Piece of art. artistic image

The most important category of literature, which determines its essence and specificity, is the artistic image. What is the significance of this concept? It means a phenomenon that the author creatively recreates in his creation. An image in a work of art appears to be the result of the writer’s meaningful conclusions about some process or phenomenon. The peculiarity of this concept is that it not only helps to comprehend reality, but also to create your own fictional world.

Let's try to trace what an artistic image is, its types and means of expression. After all, any writer tries to depict certain phenomena in such a way as to show his vision of life, its trends and patterns.

What is an artistic image

Domestic literary criticism borrowed the word “image” from Kiev church vocabulary. It has a meaning - face, cheek, and its figurative meaning is a picture. But it is important for us to analyze what an artistic image is. By it they mean a specific and sometimes generalized picture of people’s lives, which carries aesthetic significance and is created with the help of fiction. An element or part of a literary creation that has an independent life - that’s what an artistic image is.

Such an image is called artistic not because it is identical to real objects and phenomena. The author simply transforms reality with the help of his imagination. The task of an artistic image in literature is not simply to copy reality, but to convey what is most important and essential.

Thus, Dostoevsky put into the mouth of one of his heroes the words that you can rarely recognize a person from a photograph, because the face does not always speak about the most important character traits. From photographs, Napoleon, for example, seems stupid to some. The writer’s task is to show the most important, specific things in the face and character. When creating a literary image, the author uses words to reflect human characters, objects, and phenomena in an individual form. By image, literary scholars mean the following:

Characters of a work of art, heroes, characters and their personalities.
Depiction of reality in a concrete form, using verbal images and tropes.

Each image created by the writer carries a special emotionality, originality, associativity and capacity.

Changing the forms of an artistic image

As humanity changes, so do changes in the image of reality. There is a difference between what the artistic image was like 200 years ago and what it is like now. In the era of realism, sentimentalism, romanticism, and modernism, authors depicted the world in different ways. Reality and fiction, reality and ideal, general and individual, rational and emotional - all this changed during the development of art. In the era of classicism, writers highlighted the struggle between feelings and duty. Often heroes chose duty and sacrificed personal happiness in the name of public interests. In the era of romanticism, rebel heroes appeared who rejected society or it rejected them.

Realism introduced rational knowledge of the world into literature and taught us to identify cause-and-effect relationships between phenomena and objects. Modernism called on writers to understand the world and man by irrational means: inspiration, intuition, insight. For realists, at the forefront of everything is man and his relationship with the outside world. Romantics are interested in the inner world of their heroes.

Readers and listeners can also be called in some way co-creators of literary images, because their perception is important. Ideally, the reader does not just passively stand aside, but passes the image through his own feelings, thoughts and emotions. Readers from different eras discover completely different aspects of the artistic image the writer depicted.

Four types of literary images

The artistic image in literature is classified on various grounds. All these classifications only complement each other. If we divide images into types according to the number of words or signs that create them, then the following images stand out:

Small images in the form of details. An example of an image-detail is the famous Plyushkin pile, a structure in the form of a heap. She characterizes her hero very clearly.
Interiors and landscapes. Sometimes they are part of a person's image. Thus, Gogol constantly changes interiors and landscapes, making them a means of creating characters. Landscape lyrics are very easy for the reader to imagine.
Character images. Thus, in Lermontov’s works, a person with his feelings and thoughts is at the center of events. Characters are also commonly called literary heroes.
Complex literary systems. As an example, we can cite the image of Moscow in the lyrics of Tsvetaeva, Russia in the works of Blok, and St. Petersburg in Dostoevsky. An even more complex system is the image of the world.

Classification of images according to generic and style specifics

All literary and artistic creations are usually divided into three types. In this regard, images can be:

lyrical;
epic;
dramatic.

Every writer has his own style of portraying characters. This gives reason to classify images into:

realistic;
romantic;
surreal.

All images are created according to a certain system and laws.

Division of literary images according to the nature of generality

Characterized by uniqueness and originality individual images. They were invented by the imagination of the author himself. Romantics and science fiction writers use individual images. In Hugo's work "Notre-Dame de Paris" readers can see an unusual Quasimodo. Volan is individual in Bulgakov’s novel “The Master and Margarita”, and Demon in Lermontov’s work of the same name.

The general image, opposite to the individual one, is characteristic. It contains the characters and morals of people of a certain era. Such are the literary heroes of Dostoevsky in “The Brothers Karamazov”, “Crime and Punishment”, in Ostrovsky’s plays, in Galsworthy’s “The Forsyte Sagas”.

The highest level of characteristic characters are typical images. They were the most likely for a particular era. It is the typical heroes that are most often found in realistic literature of the 19th century. This is Balzac's Father Goriot and Gobsek, Tolstoy's Platon Karataev and Anna Karenina, Flaubert's Madame Bovary. Sometimes the creation of an artistic image is intended to capture the socio-historical signs of an era, universal character traits. The list of such eternal images includes Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe.

The framework of individual characters goes beyond images-motives. They are constantly repeated in the themes of the works of some author. As an example, we can cite Yesenin’s “village Rus'” or Blok’s “Beautiful Lady”.

Typical images found not only in the literature of individual writers, but also of nations and eras are called topos. Such Russian writers as Gogol, Pushkin, Zoshchenko, Platonov used the topos image of the “little man” in their writings.

A universal human image that is unconsciously passed on from generation to generation is called archetype. It includes mythological characters.

Tools for creating an artistic image

Each writer, to the best of his talent, reveals images using the means available to him. Most often, he does this through the behavior of the heroes in certain situations, through his relationship with the outside world. Of all the means of artistic image, the speech characteristics of the characters play an important role. The author can use monologues, dialogues, internal statements of a person. To the events occurring in the book, the writer can give his own author's description.

Sometimes readers observe an implicit, hidden meaning in works, which is called subtext. Of great importance external characteristics of heroes: height, clothing, figure, facial expressions, gestures, timbre of voice. It’s easier to call it a portrait. The works carry a great semantic and emotional load details, expressing details . To express the meaning of a phenomenon in objective form, authors use symbols. An idea of the habitat of a particular character gives a description of the interior furnishings of the room - interior.

In what order is literary literature characterized?

character image?

Creating an artistic image of a person is one of the most important tasks of any author. Here's how you can characterize this or that character:

Indicate the character's place in the system of images of the work.
Describe him from the point of view of social type.
Describe the hero’s appearance, portrait.
Name the features of his worldview and worldview, mental interests, abilities and habits. Describe what he does, his life principles and influence on others.
Describe the hero’s sphere of feelings, features of internal experiences.
Analyze the author's attitude towards the character.
Reveal the most important character traits of the hero. How the author reveals them, other characters.
Analyze the actions of the hero.
Name the personality of the character's speech.
What is his relationship to nature?

Mega, macro and micro images

Sometimes the text of a literary work is perceived as a mega-image. It has its own aesthetic value. Literary scholars give it the highest generic and indivisible value.

Macro images are used to depict life in larger or smaller segments, pictures or parts. The composition of the macro-image consists of small homogeneous images.

The microimage has the smallest text size. It can be in the form of a small segment of reality depicted by the artist. This can be one phrase word (Winter. Frost. Morning.) or a sentence, paragraph.

Images-symbols

A characteristic feature of such images is their metaphorical nature. They carry semantic depth. Thus, the hero Danko from Gorky’s work “The Old Woman Izergil” is a symbol of absolute selflessness. He is opposed in the book by another hero - Larra, who is a symbol of selfishness. The writer creates a literary image-symbol for hidden comparison in order to show its figurative meaning. Most often, symbolism is found in lyrical works. It is worth remembering Lermontov's poems "The Cliff", "In the Wild North Stands Lonely...", "Leaf", the poem "Demon", the ballad "Three Palms".

Eternal images

There are images that are unfading; they combine the unity of historical and social elements. Such characters in world literature are called eternal. Prometheus, Oedipus, Cassandra immediately come to mind. Any intelligent person would add Hamlet, Romeo and Juliet, Iskander, Robinson to this list. There are immortal novels, short stories, and lyrics in which new generations of readers discover unprecedented depths.

Artistic images in lyrics

The lyrics provide an unusual look at ordinary things. The poet's keen eye notices the most everyday things that bring happiness. The artistic image in a poem can be the most unexpected. For some it is the sky, day, light. Bunin and Yesenin have birch. The images of a loved one are endowed with special tenderness. Very often there are images-motives, such as: a woman-mother, wife, bride, lover.

Artistically call any phenomenon creatively recreated in a work of art. An artistic image is an image created by the author in order to fully reveal the described phenomenon of reality. Unlike literature and cinema, fine art cannot convey movement and development over time, but this has its own strength. In the stillness of a pictorial image there is hidden a tremendous power that makes it possible to see, experience and understand exactly what passes through life without stopping, only fleetingly and fragmentarily touching our consciousness. An artistic image is created on the basis of media: image, sound, linguistic environment, or a combination of several. In x. O. a specific object of art is mastered and processed by the creative fantasy, imagination, talent and skill of the artist - life in all its aesthetic diversity and richness, in its harmonious integrity and dramatic collisions. X. o. represents an inextricable, interpenetrating unity of objective and subjective, logical and sensual, rational and emotional, mediated and direct, abstract and concrete, general and individual, necessary and accidental, internal (natural) and external, whole and part, essence and phenomenon, content and shapes. Thanks to the merging of these opposite sides during the creative process into a single, holistic, living image of art, the artist has the opportunity to achieve a bright, emotionally rich, poetically insightful and at the same time deeply spiritual, dramatically intense reproduction of human life, his activities and struggles, joys and defeats , searches and hopes. Based on this fusion, embodied with the help of material means specific to each type of art (word, rhythm, sound intonation, drawing, color, light and shadow, linear relationships, plasticity, proportionality, scale, mise-en-scène, facial expressions, film editing, close-up, angle and etc.), images-characters, images-events, images-circumstances, images-conflicts, images-details are created that express certain aesthetic ideas and feelings. It is about the X. o. system. The ability of art to carry out its specific function is connected - to give a person (reader, viewer, listener) deep aesthetic pleasure, to awaken in him an artist capable of creating according to the laws of beauty and bringing beauty into life. Through this single aesthetic function of art, through the system of art. its cognitive significance, powerful ideological, educational, political, moral impact on people are manifested

2)Buffoons are walking across Rus'.

In 1068, buffoons were first mentioned in the chronicles. The image that appears in your head is a brightly painted face, funny disproportionate clothes and the obligatory cap with bells. If you think about it again, you can imagine some musical instrument next to the buffoon, like a balalaika or a gusli; what’s missing is a bear on a chain. However, such a representation is completely justified, because back in the fourteenth century this is exactly how the monk-scribe from Novgorod depicted the buffoons in the margins of his manuscript. True buffoons in Rus' were known and loved in many cities - Suzdal, Vladimir, the Principality of Moscow, throughout Kievan Rus. The buffoons danced beautifully, inciting the people, played the bagpipes and harp superbly, banged wooden spoons and tambourines, and blew horns. People called buffoons “cheerful fellows” and composed stories, proverbs and fairy tales about them. However, despite the fact that the people were friendly towards the buffoons, the more noble sections of the population - the princes, clergy and boyars - could not stand the cheerful scoffers. This was due precisely to the fact that the buffoons gladly ridiculed them, turning the most unseemly deeds of the nobility into songs and jokes and exposing them to ridicule by the common people. The art of buffoonery developed rapidly and soon buffoons not only danced and sang, but also became actors, acrobats, and jugglers. Buffoons began performing with trained animals and staging puppet shows. However, the more the buffoons ridiculed the princes and sextons, the more the persecution of this art intensified. Novgorod buffoons began to be oppressed throughout the country, some of them were buried in remote places near Novgorod, others left for Siberia. A buffoon is not just a jester or a clown, he is a person who understood social problems and ridiculed human vices in his songs and jokes. For this, by the way, persecution of buffoons began in the late Middle Ages. The laws of that time prescribed that buffoons should be immediately fatally beaten upon meeting, and they could not pay off the execution. Gradually, all the buffoons in Rus' disappeared, and in their place were wandering jesters from other countries. English buffoons were called vagants, German buffoons were called spielmans, and French buffoons were called jongers. The art of traveling musicians in Rus' has changed greatly, but such inventions as puppet theater, jugglers and trained animals remain. Just like the immortal ditties and epic tales that buffoons composed remained

Artistic image- a universal category of 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.

Artistic image in romanticism

It is characterized by an affirmation of the intrinsic value of the spiritual and creative life of the individual, the depiction of strong (often rebellious) passions and characters, spiritualized and healing nature.

In Russian poetry, M. Yu. Lermontov is considered a prominent representative of romanticism. Poem "Mtsyri". Poem "Sail"

Artistic image in surrealism

The main concept of surrealism, surreality is the combination of dream and reality. To achieve this, the surrealists proposed an absurd, contradictory combination of naturalistic images through collage. This direction developed under the great influence of Freud's theory of psychoanalysis. The primary goal of the surrealists was spiritual elevation and the separation of the spirit from the material. One of the most important values was freedom, as well as irrationality.

Surrealism was rooted in symbolism and was initially influenced by symbolist artists such as Gustave Moreau. A famous artist of this movement is Salvador Dali.

Question 27. Cervantes. Don Quixote

Miguel de Cervantes Saavedra (1547–1616), whose life itself reads like a novel, conceived his work as a parody of a chivalric romance, and on the last page, bidding farewell to the reader, he confirms that he “had no other desire, in addition, to inspire people with disgust for the fictitious and absurd stories described in the romances of chivalry." This was a very urgent task for Spain at the turn of the 16th–17th centuries. By the beginning of the 17th century, the era of chivalry in Europe had passed. However, during the century preceding the appearance of Don Quixote, about 120 chivalric romances were published in Spain, which were the most popular reading for all classes of society. Many philosophers and moralists spoke out against the destructive passion for the absurd inventions of an outdated genre. But if “Don Quixote” was only a parody of a chivalric romance (a high example of the genre is “The Morte d’Arthur” by T. Malory), the name of its hero would hardly have become a household name.

The fact is that in Don Quixote, the already middle-aged writer Cervantes embarked on a bold experiment with unforeseen consequences and possibilities: he verifies the knightly ideal with contemporary Spanish reality, and as a result, his knight wanders through the space of the so-called picaresque novel.

A picaresque novel, or picaresque, is a narrative that arose in Spain in the middle of the 16th century, claiming to be an absolute documentary and describing the life of a rogue, a swindler, a servant of all masters (from Spanish picaro - rogue, swindler). In himself, the hero of a picaresque novel is shallow; he is carried around the world by an ill-fated fate, and his many adventures on the high road of life are of the main interest of the picaresque. That is, the picaresque material is an emphatically low reality. The lofty ideal of chivalry collides with this reality, and Cervantes, as a novelist of a new kind, explores the consequences of this collision.

The plot of the novel is briefly summarized as follows. Poor middle-aged hidalgo Don Alonso Quijana, a resident of a certain village in the remote Spanish province of La Mancha, goes crazy after reading chivalric novels. Imagining himself as a knight errant, he goes in search of adventure in order to “eradicate all kinds of untruths and, in the fight against all kinds of accidents and dangers, gain for himself an immortal name and honor.”

he renames his old nag Rocinante, calls himself Don Quixote of La Mancha, declares the peasant Aldonza Lorenzo to be his beautiful lady Dulcinea of Toboso, takes the farmer Sancho Panza as his squire and in the first part of the novel makes two trips, mistaking the inn for a castle, attacking windmills, in whom he sees evil giants, standing up for the offended. Relatives and those around him see Don Quixote as a madman, he suffers beatings and humiliation, which he himself considers to be the usual misadventures of a knight errant. Don Quixote's third departure is described in the second, more bitter in tone, part of the novel, which ends with the recovery of the hero and the death of Alonso Quijana the Good.

In Don Quixote, the author summarizes the essential traits of human character: a romantic thirst for the establishment of an ideal, combined with comic naivety and recklessness. The heart of the “bony, skinny and eccentric knight” burns with love for humanity. Don Quixote was truly imbued with the chivalrous humanistic ideal, but at the same time completely divorced himself from reality. From his mission as a “corrector of wrongs” in an imperfect world follows his worldly martyrdom; his will and courage are manifested in the desire to be himself, in this sense the old pathetic hidalgo is one of the first heroes of the era of individualism.

The noble madman Don Quixote and the sane Sancho Panza complement each other. Sancho admires his master because he sees that Don Quixote somehow rises above everyone he meets; pure altruism, the renunciation of everything earthly, triumphs in him. Don Quixote's madness is inseparable from his wisdom, the comedy in the novel is from tragedy, which expresses the fullness of the Renaissance worldview.

In addition, Cervantes, emphasizing the literary nature of the novel, complicates it by playing with the reader. Thus, in Chapter 9 of the first part, he passes off his novel as the manuscript of the Arab historian Sid Ahmet Beninhali; in Chapter 38, through the mouth of Don Quixote, he gives preference to the military field rather than scholarship and fine literature.

Immediately after the publication of the first part of the novel, the names of its characters became known to everyone, and Cervantes’s linguistic discoveries entered the popular speech.

From the balcony of the palace, the Spanish King Philip III saw a student reading a book as he walked and laughing loudly; the king assumed that the student had either gone mad or was reading Don Quixote. The courtiers hastened to find out and made sure that the student had read Cervantes’ novel.

Like any literary masterpiece, Cervantes’s novel has a long and fascinating history of perception, interesting in itself and from the point of view of deepening the interpretation of the novel. In the rationalistic 17th century, the hero of Cervantes was seen as a type, although sympathetic, but negative. For the Age of Enlightenment, Don Quixote is a hero who tries to introduce social justice into the world using obviously unsuitable means. A revolution in the interpretation of Don Quixote was carried out by German romantics, who saw in it an unattainable example of a novel. For F. Novalis and F. Schlegel, the main thing in it is the manifestation of two vital forces: poetry, represented by Don Quixote, and prose, the interests of which are defended by Sancho Panza. According to F. Schelling, Cervantes created from the material of his time the story of Don Quixote, who, like Sancho, bears the features of a mythological personality. Don Quixote and Sancho are mythological figures for all mankind, and the story of windmills and the like constitute genuine myths. The theme of the novel is the real in the struggle with the ideal. From the point of view of G. Heine, Cervantes, “without clearly realizing it, wrote the greatest satire on human enthusiasm.”

As always, G. Hegel spoke most deeply about the peculiarities of the psychology of Don Quixote: “Cervantes also made his Don Quixote initially a noble, multifaceted and spiritually gifted nature. Don Quixote is a soul that, in its madness, is completely confident in itself and in its work ; or rather, his madness consists only in the fact that he is confident and remains so confident in himself and in his business. Without this reckless calmness in relation to the character and success of his actions, he would not be truly romantic; this self-confidence is truly great and brilliant ".

V. G. Belinsky, emphasizing the realism of the novel, the historical specificity and typicality of its images, noted: “Every person is a little Don Quixote; but most of all, Don Quixotes are people with a fiery imagination, a loving soul, a noble heart, even a strong will and intelligence , but without reason and tact to reality." In the famous article by I. S. Turgenev “Hamlet and Don Quixote” (1860), the hero of Cervantes was first interpreted in a new way: not as an archaist who did not want to take into account the demands of the time, but as a fighter, a revolutionary. I. S. Turgenev considers self-sacrifice and activity to be his main properties. Such journalisticism in the interpretation of the image is characteristic of the Russian tradition. Equally subjective, but psychologically deeper in his approach to the image is F. M. Dostoevsky. For the creator of Prince Myshkin in the image of Don Quixote, doubt comes to the fore, almost shaking his faith: “The most fantastic of people, who has believed to the point of insanity in the most fantastic dream imaginable, suddenly falls into doubt and bewilderment...”

The greatest German writer of the 20th century, T. Mann, in his essay “A Journey by Sea with Don Quixote” (1934), makes a number of subtle observations about the image: “...surprise and respect are invariably mixed with the laughter caused by his grotesque figure.”

But Spanish critics and writers approach Don Quixote in a completely special way. Here is the opinion of J. Ortega y Gasset: “Fleeting insights about him dawned on the minds of foreigners: Schelling, Heine, Turgenev... The revelations were stingy and incomplete. “Don Quixote” was for them an admirable curiosity; it was not what it is for us it is a problem of fate." M. Unamuno, in his essay “The Path to the Tomb of Don Quixote” (1906), glorifies the Spanish Christ in him, his tragic enthusiasm of a loner, doomed in advance to defeat, and describes “Quixotism” as a national version of Christianity.

Soon after the publication of the novel, Don Quixote began to live a life “independent” of his creator. Don Quixote is the hero of G. Fielding's comedy "Don Quixote in England" (1734); There are features of quixoticism in Mr. Pickwick from “The Pickwick Club Notes” (1836) by Charles Dickens, in Prince Myshkin from “The Idiot” by F. M. Dostoevsky, in “Tartarin of Tarascon” (1872) by A. Daudet. “Don Quixote in a Skirt” is the name given to the heroine of G. Flaubert’s novel “Madame Bovary” (1856). Don Quixote is the first in the gallery of images of great individualists created in the literature of the Renaissance, just as Cervantes' Don Quixote is the first example of a new genre of novel.

Artistic image

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).

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 encountering 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. 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.

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 of 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 art, a form of reproducing, comprehending and experiencing the phenomena of life 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. characters. ▼ 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 a textbook for students studying the art of theater directing and directing theatrical performances and is intended to help young directors in working with…

An artistic image is a generalized reflection of reality in the form of specific individual phenomena. Such striking examples of world literature as Faust or Hamlet, Don Juan or Don Quixote will help you understand what an artistic image is. These characters convey the most characteristic human traits, their desires, passions and feelings.

Artistic image in art

The artistic image is the most sensual and accessible factor to human perception. In this sense, an image in art, including an artistic image in literature, is nothing more than a visual-figurative reproduction of real life. However, here it is necessary to understand that the author’s task is not simply to reproduce, “duplicate” life, his calling is to conjecture, supplement it in accordance with artistic laws.

Artistic creativity is distinguished from scientific activity by its author's, deeply subjective nature. That is why in every role, in every stanza and in every picture there is an imprint of the artist’s personality. Unlike science, art is unthinkable without fiction and imagination. Despite this, it is often art that is able to reproduce reality much more adequately than academic scientific methods.

An indispensable condition for the development of art is freedom of creativity, in other words, the ability to simulate current life situations and experiment with them, without looking at the accepted framework of prevailing ideas about the world or generally accepted scientific doctrines. In this sense, the genre of science fiction is especially relevant, as it puts into public view models of reality that are very different from the real one. Some science fiction writers of the past, such as Karel Capek (1890-1938) and Jules Verne (1828-1905), managed to predict the emergence of many modern achievements. Finally, when science examines a human phenomenon in many ways (social behavior, language, psyche), its artistic image is an indissoluble integrity. Art shows a person as a holistic variety of different characteristics.

It is safe to say that the main task of an artist is to create an artistic image; examples of the best of them replenish from time to time the treasuries of the cultural heritage of civilization, exerting a huge influence on our consciousness.

Artistic image in architecture

First of all, this is the architectural “face” of any specific building, be it a museum, theater, office building, school, bridge, temple, square, residential building or other kind of institution.

An indispensable condition for the artistic image of any building is impressiveness and emotionality. One of the tasks of architecture in the sense of art is to create an impression, a certain emotional mood. The building can be alienated from the surrounding world and closed, gloomy and harsh; It can also be the other way around - to be optimistic, light, bright and attractive. Architectural features affect our performance and mood, instilling a feeling of elation; in opposite cases, the artistic image of a building can act depressingly.