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Aesthetic perception is: definition, characteristics and essence. Artistic image. Epistemology of art

In this paragraph, the subject of consideration will be those age characteristics that are inherent in a younger student and which should be taken into account in the development of his aesthetic perception.

In our time, the problem of aesthetic perception, personality development, formation, its aesthetic culture is one of the most important tasks facing the school. This problem has been developed quite fully in the works of domestic and foreign teachers and psychologists. Among them are B. T. Likhachev, A. S. Makarenko, B. M. Nemensky, V. A. Sukhomlinsky, V. N. Shatskaya, I. F. Smolyaninov, O. P. Kotikova and others.

We have already noted that it is very difficult to form aesthetic ideals, artistic taste, when human personality has already taken shape. Aesthetic personality development begins in early childhood... In order for an adult to become spiritually rich, special attention should be paid to the aesthetic education of children of primary school age. B.T. Likhachev writes: "The period of primary school childhood is perhaps the most decisive from the point of view of aesthetic education and the formation of a moral and aesthetic attitude to life." The author emphasizes that it is at this age that the most intensive formation of attitudes towards the world takes place, which gradually turn into personality traits. The essential moral and aesthetic qualities of a person are laid down in early period childhood and remain more or less unchanged for life. And in this regard, this is the most suitable time for the development of aesthetic perception.

There are many definitions of the concept of "aesthetic perception", but, having considered only a few of them, it is already possible to single out the main provisions that speak of its essence.

First, it is a targeted impact process. Secondly, it is the formation of the ability to perceive and see beauty in art and life, to evaluate it. Thirdly, the task of aesthetic perception is the formation of aesthetic tastes and personality ideals. And, finally, fourthly, the development of the ability for independent creativity and the creation of beauty.

A peculiar understanding of the essence of aesthetic perception determines and different approaches towards its goals. Therefore, the problem of the goals and objectives of aesthetic education in order to develop perception requires special attention.

It is impossible, or at least extremely difficult to teach a young man, an adult, to trust people if he was often deceived in childhood. It is difficult to be kind to someone who in childhood did not join sympathy, did not experience the child's immediate and therefore indelibly strong joy from kindness to another person. It is impossible to suddenly become courageous in adulthood, if in preschool and primary school age you have not learned to express your opinion decisively and act boldly.

The course of life changes something and makes its own adjustments. But it is precisely in preschool and primary school age that the development of aesthetic perception is the basis of all further pedagogical work.

One of the features of primary school age is the arrival of a child to school. He has a new leading type of activity - study. The teacher becomes the main person for the child. "For the guys in primary school the teacher is the most important person. Everything for them begins with a teacher who helped to overcome the first difficult steps in life ... “Through him, children learn the world, the norms of social behavior. The teacher's views, tastes, and preferences become their own. From the pedagogical experience of A.S. Makarenko knows that a socially significant goal, the prospect of moving towards it, with an inept statement in front of children, leaves them indifferent. And vice versa. A vivid example of consistent and convincing work of the teacher himself, his sincere interest and enthusiasm easily raise children to work.

The next feature of the development of aesthetic perception in primary school age is associated with changes in the field cognitive processes schoolboy. For example, the formation of aesthetic ideals in children, as part of their worldview, is a complex and lengthy process. This is noted by all the teachers and psychologists mentioned above. In the course of upbringing, life relationships, ideals undergo changes. In some conditions, under the influence of comrades, adults, works of art, nature, life upheavals, ideals can undergo fundamental changes. "The pedagogical essence of the process of forming aesthetic ideals in children, taking into account their age characteristics, is to form stable meaningful ideal ideas about society, about a person, about relationships between people from the very beginning, from early childhood, doing this in a diverse, changing way. each stage in a new and exciting form ", - notes B.T. Likhachev.

For preschool and primary school age, the leading form of acquaintance with the aesthetic ideal is children's literature, cartoons, films and photographs in books. From primary school age, there are changes in motivational sphere... The motives of children's attitude to art, the beauty of reality are recognized and differentiated. D.B. Likhachev notes in his work that a new, conscious motive is added to the cognitive stimulus at this age. This is manifested in the fact that "... some guys relate to art and reality precisely aesthetically. They enjoy reading books, looking at illustrations in them, listening to music, drawing, watching a movie. They do not yet know that this is an aesthetic attitude. But they developed an aesthetic attitude to art and life, and the craving for spiritual communication with art is gradually turning into a need for them.

From primary school age, there are changes in the motivational sphere. The motives of children's attitude to art, the beauty of reality are recognized and differentiated. D.B. Likhachev notes in his work that a new, conscious motive is added to the cognitive stimulus at this age. This is manifested in the fact that "... some guys relate to art and reality precisely aesthetically. They enjoy reading books, listening to music, drawing, watching a movie. They still do not know that this is an aesthetic attitude. But an aesthetic attitude has been formed in them. to art and life.The craving for spiritual communication with art is gradually turning into a need for them.

Other children interact with art outside the aesthetic relationship itself. They approach the work rationally: having received a recommendation to read a book or watch a movie, they read and watch them without deep comprehension of the essence, only in order to have about it general idea". And it happens that they read, watch or listen for prestigious reasons. The teacher's knowledge of the true motives of children's attitude to art helps to focus on the formation of a truly aesthetic attitude.

A sense of the beauty of nature, people around, things creates in a child special emotional and mental states, arouses a direct interest in life, sharpens curiosity, thinking, memory. In early childhood, children live spontaneous, deeply emotional lives. Strong emotional experiences remain in memory for a long time, often turn into motives and stimuli for behavior, facilitate the process of developing beliefs, skills and behavior habits. In the work of N.I. Kiyashchenko quite clearly emphasizes that " pedagogical use the child's emotional attitude to the world is one of the most important ways of penetrating into children's consciousness, expanding, deepening, strengthening, constructing. "He also notes that the child's emotional reactions and states are a criterion for the effectiveness of aesthetic education." the phenomenon expresses the degree and nature of the development of his feelings, tastes, views, convictions and will. "

Any goal cannot be considered without objectives. Most teachers (G.S.Labkovskaya, D.B. Likhachev, N.I.

So, firstly, it is "the creation of a certain stock of elementary aesthetic knowledge and impressions, without which an inclination, craving, interest in aesthetically significant objects and phenomena cannot arise."

The essence of this task is to accumulate a varied stock of sound, color and plastic impressions. The teacher must skillfully select, according to the specified parameters, such objects and phenomena that will meet our ideas about beauty. Thus, sensory-emotional experience will be formed. Specific knowledge about nature, oneself, and the world of artistic values is also required. "The versatility and richness of knowledge is the basis for the formation of broad interests, needs and abilities, which are manifested in the fact that their owner in all modes of life behaves like an aesthetically creative person," notes G.S. Labkovskaya.

The second task of aesthetic perception is "the formation, on the basis of the knowledge gained, of such socio-psychological qualities of a person that provide the opportunity to emotionally experience and evaluate aesthetically significant objects and phenomena, and enjoy them."

This task suggests that it happens that children are interested, for example, in painting, only at the general educational level. They hurriedly look at the picture, try to remember the name, the artist, then turn to a new canvas. Nothing causes amazement in them, does not make them stop and enjoy the perfection of the work.

B.T. Likhachev notes that "... such a cursory acquaintance with the masterpieces of art excludes one of the main elements of the aesthetic attitude - admiration." Closely connected with aesthetic admiration is the general ability to deeply experience. “The emergence of a range of sublime feelings and deep spiritual pleasure from communication with the beautiful; feelings of disgust when meeting the ugly; sense of humor, sarcasm at the moment of contemplation of the comic; emotional shock, anger, fear, compassion, leading to emotional and spiritual cleansing resulting from the experience of the tragic - all these are signs of genuine aesthetic education, ”the same author notes.

A deep experience of aesthetic feeling is inseparable from the ability of aesthetic judgment, i.e. with an aesthetic assessment of the phenomena of art and life. A.K. Dremov defines aesthetic assessment as an assessment "based on certain aesthetic principles, on a deep understanding of the essence of the aesthetic, which presupposes analysis, the possibility of proof, argumentation." Let us compare with the definition of D.B. Likhachev. "Aesthetic judgment is a demonstrative, well-grounded assessment of the phenomena of social life, art, nature." In our opinion, these definitions are similar. Thus, one of the components of this task is to form such qualities of a child that would allow him to give an independent, taking into account age-related capabilities, a critical assessment of any work, to express a judgment about him and his own mental state.

The third task of aesthetic perception is associated with the formation of creative ability. The main thing is to "develop such qualities as the needs and abilities of the individual, which turn the individual into an active creator, creator of aesthetic values, allow him not only to enjoy the beauty of the world, but also to transform it" according to the laws of beauty. "

The essence of this task is that the child should not only know the beautiful, be able to admire and appreciate it, but he should also actively participate in the creation of beauty in art, life, work, behavior, relationships. A.V. Lunacharsky emphasized that a person learns to comprehensively understand beauty only when he himself takes part in its creative creation in art, work, and social life.

The tasks we have considered partially reflect the essence of aesthetic perception, however, we have considered only pedagogical approaches to this problem.

Each child develops thought in his own way, each is smart and talented in his own way. There is not a single child who is incapable, incompetent. It is important that this mind, this talent, become the basis for success in learning, so that no student learns below his capabilities. Children should live in the world of beauty, games, fairy tales, music, drawing, fantasy, creativity. It is very important that children are not given the obligatory task of learning letters, learning to read. Their mental life should rise to the first step of the child's cognition, which would be spiritualized by beauty, fantasy, play of the imagination. Children deeply remember what excited their feeling, fascinated with beauty.

The life experience of a child at various stages of his development is so limited that children do not soon learn to distinguish proper aesthetic phenomena from the general mass. The task of the teacher is to educate the child's ability to enjoy life, develop aesthetic needs, interests, bring them to the level of aesthetic taste, and then ideal.

Aesthetic education is important for the subsequent full-fledged development of the personality of a student who is taking the first steps along the enormous ladder of education. It is designed to develop artistic tastes, ennobles a person. Aesthetic education is one of the paths to harmonious, all-round development of the personality, to the formation of the ability to perceive, the rule to evaluate and create beauty in life and in art. It is much easier to retrain a person from one specialty to another than to achieve changes in the system of ideas about good and bad, about beautiful and ugly.

Younger school age called the pinnacle of childhood. The child begins to lose childish spontaneity in behavior, he has a different logic of thinking. Learning for him is a meaningful activity. At school, he acquires not only new knowledge and skills, but also a certain social status. The interests of the child's value change. This is a period of positive change and transformation. Therefore, the level of achievement achieved by each child at a given age stage... If at this age the child does not feel the joy of learning, does not acquire the ability to learn, does not learn to be friends, does not gain confidence in himself, his abilities and capabilities, it will be much more difficult to do this in the future and will require immeasurably higher mental and physical costs.

The development in children of the ability to perceive, to understand the feelings of human spiritual moral beauty simultaneously with the formation of their own aesthetic spirituality is a complex, peculiar, unevenly flowing, dialectical, contradictory process, depending on specific conditions. Children of primary school age are more inclined to perceive and evaluate the external form, conspicuous harmony.

Thus, primary school age is a special age for the development of aesthetic perception, where the main role playing teacher. Using this, skillful teachers are able not only to establish a solid foundation of an aesthetically developed personality, but also through the development of aesthetic perception in schoolchildren to lay the true worldview of a person, because it is at this age that the child's attitude to the world is formed and the development of the essential aesthetic qualities of the future personality takes place.

AESTHETIC PERCEPTION (artistic) - a specific reflection by a person and a public collective of works of art (artistic perception), as well as objects of nature, social life, culture, which have aesthetic value, taking place in time. The nature of aesthetic perception is determined by the object of reflection, the totality of its properties. But the process of reflection is not a dead, not a mirror-like act of passive reproduction of an object, but the result of the subject's active spiritual activity. A person's ability to aesthetic perception is the result of long-term social development, social resurfacing of the senses. The individual act of aesthetic perception is determined indirectly: by the socio-historical situation, value orientations of the given collective, aesthetic norms, as well as directly: deeply personal attitudes, tastes and preferences.

Aesthetic perception has many common features with artistic perception: in both cases, perception is inseparable from the formation of elementary aesthetic emotions associated with a quick, often unconscious reaction to color, sound, spatial forms and their relationships. In both areas, the mechanism of aesthetic taste operates, the criteria of beauty, proportionality, integrity and expressiveness of form are applied. A similar feeling of spiritual joy and pleasure arises. Finally, the perception of the aesthetic aspects of nature, social life, cultural objects, on the one hand, and the perception of art, on the other, spiritually enriches a person and is able to awaken his creative potential.

At the same time, one cannot fail to see deep differences between these themes of perception. The comfort and aesthetic expressiveness of the subject environment cannot replace art, with its specific reflection of the world, ideological and emotional orientation and appeal to the deepest and intimate aspects of a person's spiritual life. Artistic perception is not limited to "reading" the expressive form, but is carried away into the sphere of cognitive-value content (see). A work of art requires special concentration of attention, concentration, as well as activation spiritual potential personality, intuition, intense work of the imagination, high degree dedication. This requires knowledge and understanding of the special language of art, its types and genres acquired by a person in the learning process and as a result of communication with art. In short, the perception of art requires intense spiritual work and co-creation.

If the impetus for both aesthetic and artistic perception can be a similar positive aesthetic emotion from an object, which causes the desire to comprehend it most fully, from different sides, then the further course of these types of perceptions is different. Artistic perception is distinguished by a special moral and worldview orientation, complexity and dialecticism of conflicting emotional and aesthetic reactions, positive and negative: pleasure and displeasure (see Catharsis). Including when the viewer comes into contact with a high artistic value, which also meets his criteria of taste. The joy and pleasure provided by art in the process of perception are based on the acquisition by man special knowledge about the world and about oneself, which other spheres of culture cannot provide, on the purification of emotions from everything superficial, chaotic, vague, on the satisfaction of the exact focus of the art form on a certain content. At the same time, artistic perception includes a whole gamut of negative, negative emotions associated with the recreation in art of ugly, base, disgusting phenomena, as well as with the very course of the process of perception. If anger, disgust, contempt, horror in relation to real objects and phenomena interrupt the process of aesthetic perception even in the case when a positive stimulus was first received, then a completely different thing happens when art is perceived in relation to its imaginary objects. When the artist gives them the correct socio-aesthetic assessment, when a certain distance between the depicted and the viewer is observed, when the form of embodiment is perfect, artistic perception develops despite negative emotions (this does not take into account cases of deliberate savoring of ugliness and horror in art, as well as special individual situations of the perceiver) ... In addition, the information obtained during the initial contact with a work of art in some of its links can exceed the possibilities of the viewer's understanding and cause outbreaks of short-term displeasure. The interaction of the former, relatively stable artistic experience of a person with the dynamic, full of surprises information that a new, original work of art brings us is by no means cloudless, but often intense. Only in a holistic, final perception, or only under the condition of its repetition and even repetition, all these displeases will be melted into a dominant general feeling of pleasure and joy.

The dialectic of artistic perception lies in the fact that, on the one hand, it does not require recognition of works of art as reality, on the other hand, it creates, following the artist, an imaginary world endowed with special artistic reliability. On the one hand, it is aimed at the sensually contemplated object (the colorful texture of the painting, volumetric forms, the relationship of musical sounds, sound-speech structures), on the other, it seems to break away from them and go with the help of imagination into the figurative-semantic, spiritual sphere of aesthetically valuable object, returning, however, constantly to sensory contemplation. In the primary artistic perception, the confirmation of the expectation of its next phase (the development of melody, rhythm, conflict, plot, etc.) and, at the same time, the refutation of these predictions, also causing a special relationship and pleasure and displeasure, interact.

Artistic perception can be primary and multiple, specially or accidentally prepared (judgment of criticism, other viewers, preliminary acquaintance with copies, etc.) or unprepared. In each of these cases there will be its own specific point of reference (direct preliminary emotion, judgment about the work, its “presentiment” and preliminary outline, integral image-representation, etc.), its own ratio of rational and emotional, expectation and surprise, contemplative tranquility and search anxiety.

It is necessary to distinguish sensory perception as the starting path of all knowledge and artistic perception as an integral, multi-level process. It builds on sensual stage cognition, including sensory perception, but is not limited to the sensory stage as such, but includes both figurative and logical thinking.

Artistic perception, in addition, represents the unity of cognition and evaluation, it is deeply personal in nature, takes the form of aesthetic experience and is accompanied by the formation of aesthetic feelings.

A special problem for modern aesthetic perception is the question of the relationship between the historical study of fiction and other types of art with direct artistic perception. Any study of art must be based on its perception and be corrected by it. No most perfect scientific analysis of art can replace direct contact with it. The study is intended not to "expose", to rationalize and reduce to ready-made formulas the meaning of the work, thereby destroying artistic perception, but, on the contrary, developing it, enriching it, making it deeper.

The problem of aesthetic perception from the second half of the 19th century. became one of the central in aesthetics. In its solution, not without reason, they saw the key to solving other aesthetic problems, including those related to the subject of aesthetics. In the spirit of the natural scientific enthusiasm of that time, it was especially actively developed by representatives of the psychological (Lipps, Fechner, Volkelt, Worringer, Freudians, Vygotsky, Arnheim, etc.) and the phenomenological based on it (Ingarden, Hartmann, Merleau-Ponty, etc. ) directions in aesthetics. Later, from the end of the 60s. XX century, paid a lot of attention to aesthetic perception receptive aesthetics, the main representatives of which were German literary critics Hans Robert Jauss (1921-1997; main work- "Aesthetic Experience and Literary Hermeneutics", 1977) and Wolfgang Isser (1926-2007; main work - "The Act of Reading: Theory of Aesthetic Impact", 1976). Following the phenomenologists, they shifted the main emphasis in the aesthetic sense, in understanding the artistic essence of the work, to the recipient, i.e. on the features of the very act of artistic perception (mainly on the material of literature) and made a conclusion about the fundamental polysemy of a work of art, as in principle and essentially dependent on the subject of perception.

Many significant, interesting and often contradictory judgments have been made about the process of aesthetic perception (in particular, the concept empathy, empathy, sublimation and others), which is quite understandable. This process, not only in its essential foundations, but even at the psychological level, practically does not lend itself to a more or less thorough analysis, because it is associated with the subtlest matters of a person's spiritual and mental life, which go beyond the limits of modern scientific knowledge and do not lend themselves to adequate verbalization. Here, only cautious assumptions are possible based on combining the knowledge of psychology, philosophy, aesthetics with attempts to comprehend personal aesthetic experience, the intuitive insights of the researcher himself and regular peeks into the field of mysticism and theology, where the seeking thought is faced with similar problems.

Without going into details, in the very general plan can point to four rather obvious phases (or steps) of the process of aesthetic perception. At the same time, I immediately want to emphasize that they do not depend on what is an aesthetic object - a natural object, spiritual education or a work of art.

1. The initial phase, which precedes the actual process of perception, can be conditionally designated as aesthetic setting. It characterizes the consciously-extraconscious mood of the subject for aesthetic perception. As a rule, this is a special volitional act of a person who specially came to an art museum, to a theater, to a conservatory, visiting an architectural monument, going out into nature to enjoy the beauty of the natural landscape, or starting to read poetry, fiction, etc. The recipient knows in advance that these objects have aesthetic qualities, and he wants to concretize them for himself, i.e. to become the owner of their aesthetic value, or, as a normal aesthetic subject thinks, “to enjoy the beauty of an object”, to experience some pleasant states initiated by it, etc. In a person with a sufficiently high level of aesthetic culture, aesthetic sensitivity, an aesthetic attitude often arises spontaneously without a special attitude when unexpected meeting with an aesthetically significant object, usually natural or a work of art. Then it practically coincides with the second phase of perception, or with the beginning of the process of direct aesthetic perception.
2. This phase can be designated as primary emotion and it is characterized by a complex of not yet fully defined emotional and mental processes of a general positive tonality. The primary experience (a kind of emotional outburst) begins that we specifically sensual came into contact with something, non-utilitarian and essential for us, arousing joyful expectation further development of contact in a spiritual direction.
3. On the next one, central phase arises aesthetic object in the process of its active development. We read a literary work, listen to a music piece, watch a theatrical performance or a movie, gaze at a picturesque picture, examine an architectural monument or a natural landscape, etc. This phase has its own characteristics for each type of aesthetic object (for works of art, we will consider them in more detail when talking about artistic image and symbol), but its essence remains the same. There is an active process of contact between the subject and the object, the initial stage of active aesthetic perception by the subject of the object, as a result of which the subject is almost completely detached from all the incidental, unrelated to this process of aesthetic perception. It seems to be switched off for some time (which physically can be measured in seconds, minutes or hours, but the subject no longer notices this; physical time loses its relevance for him) from everyday life. Without losing the feeling of her presence and his belonging to her, as well as his participation in the aesthetic act, he really trans e-live a completely different life.

Each specific act of aesthetic perception is a whole and integral, special and unique life for the subject of perception, flowing in its space-time continuum, which is not correlated and not commensurate with the physical continuum in which it really is. Physically, the act of perception can take several seconds (although it usually takes much longer for it), but if it is a full-fledged aesthetic act with all its phases, then the subject of perception experiences it as a full-fledged, saturated, purely spiritual life, flowing in some dimension that does not depend on physical time, space and other factors. To some extent, and aesthetics and psychologists have written about this more than once, this phase can be likened to a dream, when, a moment before awakening, the sleeper can experience a long segment of some other life, filled with many events, at the same time feeling some kind of then by the peripheral consciousness that all this is happening with him in a dream.

This phase can be designated as eidetic-psychic or spiritual and eidetic. Here the subject sees and hears an aesthetic object, in his soul all sorts of imaginative processes intensively arise and dynamically develop, directly initiated by a specific object of perception and aroused his responsive mental and spiritual activity, due to the level of his aesthetic culture, associative-synesthetic experience, the state of his soul at the moment of perception, the situation of perception, other subjective points. There is a dynamic concretization of the aesthetic object, when the recipient actually experiences states, situations, vicissitudes, figurative pictures directly related to the given object, generated by him; experiences the beauty or sublimity of the landscape, follows the development of the musical theme, empathizes with the heroes of a literary or theatrical drama, etc. Many aesthetics and art critics wrote and are writing about all these things, relying, as a rule, on their personal aesthetic experience.

This is the most accessible phase of aesthetic perception for a fairly wide range of recipients. Many stop at it, for already here they experience a sufficiently high Aesthetic pleasure, lasting throughout almost the entire act of perception, and it is believed, reinforced in this by some aesthetics, art historians and critics, that the whole aesthetic act and the process of perceiving a work of art is actually reduced to it. However, it is not. Any person with a sufficiently highly developed and, moreover, trained (here it is necessary or desirable to have a special training of perception) aesthetic sense knows that this phase is followed by an even higher one, which can be called aesthetic contemplation, using the term "contemplation" in the profound sense that mystics usually put into it, speaking of vita contemplativa.

Here I would like to emphasize once again that it is this third phase that is central, basic and completely complete in the aesthetic experience. Only artistically high quality works lead the recipient with a developed or highly developed aesthetic taste to this phase. In fact, all high art was basically guided by it, and for the sake of it people tend to museums, concert halls, theaters, etc. This phase has many of its sublevels, on some of which people of average aesthetic sensitivity, average aesthetic preparation receive aesthetic joy, on others recipients with the most refined taste are aesthetized. It is the latter who, upon contact with masterpieces, can reach the next, fourth phase of aesthetic perception, but this happens to them rarely. Usually, however, they are fully satisfied with the main, third phase.

An essential component of the third phase of aesthetic perception is receptive hermeneutics - comprehension of a work of art at the moment of its perception. It is necessary to distinguish between two types of hermeneutics of art - professional hermeneutics, which art historians, literary critics, art critics, and receptive, which is inherent in almost any process of aesthetic perception - namely, its third phase. This is the intellectual component of the third phase.

The spiritual-eidetic stage of aesthetic perception from the very beginning is accompanied by a kind of intense hermeneutic process in the mind of the recipient - comprehension, intellectual interpretation of the perceived work. The recipient, willingly or even involuntarily, seeks to understand, comprehend, interpret, what he sees this, perceives, what means seen in a work of art, what it depicts and expresses, what evokes in him a storm of feelings, emotions and these very reflections. These what, how, why, for what endless succession and often independently of his will arise in the mind of the recipient, and he often completely spontaneously answers these questions to himself (more precisely, the answers themselves form somewhere in the depths of the psyche, excited by the process of aesthetic perception, and arise in consciousness), i.e. ... he is engaged, often without suspecting it, precisely in the hermeneutics of the perceived work.

It is clear that this hermeneutic process is an essential and organic part of the perception of the overwhelming majority of works of art, especially of literary-centric types and “subject matter”, i.e. isomorphic painting. Perhaps, only the perception of non-thematic music and abstract painting in a trained recipient can do without this hermeneutic process.

One brief illustration to what has been said.

The film "The Illusionist" (1984) by the famous Dutch director Jos Stelling - an artistically strong, creative personality, well aware of some kind of deep metaphysics (or archetypics) of the Dutch, going back to Bruegel, Bosch and other major artists of the "golden age" of Dutch painting. A characteristic feature of his style is the accentuation of strangeness, absurdity, abnormality by purely artistic means of cinema. human being, life, behavior as the main dominants. His heroes, as a rule, are not of this world: lonely, closed natures, holy fools and hermits of the 20th century. At the same time, Stelling is a true poet of cinema. He works mainly with purely cinematic means: color, light, frame, foreshortening, plasticity of camera movement, cinematic musicality and plasticity.

When watching the film "The Illusionist", receptive hermeneutics starts working from the first frames and continues for a long time after the end of the viewing. The film has a pronounced parable and symbolic character. The life of a family of idiots is shown: the father is a strange old man in wheelchair, the mother, on whom the whole household is kept, seemingly with only a small "hello", and three big, half-witted son, moreover, practically blind - they wear glasses with thick lenses, only through them they see the outside world, but they often lose them ( the director's conscious play with taking off-losing-finding-putting them on lasts throughout the entire film) and plunges into some kind of obscurity that is accessible only to them (an abstraction of being). The film is simply about receptive hermeneutics. Superbly executed by purely cinematic artistic means, but clearly tends to rational decryption (extremely tight) of something hidden behind them, and at the same time is completely devoid of a verbal series. The heroes do not speak at all, they communicate with each other with facial expressions, gestures or inarticulate mooing. Meanwhile, the plot of the film is simple and quite understandable: one of the sons strives to become an illusionist, to create tricks following the example of a real illusionist who once visited their village, and he succeeds in something.

The film is built in such a way that almost every moment of it (by the way, all the frames are perfectly arranged compositionally, everything is done in some kind of phantasmogoric scenery: the family's dwelling against the background of wonderful landscapes, accompanied by light, beautiful music - the musical score is simply magnificent and significantly enhances absurdity of what is happening) automatically turns on our hermeneutic mechanism, requires interpretation, explanation, decoding. It immediately pops up a lot of some sort of almost rationally readable symbols. One of such symbols of this film, saturated with absurd moments and generally absurd, is the world of hard-to-comprehend illusions, in which all the heroes live. This is evidenced not only by the strange architecture of their house-object, and its interiors with an abundance of some outlandish things, and their actions (absurd performances), and some kind of incredible homemade bike, and other absurd handicrafts similar to art objects of modern contemporary art, but also beautiful landscapes, amazingly beautiful sky, a subtle musical palette, a special, foreshortened, clearly calibrated concentration of the camera on the figures of the heroes, their idiotic masked faces, on their glasses, ridiculous, buffoonish attire, their actions, on individual objects, etc. .NS. An even deeper symbol is the idiocy of human existence in general (all the other supposedly normal secondary characters in the film are also idiotic), its absurdity; the world is a hidden psychiatric hospital or a theater of naive monsters and cruel (in our understanding, because they themselves do not understand this, of course!) clowns. Absurdity as a norm of life. A real murder committed in a theatrical environment is a game, an illusionist trick, etc. etc.

These are general, so to speak, global moments of interpretation, and in the process of viewing, many local meanings and symbolic flickering of consciousness instantly arise, intertwine with other and non-verbalized emotional-mental acts of perception, which add up to a general emotional-eidetic symphony of perception of this interesting artistic relation of the film. It is clear that such films, like all real works of the developing arts in time, must be watched many times. This has to be done with great works of painting and plastic arts, let alone cinema, theatrical performances, operas, symphonies, etc. for a full-fledged aesthetic perception, it is simply necessary to look and listen repeatedly. Obviously, in this case, the receptive hermeneutics will always somehow change and, undoubtedly, deepen, making up an essential and very significant component of the third phase of aesthetic perception for the recipient.

4. The next, fourth, highest phase is also the most difficult to access. It is rarely achieved even by subtle connoisseurs of art, who have sharpened their taste by aesthetes of the highest level of sensitivity. She happens to be ideal aesthetic experience, although quite achievable under certain conditions. And the recipient, who once attained it, is forever amazed at the spiritual prospects that have opened up to him, constantly strives for it, but rarely, alas, rises to it.

On this one, it's already clear spiritual phase, the recipient abandons the concrete-eidetic imagery of the third phase, from specific emotional and mental experiences, from a specific aesthetic object, from any intentional specifics and soars into that higher state of the indescribable enjoyment, which since the times

Aristotle is called aesthetic catharsis(see below) and which actually defies verbal description. It is here that the perceptual subject enters into essential contact with the Universe or even with its First Cause, reaches the infinite fullness of being, feels himself involved in eternity. Experiencing, apparently, something similar in concrete immersions in aesthetic experience, Ingarden tried to describe this state within the framework of his phenomenological methodology as a "discovery", "identification" of such a "qualitative ensemble", the existence of which we did not even suppose, could not imagine it ... Aesthetic contemplation, to some extent, can apparently be compared with the act of meditation of some spiritual practices, however, in our case, the subject of perception never loses the sensation of his real I, with which some positive metamorphoses occur, initiated by the aesthetic object, the aesthetic qualities contained in it ...

Something very close to the last two phases of aesthetic perception was expressed in exquisite artistic images by Hermann Hesse in the symbolic story about aesthetic perception "Iris". Probably, it was the experiences of the spiritual-eidetic phase that formed the basis for the description of the process of peering the boy Anselm into the iris flower: “And Anselm loved him so much that, looking inward for a long time, he saw in thin yellow stamens either the golden fence of the royal gardens, or an alley in two rows of beautiful trees from sleep, never swayed by the wind, between which a light path, penetrated with living, glassy-tender veins, ran - a mysterious path into the depths. The vault that opened was enormous, the path was lost among the golden trees in the endless depths of an inconceivable abyss, a purple dome curved regally above it and overshadowed a miracle frozen in quiet anticipation with a magical light shadow. "

And something approaching aesthetic contemplation is described by his strange friend Iris to an adult Anselm: “It happens to me every time ... when I smell a flower. Each time it seems to my heart that the scent is associated with the memory of something beautiful and precious, which once belonged to me, and then lost. And with music it’s the same, and sometimes with poetry: suddenly for a moment something flashes, as if you suddenly saw in front of you in the depths of the valley your lost homeland, and immediately disappears away and is forgotten.

Dear Anselm, in my opinion, this is the purpose and meaning of our stay on earth: to think and seek and listen to distant disappeared sounds, since our true homeland lies behind them. "

And all these extremely aestheticized images are oriented in Hesse towards the assertion of the global symbolism of the earthly existence of man, to which the first fathers came from the other side at the very dawn of Christianity Christian Church... “Every phenomenon on earth is a symbol, and every symbol is an open gate through which the soul, if it is ready for this, can penetrate into the depths of the world, where you and I, day and night, become one. Every person comes across open gates here and there on the path of life, everyone at some time comes to the idea that the visible is a symbol and that behind the symbol there is spirit and eternal life. " Having arisen in the religious sphere at the dawn of Christian culture, this understanding at its decline is concretized in the purely aesthetic sphere. Meanwhile, the religious thinker P. Florensky wrote almost the same thing and at the same time in almost the same words. Much, if not all, converges in our culture and very often closes in on the aesthetic sphere, emphasizing its unique place in human life.

Everything the main phases of aesthetic perception are accompanied by aesthetic pleasure, the intensity of which is constantly increasing and reaches an indescribable, explosive force in the third phase - aesthetic pleasure, after which the subject, mentally often exhausted by a concentrated experience of experience, but spiritually enriched and happy, returns from his aesthetic pilgrimage to everyday reality with the conviction that there is something that significantly exceeds it in value terms, and understanding that even without it (everyday reality) human life, alas, is impossible. Aesthetic pleasure accompanying the process of aesthetic perception and indicating that it has taken place has a different degree of intensity depending on the aesthetic object, the state of the aesthetic subject at the time of perception, and the phase of perception. Naturally, the level of this pleasure does not lend itself to any measurement and is assessed purely subjectively. It can only be stated that from the second stage to the fourth this intensity is constantly growing and that at the second and especially the third stages it is quite stable and, as it were, relatively long (although the temporal characteristics here can already be used only metaphorically), and at the last stage it reaches a peak value in aesthetic pleasure. Therefore, it makes sense to use different terms for this state, based on their deep, intuitive sense: for the second and third stages, it is more correct to talk about aesthetic pleasure, and for the stage of completion - aesthetic contemplation - about aesthetic enjoyment not only quantitatively, but also a qualitatively different stage of the state of perception.

I emphasize once again that aesthetic pleasure and its highest phase of aesthetic pleasure, which necessarily accompany aesthetic perception, are not the main goal of this perception and the aesthetic act in general, although they often act as a significant incentive to start this process. The memory of them usually serves as an impetus for a new aesthetic setting, which attracts a person to an art museum, a conservatory, or just for a walk through picturesque places. The main goal the aesthetic act constitutes its final stage - aesthetic contemplation, which many recipients do not even know about, but unconsciously strive for it, feeling its strong magnetism throughout the entire process of aesthetic perception, even if it is limited only to the spiritual-eidetic phase. In a different way, the purpose of the aesthetic act (perception) can be defined as actualization of aesthetic value, vital for a person to fully realize himself in the world as a free and full-fledged person.

To achieve the fourth phase of aesthetic perception, the presence of at least three factors of aesthetic experience is necessary.

1. Availability highly artistic work, almost artistic masterpiece. At the same time, it is obvious that there seem to be no objective criteria for defining a masterpiece, but they nevertheless exist, although they are weakly amenable to verbalization. Masterpiece ontologically meaningful. It is impossible to list all of its characteristics point by point, but it can

immediately see and recognize a person with a developed aesthetic taste. This, of course, is helped by long-term, as a rule, historical life a masterpiece, in the process of which he, as it were, asserts himself in his ontological status, or rather - reveals oneself in contact with several generations of spiritually and aesthetically advanced recipients; gradually exhibits expressed in him only by his artistic means a certain objective value, individual and unique eidos of being. Thus, he carries out real an increment of being, which only aesthetics and philosophy of art of the 20th century could understand.

Aesthetics and philosophers have tried differently to name this intuitive feature of the masterpiece. Russian thinker of the XX century. Ivan Alexandrovich Ilyin(1882-1954) in his main aesthetic work "Fundamentals of Art: On the Perfect in Art" (1937) designated it as an "artistic object", understanding it as a kind of individual subjective spirituality, optimally expressing by artistic means the objective spiritual essence of the object, nature, man , God 1. Intuitively, many artists, poets, musicians often strove for this in painful search, as evidenced by their diaries, letters, and other texts. Alexey Losev tried to express the true essence of the artistic form (ideal, i.e. masterpiece) through antipomics image and prototype, with that in mind expression a prototype in an image, which implies that this prototype is itself a derivative of a given image, exists (is revealed) only in it and on its basis. Kandinsky wrote about self-expression in a work of art through an artist, an objectively existing Spiritual, etc. etc.

The history of aesthetic thought shows how difficult it is to verbalize the essence of the authentic process of artistic expression, in which only an artistic masterpiece arises - such objective quantum special being, which is relevant for highly developed aesthetic subjects of many generations and even different ethnic groups, i.e. can lead them to the fourth phase of aesthetic perception, to reveal to them something essential in the being of the Universe, organically including themselves and themselves. A masterpiece is such a specific, eidetic and energetic quantum of being, which expresses one of the countless aspects of its essence, i.e. contains the potential for an adequate (more on this below) aesthetic subject to achieve the fullness of being, a meditative-contemplative state of the highest level through a concrete sensory perception of this masterpiece.

And today we know a relatively small circle of generally recognized masterpieces of world art, including the first third or even half of the XX century. At the same time, it is almost impossible to articulate why a particular masterpiece is such, although people with a high artistic taste can list these masterpieces almost unmistakably. However, even here there will be no rows matching up to several names. The subjective factor will actively intervene. Nevertheless, at the level of some intuitive convention generally recognized in the artistic and aesthetic community of professionals and art connoisseurs, we have such a series, at least for classical art, including the beginning of the 20th century.

2. The presence of a highly developed aesthetic subject, i.e. a subject capable of reaching the fourth phase in the process of aesthetic perception.
3. The presence of an attitude towards aesthetic perception and the possibility of its implementation, i.e. a favorable situation of perception, when the aesthetic subject is tuned only to this perception, he is not distracted by any everyday worries, extraneous ideas, somatic or mental pains, the crunch of cereals being eaten in a cinema or theater, the chatter of visitors or the philosophizing of guides in a museum, etc.

In theory, this is enough to achieve the fourth phase of aesthetic perception, but practically everything is much more complicated. Especially with the first and third factors. The second seems to be more or less objective. It is what it is. But the generally recognized, objectively manifested masterpiece of not every recipient that meets the second and third factors can lead to the state of the fourth phase of aesthetic perception - to aesthetic contemplation. It should be masterpiece and for him personally, his masterpiece.

To clarify this thought, it is best to refer to examples from personal experience... So i'm good I know, that Dürer is an artist of a masterpiece level. However, with none of his works (with the exception of some self-portraits, and even then only until the third phase) I do not have a full-fledged aesthetic perception. I don't even get to the third phase, although I know that I am dealing with masterpieces. The same is with Raphael's "Sistine Madonna" from the Dresden Gallery. Nice work, but I get stuck at the perception of it somewhere in the third phase. No catharsis, no aesthetic contemplation, never with its most well-directed, long-term and frequent perception (only in 1975 I lived in Dresden for three weeks and almost every day I visited the gallery, and in subsequent years I regularly visited this unique repository of masterpieces of world art) did not experience. But this is a generally recognized masterpiece! It's just not my work, not "my masterpiece."

For a full-fledged aesthetic perception, the masterpiece must still be my, correlate with some internal components of my spiritual and mental world that are not comprehended by me at the rational level. And each of the aesthetically highly developed subjects among the world's masterpieces has their own personal masterpieces. Only by contemplating them in rare happy moments of life can he reach the heights of aesthetic perception. However, something else is also essential. Sometimes explicit non-masterpieces, but simply solid works of a high artistic level can lead one or another recipient in the presence of the second and third factors, naturally, to the fourth phase of aesthetic perception. In aesthetic perception, a lot depends on the subject of perception and the specific situation of perception. Sometimes even artistically mediocre things in a certain situation of perception can have a strong impact on an aesthetically highly developed person, even lead him to the fourth phase of aesthetic perception, to artistic catharsis.

Many of them are phenomenologically considered in detail (for literature, architecture, painting, music) in the above-mentioned works by Ingarden and Hartmann.
Ingarden R. Research on aesthetics. S. 152, 153.
Hesse G. Sobr. op. in 4 volumes.Vol. 1.SPb., 1994.S. 113.
Hesse G. Sobr. op. in 4 volumes.Vol. 1.SPb., 1994.S. 120.
In the same place. P. 116.
For more on understanding the symbol by Florensky, see Chapter 4.

AESTHETIC PERCEPTION(artistic) - a specific reflection by a person and a public collective of works of art (artistic perception), as well as objects of nature, social life, culture, which have aesthetic value, taking place in time. The nature of aesthetic perception is determined by the object of reflection, the totality of its properties. But the process of reflection is not a dead, not a mirror-like act of passive reproduction of an object, but the result of the subject's active spiritual activity. A person's ability to aesthetic perception is the result of long-term social development, social polishing of the sense organs. The individual act of aesthetic perception is determined indirectly: by the socio-historical situation, value orientations of the given collective, aesthetic norms, as well as directly: deeply personal attitudes, tastes and preferences.

Aesthetic perception has many features in common with artistic perception: in both cases, perception is inseparable from the formation of elementary aesthetic emotions associated with a quick, often unconscious response to color, sound, spatial forms and their relationships. In both areas, the mechanism of aesthetic taste operates, the criteria of beauty, proportionality, integrity and expressiveness of form are applied. A similar feeling of spiritual joy and pleasure arises. Finally, the perception of the aesthetic aspects of nature, social life, cultural objects, on the one hand, and the perception of art, on the other, spiritually enriches a person and is able to awaken his creative potential.

At the same time, one cannot fail to see deep differences between these themes of perception. The comfort and aesthetic expressiveness of the subject environment cannot replace art, with its specific reflection of the world, ideological and emotional orientation and appeal to the deepest and intimate aspects of a person's spiritual life. Artistic perception is not limited to "reading" the expressive form, but is carried away into the sphere of cognitive-value content (see Artistic content). A work of art requires a special concentration of attention, concentration, as well as the activation of the spiritual potential of the individual, intuition, intense work of the imagination, and a high degree of dedication. This requires knowledge and understanding of the special language of art, its types and genres acquired by a person in the learning process and as a result of communication with art. In short, the perception of art requires intense spiritual work and co-creation.

If the impetus for both aesthetic and artistic perception can be a similar positive aesthetic emotion from an object, which causes the desire to comprehend it most fully, from different sides, then the further course of these types of perceptions is different. Artistic perception is distinguished by a special moral and worldview orientation, complexity and dialecticism of conflicting emotional and aesthetic reactions, positive and negative: pleasure and displeasure (see Catharsis). Including when the viewer comes into contact with a high artistic value, which also meets his criteria of taste. The joy and pleasure provided by art in the process of perception are based on the acquisition by a person of special knowledge about the world and about himself, which other spheres of culture cannot provide, on the purification of emotions from everything superficial, chaotic, vague, on the satisfaction of the precise focus of the art form on a certain content. At the same time, artistic perception includes a whole range of negative, negative emotions associated with the recreation of ugly, base, disgusting phenomena in art, as well as with the very course of the perception process. If anger, disgust, contempt, horror in relation to real objects and phenomena interrupt the process of aesthetic perception even in the case when a positive stimulus was first received, then a completely different thing happens when art is perceived in relation to its imaginary objects. When the artist gives them the correct socio-aesthetic assessment, when a certain distance between the depicted and the viewer is observed, when the form of embodiment is perfect, artistic perception develops despite negative emotions (this does not take into account cases of deliberate savoring of ugliness and horror in art, as well as special individual situations of the perceiver) ... In addition, the information obtained during the initial contact with a work of art in some of its links can exceed the possibilities of the viewer's understanding and cause outbreaks of short-term displeasure. The interaction of the former, relatively stable artistic experience of a person with the dynamic, full of surprises information that a new, original work of art brings us is by no means cloudless, but often intense. Only in a holistic, final perception, or only under the condition of its repetition and even repetition, all these displeases will be melted into a dominant general feeling of pleasure and joy.

It is necessary to distinguish sensory perception as the starting path of all knowledge and artistic perception as an integral, multi-level process. It is based on the sensory stage of cognition, including sensory perception, but is not limited to the sensory stage as such, but includes both figurative and logical thinking.

A special problem for modern aesthetic perception is the question of the relationship between the historical study of fiction and other types of art with direct artistic perception. Any study of art must be based on its perception and be corrected by it. No most perfect scientific analysis of art can replace direct contact with it. The study is intended not to “bare”, rationalize and reduce the meaning of the work to ready-made formulas, thereby destroying artistic perception, but, on the contrary, develop it, enrich it, make it deeper.

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Introduction

Conclusion

Bibliography

Introduction

The most important type of spiritual production is art. Like science, it is the creation of professionals - artists, poets, musicians, i.e. specialists in the field of aesthetic development of the world. This method of spiritual mastery of reality is based on a peculiar phenomenon of social reality, fixed by philosophy in the category of aesthetic.

The subject of consideration is philosophy.

The purpose of the work is to reveal the foundations of art as a sphere of culture.

To study the topic, you need to consider the following questions:

Aesthetic perception of the world and its role in culture;

Art as an aesthetic activity;

Functions of art;

Class and nationality in art;

Social content of art.

1. Aesthetic perception of the world and its role in culture

aesthetic culture art spiritual

The aesthetic is not the exclusive domain of art. It constitutes one of the general characteristics of social being itself and is, as it were, "diffused" throughout social reality. Aesthetic, i.e. evoking the corresponding feelings in a person, anything can be: natural landscapes, landscapes, any objects of material and spiritual culture, people themselves and all kinds of manifestations of their activity - labor, sports, creative, play, etc. That is, the aesthetic is, as it were, a certain facet of a person's practical activity, which gives rise to specific feelings and thoughts.

Obviously, the objective basis for the emergence of the aesthetic is some fundamental laws of being, which are manifested in the relations of measure, harmony, symmetry, integrity, expediency, etc. he himself is a particle of this world and, therefore, is also involved in the general harmony of the Universe. By adjusting his objective and mental world in unison with the action of these universal relations of being, a person experiences specific experiences that we call aesthetic. It should be noted that in aesthetics there is also another view of the nature of the aesthetic, which denies its objectivity and derives all forms of the aesthetic exclusively from human consciousness.

Aesthetic experiences, due to the universality of the underlying relationships, can arise in any kind of human activity. However, in most of them (labor, science, sports, play), the aesthetic side is subordinate, secondary. And only in art is the aesthetic principle self-sufficient, acquiring a basic and independent meaning.

Art as a "pure" aesthetic activity is nothing more than an isolated side of people's practical activity. Art grows out of "practice" in a long historical process the development of the world by man. As a specialized type of activity, it appears only in antiquity. Even in this era, the aesthetic content of activity itself did not immediately become isolated from the utilitarian or cognitive. In the pre-class period of history, what is usually called primitive art was not art in the proper sense of the word. Cave drawings, sculptural figures, ritual dances were primarily of religious and magical significance, and by no means aesthetic. These were attempts to practically influence the world through material images, symbols, rehearsals of joint actions, etc. They probably did not have a direct impact on the success of primitive man in the struggle with the outside world, but their indirect influence on this is undoubted.

Objectively significant, practically useful result In the artless exercises of primitiveness in "painting", "song", "dance" there was a joyful feeling of community, unity, undeniable strength of the race that arose in these joint magical actions.

Primitive "works of art" were not objects of calm contemplation, but elements of serious action to ensure successful work, hunting or harvesting, and even war, etc. The emotional excitement, uplifting, ecstasy generated by these actions were the most practical force that helped primitive man to achieve his goals. And from here it is only one step to understanding that such arousal of emotions, "delight of the soul" has an independent value and can be organized artificially. It was found that the very activity of creating symbols, images, rituals is capable of bringing a person a sense of satisfaction, regardless of any practical result.

Moreover, it was only in a class society that this activity was able to acquire a completely independent character, turn into a kind professional occupations, after all, only at this stage is society able to support persons who are freed from the need to obtain means of subsistence by constant physical labor. That is why art in the proper sense of the word (as a professional aesthetic activity) appears rather late in historical terms.

Art, like other types of spiritual production, creates its own special, ideal world, which, as it were, duplicates the objectively real world of man. Moreover, the first has the same integrity as the second. The elements of nature, social institutions, emotional passions, the logic of thinking - everything undergoes aesthetic processing and forms a world of artistic fiction that is parallel to the real world, which is sometimes more convincing than reality itself.

Art is one of the forms public conscience, a specific kind of practical-spiritual mastery of the world. Reflecting the world, art helps people to know it, serves as a powerful means of political, moral and artistic education.

Art includes a group of varieties of human activity - painting, music, theater, fiction.

In a broader sense, art is a special form of practical activity carried out skillfully, masterfully, skillfully in a technological, and often in an aesthetic sense.

The most important feature of art is that, unlike science, it reflects reality not in concepts, but in a concrete, sensually perceptible form - in the form of typical artistic images.

The main distinguishing feature of the artistic feature of artistic creativity is not the creation of beauty for the sake of exciting aesthetic pleasure, but the figurative assimilation of reality, i.e. in the development of a specific spiritual content and in a specific spiritual functioning, introducing this content into culture.

Art appeared at the dawn of human society. It arose in the process of labor, practical activities of people. At first, art was directly intertwined with their work.

Its connection with material production activity, although more indirect, it has retained to this day. Truthful art has always been a faithful helper of people in work and life. It helped them fight the forces of nature, brought joy, inspired them to labor and military exploits.

Determining the meaning of art as a special form of human activity, theorists followed two paths: some absolutized separate functions of art, seeing its purpose in the knowledge of the real world, or in the expression inner peace an artist, or in a purely playful activity; other scholars asserted precisely the multidimensionality, difference, polyfunctionality of art, without going up to explaining its integrity.

Art in a class society has a class character. " Pure art"," art for art "is not and cannot be. Accessibility and clarity, enormous persuasiveness and power of emotional art make it a powerful weapon of the class struggle. Therefore, classes use it as a vehicle for their political, moral and other ideas.

Art is part of the superstructure, and it serves as the basis on which it develops.

Art based on dialectical-materialist methodology and principles systems research, is looking for ways to overcome various one-sided interpretations of nature.

Imprinted in art general structure real human activity, which determines its versatility and at the same time integrity.

The conjugation of cognitive, evaluative, creative and sign-communicative functions allows art to recreate (figuratively simulate) human life in its integrity, serve as its imaginary addition, continuation, and sometimes a replacement. This is achieved due to the fact that the bearer of artistic information is an artistic image, in which the integral spiritual content is expressed in a concrete-sensual form.

Therefore, art is directed to experience, in the world of artistic images a person should live just like he lives in reality, but realizing the illusory nature of this "world" and aesthetically enjoying how skillfully he is created from the material of the real world.

Art provides a person with additional life experience, although imaginary, but specially organized and infinitely expanding the framework of the individual's real life experience. It becomes a powerful way to specifically shape each member of society. It allows a person to realize his untapped potential, to develop mentally, emotionally and intellectually, to join the collective experience accumulated by humanity, age-old wisdom, common human interests, aspirations and ideals. Therefore, art performs a specially organized function, and is able to influence the course of cultural development, a kind of "self-awareness" that it becomes.

The structure of art, like any complex dynamic system, is distinguished by flexibility, mobility, and variation ability, which allows it to enter into many specific modifications: various types of art (literature, music, painting, architecture, theater, cinema, etc.); his various genders (for example, epic and lyric); genres (poem and novel); various historical types(Gothic, Baroque, Classicism, Romanticism).

Each real artistic phenomenon reveals a special modification of the general and stable features of the artistic-figurative development of the world, in which one or another side of its structure acquires a dominant importance, and, accordingly, the interconnection of its other sides develops in its own way, for example, the ratio of cognitive and creative abilities.

No matter how the main facets of the artistic structure are conjugated in the creative method, it always, first of all, characterizes the content side of creativity, the refraction of life reality through the prism of the artist's worldview, and then the way of translating this content into form.

2. Functions of art and its social content

The ideal world of art is a kind of testing ground for numerous human aspirations, desires, passions, etc. It is morally unacceptable to experiment with living people, but with artistic images and symbols - as much as your heart desires. Only artistic means allow you to anatomize any everyday situation, deed, motive without prejudice to the person. Any options can be played human behavior, exacerbate conflicts to the limit, bring to the logical end all conceivable motives of a person. "What will happen if ...." - this is the starting point of all comedies, tragedies, dramas, utopias and dystopias. The fictional artistic world sometimes “as a friend both calls and leads”, but it can also serve as a formidable warning to mankind about numerous social dangers. Thus, art acts as a tool for self-knowledge of society, including "at the limit" of its capabilities, in extreme conditions. It is believed that it is in such situations that a person is best known.

The ideal artistic world develops a system of aesthetic values, standards of beauty that stimulate a person to strive for perfection, optimum in any field of activity.

The deepest and most successful images grow to the level of universal human symbols, in which the whole gamut of human characters, temperaments, and modes of behavior is embodied. Art acts as a kind of visual teaching tool, an irreplaceable way of human socialization.

The aesthetic world is the true memory of humanity. It carefully and reliably preserves the unique features of a wide variety of lifestyles for thousands of years.

In other words, art performs many practically useful functions - intelligence (trial and error), cognitive, educational, axiological, memorial, etc. Still, the main function of art is aesthetic. Its essence lies in the fact that art is designed to provide a person with aesthetic satisfaction and pleasure. After all, after all, we do not go to the cinema or theater to be taught life there or to be shown instructive role models. First of all, we want to get pleasure from works of art. And not just pleasure, but aesthetic pleasure. It is by no means reduced to a favorable mood from the contemplation of the beautiful. The nature of aesthetic pleasure lies in an agitated, disturbed state of mind, experiencing a mute delight from the impeccable performance of the work of the "masters of the arts."

At the same time, the artistic taste of any person is, of course, a matter of education and habit. But its objective basis is universal. For example, even if a person has never been taught musical literacy, they usually distinguish "correct" singing from fake. How he succeeds, science, as they say, is unknown, but it is quite obvious that our senses are by nature itself tuned in to selective perception of certain relations of harmony, symmetry, proportionality, etc. So, when these relations emerge in the sounds, colors, movements, words organized by art, our spirit involuntarily gets into some excitement, tries to combine its state with this “rhythm of the Universe”. This is the essence of aesthetic experience. And if we, inspired by contact with a genuine work of art, transfer these emotions to everyday life, try to achieve at least approximately the same perfection in our usual activities, art can consider our main task(aesthetic function) fulfilled.

Art, unlike other types of spiritual production, no longer appeals to size, but to feelings. Although it reproduces the essential and sometimes hidden aspects of reality, it tries to do it in a sensually visual form. This, in fact, gives him an extraordinary power of influence on a person. This is the origin of the peculiarities of art as a way of mastering the world. These usually include:

· Artistic images, symbols as the main means of reproducing aesthetic reality;

· "Inverted" method of generalization - the general in art is not abstract, but extremely concrete (any literary hero is a pronounced individuality, but at the same time general type, character);

· Recognition of fantasy, fiction and the simultaneous demand for the "truth of life" from the products of this fantasy;

· The leading role of the form of a work of art in relation to the content, etc.

The way art develops has a very peculiar character. After all, its progressive direction is far from self-evident. The direct imposition of any scheme of historical progress on the history of art only gives rise to bewilderment: is it possible that contemporary music is more "progressive" than classical, contemporary painting has overshadowed painting of the Renaissance, and literature has surpassed the geniuses of the last century ... For some reason, such comparisons are mostly in favor of the past.

But, of course, the very formulation of the problem of aesthetic progress in this form is not entirely correct. The nature of artistic genius, for example, can be considered the same at all times. But the aesthetic maturity of society is different. Adults admire the naive charm of children, but they themselves can no longer be so. In accordance with its historical "age" in different eras, art cultivates different aspects of human life.

For example, the art of antique sculptors is generally recognized. But can you remember any specific living face of countless Aphrodites, Apollo, Athens and other celestials. It is very difficult for a non-specialist in art history to do this. And not because they are similar in portrait, the physiognomy of the Olympians is just different. But they are strikingly similar in their "facelessness". Art has not yet fully realized the intellectual power of mankind and admires mainly the physical perfection of a person, the beauty of his body, the grace of postures, the dynamics of movement, etc. So numerous naked torsos, arms and legs, graceful curves of the body and ... that's all, are imprinted in our memory. Today it is impossible not to admire the perfection of antique sculpture. Otherwise you will be considered ill-mannered. But with this respect for antique masterpieces, no one is in a hurry to fill them with copies of our squares and interiors. The era is not the same. And the aesthetic requirements are correspondingly different.

Nowadays, humanity has recognized its intelligence as its main dignity and pride. The power and limitless possibilities of the human mind have become the dominant, center and aesthetic mastery of the world. Therefore, contemporary art has become basically intellectual, symbolic, abstract. And it cannot be different today. When we look at The Worker and the Collective Farm Woman, which have become textbooks, we first of all read the thought of the author of the composition (Vera Mukhina), grasp the idea of the triumph of a new life, and then perceive the harmony of the combination of specific artistic images and details. That is, the perception of contemporary art is completely different than before.

Over the centuries, the complexity of art, its genre and species differentiation, the depth of the aesthetic comprehension of the world have been constantly growing. At the same time, of course, the aesthetic values of past eras are not discarded, but largely retain their attractiveness. No matter how many toys the child has, he will still reach for the one that he does not have now. So the modern mature, complex aesthetic culture looks with envy at what it itself lacks - at the simplicity, charming naivety and spontaneity of its distant historical youth.

The possibility of the emergence of art as a sphere of professional activity is associated with the emergence of class differentiation of society. This connection is preserved in the future, leaving a certain imprint on the course of the development of art. However, it should not be interpreted straightforwardly as the presence different types art: proletarian and bourgeois, landlord and peasant, etc. More precisely, art always gravitates towards the upper, dominant strata of society. Being dependent on them in the material sense, it involuntarily tunes in to the wave of interests of the privileged strata of society and serves these interests, passing them off as universal, universal. And what is interesting: in the long-term historical perspective, this illusion turns into reality.

The problem of class in art ultimately comes down to inaccessibility for the broad masses of the people, firstly, consumption, and secondly, production, creation of works high art... V modern world This problem (at least in its first part) is mainly solved purely technically: the development of mass media and communication, making at least the consumption of the achievements of art accessible to almost everyone, would be desire. However, at the same time, the problem of the “isolation” of art from the people turns into another facet. A rather sharp opposition arises, on the one hand, to the elite, "high" art, which requires special aesthetic preparation for its perception, and on the other, to the art of mass, generally accessible, aesthetically unassuming.

It is, of course, pointless to see in this new differentiation someone's evil machinations or the machinations of a class enemy. It is just a way for humanity to master the innovation of culture. In our country, for example, in the last century, simple literacy was already a great achievement against the background of the overwhelming majority of the illiterate. Today everyone seems to be literate. But the trouble is: a new type of literacy has appeared - computer literacy. Today, probably, the ratio of computer literate and computer illiterate is about the same as it was in the last century between literate and illiterate. But there is hope that historical progress will do its job in this case as well. And in art, obviously, the situation is similar.

Another interesting aspect of the topic under consideration is the problem of the relationship between universal principles in art and its national characteristics. In comparison with other types of spiritual production (science, religion), the national moment in art is more significant. For it depends more strongly on the national language, character, ethnographic characteristics, etc. A poem, translated into another language, essentially turns into another work; a characteristic dance, divorced from local conditions and traditions, often looks ridiculous; oriental melodies often seem mournful to a westerner, etc. At the same time, one cannot help but see reverse examples: Shakespeare, after all, as they say, Shakespeare is also in Africa, and the genius of Leo Tolstoy or Fyodor Dostoevsky is consonant with the whole world.

It is also easy to see that, no matter how significant the national characteristics of art, its internationalization, supported by a powerful technical base modern means of communication, represents the current mainstream. However, the national features of the art of various peoples do not disappear completely, and they cannot disappear. Any people are afraid of loss of diversity like fire, even archaic. Modern civilization carries with it a strong urge to unify everything and everyone. But it also gives rise to a counter-trend: everyone wants to be civilized, but does not want to be the same. Like in fashion: everyone wants to look fashionable, but God forbid, dress up in the same, albeit ultra-fashionable jackets and dress. So different peoples cultivate their national specificity in their culture (and in art there are many opportunities for that). This probably has a fairly solid historical and even biohistorical meaning. All living things are alive by diversity, not by the sameness.

As one of the types of mastering reality, art cannot fail to follow the general course of the historical development of society. However, it is known from history that the heyday of material and spiritual cultures often do not coincide. The reason for this is not only the specificity of material and spiritual production, but also a kind of "principle of conservation" of human energy: if a person's activity in material sphere in any way constrained, limited, has reached a dead end, then it involuntarily moves, overflows into the sphere of the spirit, giving rise to new sciences, utopias, ideologies, etc. Art also shows great activity in the pre-crisis, turning-point historical epochs, when their main contradictions are exposed, become apparent and, accordingly, the search activity of the spirit sharply increases, anticipating the tragedy of the inevitable resolution of these contradictions and trying to find some acceptable way out.

One of the most vivid illustrations of this thesis is the history of art of the 19th - early 20th centuries, which recorded the birth of such a peculiar aesthetic phenomenon as modernism. Without exception, all types and genres of art have experienced the strongest influence of the Art Nouveau style, which for several decades literally crushed age-old aesthetic stereotypes.

Art was dehumanized because the same tendency was gaining strength in other spheres of social life, unfolding in its entirety by the middle of the century.

The XX century will probably go down in history as an era of struggle against totalitarianism and authoritarianism, very inhuman political regimes. But even in developed democracies in the quietest part of the world, the technocratic way of life and thinking harbors a far from yet manifested threat to humanity. Such examples can be multiplied. But their essence is obvious: the dehumanization of all social life is one of the distinctive features history of our century. Art was the first to see this trend, before other forms of spirit - science, religion, morality. It also became one of its first victims.

Dehumanization of society in general and totalitarianism political life in particular, in the middle of this century, completely unique phenomenon- totalitarian art. Its uniqueness lies in the fact that its purpose as a totalitarian art does not give rise to itself, by the logic of its self-development, but receives it from the outside - from the political sphere. In this case, art loses its aesthetic nature, becomes a means of realizing political goals alien to it, an instrument in the hands of the state.

Where such a symbiosis of politics and art arises, a certain unified style is inevitably born, which can be called total realism. Its basic principles are familiar to each of us: “art reflects life,” “art belongs to the people,” etc. By themselves, in a diverse set of aesthetic canons, these principles, of course, are not bad. But subordinated to political goals alien to aesthetics, they often turn into a poison for art.

Conclusion

Art is an integral part of human life. It intertwines throughout history, leaving its imprint, its trace in it forever.

Aesthetic perception of the world plays huge role in culture, educates the moral component of a person, his ability to appreciate and understand the beautiful.

Art, like any other type of spiritual production, cannot be subordinated to alien goals. It, among other things, must work for itself. Only then is it able to be a real educator. Indeed, it is worth considering the statement of Korney Chukovsky: “Any public utility is more useful if it is performed with a personal feeling of its uselessness…. We must recognize all these complexes of ideas: art for art, patriotism for patriotism, love for love, science for science - necessary illusions. modern culture, to destroy which is not something that should not, but downright impossible! "

Art for art is, of course, an illusion, but a productive illusion! In the end, the call to love your neighbor as yourself is also nothing more than an illusion, but how can the current culture refuse it.

Contemporary Russian art is slowly emerging from its totalitarian shell. Unfortunately, it falls "out of the fire into the fire", which is to blame for the crisis in our society and the desire of political forces to use art for their own purposes. Art is becoming more active in the pre-crisis era. In the dashing years of the crises and social catastrophes themselves, he feels bad. Nobody cares about him. Society is busy saving material foundations its existence. But art will certainly survive: it is too great and responsible social role... And one can only hope that the subsequent development of art will be natural and organic. Only on this condition does he have a future.

Bibliography

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Aesthetic perception is: definition, characteristics and essence. Artistic image. Epistemology of art

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