Art is part of the spiritual culture of humanity, a specific kind of spiritual and practical exploration of the world. Art includes varieties of human activity, united by artistic and figurative forms of reproducing reality, painting, architecture, sculpture, music, fiction, theater, dance, cinema. In more broad meaning the word “art” refers to any form of human activity if it is performed skillfully, masterfully, skillfully.
All the diversity of the world around us and man’s attitude towards it, thoughts and feelings, ideas and ideas, people’s beliefs, all this is conveyed by man in artistic images. Art helps a person in choosing ideals and values. And this has always been the case. Art is a kind of textbook for life.
“Art is the eternal joyful and good symbol of man’s striving for good, for joy and perfection,” wrote the famous German writer T. Mann. Each type of art speaks its own language about eternal problems life, about good and evil, about love and hate, about joy and sorrow, about the beauty of the world and human soul, about the heights of thoughts and aspirations, about the comedy and tragedy of life.
Different types of art mutually enrich themselves, often borrowing from each other means of expressing content. It is no coincidence that there is an opinion that architecture is frozen music, that this or that line in a painting is musical, that an epic novel is like a symphony.
Match the character sounding music with the figurative structure of architectural monuments. What Western, Eastern, Russian culture belongs to A B B
When talking about any type of artistic activity, including performing arts (creativity), they often use concepts such as composition, rhythm, color, plasticity, line, dynamics, musicality that are common, literally or figuratively, for different arts. But in any work of art there is always a poetic beginning, that which constitutes its main essence, its pathos and gives it extraordinary power of influence. Without a sublime poetic feeling, without spirituality, any work is dead.
Introduction 3
1. The essence of art and its place in human life and society 4
2. The emergence of art and its necessity for humans 8
3. The role of art in the development of society and human life 13
Conclusion 24
References 25
Introduction
People come into contact with art every day. And, as a rule, not in museums. From birth and throughout life, people are immersed in art.
The building of a hotel, train station, store, apartment interior, clothing and jewelry can be works of art. But they may not be. Not every painting, statue, song or china set is considered a masterpiece. There is no recipe that would spell out exactly what needs to be combined and in what proportions to make a work of art. However, you can develop your ability to feel and appreciate beauty, which we often call taste.
What is art? Why does it have such magical power over a person? Why do people travel thousands of kilometers to see with their own eyes the great works of world art: palaces, mosaics, paintings? Why do artists create their creations, even if it seems that no one needs them? Why are they willing to risk their well-being to realize their vision?
Art is often called a source of pleasure. From century to century, millions of people enjoy images of beautiful human bodies in Raphael's paintings. But the image of Christ crucified and suffering is not intended for pleasure, and yet this subject is common to thousands of painters over many centuries...
It is often said that art reflects life. Of course, this is largely true: often the accuracy and recognition of what the artist depicts is amazing. But it is unlikely that a simple reflection of life, its copying, would arouse such strong interest in art and admiration for it.
In this essay we will consider the place and role of art in human life.
1. The essence of art and its place in human life and society
The word “art” in Russian and many other languages is used in two senses - in the narrow sense (a specific form of practical-spiritual exploration of the world), and in the broad sense - as the highest level of skill, skill, regardless of what sphere of social life they are manifested in (the art of generalship, the skill of a surgeon, a shoemaker, etc.) (2, p. 9).
In this essay, we are interested in the analysis of art precisely in the first, narrow sense of the word, although both senses are historically connected.
Art, as an independent form of social consciousness and as a branch of spiritual production, grew out of material production and was initially woven into it as an aesthetic, purely utilitarian moment. Man, A.M. Gorky emphasized, is an artist by nature, and he strives to bring beauty everywhere in one way or another (1, p. 92). A person’s aesthetic activity is constantly manifested in his work, in everyday life, in social life, and not just in art. There is an aesthetic assimilation of the world by social man.
Art realizes a number of social functions.
Firstly, this is its cognitive function. Works of art are a valuable source of information about complex social processes, sometimes about those, the essence and dynamics of which science grasps much more difficultly and belatedly (for example, turns and turning points in the public consciousness).
Of course, not everything in the world around us is interested in art, and if it is, then to varying degrees, and the very approach of art to the object of its knowledge, the perspective of its vision is very specific in comparison with other forms of social consciousness. The general object of knowledge in art has always been and remains a person. That is why art in general and, in particular, fiction are called human studies, a textbook of life, etc. This emphasizes another important function of art - educational, that is, its ability to have an indelible impact on the ideological and moral development of a person, his self-improvement, or, on the contrary, his fall.
And yet, the cognitive and educational functions are not specific to art: these functions are also performed by all other forms of social consciousness. The specific function of art, which makes it art in the true sense of the word, is its aesthetic function. Perceiving and comprehending a work of art, we not only assimilate its content (like the content of physics, biology, mathematics), we pass this content through our hearts, our emotions, we give sensually specific images created by the artist an aesthetic assessment as beautiful or ugly, sublime or base, tragic or comic. Art shapes in us the very ability to give such aesthetic assessments, to distinguish the truly beautiful and sublime from all kinds of ersatz.
Cognitive, educational and aesthetic in art are fused together. Thanks to the aesthetic moment, we enjoy the content of a work of art, and it is in the process of enjoyment that we are enlightened and educated. In this regard, they sometimes talk about the hedonistic function of art (from the Greek “hedone” - pleasure).
Many centuries in socio-philosophical and aesthetic literature The debate continues about the relationship between beauty in art and reality. In this case, two main positions are revealed. According to one of them (in Russia, N.G. Chernyshevsky proceeded from it in his dissertation “On the aesthetic relations of art to reality”) the beautiful in life is always and in all respects higher than the beautiful in art (1, p. 94). In this case, art appears as a copy of typical characters and objects of reality itself and a surrogate for reality. Obviously, an alternative concept is preferable (Hegel, A.I. Herzen, etc.): the beautiful in art is higher than the beautiful in life, because the artist sees more sharply, further, deeper, feels more powerfully and more colorfully than his future viewers, readers, listeners, and that is why can ignite them, inspire them, straighten them with his art. Otherwise - in the function of a surrogate or even a duplicate - art would not be needed by society (4, p. 156).
Each form of social consciousness reflects objective reality in a specific, inherent way.
A specific result of a theoretical reflection of the world is a scientific concept. It represents an abstraction: in the name of understanding the deep essence of an object, we abstract not only from its directly sensory perceived, but also from many logically deducible features, if they are not of paramount importance. Another thing is the result of an aesthetic reflection of reality. This is an artistic, concrete sensory image, in which a certain degree of abstraction (typification) is combined with the preservation of concrete sensory, individual, often unique features of the reflected object.
Hegel wrote that “sensory images and signs appear in art not only for their own sake and their immediate manifestation, but in order to satisfy in this form the highest spiritual interests, since they have the ability to awaken and touch all the depths of consciousness and cause their response in spirit" (4, p. 157). Revealing the specificity of artistic thinking in comparison with other forms of social consciousness, this definition is in full accordance with the basic paradigm of Hegel’s philosophical system leads to the conclusion about the artistic image as an expression of an abstract idea in a concrete sensory form. In reality, the artistic image captures not the abstract idea itself, but its concrete carrier, endowed with such individual features that make the image alive and impressive, not reducible to the same-order images already known to us. Let us recall, for example, the Artamonovs in M. Gorky and the Forsytes in D. Galsworthy (5).
Thus, in contrast to the scientific concept, an artistic image reveals the general in the individual. By showing the individual, the artist reveals what is typical in it, that is, what is most characteristic of the entire type of social or natural phenomena depicted.
The individual in an artistic image is not just interspersed with the general, but “revitalizes” it. It is the individual in genuine work art just grows to the concept of type, image. And the brighter and more accurately the small, individual, specific details are noticed, the broader the image, the broader generalization it contains. The image of Pushkin's Miserly Knight is not only a specific image of a greedy old man, but also an exposure of greed and cruelty itself. In Rodin's sculpture "The Thinker" the viewer sees something more than a specific image recreated by the author.
In connection with the fusion of the rational and concrete-sensual in the image and the emotional impact of art derived from this, the artistic form acquires special significance. In art, as in all spheres of the world around us, form depends on content, is subordinate to it, and serves it. This well-known position nevertheless must be emphasized, bearing in mind the thesis of representatives of formalist aesthetics and formalist art about work of art as “pure form”, self-sufficient “play of form”, etc. At the same time, the scientific understanding of art has always been alien to a nihilistic attitude towards form, and even any belittling of its active role in the system of the artistic image and the work of art as a whole. It is impossible to imagine a work of art in which the content would not be expressed in artistic form.
In different types of art, the artist has different means of expressing content. In painting, sculpture, graphics - this is color, line, chiaroscuro; in - music - rhythm, harmony; in literature - the word, etc. All these means of representation constitute elements of the artistic form, with the help of which the artist embodies his ideological and artistic concept. An art form is a very complex formation, all elements of which are naturally interconnected. In a painting by Raphael, a drama by Shakespeare, a symphony by Tchaikovsky, a novel by Hemingway, one cannot arbitrarily change the structure of the plot, character, dialogue, composition; one cannot find another solution to harmony, color, rhythm, so as not to violate the integrity of the entire work.
2. The emergence of art and its necessity for humans
Art as a special area of human activity, with its own independent tasks, special qualities, served by professional artists, became possible only on the basis of the division of labor. The creation of arts and sciences - all this was possible only with the help of an enhanced division of labor, which was based on a large division of labor between the masses occupied with simple physical labor, and a privileged few who direct the works, engage in trade, government affairs, and later also science and art. The simplest, completely spontaneously formed form of this division of labor was slavery” (2, p. 13).
But since artistic activity is a unique form of knowledge and creative work, its origins are much more ancient, since people worked and in the process of this work learned the world long before the division of society into classes. Archaeological discoveries over the past hundred years have revealed numerous works of fine art. primitive man, whose age is estimated at tens of thousands of years. These are rock paintings; figurines made of stone and bone; images and ornamental patterns, carved on pieces of deer antlers or on stone slabs. They have been found in Europe, Asia, and Africa; these are works that appeared long before a conscious idea of artistic creativity could arise. Many of them, reproducing mainly figures of animals - deer, bison, wild horses, mammoths - are so vital, so expressive and true to nature that they are not only precious historical monuments, but also retain their artistic power to this day (2, p. 14).
The material, objective nature of works of fine art determines particularly favorable conditions for researchers of the origins of fine art in comparison with historians studying the origins of other types of arts. If the initial stages of epic, music, and dance must be judged mainly by indirect data and by analogy with the creativity of modern tribes in the early stages of social development (the analogy is very relative, which can only be relied upon with great caution), then the childhood of painting and sculpture and graphics confront us with our own eyes.
It does not coincide with the childhood of human society, that is, the most ancient eras of its formation. According to modern science, the process of humanization of the ape-like ancestors of man began even before the first glaciation of the Quaternary era and, therefore, the “age” of humanity is approximately a million years. The very first traces primitive art belong to the Upper Paleolithic era, which began approximately several tens of millennia BC. e. This was a time of comparative maturity of the primitive communal system: the man of this era, in his physical constitution, was no different from modern man, he already spoke and knew how to make quite complex tools from stone, bone and horn. He led a collective hunt for large animals using a spear and darts. Clans united into tribes, and matriarchy arose.
More than 900 thousand years had to pass, separating the most ancient people from modern man, before the hand and brain were ripe for artistic creativity.
Meanwhile, the manufacture of primitive stone tools dates back to much more ancient times of the Lower and Middle Paleolithic. Already Sinanthropus (the remains of which were found near Beijing) had reached a fairly high level in the manufacture of stone tools and knew how to use fire. People of the later, Neanderthal type processed tools more carefully, adapting them to special purposes. Only thanks to such a “school”, which lasted many millennia, did the necessary flexibility of the hand, fidelity of the eye and the ability to generalize the visible, highlighting the most essential and character traits, - that is, all those qualities that appeared in the wonderful drawings of the Altamira cave. If a person had not exercised and refined his hand, processing for the sake of obtaining food such a difficult-to-process material as stone, he would not have been able to learn to draw: without mastering the creation of utilitarian forms, he would not have been able to create an artistic form. If many, many generations had not concentrated their thinking ability on capturing the beast - the main source of life for primitive man - it would not have occurred to them to depict this beast.
So, firstly, “labor is older than art” and, secondly, art owes its emergence to labor. But what caused the transition from the production of exclusively useful, practically necessary tools to the production, along with them, of “useless” images? It was this question that was most debated and most confused by bourgeois scientists who sought at all costs to apply Immanuel Kant’s thesis about the “purposelessness,” “disinterest,” and “inherent value” of the aesthetic attitude to the world to primitive art.
Those who wrote about primitive art, K. Bucher, K. Gross, E. Grosse, Luke, Breuil, V. Gausenstein and others, argued that primitive people were engaged in “art for art’s sake”, that the first and determining stimulus for artistic creativity was the innate human desire to play (2, p. 15).
Theories of “play” in their various varieties were based on the aesthetics of Kant and Schiller, according to which the main feature of aesthetic, artistic experience is precisely the desire for “free play with appearances” - free from any practical goal, from logical and moral evaluation.
“The aesthetic creative impulse,” wrote Schiller, “imperceptibly builds, in the midst of the terrible kingdom of forces and in the midst of the sacred kingdom of laws, a third, cheerful kingdom of play and appearance, in which it removes from man the shackles of all relationships and frees him from everything that is called coercion as in the physical , and in the moral sense” (2, p. 16).
Schiller applied this basic tenet of his aesthetics to the question of the emergence of art (long before the discoveries of genuine monuments of Paleolithic creativity), believing that the “merry kingdom of play” was being erected already at the dawn of human society: “...now the ancient German is looking for more shiny animal skins , more magnificent horns, more graceful vessels, and the Caledonian seeks out the most beautiful shells for his festivities. But, content with the fact that a surplus of aesthetics has been introduced into what is necessary, the free impulse to play finally completely breaks with the shackles of need, and beauty itself becomes the object of human aspirations. He adorns himself. Free pleasure is counted among his needs, and the useless soon becomes the best portion of his joy.” However, this point of view is refuted by facts.
It cannot be denied that colors, lines, as well as sounds and smells, affect the human body - some in an irritating, repulsive way, others, on the contrary, strengthening and promoting its correct and active functioning. This is one way or another taken into account by a person in his artistic activity, but in no way lies at its basis. The impulses that forced Paleolithic man to draw and carve figures of animals on the walls of caves, of course, have nothing to do with instinctive impulses: it is a conscious and purposeful creative act a creature that has long ago broken the chains of blind instinct and has embarked on the path of mastering the forces of nature - and, consequently, understanding these forces.
A man draws an animal: thereby he synthesizes his observations of it; he more and more confidently reproduces his figure, habits, movements, and his various states. He formulates his knowledge in this drawing and consolidates it. At the same time, he learns to generalize: one image of a deer conveys features observed in a number of deer. This in itself gives a huge impetus to the development of thinking. It is difficult to overestimate the progressive role of artistic creativity in changing human consciousness and his relationship to nature. The latter is now not so dark for him, not so encrypted - little by little, still by touch, he studies it.
Thus, primitive fine art is at the same time the embryos of science, or more precisely, primitive knowledge. It is clear that at that infant, primitive stage of social development, these forms of knowledge could not yet be dismembered, as they were dismembered in later times; at first they appeared together. It was not yet art in the full scope of this concept and it was not knowledge in the proper sense of the word, but something in which the primary elements of both were inseparably combined (3, p. 72).
In this regard, it becomes understandable why early art paid so much attention to the beast and relatively little to man. It is aimed primarily at understanding external nature. At the very time when animals have already learned to depict remarkably realistically and vividly, human figures are almost always depicted in a very primitive, simply inept manner - with the exception of some rare exceptions, such as the reliefs from Lossel. In Paleolithic art there is not yet that primary interest in the world of human relationships, which distinguishes art, which delimited its sphere from the sphere of science. From the monuments of primitive art (at least fine art) it is difficult to learn anything about the life of a tribal community other than its hunting and related magical rituals; The most important place is occupied by the object of the hunt - the beast. It was its study that was of main practical interest, since it was the main source of existence, and the utilitarian-cognitive approach to painting and sculpture was reflected in the fact that they depicted mainly animals, and such species, the extraction of which was especially important and at the same time difficult and dangerous, and therefore required particularly careful study. Birds and plants were rarely depicted.
By drawing the figure of an animal, a person, in a certain sense, really “mastered” the animal, since he knew it, and knowledge is the source of mastery over nature. The vital necessity of figurative knowledge was the reason for the emergence of art. But our ancestor understood this “mastery” in a literal sense and performed magical rituals around the drawing he made to ensure the success of the hunt. He fantastically rethought the true, rational motives of his actions. True, it is very likely that it is not always fine arts had a ritual purpose; here, obviously, other motives were also involved, which were already mentioned above: the need for the exchange of information, etc. But, in any case, it can hardly be denied that the majority of paintings and sculptures also served magical purposes.
People began to engage in art much earlier than they had a concept of art, and much earlier than they could understand its real meaning, its real benefits.
Mastering the ability to portray visible world, people also did not realize the true social significance of this skill. Something similar to the later development of sciences happened, which were also gradually liberated from the captivity of naive fantastic ideas: medieval alchemists sought to find the “philosopher’s stone” and spent years of intense work on this. They never found the philosopher's stone, but they acquired most valuable experience in the study of the properties of metals, acids, salts, etc., which prepared the subsequent development of chemistry.
Saying that primitive art was one of the original forms of knowledge, the study of the surrounding world, we should not assume that, therefore, there was nothing aesthetic in it in the proper sense of the word. The aesthetic is not something completely opposite to the useful.
Content early art poor, his horizons are closed, his very integrity rests on the underdevelopment of social consciousness. Further progress of art could only be achieved at the cost of losing this initial integrity, which we see already in the later stages of primitive communal formation. Compared with the art of the Upper Paleolithic, they mark a certain decline in artistic activity, but this decline is only relative. By schematizing an image, the primitive artist learns to generalize and abstract the concepts of a straight or curved line, circle, etc., and acquires the skills of conscious construction and rational distribution of drawing elements on a plane. Without these latently accumulated skills, the transition to those new artistic values that are created in the art of ancient slave societies would be impossible. We can say that during the period of primitive art the concepts of rhythm and composition were finally formed. Thus, the artistic creativity of the tribal system clearly shows the need for art in human life.
3. The role of art in the development of society and human life
There has been and is a lot of debate about the role of art in the development of society and in the life of an individual; art historians put forward a variety of concepts, but the level of mass artistic culture in the Russian Federation fell as low as, perhaps, in any civilized country.
We are probably the only state where art and music have actually been eliminated from general education. Even the advancing humanitarization provides for the “residual” role of the arts without change. Unfortunately, the scientific principle has long and undividedly dominated in education. Everywhere, in all pedagogical documents, it is said only about mastering the scientific method of cognition, mastering scientific knowledge and skills, and forming a scientific worldview. And so it is in all documents - from the most traditional to the most innovative. Moreover, even in the analysis of art, not only in high school, but also established himself in the highest scientific approach(6, p. 12).
The wrong has taken root; a distorted idea of the absence of a serious connection between artistic development, firstly, with the morality of man and society, and secondly, with the very development of human thinking.
However, human thinking is initially two-sided: it consists of the rational-logical and emotional-imaginative side as equal parts. The basis of scientific and artistic activity of man lies in different forms of thinking that caused their development, completely non-identical objects of knowledge and the resulting requirement to fundamentally different forms transfer of experience. These positions, which naturally follow from the formula “art is not science,” may cause doubts and rejection. And they will be based on a completely not scientific, but a trivial everyday attitude towards the arts; understanding their role only as a sphere of recreation, creative entertainment, aesthetic pleasure, and not a special, equal scientific, sphere of knowledge that cannot be replaced by anything else.
There is a widespread idea that emotional-figurative thinking, which historically actually flourished earlier, is more primitive than rational, something not entirely human, half-animal. Today, the rejection of this path of knowledge as insufficiently developed and “insufficiently scientific” is based on such a misconception, and it is forgotten that it has been developing and improving since the emergence of humanity (6, p. 13).
There is no human thinking consisting only of rational-logical, theoretical consciousness. This kind of thinking is made up. A whole person takes part in thinking - with all his “non-rational” feelings, sensations, etc. And, developing thinking, you need to form it holistically. In fact, in the development of mankind, two most important systems of knowledge of the world have emerged. We think in their constant interaction, whether we want it or not. This is how it happened historically.
If we compare these two sides of thinking in a diagram, we get the following:
Forms of thinking Scope of activity and result of work Subject of knowledge (what is learned) Ways of mastering experience (how is it learned) Results of mastering experience
Rational-logical Scientific activity. Result - concept Real object (subject) Study of the content of Knowledge. Understanding the patterns of natural and social processes
Emotional-imaginative artistic activity. The result is an artistic image Attitude to an object (subject) Experience of content (living) Emotional and value criteria of life activity, expressed in incentives for actions, desires and aspirations
The table shows that everything in these two rows is different - both the subject of knowledge, and the ways and results of its development. Of course, the areas of activity indicated here are those where these forms are manifested only most clearly. In all areas labor activity they “work” together, including in scientific, industrial and artistic fields.
Scientific activity (and knowledge) develops the sphere of theoretical thinking more actively than any other.
But artistic activity also prioritizes the development of its own sphere of thinking. The scientific one is more likely to be able to exploit it and use it to help itself (6, p. 14).
When studying any plant: its flowers, fruits or leaves, a Russian or Mexican scientist is interested in completely objective data: its genus and species, shape, weight, chemical composition, a development system - something that does not depend on the observer. The more accurate and independent of the student the observational data and conclusions are, the more valuable they are, the more scientific they are. But artistic observation and its results are fundamentally different. They cannot and should not be objective at all. They are definitely personal, mine. The result is my personal attitude towards this plant, flower, leaf - do they cause me pleasure, tenderness, sadness, bitterness, surprise. Of course, all of humanity looks at this object through me, but also my people, my history. They build the paths of my perception. I will perceive a birch twig differently than a Mexican. Outside of me there is no artistic perception, it cannot take place. Emotions cannot be extrapersonal.
That is why it is impossible to pass on the experience of emotional-imaginative thinking to new generations through theoretical knowledge (as we have persistently tried so far). It is useless to just study this experience. With such a “study,” for example, moral feelings, such as feelings of tenderness, hatred, love, are transformed into moral rules, into social laws that have nothing to do with feelings. Let us be sincere: all moral laws of society, if they are not experienced by the individual, are not contained in feelings, but only in knowledge; they are not only not durable, but are often the object of anti-moral manipulation.
L.N. Tolstoy correctly said that art does not convince anyone, it simply infects with ideas. And the “infected” can no longer live differently. Awareness of involvement, likeness, empathy is the power of human thinking. Global technocratization is disastrous. Psychologist Zinchenko wrote about this very correctly: “For technocratic thinking there are no categories of morality, conscience, human experience and dignity.” Harshly said, but accurate.
B.M. Nemensky clarifies why: technocratic thinking is always the primacy of means over meaning (6, p. 16). For the meaning of human life is precisely the human improvement of human relationships with the world, the harmonization of these relationships. Given the integrity of the two ways of knowledge, the scientific provides the means for harmonization, while the artistic includes the introduction of these means into the system of actions and determines the formation of human desires as incentives for action. When emotional and value criteria are distorted, knowledge is directed towards anti-human purposes.
With oppression and underdevelopment of the emotional-imaginative sphere, today's imbalance occurs in our society - the primacy of means, confusion of goals. And this is dangerous, because whether we want it or not, whether we understand it or not, it is our feelings that determine the “first movements of the soul,” that determine desires. And desires, even contrary to beliefs, shape actions.
Two ways of knowledge arose precisely because there are two objects, or subjects, of knowledge. And the object (subject) of cognition for the emotional-imaginative sphere of thinking is not the reality of life itself, but our human emotional and personal attitude towards it. In this case (scientific form) the object is cognized, in another (artistic) the thread of the emotional-value connection between the object and the subject is cognized - the relationship of the subject to the object (subject). And here is the root of the whole problem.
And then the thread of understanding the activity of the emotional-imaginative sphere of thinking stretches to those types of work where this form is most manifested, to art. Art is multifunctional, but its main role in the life of society is precisely this - analysis, formulation, consolidation in a figurative form and transfer to next generations of the experience of emotional and value relations to certain phenomena of connections between people and with nature. Naturally, as in the scientific form, there is a struggle of ideas and tendencies in relation to the phenomena of life. Not only useful, but also ideas harmful to society live and fight. And society intuitively selects and consolidates from them what it needs today for prosperity or decline.
Isn’t it time to look for ways of harmonious development, but not among older generations, which is too late, but among the generation entering life? You just need to realize that we are not offering one development flux instead of another. It is necessary to achieve harmony in the development of thinking. But for this we need to accept as an objective given the two-sidedness of our thinking: the presence of rational-logical and emotional-imaginative thinking, the presence of different circles of knowledge corresponding to them - the real object and the relationship of the subject to the object. And if you accept these two sides, then it is easy to accept two ways of mastering experience - studying the content of experience and living, experiencing the content. Here, precisely here, the foundation of artistic didactics is laid - nothing else is given (6, p. 17).
However, with careful analysis, one can discern the different roles of the three forms of plastic-artistic thinking in the behavior and communication of people.
Decoration. Only free-born Roman citizens had the right to wear attire. Special decrees on costume in Europe were issued already in the 13th century. Most of them defined strict rules regarding which class could wear which costumes. For example, in Cologne in the 15th century. judges and doctors had to wear red, lawyers - purple, other pundits - black. For a long time in Europe only free man could wear a hat. In Russia under Elizabeth, people without rank did not have the right to wear silk or velvet. In medieval Germany, serfs were forbidden to wear boots under pain of death: this was the exclusive privilege of the nobles. And in Sudan there is a custom of threading a brass wire through the lower lip. This means that the person is married. Her hairstyle also speaks about this. And today, when choosing this or that type of clothing or its cut, a person who considers himself to be a certain social group, uses them as social symbols that serve as a regulator of relationships between people. The matter of decorating oneself, weapons, clothes, home was not entertainment event since the formation of human society. Through decoration, a person distinguished himself from the environment of people, indicating his place in it (hero, leader, aristocrat, bride, etc.) and introducing himself to a certain community of people (warrior, tribal member, caste member or businessman, hippie, etc.). d.). Despite the more multifaceted use of decor, its root role remains the same today - a sign of inclusion and isolation; message sign approving the location this person, a given group of people in the environment of human relations - this is where the basis for the existence of decoration as an aesthetic phenomenon (6, p. 18).
The fact that the masses of Russians are illiterate in this area leads to many social confusions and personal moral breakdowns. Experts correctly note that society has not yet developed a systematic system for teaching the language of decorative art. Everyone goes through the school of the language of such communication completely independently and spontaneously.
The constructive line of artistic and plastic thinking performs a different social function and responds to a different need. One can trace the role of this line of thinking in the art where it is revealed more clearly and acts openly as a leader. Construction of any objects and is directly related to human communication, but other than decor. Architecture (like design) most fully expresses this line of artistic thinking. She builds houses, villages and cities with their streets, parks, factories, theaters, clubs - and not only for the convenience of everyday life. The Egyptian temple, by its design, expressed certain human relationships. The Gothic temple, and the medieval city itself, its design, the character of the houses are completely different. A fortress, a feudal lord's castle and a noble estate of the 13th century. were a response to different social and economic relations, and shaped people’s communication environment in different ways. It is not for nothing that architecture is called the stone chronicle of humanity; from it we can study the changing nature of human relationships.
The influence of architectural forms on our lives is not difficult to feel today. For example, how much the destruction of Moscow courtyards changed in the development of children's games. Until now, organic forms of self-organization of the children's environment have not been found in these huge, undivided buildings. And relationships between adults and neighbors are built differently, or rather, they are almost not built at all. By the way, there is something to think about here. To what extent does our everyday architecture truly express the type of human relationships we desire? We need an environment for communication, to create strong human connections. Now neighbors, even on the same floor, may not know each other at all and may not have any relationship. And architecture contributes to this in every possible way; there is no environment for communication. Even at the humanities faculties of Moscow State University there is no place for people to sit and talk. There are only lecture halls and halls for public meetings. There is no planned environment where an individual can communicate with an individual, argue, talk, think. Although, perhaps, in previous periods of the history of our society this was not necessary. And outside of architecture and in spite of it, it is extremely difficult to create conditions for communication. Thus, in addition to the narrow utilitarian function (protection from cold, rain and providing conditions for work), architecture plays a significant social, “spiritual-utilitarian” role in the formation of human relationships. It performs the function of a constructive element of artistic thinking: it forms a real environment that determines character, lifestyle and relationships in society. By doing this, she, as it were, sets parameters and sets milestones for a certain aesthetic and moral ideal, creating an environment for development for it. The formation of an aesthetic ideal begins with the construction of its foundations and fundamental properties. The constructive sphere fulfills its purpose through all the arts.
The visual basis of plastic-artistic thinking is manifested in all arts, but it becomes the leading line in the fine arts proper and even most acutely in the easel arts - in painting, graphics, sculpture. For what needs of society did these forms of thinking develop? The capabilities of these forms, in our opinion, are the most subtle and complex. They are largely exploratory and somewhat similar to scientific activity. This is where all sides are analyzed. real life. But the analysis is emotional and figurative, and not of the objective laws of nature and society, but of the personal nature, emotional relationships man with his entire environment - nature and society. It is through the personality of each of us that our humanity - our commonality - can only manifest itself. A society without individuals is a herd. So, if in science the conclusion is: “I know, I understand,” then here: “I love, I hate,” “I enjoy this, it disgusts me.” These are the emotional and value criteria of a person.
The pictorial form of thinking expands the capabilities of figurative systems, filling them with the living blood of reality. Here thinking occurs in real visible images (and not just an image of reality). It is thinking in real images that makes it possible to analyze all the most complex, subtle aspects of reality, realize them, build an attitude towards them, variably and sensually (often intuitively) compare your moral and aesthetic ideals with it and consolidate this attitude in artistic images. Pin it and pass it on to other people.
It is for this reason that fine art is a powerful and subtle school of emotional culture and its chronicle. It is this side of artistic thinking that makes it possible for fine art to raise and solve the most complex spiritual problems of society.
Elements of artistic thinking, like three hearts, three engines artistic process, participate in shaping the character of human society, and in their own way influence its forms, methods, and development.
The changing tasks of art at different stages of the formation of the moral and aesthetic ideal of each time are manifested in the pulsation of these three trends. The rise and fall of each of them is a response to changes in society’s demands for art as a tool that helps it not only form the moral and aesthetic ideal of the time, but also establish it in Everyday life. From practice through its spiritual, emotional, moral and aesthetic development again to the everyday practice of life - this is the way to realize these foundations. And each basis (sphere) has its own, unique and irreplaceable function, generated by the specificity, the nature of its capabilities.
Art appears in its true meaning as one of the most important forms of self-awareness and self-organization of the human collective, as a manifestation of what has been developed over millions of years human existence, an irreplaceable form of thinking, without which human society could not exist at all.
Conclusion
In this work, we examined the role of art in the life of society and every person, and focused on the specifics of one of the forms of manifestation of emotional-imaginative thinking - the plastic-artistic sphere of activity.
This is not just a theoretical problem. The existing reluctance to see the reality of these forms of thinking results in the formation of one-sided intelligence. There has been a worldwide fetishization of the rational-logical path of knowledge.
MIT professor J. Weizenbaum writes about this danger: “From the point of view of common sense, science has become the only legitimate form of knowledge... the common sense attribution of certainty scientific knowledge, ascription, which has now become a dogma of sanity due to its almost universal practice, has virtually invalidated all other forms of knowledge.” Such thoughts were also expressed by our scientists. Suffice it to recall the philosopher E. Ilyenkov. But society does not listen to them at all.
Traditions of emotional and value culture are lost, not developed and not passed down from ancestors. And it is they who make up the culture of attitude towards the world, which lies at the basis of all human life, the basis of human action.
Bibliography
1. Apresyan R. Aesthetics. – M.: Gardariki, 2003.
2. General history of art. In 9 volumes. T.1. Primitive art. – M., 1967.
3. Loktev A. Theory of art. – M.: Vlados, 2003.
4. Ilyenkov E. Works. – M.: Logos, 2000.
5. Art. – M.: Avanta+, 2003.
6. Nemensky B.M. Emotional-imaginative cognition in human development / In the book. Contemporary art: development or crisis. – M.: Knowledge, 1991. P. 12-22.
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Humanity, a specific kind of spiritual and practical exploration of the world. Art includes varieties of human activity, united by artistic and figurative forms of reproducing reality - , , , , , theater, dance, .
In a broader sense, the word “art” refers to any form of human activity if it is performed skillfully, masterfully, skillfully.
What types of art do you see on these pages?
What other types of art do you know?
Select reproductions for an exhibition that will feature masterpieces of fine art.
What types of art are closest to you? Write down your impressions of your favorite works of art in a creative notebook.
All the diversity of the world around us and man’s attitude towards it, thoughts and , ideas and ideas, people - all this is conveyed by man in artistic images. Art helps a person make a choice And . And this has always been the case. Art is a kind of textbook for life.
“Art is the eternal joyful and good symbol of man’s striving for good, for joy and perfection,” wrote the famous German writer T. Mann.
Each type of art speaks in its own language about the eternal problems of life, about good and evil, about love and hate, about joy and sorrow, about the world and the human soul, about the heights of thoughts and aspirations, about the comedy and tragedy of life.
Different types of art mutually enrich themselves, often borrowing from each other means of expressing content. It is no coincidence that there is an opinion that architecture is frozen music, that this or that line in a painting is musical, that an epic novel is like a symphony. And when they talk about any type of artistic activity, including performing arts (creativity), they often use concepts such as composition, rhythm, , plastic, , dynamics, musicality - common, literally or figuratively, for different arts. But in any work of art there is always a poetic beginning, that which constitutes its main essence, its pathos and gives it extraordinary power of influence. Without a sublime poetic feeling, without spirituality, any work is dead.
Listen to fragments of musical compositions. Is this ancient music or modern?
Correlate the nature of the sounding music with the figurative structure of architectural monuments, features (costumes) different eras And .
What culture - Western, Eastern, Russian - do the works belong to? various types art? Explain why.
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-1.jpg" alt="> Art in the life of a modern person">!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-2.jpg" alt="> What is art? This word has several meanings. Art is a skill , skill,"> Что такое искусство? У этого слова несколько значений. Искусством называют умение, мастерство, знание дела. Самое дело, требующие такого умения, тоже называют. Искусством можно назвать !} artistic activity and what is its result is a product. Art is part of the spiritual culture of humanity, a specific kind of spiritual and practical exploration of the world.
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-3.jpg" alt="> Art includes: n Literature n Music n"> Искусство включает в себя: n Литература n Музыка n Архитектура n Театр n Киноискусство n Хореография n Цирк n Изобразительное искусство и др.!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-4.jpg" alt="> Fine arts n sculpture n photography n design n painting n graphics"> Изобразительное искусство n скульптура n фотоискусство n дизайн n живопись n графика n декоративно-прикладное искусство!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-5.jpg" alt=">Classification: n spatial or plastic arts (fine arts, decorative - applied art, architecture,"> Классификация: n пространственные или пластические виды искусств (изобразительное искусство, декоративно- прикладное искусство, архитектура, фотография) n временные или динамические виды искусств (музыка, литература) n пространственно-временные (синтетические или зрелищные) виды (хореография, литература, !} performing arts, cinematography)
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-6.jpg" alt="> Sculpture (Latin sculptura, from sculpo - I cut, carve) - sculpture, plastic - view"> Скульптура (лат. sculptura, от sculpo - вырезаю, высекаю) - ваяние, пластика - вид изобразительного искусства, произведения которого имеют !} volumetric form and are made of hard or plastic materials. A distinction is made between a round sculpture (statue, group, figurine, bust), viewed from different sides, and a relief (the image is located on a plane).
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-7.jpg" alt=">Relief on the wall of the Buddhist temple of Venus de Milo">!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-10.jpg" alt=">Decorative and applied arts n Decorative and applied arts (from lat."> Декоративно-прикладное искусство n Декоративно-прикладное искусство (от лат. decoro - украшаю) - раздел декоративного искусства создание художественных изделий, имеющих утилитарное назначение. n Произведения !} decorative and applied arts are designed for artistic effect; used for home and interior decoration
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-11.jpg" alt=">Types">!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-15.jpg" alt="> Origin of art Art arises in primitive society. With the help of it, people "> Origin of art Art arises in primitive society. With the help of it, people sought to solve some practical problems in their lives. Undoubtedly, labor played an important role in the origin of art.
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-16.jpg" alt="> According to archaeological data, the origin of primitive art occurs 45-40 thousand years ago. years ago,"> Согласно археологическим данным, зарождение первобытного искусства происходит 45 -40 тыс. лет назад, когда формируется !} Homo species Sapiens.
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-17.jpg" alt="> Functions of art n Unmotivated functions of art 1) the human instinct of harmony,"> Функции искусства n Немотивированные функции искусства 1) человеческий инстинкт гармонии, 2) способ ощутить свою связь с внешним миром, 3) способ применить воображение, 4) обращение к неограниченному кругу лиц, 5) ритуальные и символические функции.!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-18.jpg" alt=">n Motivated functions of art 1) A means of communication, 2) Art as entertainment, 3) Art for the sake of"> n Мотивированные функции искусства 1)Средство коммуникации, 2)Искусство как развлечение, 3)Искусство ради политических перемен, 4)Искусство для психотерапии, 5)Искусство для социального протеста, 6)Искусство для пропаганды или коммерциализации.!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-19.jpg" alt=">Areas of human life n Social status ">
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-20.jpg" alt="> Elite and mass art Elite art (from the French elite -"> Элитарное и массовое искусство Элитарное искусство (от французского elite - лучшее, отборное), искусство, ориентированное, по мысли его создателей, на небольшую группу людей, обладающих особой художественной восприимчивостью, в силу которой они должны оцениваться как лучшая часть общества, его элита. Элитарные тенденции получили распространение в XX веке в русле авангардстски- модернистского искусства.!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-21.jpg" alt="> Mass art is designed for the widest range of viewers, public, simple"> Массовое искусство рассчитано на самый широкий круг зрителей, общедоступное, простое по форме, не требующее специальной подготовки для понимания. К массовому искусству относят произведения, распространяемые через средства массовой коммуникации (кино, телевидение), печатную графику, популярную музыку, продукты художественной индустрии, рассчитанные на усредненный вкус широкого потребителя, упрощенные и необладающие высокой художественной ценностью.!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-22.jpg" alt="> Political sphere(relations of people associated with power) Power - "> Political sphere (relations of people associated with power) Power is the ability and opportunity to have a decisive influence on the activities and behavior of people through any means.
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-23.jpg" alt="> Art as a way of ideological influence Often art was understood as a subordinate phenomenon,"> Искусство как способ идеологического воздействия Часто искусство понималось как явление подчиненное, служебное: по отношению к политике государства.!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-24.jpg" alt="> Official political ideology (30s -50s in the USSR )">!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-25.jpg" alt="> Spiritual sphere (the area of ideal, intangible formations, including ideas , values of religion,"> Духовная сфера (область идеальных, нематериальных образований, включающих в себя идеи, ценности религии, искусства, морали и т. д.) n Искусство и наука n Искусство и техника n Искусство и религия n Искусство и образование!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-26.jpg" alt="> Art and Science The science that studies art in general and related to it"> Искусство и наука Наука, изучающая искусство в целом и связанные с ним явления - искусствоведение. Отрасль философии, занимающаяся изучением искусства - эстетика. Отличия искусства от науки: n наука и техника оказывает большее влияние на вещи, а искусство - на психологию; n наука добивается объективности, авторы же творений искусства вкладывают в них себя, свои чувства; n научный метод строго рационален, в искусстве же всегда есть место интуитивности и непоследовательности; n каждое произведение искусства является единым и законченным, каждый !} treatise- only a link in the chain of predecessors and followers;
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-27.jpg" alt=">Art and technology photography, pop">!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-28.jpg" alt=">cinema, television">!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-29.jpg" alt="> Connection with religion Religion (from Latin religio - piety,"> Связь с религией Религия (от лат. religio – благочестие,) – это мировоззрение и мироощущение и также соответствующее поведение и специфические действия (культ), основанные на вере в существование Бога или богов, в существование священного, то есть той или иной разновидности сверхъестественного.!}
Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-31.jpg" alt=">Economic sphere (the totality of human relations that arise during the creation and movement of material good)">!}
Art has existed since ancient times. It accompanied man throughout his entire existence. The first manifestations of art were very primitive drawings on the walls of caves, made primitive people. Even then, when every day it was necessary to fight for one’s life, people were drawn to art, and even then a love for beauty was manifested.
Nowadays there are many different types of art. These are literature, musical and visual arts, etc. Now a person’s natural talent is combined with the latest technologies, creating fundamentally new directions in art. Of course, before there were no such opportunities as in our time, but every artist tried to come up with something special, to contribute to the development of this type of art.
And yet, why do we attach so much importance to art? What role does it play in a person’s life? The imaginative recreation of reality creates our personality. Cultural and spiritual development has a great influence on our lives. Indeed, in most cases, people are judged not by their appearance, but by what they have inside. A person with a very unattractive appearance can turn out to be beautiful, you just have to get to know him better. Comprehensively developed, spiritually rich people have always aroused interest among others; it is interesting and pleasant to communicate with them. We all need to develop, improve ourselves, and art helps us in this difficult task. It helps to better understand the world around us and ourselves.
Knowing yourself is one of the the most important stages formation of human personality. Often art is a way to assert oneself, to say something to the whole world. This is like a message to the future, a kind of appeal to the people. Each work of art has its own purpose: to acquaint, teach, provoke thought. Art requires understanding. Mindlessly contemplating paintings or reading books by great masters has no meaning. You need to understand what exactly the artist wanted to say, for what purpose this or that creation appeared. Only under this condition will art fulfill its task and teach us something.
It is often said that nowadays people have almost ceased to be interested in art. I believe this is not the case. Times change, generations change. Views and tastes do not remain unchanged. But there are topics that will be relevant at all times. Of course, our society gives higher value material enrichment than spiritual. But this does not mean that people do not pay attention to cultural life and do not appreciate art. We should not forget about art, because it plays an important role in our lives.