Tom is an artistic image. What is an artistic image

In the generally accepted understanding, an artistic image is a sensory expression of a term that defines reality, the reflection of which is in the form of a specific life phenomenon. An artistic image is born in the imagination of a person involved in art. The sensual expression of any idea is the fruit of hard work, creative imagination and thinking based only on one’s own life experience. The artist creates a certain image, which is an imprint in his mind of a real object, and embodies everything in paintings, books or films that reflect the creator’s own vision of the idea.

An artistic image can only be born when the author knows how to operate with his impressions, which will form the basis of his work.

The psychological process of sensually expressing an idea consists in imagining the final result of work even before starting creative process. Operating with fictitious images helps, even in the absence of the necessary completeness of knowledge, to realize your dream in the created work.

Artistic image created creative person, characterized by sincerity and reality. Characteristic feature art is skill. It is this that allows you to say something new, and this is only possible through experiences. Creation must go through the feelings of the author and be suffered by him.

The artistic image in each field of art has its own structure. It is determined by the criteria of the spiritual principle expressed in the work, as well as the specifics of the material that is used to create the creation. Thus, the artistic image in music is intonational, in architecture - static, in painting - pictorial, and in literary genre- dynamic. In one it is embodied in the image of a person, in another - in nature, in the third - in an object, in the fourth it appears as a combination of connections between the actions of people and their environment.

The artistic representation of reality lies in the unity of the rational and emotional sides. The ancient Indians believed that art owes its birth to those feelings that a person could not keep within himself. However, to artistic category Not every image can be attributed. Sensual expressions must carry specific aesthetic purposes. They reflect beauty surrounding nature and the animal world, capture the perfection of man and his existence. An artistic image should testify to beauty and affirm the harmony of the world.

The sensual incarnations are a symbol of creativity. Artistic images act as a universal category for understanding life, and also contribute to its comprehension. They have properties that are unique to them. These include:

Typicality arising from a close relationship with life;

Liveliness or organicity;

Holistic orientation;

Understatement.

The building materials of the image are the following: the personality of the artist himself and the realities of the surrounding world. The sensual expression of reality combines the subjective and objective principles. It consists of reality, which is processed by the creative thought of the artist, reflecting his attitude to what is depicted.

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

An artistic image is a form of artistic thinking. The image includes: the material of reality, processed by the artist’s creative imagination, his attitude towards what is depicted, the richness of the creator’s personality. Hegel believed that an artistic image “reveals to our gaze not an abstract essence, but its concrete reality.” V. G. Belinsky believed that art is imaginative thinking. For positivists, an artistic image is a visual demonstration of an idea that provides aesthetic pleasure. Theories arose that denied the figurative nature of art. Thus, Russian formalists replaced the concept of image with the concepts of construction and technique. Semiotics has shown that an 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, collides phenomena with each other and strikes sparks that illuminate life with new light. In art, according to Anandavardhana (India, 9th century), figurative thought (dhvani) has three main elements: poetic figure (alamkara-dhvani), meaning (vast-dhvani), mood (rasa-dhvani). These elements are combined. The poet Kalidasa expresses the dhvani mood in this way. This is what King Dushyanta says to the bee circling near the face of his beloved: “You continually touch her fluttering 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 are the center of pleasure. Oh, bee, truly you have reached your goal, and I am wandering in search of truth.” The poet, without directly naming the feeling that possessed Dushyanta, conveys to the reader the mood of love, comparing the lover dreaming of a kiss with a bee flying around the girl.

IN ancient works the metaphorical nature of artistic thinking appears especially clearly. Thus, the products of Scythian artists in an animal style intricately 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 Nyu-wa - a snake with a woman’s head ( Ancient China), the god Anubis is a man with the head of a jackal (Ancient Egypt), the centaur is a horse with the torso and head of a man ( Ancient Greece), a man with the head of a deer (Lapps).

Artistic thought connects real phenomena, creating an unprecedented creature that bizarrely combines elements of its ancestors. The ancient Egyptian sphinx is a man represented through a lion, and a lion understood through a man. Through the bizarre combination of man and the king of beasts, we learn about nature and ourselves - royal power and dominance over the world. Logical thinking establishes the subordination of phenomena. The image reveals objects of equal value - one through the other. Artistic thought is not imposed on the objects of the world from the outside, but flows organically from their comparison. These features of the artistic image are clearly visible in the miniature of the Roman writer Aelian: “... if you touch a pig, it naturally begins to squeal. A pig has no wool, no milk, nothing but meat. When touched, she immediately guesses the danger that threatens her, knowing what she is good for in people. Tyrants behave the same way: they are always filled with suspicion and are afraid of everything, because they know that, like a pig, they must give their life to anyone.” Elian's artistic image is metaphorical and constructed like a sphinx (man-lion): according to Elian, the tyrant is a pig-man. A comparison of creatures that are far from each other unexpectedly gives new knowledge: tyranny is disgusting. The structure of an 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 are revealed through the reflections and shadows that they cast on each other and on the world around them. In War and Peace, the character of Andrei Bolkonsky is revealed through his love for Natasha, through his relationship 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. For Chekhov’s Trigorin (in the play “The Seagull”), a cloud looks like a piano, and “and the dam glitters with the neck of a broken bottle and the shadow of a mill wheel turns black - that’s it.” Moonlight night ready." Nina’s fate is revealed through the fate of the bird: “The plot for a short story: a young girl has been living on the shore of the lake since childhood... loves the lake like a seagull, and is happy and free like a seagull. But by chance a man came, saw it and, out of nothing to do, killed it, like this seagull.” In an artistic image, through the conjugation of phenomena far removed from each other, unknown parties reality.

Figurative thought is multi-valued, 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's art of writing is the art of crossing out. E. Hemingway compared a work of art to an iceberg: part of it is visible, the main part is under water. This makes the reader active; the process of perceiving the work turns out to be co-creation, finishing the image. However, this is not arbitrary speculation. The reader receives an impulse for thought, he is given an emotional state and a program for processing information, but he retains free will and scope for creative imagination. The understatement of an artistic image stimulates the thoughts of the perceiver. This also manifests itself in incompleteness. Sometimes the author breaks off the work mid-sentence and leaves the story unfinished, does not untie storylines. The image is multifaceted, it contains an abyss of meaning, revealing itself over time. Each era finds in classic look new sides and gives it his own interpretation. In the 18th century Hamlet was seen as a reasoner in the 19th century. - as a reflective intellectual (“Hamletism”), in the 20th century. - as a fighter “against a sea of ​​troubles” (in his interpretation he noted that he could not express the idea of ​​“Faust” with the help of a formula. To reveal it, it would be necessary 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 an artistic image were completely translatable 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. An artistic image is not translatable into the language of logic because during analysis a “supra-semantic residue” remains, and at the same time we translate it because, by penetrating deeply into the essence of the work, its meaning can be more fully revealed. Critical analysis is a process of endlessly delving into the infinite meaning of an artistic image. This analysis is historically variable: a new era gives a new reading of the work.

Art occupies the most important place in the theory of aesthetics. She studies its role in life, patterns of development and characteristics. 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, influencing the feelings and minds of people with his works, he strives 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 imagery of sensory-concrete thinking, but also with abstract concepts; it contains the depth and originality of meaningful artistry.

In the essence of an artistic image, certain levels can be distinguished. The abstract level of artistic thinking is ideal when awareness occurs artistic idea and the creation of an image is an intellectual 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. An 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 words, in their combinations.

When studying an artistic image, one should take into account all these levels: ideal, mental, material.

In art, the accuracy of the depiction of nature does not in itself create a work; it arises only when the image becomes an artistic image, in which a particular 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 is basically an image of sensory perceived reality, but the degree of artistic generalization varies. In order to correctly understand the nature of the artistic image, one should also take into account such important points as the individuality of the artist’s vision and his aesthetic ideal.

These two points 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, conversely, clearly expressed, but in any case it is required in a talented work of art.

From the sociocultural necessity of art flow its main features: a special relationship between art and reality and a special method of ideal development, which we find in art and which is called the artistic image. Other spheres of culture - politics, pedagogy - turn to the artistic image in order to “elegantly and unobtrusively” express the content.

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 the 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-sensory (image) 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, this is the image of 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 a 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 the reality of value - 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 minds of another person. Each time, images are a recreation, using the language of an art form, of certain spiritual and 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 what is 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 that 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 at Play” - he is not interested in the specifics of nature, individuality (blurs his faces), but in universal values. “Thrown away” has no meaning here, because it takes away from the essence.

Another important function of art is transformation. The contours of space, color scheme, proportions change human bodies, temporal order (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 lifelikeness is necessary because we're talking about about communication. Different types arts have varying degrees of life-likeness and conventionality. Abstract art - an attempt to discover 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 of the Red Horse” (1913) - in this picture, according to the artist himself, his premonition was expressed civil war. 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 special artistic language(in Voznesensky: I am Goya, then I am the throat, I am the voice, I am hunger) each subsequent metaphor meaningfully fills the other: 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 - the 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.

Artistic generalization

Art is not a retelling of reality, but an image of a force or craving through which a person’s imaginative relationship to the world is realized.

Generalization becomes the realization of the features of art: the specific receives a more general meaning. The specificity of artistic and figurative generalization: an artistic image connects together the objective and the value. The purpose of art is not a formal logical generalization, but the concentration of meaning. Art gives meaning to these kinds of objects , art gives meaning to the value logic of life. Art tells us about fate, about life in its human fullness. In the same way, human reactions are generalized, therefore, in relation to art, they talk about both attitude and worldview, and this is always a model of attitude.

Generalization occurs due to the transformation of what happens. Abstraction is a distraction in a concept; theory is a system of logical organization of concepts. A concept is a representation of large classes of phenomena. Generalization in science is a move from the individual to the universal; it is thinking in abstractions. Art must retain the specificity of value and it must generalize without being distracted from this specificity, which is why the image is a synthesis of the individual and the general, and individuality retains its separation from other objects. This occurs due to selection, transformation of the object. When we look at individual stages of world art, we find established typological features of methods of artistic generalization.

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 are represented, for example, by N. Poussin’s painting “The Kingdom of Flora”: 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 revelation 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 is 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. The typological feature of the character of the 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, a new method of artistic generalization also arises. 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 distribution 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. The portrait of Dora Maar is a typological image, an analytical beginning, working with the image of a person analytically.

The art of the 20th century freely combines all methods of artistic generalization, for example, the novels of M. Kundera, W. Eco, which, for example, can combine realistic description with reflections, where the essay takes precedence. Typology is an intellectual version of contemporary art.

But any genuine artistic image is organically integral, and the mystery of this organicity has worried us for many times. Born from inner world the artist's image itself becomes an organic whole.

Bibliography:

Belyaev N.I. ... THE IMAGE OF HUMAN IN FINE ARTS: INDIVIDUAL AND TYPICAL

A. Barsh. sketches and sketches

Bychkov V.V. Aesthetics: Textbook. M.: Gardariki, 2002. – 556 p.

Kagan M.S. Aesthetics as a philosophical science. St. Petersburg, TK Petropolis LLP, 1997. – P.544.

Article. Psychological characteristics image perception Journal of Psychology, Vol. 6, No. 3, 1985, pp. J50-153

Article. S.A. Belozertsev, Shadrinsk Artistic performance in educational productions

Internet resource Composition / Artistic image / Objectivity and subjectivity...

www.coposic.ru/hudozhestvennyy- HYPERLINK "http://www.coposic.ru/hudozhestvennyy-obraz/obektivnost-subektivnost"obraz HYPERLINK "http://www.coposic.ru/hudozhestvennyy-obraz/obektivnost-subektivnost"/obektivnost-subektivnost

artistic image - Encyclopedia of painting

painting.artyx.ru/books/item/f00/s00/z0000008/st002.shtml

Kuzin V.S. Drawing. Sketches and Sketches

Quick sketch technique

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-represented. 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. the subject is only material means 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, White color the marble statue does not act 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 of 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 extend from it, weaving it into a holistic 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. This grain of the image from the very beginning is not only subjective, but subjective-objective and vital-structural, and therefore has the ability to spontaneously develop, to self-clarify (as evidenced by numerous recognition of people's claims). 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 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 vague 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. 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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.