Image in art. Artistic image

Art occupies the most important place in the theory of aesthetics. She studies its role in life, patterns of development and characteristics. Aesthetics considers art as a form of aesthetic exploration of the world. Art is a means of reflecting life and thinking in the form of artistic images. The source of artistic images is reality. The artist, reflecting the world, thinks figuratively and emotionally and, influencing the feelings and minds of people with his works, he strives to evoke similar emotions and thoughts in them.

The specificity of art is that it has an impact on a person due to its aesthetic merits, due to the influence of the system of artistic images. The artistic image is associated not only with the imagery of sensory-concrete thinking, but also with abstract concepts; it contains the depth and originality of meaningful artistry.

In the essence of an artistic image, certain levels can be distinguished. The abstract level of artistic thinking is ideal, when the artistic idea is realized and the creation of an image is an intellectual operation. Next level- this is mental, when the role of unconscious mechanisms of artistic creativity is significant. This is the level of artistic feelings and emotions, due to which the images of the work are experienced in the process of perception. An artistic image is associated with an aesthetic attitude towards it, with feelings, with assessments, with needs. Finally, the third level of existence of an artistic image is material, i.e. in what material “shell” the image is presented: in color, in sound, in words, in their combinations.

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

In art, the accuracy of the depiction of nature does not in itself create a work; it arises only when the image becomes an artistic image, in which a particular object or phenomenon is illuminated by the thought and feeling of the creator.

The artistic image is the result of a certain creative orientation of the author and is associated with the nature of his talent. Art is based on the image of sensory perceived reality, but the degree of artistic generalization of it varies. In order to correctly understand the nature of the artistic image, one should also take into account such important points as the individuality of the artist’s vision and his aesthetic ideal.

These two points are interconnected and at the same time relatively independent. The aesthetic ideal acts as a guide for the author, it directs his vision, it is determined by the uniqueness of a particular historical time. And at the same time, each creator sees the world in his own way, and the individuality of the author’s artistic vision enriches the aesthetic vision as a whole, expanding the range of perception of the world. The individuality of the artist’s vision may be barely noticeable or, conversely, clearly expressed, but in any case in talented work art it is obligatory.

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 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 directions, styles, manners, etc. (images 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 appears as something derived from 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. When working on an artistic image, the artist often overcomes the limitations of the original plan and sometimes the material, i.e., the practice of the creative process makes amendments to the very core of the artistic image. The master’s art here is organically fused with the worldview and aesthetic ideal, which serve as the basis of the artistic image.

The main stages, or levels, of the formation of an artistic image are:

Image-plan

Piece of art

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.

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, as it were, independent life and content (for example, 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) came closer to craft, skill, skill and, accordingly, in the host of arts the leading place belonged to the plastic arts, aesthetic thought was content with the concepts of canon, then style and form, through which the transformative attitude of the artist to the material was illuminated. The fact that artistically transformed 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 ordered or expedient correlation of relationships and thereby form images human world, the so-called environment, residential complex, public ceremonies, sports ritual, etc. Synthesis of disparate impressions into holistic images removes uncertainty, designates one or another sphere, names one or another delimited content.

The ideal image of an object that appears in the human head is a certain 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 early stages The development of human culture was characterized by unconsciously artistic processing of natural material.

In the process of human labor practice, 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 the fact 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 a given 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 imaginative thinking, going beyond what is directly experienced thanks to 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. A measure of the development of the sensory aspects of consciousness historical person in the process of its 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 viewer, the reader’s mind 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 a 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. Soloviev 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.

These natural phenomena evoke aesthetic feelings and 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.

Artistic sense works are 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 historical process consumption. It cannot be exhausted only in the act of direct perception of “disposable use”.

There is a third specific feature of the 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 have meaning for them. great value than the personality and its 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. Modern 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 understanding and transforming 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. Overcome with 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 the now canonical meter “sloka”. 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 a silver figure of a condottiere, 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 for melting vital material into a single whole (artistic reality), then “forks” stick out from the work, which the person perceiving the 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 included in the area ordinary consciousness and includes the state of mind, 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. Thus, musical creativity is 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 peculiarities of his activity, the natural history components of his worldview are of decisive importance, then for an artist his aesthetic views and beliefs. 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. It is necessary for anyone and everyone to free themselves 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 strive to express their own, personal views and beliefs 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-figurative perception, then the artistic image created by the creator acts as an object, and the viewer, listener, reader is the subject of 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 word, musical sound or an architectural ensemble, does 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 attitude to the reality around him and to himself, as well as the basic life positions of people, their beliefs, ideals, principles of cognition and activity, and value orientations determined by these views. 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, science 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. There is a newly born artistic image 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 also determines the method of artistic characterization of the 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 the method of artistic depiction of man. 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 creative growth personality, its final moral rebirth. 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. The form, which had become popular among English poets, sparkled with new facets under the pen of Shakespeare, 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 creative inspiration regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, and mental anguish.

In Renaissance literature, the theme of friendship, especially male friendship, occupies important place: She is seen 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 in comparison with the reality of a fact of life (art strives to become reality, but is broken by its own boundaries), but also an 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.

The internal form of an 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, 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 worried all of humanity: how to fight evil, by what means and is it possible to defeat it? 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 within the framework of the subject “Teaching literature at school”.

Bibliography

1. Hegel. Lectures on aesthetics. - Works, vol. XIII. P. 392.

Monrose L.A. Studying the Renaissance: Poetics and Politics of Culture // New Literary Review. - No. 42. - 2000.

Rank O. Aesthetics and psychology of artistic creativity // Other shores. - No. 7. - 2004. P. 25.

Hegel. Lectures on aesthetics. - Works, vol. XIII. P. 393.

Kaganovich S. New approaches to school analysis poetic text // Teaching literature. - March 2003. P. 11.

Kirilova A.V. Culturology. Methodological manual for students of the specialty "Socio-cultural service and tourism" correspondence form training. - Novosibirsk: NSTU, 2010. - 40 p.

Zharkov A.D. Theory and technology of cultural and leisure activities: Textbook / A.D. Zharkov. - M.: Publishing house MGUKI, 2007. - 480 p.

Tikhonovskaya G.S. Screenwriting and director technologies for creating cultural and leisure programs: Monograph. - M.: Publishing House MGUKI, 2010. - 352 p.

Kutuzov A.V. Culturology: textbook. allowance. Part 1 / A.V. Kutuzov; GOU VPO RPA of the Ministry of Justice of Russia, North-Western (St. Petersburg) branch. - M.; St. Petersburg: GOU VPO RPA of the Ministry of Justice of Russia, 2008. - 56 p.

Stylistics of the Russian language. Kozhina M.N., Duskaeva L.R., Salimovsky V.A. (2008, 464 pp.)

Belyaeva N. Shakespeare. “Hamlet”: problems of hero and genre // Teaching of literature. - March 2002. P. 14.

Ivanova S. On the activity approach to studying Shakespeare’s tragedy “Hamlet” // I’m going to a literature lesson. - August 2001. P. 10.

Kireev R. Around Shakespeare // Teaching literature. - March 2002. P. 7.

Kuzmina N. “I love you, the completeness of the sonnet!...” // I’m going to a literature lesson. - November 2001. P. 19.

Shakespeare Encyclopedia / Ed. S. Wells. - M.: Raduga, 2002. - 528 p.

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GOALS:

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

PLAN:

1) Features of a work of art.

2) The concept and specificity of the artistic image.

3) Basic types of artistic generalization.

1.Features of the work of art

The question of the characteristics of a work of art is the question of what is created and perceived in art.

A work of art is a complex formation, and its features relate to different phenomena both in content and phenomenological terms. Therefore, the analysis of a work of art is a great difficulty, and it is necessary to maintain these levels and their dialectics.

Aesthetics provides a methodology for analyzing and perceiving a work of art.

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

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

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

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

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

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

2. The concept and specificity of the artistic image

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Objective - Subjective

Subject - Value

Sensual - Supersensual

Emotional - Rational

Experiences - Reflections

Conscious - Unconscious

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

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

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

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

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

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

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

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

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

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

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

3. Main types of artistic generalization

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

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

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

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

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

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

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

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

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

Name character traits artistic image?

How does artistic knowledge of the world differ from scientific knowledge?

Name and characterize the main types of artistic generalization.

Literature

• Bychkov V.V. Aesthetics: Textbook. M.: Gardariki, 2002. - 556 p.
• Kagan M.S. Aesthetics as a philosophical science. St. Petersburg, TK Petropolis LLP, 1997. - P.544.

Created talented artist, leaves a “deep mark” in the heart and mind of the viewer or reader. What has such a strong impact, makes you deeply experience and empathize with what you see, read or hear? This is an artistic image in literature and art, created by the skill and personality of the creator, who was able to amazingly rethink and transform reality, making it consonant and close to our own personal feelings.

Artistic image

In literature and art, this is any phenomenon generalized and creatively recreated by an artist, composer or writer in a subject of art. It is visual and sensual, i.e. understandable and open to perception, and capable of causing deep emotional experiences. These features are inherent in the image because the artist does not simply copy life phenomena, but fills them with a special meaning, colors them with the help of individual techniques, makes them more capacious, integral and voluminous. Naturally, in contrast to scientific creativity, artistic creativity is very subjective; it attracts people primarily by the personality of the author, the degree of his imagination, fantasy, erudition and sense of humor. Vivid image in literature and art it is also created due to complete freedom of creativity, when the boundless expanses of artistic invention and limitless ways of expressing it open up before the creator, with the help of which he creates his work.

The originality of the artistic image

The artistic image in art and literature is distinguished by amazing integrity, in contrast to scientific creation. He does not divide the phenomenon into its component parts, but considers everything in the indivisible integrity of internal and external, personal and social. Originality and depth art world are also manifested in the fact that the images in works of art are not only people, but also nature, inanimate objects, cities and countries, individual character traits and personality traits, which are often given the appearance of fantastic creatures or, on the contrary, very mundane, everyday objects. Landscapes and still lifes depicted in the paintings of artists are also images of their work. Aivazovsky, painting the sea in different time year and day, created a very capacious artistic image, which in the smallest nuances of color and light conveyed not only beauty seascape, the artist’s worldview, but also awakened the viewer’s imagination, evoking in him purely personal sensations.

Image as a reflection of reality

The artistic image in literature and art can be very sensual and rational, very subjective and personal or factual. But in any case, it is a reflection of real life (even in fantastic works), since the creator and viewer tend to think in images and perceive the world as a chain of images.

Any artist is a creator. He not only reflects reality and tries to answer existential questions, but also creates new meanings that are important for him and for the time in which he lives. Therefore, the artistic image in literature and art is very capacious and reflects not only the problems of the objective world, but also the subjective experiences and thoughts of the author who created it.

Art and literature, as a reflection of the objective world, grow and develop along with it. Times and eras change, new directions and trends emerge. Cross-cutting artistic images pass through time, transforming and changing, but at the same time new ones arise in response to the demands of the time, historical changes and personal changes, because art and literature are, first of all, a reflection of reality through a constantly changing and time-commensurate system of images.