Artistic image
Artistic image- general category artistic creativity, a form of interpretation and exploration of the world from the position of a certain aesthetic ideal by creating aesthetically affecting objects. Any phenomenon creatively recreated in a work of art is also called an artistic image. An artistic image is an image from art that is created by the author of a work of art in order to most fully reveal the described phenomenon of reality. The artistic image is created by the author for the fullest possible development of the artistic world of the work. First of all, through the artistic image, the reader reveals the picture of the world, plot moves and features of psychologism in the work.
The artistic image is dialectical: it unites living contemplation, its subjective interpretation and evaluation by the author (as well as the performer, listener, reader, viewer).
An artistic image is created on the basis of one of the media: image, sound, linguistic environment, or a combination of several. It is integral to the material substrate of art. For example, the meaning, internal structure, clarity of a musical image is largely determined by the natural matter of music - the acoustic qualities of musical sound. In literature and poetry, an artistic image is created on the basis of a specific linguistic environment; in theatrical art all three means are used.
At the same time, the meaning of an artistic image is revealed only in a certain communicative situation, and the final result of such communication depends on the personality, goals and even the momentary mood of the person who encountered it, as well as on the specific culture to which he belongs. Therefore, often after one or two centuries have passed since the creation of a work of art, it is perceived completely differently from how its contemporaries and even the author himself perceived it.
In Aristotle's Poetics, the image-trope appears as an inaccurate exaggerated, diminished or altered, refracted reflection of the original nature. In the aesthetics of romanticism, likeness and resemblance give way to the creative, subjective, transformative principle. In this sense, incomparable, unlike anyone else, which means beautiful. This is the same understanding of the image in avant-garde aesthetics, which prefers hyperbole, shift (the term of B. Livshits). In the aesthetics of surrealism, “reality multiplied by seven is truth.” In modern poetry, the concept of “meta-metaphor” (term by K. Kedrov) has appeared. This is an image of transcendental reality beyond the threshold of light speeds, where science falls silent and art begins to speak. The metametaphor is closely related to the “reverse perspective” of Pavel Florensky and the “universal module” of the artist Pavel Chelishchev. It's about expanding the limits of human hearing and vision far beyond physical and physiological barriers.
See also
Links
- Tamarchenko N. D. Theoretical poetics: concepts and definitions
- Nikolaev A. I. Artistic image as a transformed model of the world
Literature: Romanova S.I. Artistic image in the space of semiotic relations. // Bulletin of Moscow State University. Series 7. Philosophy. 2008. No. 6. P.28-38. (www.sromaart.ru)
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See what “Artistic image” is in other dictionaries:
ARTISTIC IMAGE, a form of artistic thinking. The image includes: the material of reality, processed by the artist’s creative imagination, his attitude towards what is depicted, the richness of the creator’s personality. Hegel (see HEGEL Georg Wilhelm Friedrich)… … Encyclopedic Dictionary
General category of arts. creativity, a means and form of mastering life through art. An image is often understood as an element or part of a work that has a kind of self-worth. existence and meaning (for example, in literature, the image of a character, ... ... Philosophical Encyclopedia
A form of reflection (reproduction) of objective reality in art from the standpoint of a certain aesthetic ideal. The embodiment of an artistic image in different works art is carried out using different means and materials... ... Encyclopedia of Cultural Studies
artistic image- a method and form of mastering reality in art, characterized by the inseparable unity of sensory and semantic moments. This is a specific and at the same time generalized picture of life (or a fragment of such a picture), created with the help of creative... ... Terminological dictionary-thesaurus on literary criticism
IN fine arts, a form of reproduction, comprehension and experience of life phenomena by creating aesthetically affecting objects (paintings, sculptures, etc.). Art, like science, understands the world around us. However, unlike... Art Encyclopedia
artistic image- ▲ image (to be) in, a work of art hero literary image. type (positive #). figure. actors. ▼ literary type, fairy tale character... Ideographic Dictionary of the Russian Language
The general category of artistic creativity: the form of reproduction, interpretation and mastery of life inherent in art (See Art) by creating aesthetically affecting objects. An image is often understood as an element or part... ... Great Soviet Encyclopedia
Professional communication in the “Human-Artistic Image” system- The picture of the world among representatives of this field of activity is associated with highlighting the beautiful and introducing beauty, convenience, and aesthetic pleasure into it (for example, planet Earth can be imagined as “blue”, “small”, “defenseless” and ... ... Psychology of communication. Encyclopedic Dictionary
1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O.. 4. Typification of reality in O. 5. Fiction in O. 6. O. and imagery; system O. 7. Content O. 8. Social... ... Literary encyclopedia
In philosophy, the result of the reflection of an object in the human mind. On feelings. stages of cognition, images are sensations, perceptions and ideas, at the level of thinking, concepts, judgments and inferences. O. is objective in its source... ... Philosophical Encyclopedia
Books
- Artistic image in scenography. Study guide, Sannikova Lyudmila Ivanovna. The book is teaching aid for students studying the art of theater directing and directing theatrical performances and is designed to help young directors work with...
the method and form of mastering reality in art, a universal category of art. creativity. Among other aesthetic categories category X. o. – of relatively late origin. In ancient and middle ages. aesthetics, which did not distinguish the artistic into a special sphere (the whole world, space - an artistic work of the highest order), art was characterized primarily. canon - a set of technological recommendations that ensure imitation (mimesis) of the arts. the beginning of existence itself. To anthropocentric. The aesthetics of the Renaissance goes back to (but was later fixed in terminology - in classicism) the category of style associated with the idea of the active side of art, the right of the artist to shape the work in accordance with his creativity. initiative and immanent laws of a particular type of art or genre. When, following the deaestheticization of being, the deaestheticization of practicality revealed itself. activity, a natural reaction to utilitarianism gave a specific. understanding of the arts. forms as organization according to the principle of internal purpose, and not external use (beautiful, according to Kant). Finally, in connection with the process of “theorizing” the lawsuit will end. separating it from the dying arts. crafts, pushing architecture and sculpture to the periphery of the art system and pushing into the center more “spiritual” arts in painting, literature, music (“romantic forms”, according to Hegel), the need arose to compare the arts. creativity with the sphere of scientific and conceptual thinking to understand the specifics of both. Category X. o. took shape in Hegel’s aesthetics precisely as an answer to this question: the image “... puts before our gaze, instead of an abstract essence, its concrete reality...” (Soch., vol. 14, M., 1958, p. 194). In his doctrine of forms (symbolic, classical, romantic) and types of art, Hegel outlined various principles for the construction of art. as different types of relationship “between image and idea” in their historical. and logical sequences. The definition of art, going back to Hegelian aesthetics, as “thinking in images” was subsequently vulgarized into a one-sided intellectualism. and positivist-psychological. concepts of X. o. end 19 – beginning 20th centuries In Hegel, who interpreted the entire evolution of being as a process of self-knowledge, self-thinking, abs. spirit, just when understanding the specifics of art, the emphasis was not on “thinking”, but on “image”. In the vulgarized understanding of X. o. came down to a visual representation of a general idea, to a special cognizance. a technique based on demonstration, demonstration (instead of scientific proof): an example image leads from the particulars of one circle to the particulars of another. circle (to its “applications”), bypassing abstract generalization. From this point of view, art. the idea (or rather, the multiplicity of ideas) lives separately from the image - in the head of the artist and in the head of the consumer, who finds one of the possible uses for the image. Hegel saw knowledge. side X. o. in his ability to be a bearer of specific art. ideas, positivists - in the explanatory power of his depiction. At the same time aesthetic. pleasure was characterized as a type of intellectual satisfaction, and the entire sphere cannot be depicted. the claim was automatically excluded from consideration, which called into question the universality of the category “X. o.” (for example, Ovsyaniko-Kulikovsky divided art into “figurative” and “emotional”, i.e. without? figurative). As a protest against intellectualism in the beginning. 20th century ugly theories of art arose (B. Christiansen, Wölfflin, Russian formalists, partly L. Vygotsky). If positivism is already intellectualistic. sense, taking the idea, the meaning out of brackets X. o. - in psychology area of “applications” and interpretations, identified the content of the image with its thematic. filling (despite the promising doctrine of internal form, developed by Potebnya in line with the ideas of V. Humboldt), then the formalists and “emotionalists” actually took a further step in the same direction: they identified the content with the “material”, and dissolved the concept of image in the concept form (or design, technique). To answer the question for what purpose the material is processed by form, it was necessary - in a hidden or overt form - to attribute to the work of art an external purpose, in relation to its integral structure: art began to be considered in some cases as hedonistic-individual, in others – as a social “technique of feelings”. Cognizant. utilitarianism was replaced by educational-"emotional" utilitarianism. Modern aesthetics (Soviet and partly foreign) returned to the figurative concept of art. creativity, extending it to the non-represented. claim and thereby overcoming the original. intuition of “visibility”, “vision” in letters. in the sense of these words, it was included in the concept of "X. o." under the influence of antiquity. aesthetics with her plastic experience. claim-in (Greek ????? - image, image, statue). Russian semantics the word “image” successfully indicates a) the imaginary existence of art. fact, b) its objective existence, the fact that it exists as a certain integral formation, c) its meaningfulness (an “image” of what?, i.e. the image presupposes its own semantic prototype). X. o. as a fact of imaginary existence. Each work of art has its own material and physical. the basis, which is, however, directly bearer of non-arts. meaning, but only an image of this meaning. Potebnya with his characteristic psychologism in the understanding of X. o. comes from the fact that X. o. there is a process (energy), the crossing of creative and co-creative (perceiving) imagination. The image exists in the soul of the creator and in the soul of the perceiver, and is an objectively existing piece of art. an object is only a material means of exciting fantasy. In contrast, objectivist formalism considers the arts. a work as a made thing, which has an existence independent of the intentions of the creator and the impressions of the perceiver. Having studied objectively and analytically. through material senses. The elements of which this thing consists, and their relationships, can exhaust its design and explain how it is made. The difficulty, however, is that the arts. a work as an image is both a given and a process, it both abides and lasts, it is both an objective fact and an intersubjective procedural connection between the creator and the perceiver. Classical German aesthetics viewed art as a certain middle sphere between the sensual and the spiritual. “In contrast to the direct existence of objects of nature, the sensuous in a work of art is elevated by contemplation into pure visibility, and the work of art is in the middle between direct sensuality and thought belonging to the realm of the ideal” (Hegel W. F., Aesthetics, volume 1, M., 1968, p. 44). The very material of X. o. already to a certain extent dematerialized, ideal (see Ideal), and natural material here plays the role of material for material. For example, the white color of a marble statue does not appear on its own, but as a sign of a certain figurative quality; we should see in the statue not a “white” man, but an image of a man in his abstract physicality. The image is both embodied in the material and, as it were, under-embodied in it, because it is indifferent to the properties of its material basis as such and uses them only as signs of its own. nature. Therefore, the existence of the image, fixed in its material basis, is always realized in perception, addressed to it: until a person is seen in the statue, it remains a piece of stone, until a melody or harmony is heard in a combination of sounds, it does not realize its figurative quality. The image is imposed on consciousness as an object given outside it and at the same time given freely, non-violently, because a certain initiative of the subject is required for a given object to become precisely an image. (The more idealized the material of the image, the less unique and easier to copy its physical basis - the material of the material. Typography and sound recording cope with this task for literature and music almost without loss; copying works of painting and sculpture already encounters serious difficulties, and architectural structure hardly suitable for copying, because the image here is so closely fused with its material basis that the very natural environment of the latter becomes a unique figurative quality.) This appeal of X. o. to the perceiving consciousness is an important condition of its historical. life, its potential infinity. In X. o. There is always an area of the unspoken, and understanding-interpretation is therefore preceded by understanding-reproduction, a certain free imitation of internal. the artist’s facial expressions, creatively voluntary following her along the “grooves” of the figurative scheme (to this, in the most general outline , the doctrine of internal form as an “algorithm” of the image, developed by the Humboldtian-Potebnian school). Consequently, the image is revealed in each understanding-reproduction, but at the same time remains itself, because all realized and many unrealized interpretations are contained as intended creative work. an act of possibility, in the very structure of X. o. X. o. as individual integrity. Similarity of arts. works for a living organism were outlined by Aristotle, according to whom poetry should “...produce its characteristic pleasure, like a single and integral living being” (“On the Art of Poetry,” M., 1957, p. 118). It is noteworthy that the aesthetic. pleasure (“pleasure”) is considered here as a consequence of the organic nature of the arts. works. The idea of X. o. as an organic whole played a prominent role in later aesthetics. concepts (especially in German romanticism, in Schelling, in Russia - in A. Grigoriev). With this approach, the expediency of X. o. acts as its integrity: every detail lives thanks to its connection with the whole. However, any other integral structure (for example, a machine) determines the function of each of its parts, thereby leading them to a coherent unity. Hegel, as if anticipating criticism of later primitive functionalism, sees the difference. features of living integrity, animated beauty are that unity does not appear here as abstract expediency: “... members of a living organism receive... the appearance of randomness, that is, together with one member it is not given also the certainty of the other" ("Aesthetics", vol. 1, M., 1968, p. 135). Like this, arts. the work is organic and individual, i.e. all its parts are individuals, combining dependence on the whole with self-sufficiency, for the whole does not simply subjugate the parts, but endows each of them with a modification of its completeness. The hand on the portrait, the fragment of the statue produce independent art. impression precisely because of this presence of the whole in them. This is especially clear in the case of lit. characters who have the ability to live outside of their art. context. The "formalists" rightly pointed out that lit. the hero acts as a sign of plot unity. However, this does not prevent him from maintaining his individual independence from the plot and other components of the work. On the inadmissibility of dividing works of art into technically auxiliary and independent ones. moments spoke to many. Russian critics formalism (P. Medvedev, M. Grigoriev). In arts. the work has a constructive framework: modulations, symmetry, repetitions, contrasts, carried out differently at each level. But this framework is, as it were, dissolved and overcome in the dialogically free, ambiguous communication of the parts of the X. o.: in the light of the whole, they themselves become sources of luminosity, throwing reflexes at each other, the inexhaustible play of which generates internal. the life of figurative unity, its animation and actual infinity. In X. o. there is nothing accidental (i.e., extraneous to its integrity), but there is also nothing uniquely necessary; the antithesis of freedom and necessity is “removed” here in the harmony inherent in X. o. even when he reproduces the tragic, cruel, terrible, absurd. And since the image is ultimately fixed in the “dead”, inorganic. material - there is a visible revival of inanimate matter (the exception is the theater, which deals with living “material” and all the time strives, as it were, to go beyond the scope of art and become a vital “action”). The effect of “transforming” inanimate into animate, mechanical into organic - Ch. source of aesthetic the pleasure delivered by art, and the prerequisite for its humanity. Some thinkers believed that the essence of creativity lies in the destruction, the overcoming of material by form (F. Schiller), in the violence of the artist over the material (Ortega y Gaset). L. Vygotsky in the spirit of the influential in the 1920s. Constructivism compares a work of art with a flyer. apparatus heavier than air (see “Psychology of Art”, M., 1968, p. 288): the artist conveys what is moving through what is at rest, what is airy through what is ponderous, what is visible through what is audible, or what is beautiful through what is terrible, what is high through what is low, etc. Meanwhile, the artist’s “violence” over his material consists in freeing this material from mechanical external connections and couplings. The freedom of the artist is consistent with the nature of the material so that the nature of the material becomes free, and the freedom of the artist is involuntary. As has been noted many times, in perfect poetic works the verse reveals in the alternation of vowels such an immutable inner. compulsion, edge makes it similar to natural phenomena. those. in general language phonetic In the material, the poet releases such an opportunity, forcing him to follow him. According to Aristotle, the realm of claim is not the realm of the factual and not the realm of the natural, but the realm of the possible. Art understands the world in its semantic perspective, re-creating it through the prism of the arts inherent in it. opportunities. It gives specificity. arts reality. Time and space in art, in contrast to empirical. time and space, do not represent cuts from a homogeneous time or space. continuum. Arts time slows down or speeds up depending on its content, each time moment of the work has a special significance depending on its correlation with the “beginning”, “middle” and “end”, so that it is assessed both retrospectively and prospectively. Thus the arts. time is experienced not only as fluid, but also as spatially closed, visible in its completeness. Arts space (in spatial science) is also formed, regrouped (condensed in some parts, sparse in others) by its filling and therefore coordinated within itself. The frame of the picture, the pedestal of the statue do not create, but only emphasize the autonomy of the artistic architect. space, being an auxiliary means of perception. Arts space seems to be fraught with temporal dynamics: its pulsation can only be revealed by moving from a general view to a gradual multiphase consideration in order to then return again to a holistic coverage. In arts. phenomenon, the characteristics of real being (time and space, rest and movement, object and event) form such a mutually justified synthesis that they do not need any motivations or additions from the outside. Arts idea (meaning X. o.). The analogy between X. o. and a living organism has its own limit: X. o. as organic integrity is, first of all, something significant, formed by its meaning. Art, being image-making, necessarily acts as meaning-making, as the constant naming and renaming of everything that a person finds around and within himself. In art, the artist always deals with expressive, intelligible existence and is in a state of dialogue with it; “For a still life to be created, the painter and the apple must collide with each other and correct each other.” But for this, the apple must become a “talking” apple for the painter: many threads must extend from it, weaving it into an integral world. Every work of art is allegorical, since it speaks about the world as a whole; it does not “investigate” s.-l. one aspect of reality, and specifically represents on its behalf in its universality. In this it is close to philosophy, which also, unlike science, is not of a sectoral nature. But, unlike philosophy, art is not systemic in nature; in particular and specific. in the material it gives a personified Universe, which at the same time is the artist’s personal Universe. It cannot be said that the artist depicts the world and, “in addition,” expresses his attitude towards it. In such a case, one would be an annoying hindrance to the other; we would be interested in either the fidelity of the image (naturalistic concept of art), or the meaning of the individual (psychological approach) or ideological (vulgar sociological approach) “gesture” of the author. Rather, it’s the other way around: the artist (in sounds, movements, object forms) gives expression. being, on which his personality was inscribed and depicted. How the expression will express. being X. o. there is allegory and knowledge through allegory. But as an image of the personal “handwriting” of the artist X. o. there is a tautology, a complete and only possible correspondence with the unique experience of the world that gave birth to this image. As the personified Universe, the image has many meanings, for it is the living focus of many positions, both one and the other, and the third at once. As a personal Universe, the image has a strictly defined evaluative meaning. X. o. – the identity of allegory and tautology, ambiguity and certainty, knowledge and evaluation. The meaning of the image, the arts. An idea is not an abstract proposition, but it has become concrete, embodied in organized feelings. material. On the way from concept to embodiment of art. an idea never goes through the stage of abstraction: as a plan, it is a concrete point of dialogue. the artist's encounter with existence, i.e. prototype (sometimes a visible imprint of this initial image is preserved in the finished work, for example, the prototype of the “cherry orchard” left in the title of Chekhov’s play; sometimes the prototype-plan is dissolved in the completed creation and is only perceptible indirectly). In arts. In a plan, thought loses its abstraction, and reality loses its silent indifference to people. "opinion" about her. From the very beginning, this grain of the image is not only subjective, but subjective-objective and vital-structural, and therefore has the ability to spontaneously develop, to self-clarify (as evidenced by the numerous confessions of people of art). The prototype as a “formative form” draws into its orbit all new layers of material and shapes them through the style it sets. The conscious and volitional control of the author is to protect this process from random and incidental moments. The author, as it were, compares the work he is creating with a certain standard and removes the unnecessary, fills the voids, and eliminates the gaps. We usually acutely feel the presence of such a “standard” “by contradiction” when we assert that in such and such a place or in such and such a detail the artist did not remain faithful to his plan. But at the same time, as a result of creativity, a truly new thing arises, something that has never happened before, and therefore. There is essentially no “standard” for the work being created. Contrary to Plato’s view, sometimes popular among the artists themselves (“It’s in vain, artist, you imagine that you are the creator of your own creations...” - A.K. Tolstoy), the author does not simply reveal art in the image. idea, but creates it. The prototype-plan is not a formalized reality that builds up material shells on itself, but rather a channel of imagination, a “magic crystal” through which the distance of the future creation is “vaguely” discernible. Only upon completion of the arts. work, the uncertainty of the plan turns into a polysemantic certainty of meaning. Thus, at the stage of artistic conception. the idea appears as a certain concrete impulse that arose from the “collision” of the artist with the world, at the stage of embodiment - as a regulatory principle, at the stage of completion - as a semantic “facial expression” of the microcosm created by the artist, his living face, which at the same time is also a face the artist himself. Varying degrees of regulatory power of the arts. ideas combined with different materials gives various types of X. o. A particularly energetic idea can, as it were, subjugate its own art. realization, to “acquaint” it to such an extent that the objective forms will be barely outlined, as is inherent in certain varieties of symbolism. A meaning that is too abstract or indefinite can only conditionally come into contact with objective forms, without transforming them, as is the case in naturalistic literature. allegories, or mechanically connecting them, as is typical of allegorical-magic. fantasy of ancient mythologies. The meaning is typical. the image is specific, but limited by specificity; a characteristic feature of an object or person here becomes a regulatory principle for constructing an image that fully contains its meaning and exhausts it (the meaning of Oblomov’s image is “Oblomovism”). At the same time, a characteristic feature can subjugate and “signify” all the others to such an extent that the type develops into a fantastic one. grotesque. In general, the diverse types of X. o. depend on the arts. self-awareness of the era and are modified internally. laws of each claim. Lit.: Schiller F., Articles on Aesthetics, trans. [from German], [M.–L.], 1935; Goethe V., Articles and thoughts about art, [M.–L.], 1936; Belinsky V.G., The idea of art, Complete. collection soch., vol. 4, M., 1954; Lessing G.E., Laocoon..., M., 1957; Herder I. G., Izbr. op., [trans. from German], M.–L., 1959, p. 157–90; Schelling F.V., Philosophy of Art, [trans. from German], M., 1966; Ovsyaniko-Kulikovsky D., Language and Art, St. Petersburg, 1895; ?fucking?. ?., From notes on the theory of literature, X., 1905; his, Thought and Language, 3rd ed., X., 1913; by him, From lectures on the theory of literature, 3rd ed., X., 1930; Grigoriev M. S. Form and content of literary art. proizv., M., 1929; Medvedev P.N., Formalism and formalists, [L., 1934]; Dmitrieva N., Image and Word, [M., 1962]; Ingarden R., Studies in Aesthetics, trans. from Polish, M., 1962; Theory of literature. Basic problems in history lighting, book 1, M., 1962; ?Alievsky P.V., Arts. prod., in the same place, book. 3, M., 1965; Zaretsky V., Image as information, "Vopr. Literary", 1963, No. 2; Ilyenkov E., About aesthetics. the nature of fantasy, in: Vopr. aesthetics, vol. 6, M., 1964; Losev?., Artistic canons as a problem of style, ibid.; Word and image. Sat. Art., M., 1964; Intonation and music. image. Sat. Art., M., 1965; Gachev G.D., Content of the artist. forms Epic. Lyrics. Theater, M., 1968; Panofsky E., "Idea". Ein Beitrag zur Begriffsgeschichte der ?lteren Kunsttheorie, Lpz.–V., 1924; his, Meaning in the visual arts, . Garden City (N.Y.), 1957; Richards?. ?., Science and poetry, N. Y., ; Pongs H., Das Bild in der Dichtung, Bd 1–2, Marburg, 1927–39; Jonas O., Das Wesen des musikalischen Kunstwerks, W., 1934; Souriau E., La correspondance des arts, P., ; Staiger E., Grundbegriffe der Poetik, ; his, Die Kunst der Interpretation, ; Heidegger M., Der Ursprung des Kunstwerkes, in his book: Holzwege, , Fr./M., ; Langer S. K., Feeling and form. A theory of art developed from philosophy in a new key, ?. Y., 1953; hers, Problems of art, ?. Y., ; Hamburger K., Die Logik der Dichtung, Stuttg., ; Empson W., Seven types of ambiguity, 3 ed., N. Y., ; Kuhn H., Wesen und Wirken des Kunstwerks, M?nch., ; Sedlmayr H., Kunst und Wahrheit, 1961; Lewis C. D., The poetic image, L., 1965; Dittmann L., Stil. Symbol. Struktur, M?nch., 1967. I. Rodnyanskaya. Moscow.
ARTISTIC IMAGE - one of the most important terms in aesthetics and art history, which serves to designate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, the feature of which is the expression of an abstract idea in a concrete sensual form. This definition allows us to highlight the specifics of artistic-imaginative thinking in comparison with other basic forms of mental activity.
A truly artistic work is always distinguished by great depth of thought and the significance of the problems posed. The artistic image, as the most important means of reflecting reality, concentrates the criteria of truthfulness and realism of art. Connecting the real world and the world of art, the artistic image, on the one hand, gives us a reproduction of actual thoughts, feelings, experiences, and on the other hand, it does this using means characterized by convention. Truthfulness and conventionality exist together in the image. Therefore, not only the works of great realist artists are distinguished by their vivid artistic imagery, but also those that are entirely built on fiction ( folk tale, fantasy story, etc.). Imagery is destroyed and disappears when the artist slavishly copies the facts of reality or when he completely avoids depicting the facts and thereby breaks the connection with reality, concentrating on reproducing his various subjective states.
Thus, as a result of the reflection of reality in art, an artistic image is a product of the artist’s thought, but the thought or idea contained in the image always has a specific sensory expression. Images refer to both individual expressive techniques, metaphors, comparisons, and integral structures (characters, personalities, the work as a whole, etc.). But beyond this, there is also a figurative structure of trends, styles, manners, etc. (images of medieval art, Renaissance, Baroque). An artistic image can be part of a work of art, but it can also be equal to it and even surpass it.
It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derivative of the work of art. If a work of art is the unity of material, form, content, i.e. everything that the artist works with to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed result of creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original plan and sometimes the material, i.e. practice creative process makes its amendments to the very core of the artistic image. The master’s art here is organically fused with the worldview and aesthetic ideal, which act as the basis of the artistic image.
The main stages, or levels, of the formation of an artistic image are:
Image-plan
artwork
Image-perception.
Each of them testifies to a certain qualitative state in the development of artistic thought. Thus, the further course of the creative process largely depends on the idea. It is here that the artist’s “insight” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-plan plays an equally important and necessary role in the creative process of both the artist and the scientist.
The next stage is related to the concretization of the image-plan in the material. Conventionally, it is called an image-work. This is as important a level of the creative process as the idea. Here the laws associated with the nature of the material begin to operate, and only here the work receives real existence.
The last stage, which has its own laws, is the stage of perception of a work of art. Here, imagery is nothing more than the ability to recreate, to see in the material (color, sound, word) the ideological content of a work of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time having a huge educational impact on him.
By the nature of their generality, artistic images can be divided into individual, characteristic, typical, image-motifs, topoi and archetypes (mythologems).
Individual images characterized by originality and uniqueness. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in “Notre Dame Cathedral” by V. Hugo, the Demon in the poem of the same name by M. Lermontov, Woland in “The Master and Margarita” by A. Bulgakov.
Characteristic image, unlike the individual, is generalizing. It contains common traits of character and morals inherent in many people of a certain era and its social spheres (characters of “The Brothers Karamazov” by F. Dostoevsky, plays by A. Ostrovsky).
Typical image represents the highest level of character image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of realistic literature of the 19th century. Suffice it to recall Father Goriot and Gobsek Balzac, Anna Karenina and Platon Karataev L. Tolstoy, Madame Bovary G. Flaubert and others. Sometimes an artistic image can capture both the socio-historical signs of an era and the universal character traits of a particular hero (so so-called eternal images) - Don Quixote, Don Juan, Hamlet, Oblomov...
Images-motives and topoi go beyond the individual images of heroes. An image-motive is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “Beautiful Lady” by A. Blok).
Topos denotes general and typical images created in the literature of an entire era, nation, and not in the work of an individual author. An example is the image of the “little man” in the works of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Recently, the concept of "archetype". This term was first found among German romantics in early XIX century, however, the work of the Swiss psychologist C. Jung (1875–1961) gave him real life in various fields of knowledge. Jung understood an “archetype” as a universal human image, unconsciously passed on from generation to generation. Most often, archetypes are mythological images. The latter, according to Jung, are literally “stuffed” with all of humanity, and archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes. Jung wrote: “As a doctor, I had to identify images of Greek mythology in the delirium of purebred blacks.”
Much attention in literary criticism is paid to the problem of the relationship between image and symbol. This problem was mastered back in the Middle Ages, in particular by Thomas Aquinas (13th century). He believed that an artistic image should reflect not so much the visible world as express what cannot be perceived by the senses. Thus understood, the image actually turned into a symbol. In the understanding of Thomas Aquinas, this symbol was intended to express, first of all, the divine essence. Later, among the symbolist poets of the 19th and 20th centuries, images and symbols could also carry earthly content (“the eyes of the poor” by Charles Baudelaire, “yellow windows” by A. Blok). An artistic image does not have to be divorced from objective, sensory reality, as Thomas Aquinas believed. Blok’s Stranger is an example of a magnificent symbol and at the same time a full-blooded living image, perfectly integrated into the “objective”, earthly reality.
Image-experience in lyric poetry it has an independent aesthetic meaning and is called a lyrical hero (hero of poetry, lyrical “I”). The concept of a lyrical hero was first used by Yu. Tynyanov in relation to the work of A. Blok. Since then, debates about the legality of using this term have not ceased. Discussions took place, in particular, in the first half of the 50s, then in the 60s. Both professional critics, literary scholars, and poets took part in them. But these discussions did not lead to the development of a common point of view. There are still both supporters of the use of this term and its opponents.
Introduction
An artistic image is a universal category of artistic creativity: a form of reproduction, interpretation and mastery of life inherent in art through the creation of aesthetically affecting objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has a kind of independent life and content (for example, a character in literature, symbolic images). But in a more general sense, the artistic image is the way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.
Among other aesthetic categories, this one is of relatively late origin, although the beginnings of the theory of the artistic image can be found in Aristotle’s teaching about “mimesis” - about the artist’s free imitation of life in its ability to produce integral, internally arranged objects and the aesthetic pleasure associated with this. While art in its self-awareness (coming from the ancient tradition) was closer to craft, skill, skill and, accordingly, in the host of arts leading place belonged to the plastic arts, aesthetic thought was content with the concepts of the canon, then style and form, through which the transformative attitude of the artist to the material was illuminated. The fact that artistically reshaped material captures and carries within itself a certain ideal formation, somewhat similar to thought, began to be realized only with the promotion of more “spiritual” arts - literature and music - to the forefront. Hegelian and post-Hegelian aesthetics (including V.G. Belinsky) widely used the category of artistic image, respectively contrasting the image as a product of artistic thinking with the results of abstract, scientific-conceptual thinking - syllogism, inference, evidence, formula.
The universality of the category of artistic image has since been repeatedly disputed, since the semantic connotation of objectivity and clarity included in the semantics of the term seemed to make it inapplicable to “non-objective”, non-visual arts. And, however, modern aesthetics, mainly domestic, currently widely resorts to the theory of the artistic image as the most promising, helping to reveal the original nature of the facts of art.
Purpose of the work: Analyze the concept of an artistic image and identify the main means of its creation.
Expand the concept of artistic image.
Consider the means of creating an artistic image
Analyze the characteristics of artistic images using the example of the works of W. Shakespeare.
The subject of the study is the psychology of artistic image using the example of Shakespeare's works.
The research method is a theoretical analysis of literature on the topic.
1. Psychology of artistic image
1 The concept of artistic image
In epistemology, the concept of “image” is used in a broad sense: an image is a subjective form of reflection of objective reality in the human mind. At the empirical stage of reflection, human consciousness is characterized by images-impressions, images-conceptions, images of imagination and memory. Only on this basis, through generalization and abstraction, do image-concepts, image-inferences, and judgments arise. They can be visual - illustrative pictures, diagrams, models - and non-visual - abstract.
Along with its broad epistemological meaning, the concept of “image” has a narrower meaning. An image is a specific appearance of an integral object, phenomenon, person, his “face”.
Human consciousness recreates images of objectivity, systematizing the diversity of movement and interconnections of the surrounding world. Human cognition and practice lead the seemingly entropic diversity of phenomena to an orderly or expedient correlation of relationships and thereby form images of the human world, the so-called environment, residential complex, public ceremonies, sports ritual, etc. The synthesis of disparate impressions into holistic images removes uncertainty, designates one or another sphere, names one or another delimited content.
Ideal image the object that arises in the human head is some kind of system. However, in contrast to Gestalt philosophy, which introduced these terms into science, it must be emphasized that the image of consciousness is substantially secondary, it is a product of thinking that reflects the laws of objective phenomena, is a subjective form of reflection of objectivity, and not a purely spiritual construction within the stream of consciousness.
An artistic image is not only a special form of thought, it is an image of reality that arises through thinking. The main meaning, function and content of the image of art lies in the fact that the image depicts in a specific face reality, its objective, material world, man and his environment, depicts events in the social and personal life of people, their relationships, their external and spiritual-psychological characteristics.
In aesthetics, for many centuries, there has been a debatable question about whether an artistic image is a cast of direct impressions of reality or whether it is mediated in the process of emergence by the stage of abstract thinking and the associated processes of abstraction from the concrete by analysis, synthesis, inference, conclusion, that is, the processing of sensory data impressions. Researchers of the genesis of art and primitive cultures identify a period of “pre-logical thinking,” but even to the later stages of art of this time the concept of “thinking” is inapplicable. The sensual-emotional, intuitive-figurative nature of ancient mythological art gave K. Marx a reason to say that the early stages of the development of human culture were characterized by unconscious artistic processing of natural material.
In progress labor practice In human life, not only the development of motor skills of the functions of the hand and other parts of the human body occurred, but also, accordingly, the process of development of human sensuality, thinking and speech.
Modern science argues that the language of gestures, signals, signs ancient man was still only a language of sensations and emotions and only later a language of elementary thoughts.
Primitive thinking was distinguished by its first-signal immediacy and elementaryness, as thinking about the current situation, about the place, volume, quantity, and immediate benefit of a specific phenomenon.
Only with the emergence of sound speech and the second signaling system does discursive and logical thinking begin to develop.
Because of this, we can talk about differences in certain phases or stages of development of human thinking. Firstly, the phase of visual, concrete, first-signal thinking, directly reflecting the momentarily experienced situation. Secondly, this is the phase of figurative thinking, going beyond the limits of what is directly experienced thanks to the imagination and elementary ideas, as well as the external image of some specific things, and their further perception and understanding through this image (a form of communication).
Thinking, like other spiritual and mental phenomena, develops in the history of anthropogenesis from lower to higher. The discovery of many facts indicating the prelogical, prelogical nature of primitive thinking gave rise to many interpretation options. The famous researcher of ancient culture K. Levy-Bruhl noted that primitive thinking is oriented differently than modern thinking, in particular, it is “prelogical”, in the sense that it “reconciles itself” with contradiction.
In Western aesthetics of the middle of the last century, a widespread conclusion is that the fact of the existence of pre-logical thinking gives grounds for the conclusion that the nature of art is identical to the unconsciously mythologizing consciousness. There is a whole galaxy of theories that seek to identify artistic thinking with the elementary-figurative mythologism of pre-logical forms of the spiritual process. This concerns the ideas of E. Cassirer, who divided the history of culture into two eras: the era of symbolic language, myth and poetry, firstly, and the era of abstract thinking and rational language, secondly, while trying to absolutize mythology as the ideal primordial basis in history artistic thinking.
However, Cassirer only drew attention to mythological thinking as the prehistory of symbolic forms, but after him A.-N. Whitehead, G. Reed, S. Langer tried to absolutize non-conceptual thinking as the essence of poetic consciousness in general.
Domestic psychologists, on the contrary, believe that the consciousness of modern man is a multilateral psychological unity, where the stages of development of the sensory and rational sides are interconnected, interdependent, and interdependent. The degree of development of the sensory aspects of the consciousness of historical man in the process of his existence corresponded to the degree of evolution of the mind.
There are many arguments in favor of the sensory-empirical nature of the artistic image as its main feature.
As an example, let's look at the book by A.K. Voronsky “The Art of Seeing the World.” It appeared in the 20s and was quite popular. The motive for writing this work was a protest against craft, poster, didactic, manifesting, “new” art.
Voronsky’s pathos is focused on the “secret” of art, which he saw in the artist’s ability to capture a direct impression, the “primary” emotion of perceiving an object: “Art only comes into contact with life. As soon as the mind of the viewer, the reader begins to work, all the charm, all the power of aesthetic feeling disappears.”
Voronsky developed his point of view, relying on considerable experience, sensitive understanding and deep knowledge of art. He isolated the act of aesthetic perception from everyday life and everyday life, believing that seeing the world “directly,” that is, without the mediation of preconceived thoughts and ideas, is possible only in happy moments of true inspiration. Freshness and purity of perception are rare, but it is precisely this direct feeling that is the source of the artistic image.
Voronsky called this perception “irrelevant” and contrasted it with phenomena alien to art: interpretation and “interpretation.”
The problem of the artistic discovery of the world is defined by Voronsky as a “complex creative feeling,” when the reality of the primary impression is revealed, regardless of what a person knows about it.
Art “silences reason; it ensures that a person believes in the power of his most primitive, most immediate impressions”6.
Written in the 20s of the 20th century, Voronsky’s work is focused on the search for the secrets of art in naive pure anthropologism, “irrelevant”, not appealing to reason.
Impressions that are immediate, emotional, and intuitive will never lose their significance in art, but are they sufficient for the artistry of art? Are the criteria of art not more complex than the aesthetics of immediate feelings suggests?
Creating an artistic image of art, if we are not talking about a sketch or preliminary sketch, etc., but about a completed artistic image, is impossible only by capturing a beautiful, immediate, intuitive impression. The image of this impression will be of little significance in art if it is not inspired by thought. The artistic image of art is both the result of impression and the product of thought.
V.S. Solovyov made an attempt to “name” what is beautiful in nature, to give a name to beauty. He said that the beauty in nature is solar, lunar, astral light, changes in light during the day and night, the reflection of light on water, trees, grass and objects, the play of light from lightning, the sun, the moon.
The named natural phenomena cause aesthetic feelings, aesthetic pleasure. And although these feelings are also associated with the concept of things, for example, about a thunderstorm, about the universe, it is still possible to imagine that images of nature in art are images of sensory impressions.
A sensual impression, a thoughtless enjoyment of beauty, including the light of the moon and stars, are possible, and such feelings are capable of again and again discovering something unusual, but the artistic image of art absorbs a wide range of spiritual phenomena, both sensual and intellectual. Consequently, the theory of art has no reason to absolutize certain phenomena.
The figurative sphere of a work of art is formed simultaneously at many different levels of consciousness: feelings, intuition, imagination, logic, fantasy, thought. The visual, verbal or sound representation of a work of art is not a replica of reality, even if it is optimally life-like. Artistic representation clearly reveals its secondary nature, mediated by thinking, due to the participation of thinking in the process of creating artistic reality.
The artistic image is the center of gravity, the synthesis of feeling and thought, intuition and imagination; The figurative sphere of art is characterized by spontaneous self-development, which has several vectors of conditioning: the “pressure” of life itself, the “flight” of fantasy, the logic of thinking, the mutual influence of the intrastructural connections of the work, ideological tendencies and the direction of the artist’s thinking.
The function of thinking is also manifested in maintaining balance and harmonizing all these contradictory factors. The artist’s thinking works on the integrity of the image and the work. An image is the result of impressions, an image is a fruit of the artist’s imagination and fantasy and at the same time a product of his thoughts. Only in the unity and interaction of all these sides does a specific phenomenon of artistry arise.
Based on what has been said, it is clear that the image is relevant and not identical to life. And there can be countless artistic images of the same sphere of objectivity.
Being a product of thinking, an artistic image is also the focus of the ideological expression of content.
An artistic image has meaning as a “representative” of certain aspects of reality, and in this respect it is a more complex and multifaceted concept as a form of thought; in the content of the image it is necessary to distinguish between the various ingredients of meaning. The meaning of a full-length work of art is complex - a “composite” phenomenon, the result of artistic mastery, that is, knowledge, aesthetic experience and reflection on the material of reality. Meaning does not exist in a work as something isolated, described or expressed. It “follows” from the images and the work as a whole. However, the meaning of a work is a product of thinking and, therefore, its special criterion.
The artistic meaning of a work is the final product of the artist’s creative thought. The meaning belongs to the image, therefore the semantic content of the work has a specific character, identical to its images.
If we talk about the informativeness of an artistic image, then this is not only a meaning that states certainty and its meaning, but also an aesthetic, emotional, and intonational meaning. All this is commonly called redundant information.
An artistic image is a multifaceted idealization of an object, material or spiritual, real or imaginary; it is not reducible to semantic unambiguity and is not identical to sign information.
The image includes objective inconsistency of information elements, opposition and alternative meaning, specific to the nature of the image, since it represents the unity of the general and the individual. The signified and the signifier, that is, the sign situation, can only be an element of the image or an image-detail (a type of image).
Since the concept of information has acquired not only technical and semantic meaning, but also a broader philosophical meaning, a work of art should be interpreted as a specific phenomenon of information. This specificity is manifested, in particular, in the fact that the visual-descriptive, figurative-plot content of a work of art as art is informative in itself and as a “container” of ideas.
Thus, the depiction of life and the way it is depicted is full of meaning in itself. And the fact that the artist chose certain images, and the fact that by the power of imagination and fantasy he added expressive elements to them - all this speaks for itself, because it is not only a product of imagination and skill, but also a product of the artist’s thinking.
A work of art has meaning insofar as it reflects reality and insofar as what is reflected is the result of thinking about reality.
Artistic thinking in art has various spheres and the need to express one’s ideas directly, developing a special poetic language for such expression.
2 Means of creating an artistic image
An artistic image, having sensual concreteness, is personified as separate, unique, in contrast to a pre-artistic image, in which personification has a diffuse, artistically undeveloped character and is therefore devoid of uniqueness. Personification in developed artistic and imaginative thinking is of fundamental importance.
However, the artistic-imaginative interaction of production and consumption has a special character, since artistic creativity is, in a certain sense, also an end in itself, that is, a relatively independent spiritual and practical need. It is no coincidence that the idea that the viewer, listener, and reader are, as it were, accomplices in the artist’s creative process, was often expressed by both theorists and practitioners of art.
In the specifics of subject-object relations, in artistic and figurative perception, at least three significant features can be distinguished.
The first is that an artistic image, born as an artist’s response to certain social needs, as a dialogue with the audience, in the process of education acquires its own life in artistic culture, independent of this dialogue, since it enters into more and more new dialogues, about the possibilities of which the author may not even have been aware of the creative process. Great artistic images continue to live as an objective spiritual value not only in the artistic memory of descendants (for example, as a bearer of spiritual traditions), but also as a real, contemporary force that encourages a person to social activity.
The second significant feature of the subject-object relations inherent in the artistic image and expressed in its perception is that the “bifurcation” into creation and consumption in art is different from that which takes place in the sphere of material production. If in the sphere of material production the consumer deals only with the product of production, and not with the process of creating this product, then in artistic creativity, in the act of perceiving artistic images, the influence of the creative process takes an active part. How the result is achieved in products of material production is relatively unimportant for the consumer, while in artistic and figurative perception it is extremely significant and constitutes one of the main points artistic process.
If in the sphere of material production the processes of creation and consumption are relatively independent, as a certain form of human life, then artistic-imaginative production and consumption are absolutely impossible to separate without compromising the understanding of the very specifics of art. Speaking about this, it should be borne in mind that the limitless artistic and figurative potential is revealed only in the historical process of consumption. It cannot be exhausted only in the act of direct perception of “disposable use”.
There is also a third specific feature subject-object relations inherent in the perception of an artistic image. Its essence boils down to the following: if in the process of consuming products of material production the perception of the processes of this production is by no means necessary and does not determine the act of consumption, then in art the process of creating artistic images seems to “come to life” in the process of their consumption. This is most obvious in those types of artistic creativity that are associated with performance. We are talking about music, theater, that is, those types of art in which politics, to a certain extent, is a witness to the creative act. In fact, in different forms this is present in all types of art, in some more, and in others less obvious, and is expressed in the unity of what and how a work of art comprehends. Through this unity, the public perceives not only the skill of the performer, but also the direct power of the artistic and figurative impact in its meaningful meaning.
An artistic image is a generalization that is revealed in a concrete, sensory form and is essential for a number of phenomena. The dialectic of the universal (typical) and the individual (individual) in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its individuality: the general manifests itself in the individual and through the individual. Poetic representation is figurative and does not reveal an abstract essence, not a random existence, but a phenomenon in which the substantial is cognized through its appearance, its individuality. In one of the scenes of Tolstoy's novel Anna Karenina, Karenin wants to divorce his wife and comes to a lawyer. A confidential conversation takes place in a cozy office covered with carpets. Suddenly a moth flies across the room. And although Karenin’s story concerns the dramatic circumstances of his life, the lawyer no longer listens to anything; it is important for him to catch the moth that threatens his carpets. A small detail carries a big meaning: for the most part, people are indifferent to each other, and things for them are of greater value than a person and his fate.
The art of classicism is characterized by generalization - artistic generalization by highlighting and absolutizing a specific feature of the hero. Romanticism is characterized by idealization - generalization through the direct embodiment of ideals, imposing them on real material. Realistic art is characterized by typification - artistic generalization through individualization by selecting essential personality traits. In realistic art, each depicted person is a type, but at the same time a completely definite personality - a “familiar stranger.”
Marxism attaches particular significance to the concept of typification. This problem was first posed by K. Marx and F. Engels in correspondence with F. Lassalle regarding his drama “Franz von Sickingen”.
In the 20th century, old ideas about art and the artistic image disappear, and the content of the concept of “typification” also changes.
There are two interrelated approaches to this manifestation of artistic and figurative consciousness.
Firstly, as close to reality as possible. It must be emphasized that documentaryism, as a desire for a detailed, realistic, reliable reflection of life, has become not just the leading trend in the artistic culture of the 20th century. Contemporary art perfected this phenomenon, filled it with previously unknown intellectual and moral content, largely determining the artistic and figurative atmosphere of the era. It should be noted that interest in this type of figurative convention continues today. This is due to the amazing successes of journalism, non-fiction cinema, art photography, and the publication of letters, diaries, and memoirs of participants in various historical events.
Secondly, the maximum strengthening of convention, and in the presence of a very tangible connection with reality. This system of conventions of the artistic image involves bringing to the fore the integrative aspects of the creative process, namely: selection, comparison, analysis, which appear in organic connection with the individual characteristics of the phenomenon. As a rule, typification presupposes a minimal aesthetic deformation of reality, which is why in art history this principle has been given the name life-like, recreating the world “in the forms of life itself.”
An ancient Indian parable tells about blind men who wanted to find out what an elephant was like and began to feel it. One of them grabbed the elephant's leg and said: "An elephant is like a pillar"; another felt the giant’s belly and decided that the elephant was a jug; the third touched the tail and realized: “The elephant is the ship’s rope”; the fourth picked up his trunk and declared that the elephant was a snake. Their attempts to understand what an elephant is were unsuccessful, because they did not understand the phenomenon as a whole and its essence, but its constituent parts and random properties. An artist who elevates random features of reality into a typical type acts like a blind man who mistakes an elephant for a rope only because he was unable to grab anything else except the tail. A true artist grasps what is characteristic and essential in phenomena. Art is capable, without breaking away from the concrete sensory nature of phenomena, to make broad generalizations and create a concept of the world.
Typification is one of the main laws of artistic exploration of the world. Largely thanks to the artistic generalization of reality, the identification of what is characteristic and essential in life phenomena, art becomes a powerful means of cognition and transformation of the world. artistic image of Shakespeare
An artistic image is a unity of the rational and emotional. Emotionality is the historically early fundamental principle of the artistic image. The ancient Indians believed that art was born when a person could not contain his overwhelming feelings. The legend about the creator of the Ramayana tells how the sage Valmiki walked along a forest path. In the grass he saw two waders gently calling to each other. Suddenly a hunter appeared and pierced one of the birds with an arrow. Overwhelmed by anger, grief and compassion, Valmiki cursed the hunter, and the words that escaped from his heart overflowing with feelings spontaneously formed into a poetic stanza with henceforth the canonical “sloka” meter. It was with this verse that the god Brahma subsequently commanded Valmiki to sing the exploits of Rama. This legend explains the origin of poetry from emotionally rich, excited, richly intonated speech.
To create an enduring work, not only a wide scope of reality is important, but also a mental and emotional temperature sufficient to melt the impressions of existence. One day, while casting the figure of a condottiere in silver, the Italian sculptor Benvenuto Cellini encountered an unexpected obstacle: when the metal was poured into the mold, it turned out that there was not enough metal. The artist turned to his fellow citizens, and they brought silver spoons, forks, knives, and trays to his workshop. Cellini began throwing these utensils into the molten metal. When the work was finished, a beautiful statue appeared before the eyes of the spectators, but the handle of a fork was sticking out of the rider’s ear, and a piece of a spoon was sticking out of the horse’s croup. While the townspeople were carrying utensils, the temperature of the metal poured into the mold dropped... If the mental-emotional temperature is not enough to melt the vital material into a single whole (artistic reality), then “forks” stick out from the work, which the person perceiving art stumbles upon.
The main thing in a worldview is a person’s attitude to the world and therefore it is clear that it is not just a system of views and ideas, but the state of society (class, social group, nation). Worldview as a special horizon of a person’s social reflection of the world relates to social consciousness as the social to the general.
Creative activity Every artist is dependent on his worldview, that is, his conceptually formulated attitude to various phenomena of reality, including the area of relationships between various social groups. But this occurs only in proportion to the degree of participation of consciousness in the creative process as such. At the same time, a significant role here belongs to the unconscious area of the artist’s psyche. Unconscious intuitive processes, of course, play a significant role in the artistic and figurative consciousness of the artist. This connection was emphasized by G. Schelling: “Art... is based on the identity of conscious and unconscious activity.”
The artist's worldview as a mediating link between himself and the social consciousness of a social group contains an ideological element. And within the individual consciousness itself, the worldview is, as it were, elevated by certain emotional and psychological levels: attitude, worldview, worldview. Worldview is to a greater extent an ideological phenomenon, while worldview is of a socio-psychological nature, containing both universal and specific historical aspects. Attitude is part of the realm of everyday consciousness and includes moods, likes and dislikes, interests and ideals of a person (including the artist). It plays a special role in creative work, since only in it with its help does the author realize his worldview, projecting it onto the artistic and figurative material of his works.
The nature of certain types of art determines the fact that in some of them the author manages to capture his worldview only through his perception of the world, while in others, the worldview directly enters into the fabric of the artistic works they create. So, musical creativity capable of expressing the worldview of the subject of productive activity only indirectly, through the system of musical images created by him. In literature, the author-artist has the opportunity, with the help of the word, endowed by its very nature with the ability to generalize, to more directly express his ideas and views on various aspects of the depicted phenomena of reality.
Many artists of the past were characterized by a contradiction between their worldview and the nature of their talent. So M.F. In his views, Dostoevsky was a liberal monarchist, who also clearly gravitated towards resolving all the ills of his contemporary society through its spiritual healing with the help of religion and art. But at the same time, the writer turned out to be the owner of the rarest realistic artistic talent. And this allowed him to create unsurpassed examples of the most truthful pictures of the most dramatic contradictions of his era.
But in transitional eras, the very worldview of the majority of even the most talented artists turns out to be internally contradictory. For example, the socio-political views of L.N. Tolstoy intricately combined the ideas of utopian socialism, which included criticism of bourgeois society and theological quests and slogans. In addition, the worldview of a number of major artists, under the influence of changes in the socio-political situation in their countries, can sometimes undergo very complex development. Thus, Dostoevsky’s path of spiritual evolution was very difficult and complex: from the utopian socialism of the 40s to the liberal monarchism of the 60s-80s of the 19th century.
The reasons for the internal inconsistency of the artist’s worldview lie in the heterogeneity of its component parts, in their relative autonomy and in the difference in their significance for the creative process. If for a natural scientist, due to the nature of his activity, the natural history components of his worldview are of decisive importance, then for an artist his aesthetic views and beliefs come first. Moreover, the artist’s talent is directly related to his conviction, that is, to “intellectual emotions” that became the motives for creating enduring artistic images.
Modern artistic and figurative consciousness must be anti-dogmatic, that is, characterized by a decisive rejection of any absolutization of one single principle, attitude, formulation, evaluation. None of the most authoritative opinions and statements should be deified, become the ultimate truth, or turn into artistic standards and stereotypes. The elevation of the dogmatic approach to the “categorical imperative” of artistic creativity inevitably absolutizes class confrontation, which in a specific historical context ultimately results in the justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. Dogmatization of the creative process also manifests itself when certain techniques and attitudes acquire the character of the only possible artistic truth.
Modern Russian aesthetics also needs to get rid of the epigonism that has been so characteristic of it for many decades. Freeing oneself from the method of endlessly quoting classics on issues of artistic and figurative specificity, from uncritical perception of others, even the most temptingly convincing points of view, judgments and conclusions, and striving to express one’s own, personal views and beliefs, is necessary for any and every modern researcher, if he wants to be a real scientist, and not a functionary in a scientific department, not an official in the service of someone or something. In the creation of works of art, epigonism manifests itself in mechanical adherence to the principles and methods of any art school or direction, without taking into account the changed historical situation. Meanwhile, epigonism has nothing to do with the truly creative mastery of classical artistic heritage and traditions.
Thus, world aesthetic thought formulated various shades concept of "artistic image". IN scientific literature one can find such characteristics of this phenomenon as “the secret of art”, “a cell of art”, “a unit of art”, “image-formation”, etc. However, no matter what epithets are awarded to this category, it is necessary to remember that the artistic image is the essence of art, a meaningful form that is inherent in all its types and genres.
An artistic image is a unity of objective and subjective. The image includes the material of reality, processed by the creative imagination of the artist, his attitude towards what is depicted, as well as all the wealth of the personality and the creator.
In the process of creating a work of art, the artist as an individual acts as a subject of artistic creativity. If we talk about artistic and figurative perception, then the artistic image created by the creator acts as an object, and the viewer, listener, reader is the subject this relationship.
The artist thinks in images, the nature of which is concrete and sensual. This connects the images of art with the forms of life itself, although this relationship cannot be taken literally. Such forms as artistic expression, musical sound or architectural ensemble do not and cannot exist in life itself.
An important structure-forming component of the artistic image is the worldview of the subject of creativity and his role in artistic practice. Worldview is a system of views on the objective world and man’s place in it, on man’s relationship to the reality around him and to himself, as well as the basic principles determined by these views life positions people, their beliefs, ideals, principles of knowledge and activity, value orientations. At the same time, it is most often believed that the worldview of different layers of society is formed as a result of the spread of ideology, in the process of transforming the knowledge of representatives of one or another social layer into beliefs. Worldview should be considered as the result of the interaction of ideology, religion, sciences and social psychology.
A very significant and important feature of modern artistic and figurative consciousness should be dialogism, that is, the focus on continuous dialogue, which has the nature of constructive polemics, creative discussion with representatives of any art schools, traditions, methods. The constructiveness of the dialogue should consist of continuous spiritual mutual enrichment of the disputing parties and be of a creative, truly dialogical nature. The very existence of art is determined by the eternal dialogue between the artist and the recipient (viewer, listener, reader). The contract binding them is indissoluble. The newly born artistic image is a new edition, a new form of dialogue. The artist repays his debt to the recipient in full when he gives him something new. Today, more than ever, the artist has the opportunity to say something new and in a new way.
All of the listed directions in the development of artistic and imaginative thinking should lead to the affirmation of the principle of pluralism in art, that is, the affirmation of the principle of coexistence and complementarity of multiple and diverse, including contradictory points of view and positions, views and beliefs, directions and schools, movements and teachings .
2. Features of artistic images using the example of the works of W. Shakespeare
2.1 Characteristics of William Shakespeare’s artistic images
The works of William Shakespeare are studied in literature lessons in the 8th and 9th grades of high school. In the 8th grade, students study “Romeo and Juliet”, in the 9th grade - “Hamlet” and Shakespeare’s sonnets.
Shakespeare's tragedies are an example of the "classical resolution of conflicts in the romantic art form" between the Middle Ages and modern times, between the feudal past and the emerging bourgeois world. Shakespeare's characters are "internally consistent, true to themselves and their passions, and in everything that happens to them they behave according to their firm determination."
Shakespeare's heroes are “self-reliant individuals” who set themselves a goal that is “dictated” only by “their own individuality,” and they carry it out “with an unshakable consistency of passion, without side reflections.” At the center of every tragedy stands this kind of character, and around him are less distinguished and energetic ones.
In modern plays, a soft-hearted character quickly falls into despair, but the drama does not lead him to death even in danger, which leaves the audience very satisfied. When virtue and vice confront each other on the stage, she must triumph and he must be punished. In Shakespeare, the hero dies “precisely as a result of decisive loyalty to himself and his goals,” which is called the “tragic denouement.”
Shakespeare's language is metaphorical, and his hero stands above his “sorrow” or “evil passion”, even “ridiculous vulgarity”. Whatever Shakespeare's characters may be, they are men of "the free power of imagination and the spirit of genius...their thinking stands and sets them above what they are in their station and their determined ends." But, looking for “an analogue of internal experience,” this hero “is not always free from excesses, at times clumsy.”
Shakespeare's humor is also remarkable. Although his comic images are “immersed in their vulgarity” and “they have no shortage of flat jokes,” they at the same time “show intelligence.” Their “genius” could make them “great men.”
An essential point of Shakespearean humanism is the comprehension of man in movement, in development, in formation. This determines the method artistic characteristics hero. The latter is always shown in Shakespeare not in a frozen, motionless state, not in the statuary of a snapshot, but in movement, in the history of the individual. Deep dynamism distinguishes Shakespeare's ideological and artistic concept of man and his method artistic image person. Usually the hero of an English playwright is different at different phases of dramatic action, in different acts and scenes.
Shakespeare's man is shown in the fullness of his capabilities, in the full creative perspective of his history, his destiny. In Shakespeare, it is important not only to show a person in his inner creative movement, but also to show the very direction of movement. This direction is the highest and most complete disclosure of all human potentials, all of his internal forces. This direction - in a number of cases, there is a rebirth of a person, his internal spiritual growth, the ascent of a hero to some higher level of his existence (Prince Henry, King Lear, Prospero, etc.). (“King Lear” by Shakespeare is studied by 9th grade students at extracurricular activities).
“There is no one to blame in the world,” proclaims King Lear after the tumultuous upheavals of his life. In Shakespeare, this phrase means a deep awareness of social injustice, the responsibility of the entire social system for the countless suffering of poor Toms. In Shakespeare, this sense of social responsibility, in the context of the hero’s experiences, opens up a broad perspective for the creative growth of the individual, his ultimate moral revival. For him, this thought serves as a platform for affirmation best qualities his hero, to affirm his heroically personal substantiality. With all the rich, multicolored changes and transformations of Shakespeare's personality, the heroic core of this personality is unshakable. The tragic dialectic of personality and fate in Shakespeare leads to the clarity and clarity of his positive idea. In Shakespeare's “King Lear,” the world collapses, but the man himself lives and changes, and with him the whole world. Development, qualitative change in Shakespeare is complete and diverse.
Shakespeare owns a cycle of 154 sonnets, published (without the knowledge or consent of the author) in 1609, but written, apparently, back in the 1590s and was one of the most brilliant examples of Western European lyric poetry of the Renaissance. Under the pen of Shakespeare, the form, which had become popular among English poets, sparkled with new facets, containing a wide range of feelings and thoughts - from intimate experiences to deep philosophical thoughts and generalizations.
Researchers have long drawn attention to the close connection between sonnets and Shakespeare's dramaturgy. This connection is manifested not only in the organic fusion of the lyrical element with the tragic, but also in the fact that the ideas of passion that inspire Shakespeare’s tragedies also live in his sonnets. Just as in his tragedies, Shakespeare touches on in his sonnets the fundamental problems of existence that have troubled mankind for centuries; he speaks about happiness and the meaning of life, about the relationship between time and eternity, about the frailty of human beauty and its greatness, about art that can overcome the inexorable passage of time. , about the high mission of the poet.
The eternal inexhaustible theme of love, one of the central ones in the sonnets, is closely intertwined with the theme of friendship. In love and friendship, the poet finds a true source of creative inspiration, regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, and mental anguish.
In the literature of the Renaissance, the theme of friendship, especially male friendship, occupies an important place: it is considered as the highest manifestation of humanity. In such friendship, the dictates of reason are harmoniously combined with spiritual inclination, free from the sensual principle.
Shakespeare's image of the Beloved is emphatically unconventional. If the sonnets of Petrarch and his English followers usually glorified a golden-haired, angelic beauty, proud and inaccessible, then Shakespeare, on the contrary, devotes jealous reproaches to a dark brunette - inconsistent, obeying only the voice of passion.
The leitmotif of grief about the frailty of everything earthly, passing through the entire cycle, the imperfection of the world clearly realized by the poet does not violate the harmony of his worldview. The illusion of afterlife bliss is alien to him - he sees human immortality in glory and offspring, advising his friend to see his youth revived in children.
Conclusion
So, an artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. An artistic image is distinguished by: accessibility for direct perception and direct impact on human feelings.
Every artistic image is not completely concrete; clearly fixed establishing moments are clothed in it with the element of incomplete definiteness, half-manifestation. This is a certain “inadequacy” of the artistic image compared to reality fact of life(art strives to become reality, but breaks against its own boundaries), but also the advantage that ensures its ambiguity in a set of complementary interpretations, the limit of which is set only by the accentuation provided by the artist.
Inner form the artistic image is personal, it bears an indelible trace of the author’s ideological spirit, its isolating and implementing initiative, thanks to which the image appears as an assessed human reality, a cultural value among other values, an expression of historically relative trends and ideals. But as an “organism” formed on the principle of visible revitalization of the material, from the artistic side, the artistic image is an arena of the ultimate action of aesthetically harmonizing laws of existence, where there is no “bad infinity” and unjustified end, where space is visible and time is reversible, where chance is not is absurd, but necessity is not burdensome, where clarity triumphs over inertia. And in this nature, artistic value belongs not only to the world of relative socio-cultural values, but also to the world of life values, known in the light of eternal meaning, to the world of ideal life possibilities of our human Universe. Therefore, an artistic assumption, unlike a scientific hypothesis, cannot be discarded as unnecessary and replaced by another, even if the historical limitations of its creator seem obvious.
In view of the suggestive power of artistic assumption, both creativity and the perception of art are always associated with cognitive and ethical risk, and when evaluating a work of art, it is equally important: submitting to the author’s intention, to recreate the aesthetic object in its organic integrity and self-justification and, without completely submitting to this idea, maintain the freedom of your own point of view, ensured by real life and spiritual experience.
When studying individual works of Shakespeare, the teacher must draw students' attention to the images he created, provide quotes from the texts, and draw conclusions about the influence of such literature on the feelings and actions of readers.
In conclusion, we would like to emphasize once again that Shakespeare’s artistic images have eternal value and will always be relevant, regardless of time and place, because in his works he poses eternal questions that have always worried and are worrying all of humanity: how to fight evil, what means and is it possible to defeat him? Is it worth living at all if life is full of evil and it is impossible to defeat it? What is true in life and what is a lie? How to distinguish true feelings from false ones? Can love be eternal? What is the general meaning of human life?
Our research confirms the relevance of the chosen topic, has a practical orientation and can be recommended to students of pedagogical educational institutions in the subject “Teaching literature at school.”
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