The concept and specificity of the artistic image.

3) Basic types of artistic generalization.

A work of art can be considered as a three-level system. The specificity of the work can be revealed as the existence and interaction of these levels. Of course, a work of art is, first of all, an artifact, a product human activity, and there is nothing specific about this yet. But there are two important features of an artistic artifact: it is an artifact, which is a special thing, and it is a text - an object. The second is an artifact - a text that embodies and conveys certain information; it is a consciously made message intended by a person for the person who will perceive it. A work of art, therefore, is a modeling and transmission of certain information. The artist creates a text and knows that he creates the text as a message from himself to other people. Literary information is a text that a person should be able to read. Art is a form of contact between one person and another . Another important feature of literary texts is their aesthetic quality. The aesthetic organization of the text itself is based on the creator's claim to create something perfect, and this aesthetic quality is created for the perceiver. And, although a modern recipient of art becomes a subject of practical activity if he participates in a happening, for example, here too the activity is contemplative, co-creative, not with the goal of achieving a practical result. Artistic texts of modern art are becoming more and more encrypted, and, nevertheless, by nature this text still remains a message addressed to the public.

What does the text convey as a product? artistic activity?

There are also two levels here. Let us immediately move on to the level of information in its pure form to the content of a work of art. In modern art, information is no longer of an objective-cognitive nature; art no longer conveys knowledge about reality. In the twentieth century, aesthetics came to the conclusion that art brings valuable information, information about the significance of the world for a person and about a person’s relationship to the world. But value information also has certain specifics in art. If this information is of a bodily motivating nature (the inscription on the pole: do not interfere - it will kill), this is not enough. Art models and conveys spiritual and value information, information that carries the life of the human spirit.

The second feature of information is that art provides a unique spiritual-value information synthesis. The information we call artistic is a fusion various types information: aesthetic information, ideological information. It is a work of contemporary art that carries a directive to worldview interpretation. Modern Art often models certain states and intentions of human consciousness, but art models a holistic type of consciousness, this is its specific task.

So, with the help of texts, art models a special reality, makes visible a certain consciousness. But, most importantly, how it appears to a person, how it is given to us and how it is revealed in artistic activity.

Art exists as a special, intrinsically valuable reality, which is as conditional as it is unconditional. We perceive an artistic world that is not external to us, but powerfully captures us, turns us into a part of itself, and the more we are drawn in, the more definitely we say that this is an artistic world. A person begins to feel that he is living a special life, and this applies to any work of art. Why does reality exist, what is the essence of art?

An artistic image is the structure of artistic consciousness, the method and space of artistic exploration of the world, existence and communication in art. An artistic image exists as an ideal structure in contrast to a work of art, a material reality, the perception of which gives rise to an artistic image.

The problem of understanding an artistic image is that the initial semantics of the concept image captures the epistemological relationship of art to reality, the relationship that makes art a kind of resemblance to real life, a prototype. For the art of the 20th century, which abandoned life-likeness, its figurative nature becomes questionable.

But still, the experience of both art and aesthetics of the twentieth century suggests that the category “artistic image” is necessary, since the artistic image reflects important aspects of artistic consciousness. It is in the category of artistic image that the most important specific features of art are accumulated; the existence of an artistic image denotes the boundaries of art.

If we approach the artistic image functionally, then it appears as: firstly, a category denoting the ideal way of artistic activity inherent in art; secondly, it is the structure of consciousness, thanks to which art solves two important problems: mastering the world - in this sense, an artistic image is a way of mastering the world; and the transmission of artistic information. Thus, the artistic image turns out to be a category that outlines the entire territory of art.

In a work of art two layers can be distinguished: material-sensual ( artistic text) and sensual-supersensible (artistic image). A work of art is their unity.

In a work of art, the artistic image exists in a potential, possible, world correlated with perception. For the perceiver, the artistic image is born anew. Perception is artistic to the extent that it affects the artistic image.

The artistic image acts as a specific substrate (substance) of artistic consciousness and artistic information. An artistic image is a specific space of artistic activity and its products. Experiences about heroes occur in this space. An artistic image is a special, specific reality, the world of a work of art. It is complex in its structure and varied in scale. Only in abstraction can an artistic image be perceived as a supra-individual structure; in reality, an artistic image is “tied” to the subject that generated it or perceives it; it is an image of the consciousness of the artist or the perceiver

The artistic image is realized through an individual attitude to the world, which leads to a variant multiplicity of the artistic image, which exists at the level of perception. And in the performing arts - and at the level of performance. In this sense, the use of the expression “My Pushkin”, “My Chopin”, etc. is justified. And if you ask the question, where does a genuine Chopin sonata exist (in Chopin’s head, in notes, in performance)? A clear answer to this is hardly possible. When we talk about “variant multiplicity,” we mean “invariant.” An image, if it is artistic, has certain characteristics. The characteristic of an artistic image directly given to a person is integrity. An artistic image is not a summation; it is born in the mind of the artist, and then the perceiver in a leap. In the consciousness of the creator, he lives as a self-propelled reality. (M. Tsvetaeva - “A work of art is born, not created”). Each fragment of an artistic image has the quality of self-motion. Inspiration is mental condition the person in whom images are born. Images appear as a special artistic reality.

If we turn to the specifics of the artistic image, the question arises: is the image an image? Can we talk about the correspondence between what we see in art and the objective world, because the main criterion of imagery is correspondence.

The old, dogmatic understanding of the image proceeds from the interpretation of correspondence and gets into trouble. In mathematics there are two understandings of correspondence: 1) isomorphic - one-to-one, the object is a copy. 2) homomorphic - partial, incomplete correspondence. What kind of reality does art recreate for us? Art is always transformation. The image deals with value reality - it is this that is reflected in art. That is, the prototype for art is the spiritual-value relationship between subject and object. They have a very complex structure and its reconstruction is an important task of art. Even the most realistic works They don’t just give us copies, which doesn’t negate the category of compliance.

The object of art is not an object as a “thing-in-itself”, but an object that is significant for the subject, that is, possessing a valuable objectivity. The attitude of the subject is important, internal state. The value of an object can only be revealed in relation to the state of the subject. Therefore, the task of an artistic image is to find a way to connect subject and object in interrelation. The value significance of an object for the subject is its manifest meaning.

An artistic image is an image of the reality of spiritual-value relations, and not of an object in itself. And the specificity of the image is determined by the task - to become a way of realizing this special reality in the consciousness of another person. Each time, images are a recreation, using the language of an art form, of certain spiritual-value relationships. In this sense, we can talk about the specificity of the image in general and about the conditionality of the artistic image by the language with which it is created.

Types of art are divided into two large classes - fine and non-fine, in which the artistic image exists in different ways.

In the first class of arts, artistic languages, value relations are modeled through the recreation of objects and the subjective side is revealed indirectly. Such artistic images live because art uses a language that recreates a sensory structure - the visual arts.

The second class of arts model, with the help of their language, a reality in which the state of the subject is given to us in unity with its semantic, value representation; non-fine arts. Architecture is “frozen music” (Hegel).

An artistic image is a special ideal model value reality. The artistic image performs modeling duties (which relieves it of the obligation of full compliance). An artistic image is a way of representing reality inherent in artistic consciousness and, at the same time, a model of spiritual and value relations. That is why the artistic image acts as a unity:

Objective - Subjective

Subject - Value

Sensual - Supersensual

Emotional - Rational

Experiences - Reflections

Conscious - Unconscious

Corporal - Spiritual (With its ideality, the image absorbs not only the spiritual and mental, but also the physical and mental (psychosomatic), which explains the effectiveness of its impact on a person).

The combination of the spiritual and the physical in art becomes an expression of merging with the world. Psychologists have proven that during perception, identification with an artistic image occurs (its currents pass through us). Tantrism is merging with the world. The unity of the spiritual and the physical spiritualizes and humanizes the physicality (eat food greedily and dance greedily). If we feel hungry in front of a still life, then art has not had a spiritual influence on us.

In what ways is the subjective, axiological (intonation), and supersensible revealed? General rule here: everything that is not depicted is revealed through the depicted, the subjective - through the objective, the value-based - through the objective, etc. All this is realized in expressiveness. Why does this happen? Two options: first - art concentrates the reality that is related to a given value meaning. This leads to the fact that the artistic image never gives us a complete representation of the object. A. Baumgarten called the artistic image a “condensed Universe.”

Example: Petrov-Vodkin “Boys Playing” - he is not interested in the specifics of nature, individuality (blurs his faces), but in universal values. “Discarded” does not matter here, because it takes away from the essence.

The second case is subtext. We are dealing, as it were, with a double image. It is the subtext that turns out to be most expressive. Subtext prompts our imagination, and imagination draws on our personal experience - that's how we get involved.

Another important function of art is transformation. The contours of space, the color scheme, the proportions of human bodies, the time order change (the moment stops). Art gives us the opportunity for an existential connection to time (M. Proust “In Search of Lost Time”).

Every artistic image is a unity of life-like and conventional. Conventionality is a feature of artistic figurative consciousness. But a minimum of life-likeness is necessary, since we are talking about communication. Different types arts have varying degrees of life-likeness and conventionality. Abstractionism is an attempt to discover a new reality, but retains an element of similarity with the world.

Conditionality - unconditionality (of emotions). Thanks to the conditionality of the subject plan, the unconditionality of the value plan arises. The worldview does not depend on the object: Petrov-Vodkin “Bathing the Red Horse” (1913) - in this picture, according to the artist himself, his premonition of the civil war was expressed. Transformation of the world in art is a way of embodying the artist’s worldview.

Another universal mechanism of artistic and figurative consciousness: a feature of the transformation of the world, which can be called the principle of metaphor (the conditional likening of one object to another; B. Pasternak: “... it was like a thrust on a rapier...” - about Lenin). Art reveals other phenomena as properties of some reality. There is an inclusion in the system of properties that are close to a given phenomenon, and, at the same time, opposition to it; a certain value-semantic field immediately arises. Mayakovsky - “Hell of the City”: the soul is a puppy with a piece of rope. The principle of metaphor is the conditional likening of one object to another, and the further away the objects are, the more the metaphor is saturated with meaning.

This principle works not only in direct metaphors, but also in comparisons. Pasternak: thanks to metaphor, art solves enormous problems, which determine the specificity of art. One enters into the other and saturates the other. Thanks to a special artistic language (in Voznesensky: I am Goya, then I am the throat, I am the voice, I am hunger), each subsequent metaphor fills the other with content: the poet is the throat, with the help of which certain states of the world are voiced. In addition, internal rhyme and through the system of stress and alliteration of consonances. In the metaphor, the principle of the fan works - the reader unfolds the fan, which already contains everything in its folded form. This operates throughout the entire system of tropes: establishing some similarity both in epithets (an expressive adjective - wooden ruble), and in hyperboles (exaggerated size), synecdoches - truncated metaphors. Eisenstein has the doctor's pince-nez in the film "Battleship Potemkin": when the doctor is thrown overboard, the doctor's pince-nez remains on the mast. Another technique is comparison, which is an extended metaphor. From Zabolotsky: “Straight bald husbands sit like a shot from a gun.” As a result, the modeled object is overgrown with expressive connections and expressive relationships.

An important figurative device is rhythm, which equates semantic segments, each of which carries a specific content. There is a sort of flattening, crumpling of the saturated space. Yu. Tynyanov - tightness of the verse series. As a result of the formation of a unified system of rich relationships, a certain value energy arises, realized in the acoustic richness of the verse, and a certain meaning and state arises. This principle is universal in relation to all types of art; as a result, we are dealing with a poetically organized reality. The plastic embodiment of the principle of metaphor in Picasso is “Woman is a Flower.” Metaphor creates a colossal concentration of artistic information.

The three main types of artistic generalization in the history of art are characterized by the difference in the content of the general, the originality of individuality, and the logic of the relationship between the general and the individual. Let's highlight the following types:

1) Idealization. We find idealization as a type of artistic generalization in antiquity, in the Middle Ages, and in the era of classicism. The essence of idealization is a special generality. Values ​​brought to some purity act as a generalization. The task is to isolate ideal essences before sensory embodiment. This is inherent in those types of artistic consciousness that are oriented towards the ideal. In classicism, low and high genres are strictly separated. High genres is represented, for example, by N. Poussin’s painting “The Kingdom of Flora”: a myth presented as the fundamental existence of entities. The individual here does not play an independent role; the unique characteristics are eliminated from this individual, and the image of the most unique harmony appears. With such a generalization, the momentary, everyday characteristics of reality are omitted. Instead of everyday surroundings, an ideal landscape appears, as if in a dream state. This is the logic of idealization, where the goal is the affirmation of the spiritual essence.

2) Typification. A type of artistic generalization characteristic of realism. The peculiarity of art is the disclosure of the fullness of this reality. The logic of movement here is from the specific to the general, a movement that retains the outgoing significance of the specific itself. Hence the peculiarities of typification: to reveal the generalities in the laws of life. A picture is created that is natural for this class of phenomena. Type - the embodiment of the most characteristic features of a given class of phenomena as they exist in reality. Hence the connection between typification and the historicism of the artist’s thinking. Balzac called himself secretary of the society. Marx learned more from Balzac's novels than from the writings of political economists. A typological feature of the character of a Russian nobleman is falling out of the system, extra person. The general here requires a special individual, empirically full-blooded, possessing unique features. The combination of the unique, inimitable specific with the general. Here individualization becomes the flip side of typification. When they talk about typification, they immediately talk about individualization. When perceiving typical images, it is necessary to live their life, then the intrinsic value of this particular one arises. Images of unique people appear, which the artist individually writes out. This is how art thinks, typifying reality.

The practice of art of the 20th century mixed everything up, and realism has long ceased to be the last resort. The 20th century mixed all the methods of artistic generalization: you can find typification with a naturalistic bias, where art becomes a literal mirror. Falling into specifics, which even creates a special mythological reality. For example, hyperrealism, which creates a mysterious, strange and gloomy reality.

But in the art of the 20th century there also arises new way artistic generalization. A. Gulyga has the exact name for this method of artistic generalization - typologization. An example is the graphic works of E. Neizvestny. Picasso has a portrait of G. Stein - transfer hidden meaning man, face mask. Seeing this portrait, the model said: I’m not like that; Picasso immediately replied: You will be like that. And she really became like that as she grew old. It is no coincidence that 20th century art is fascinated by African masks. Schematization of the sensory form of an object. "Les Demoiselles d'Avignon" by Picasso.

The essence of typologization: typologization was born in the era of the spread of scientific knowledge; this is an artistic generalization aimed at a multi-knowing consciousness. Typology idealizes the general, but, unlike idealization, the artist depicts not what he sees, but what he knows. Typology says more about the general than about the individual. The singular reaches scale and cliché, while maintaining some plastic expressiveness. In the theater you can show the concept of the imperial, the concept of Khlestakovism. The art of a generalized gesture, a clichéd form, where details model not empirical, but supra-empirical reality. Picasso “Fruit” - diagram of an apple, portrait “Woman” - diagram female face. A mythological reality that carries colossal social experience. Picasso “Cat Holding a Bird in Its Teeth” is a painting he painted during the war. But the pinnacle of Picasso's work is Guernica. Portrait of Dora Maar - a typological image, an analytical beginning, working with the image of a person analytically.