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 dominant 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.
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. The next level 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 basically an 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 it is required in a talented work of art.
1. Artistic image: the meaning of the term
2. Properties of an artistic image
3. Typology (varieties) of artistic images
4. Art trails
5. Artistic images-symbols
1. Artistic image: the meaning of the term
In the most general sense, an image is a sensory representation of a specific idea. Images are empirically perceived and truly sensory objects in a literary work. These are visual images (pictures of nature) and auditory (the sound of the wind, the rustling of reeds). Olfactory (smells of perfume, aromas of herbs) and gustatory (taste of milk, cookies). The images are tactile (touch) and kinetic (related to movement). With the help of images, writers indicate in their works a picture of the world and man; detect movement and dynamics of action. The image is also a certain holistic formation; thought embodied in an object, phenomenon or person.
Not every image becomes artistic. The artistry of an image lies in its special – aesthetic – purpose. He captures the beauty of nature, the animal world, humans, and interpersonal relationships; reveals the secret perfection of being. The artistic image is called upon to testify to the beauty that serves the common good and affirms world harmony.
In terms of the structure of a literary work, an artistic image is the most important component of its form. An image is a pattern on the “body” of an aesthetic object; the main “transmitting” gear of the artistic mechanism, without which the development of action and understanding of meaning is impossible. If a work of art is the basic unit of literature, then an artistic image is the basic unit of a literary creation. Using artistic images, the object of reflection is modeled. The image expresses landscape and interior objects, events and actions of the characters. The author's intention appears in the images; the main, general idea is embodied.
Thus, in A. Green’s extravaganza “Scarlet Sails,” the main theme of love in the work is reflected in the central artistic image - scarlet sails, meaning a sublime romantic feeling. The artistic image is the sea, into which Assol peers, waiting for a white ship; the neglected, uncomfortable Menners tavern; a green bug crawling along a line with the word “look”. The artistic image (the image of betrothal) is Gray's first meeting with Assol, when the young captain puts his betrothed's ring on his finger; equipping Gray's ship with scarlet sails; drinking wine that no one should have drunk, etc.
The artistic images we have highlighted: the sea, a ship, scarlet sails, a tavern, a bug, wine - these are the most important details of the form of the extravaganza. Thanks to these details, A. Green’s work begins to “live.” It receives the main characters (Assol and Gray), the place of their meeting (the sea), as well as its condition (a ship with scarlet sails), a means (a look with the help of a bug), and a result (betrothal, wedding).
With the help of images, the writer affirms one simple truth. It is about “doing so-called miracles with your own hands.”
In the aspect of literature as an art form, the artistic image is the central category (as well as a symbol) of literary creativity. It acts as a universal form of mastering life and at the same time a method of comprehending it. Social activities, specific historical cataclysms, human feelings and characters, and spiritual aspirations are comprehended in artistic images. In this aspect, an artistic image does not simply replace the phenomenon it denotes or generalize its characteristic features. It tells about the real facts of life; knows them in all their diversity; reveals their essence. Models of existence are drawn artistically, unconscious intuitions and insights are verbalized. It becomes epistemological; paves the way to the truth, the prototype (in this sense, we are talking about the image of something: the world, the sun, the soul, God).
Thus, the function of a “conductor” to the Prototype of all things (the divine image of Jesus Christ) is acquired by a whole system of artistic images in I. A. Bunin’s story “Dark Alleys,” which talks about the unexpected meeting of the main characters: Nikolai and Nadezhda, once connected by bonds sinful love and wandering in the labyrinth of sensuality (in “dark alleys”, according to the author).
The figurative system of the work is based on a sharp contrast between Nicholas (an aristocrat and a general who seduced and abandoned his beloved) and Nadezhda (a peasant woman, the owner of an inn, who never forgot or forgave her love).
Nikolai's appearance, despite his advanced age, is almost flawless. He is still handsome, elegant and fit. His face clearly shows dedication and loyalty to his work. However, all this is just a meaningless shell; empty cocoon. In the soul of the brilliant general there is only dirt and the “abomination of desolation.” The hero appears as a selfish, cold, callous person and incapable of taking action even to achieve his own personal happiness. He has no lofty goal, no spiritual and moral aspirations. He floats at the will of the waves, he has died in soul. In the literal and figurative sense, Nikolai travels along a “dirty road” and therefore strongly resembles the writer’s own “tarantass covered in mud” with a coachman who looks like a robber.
The appearance of Nadezhda, Nikolai's former lover, on the contrary, is not very attractive. The woman retained traces of her former beauty, but stopped taking care of herself: she gained weight, became ugly, and became “obese.” However, in her soul Nadezhda retained hope for the best and even love. The heroine’s house is clean, warm and cozy, which testifies not to simple diligence or care, but also to the purity of feelings and thoughts. And the “new golden image (icon - P.K.) in the corner” clearly denotes the hostess’s religiosity, her faith in God and His Providence. By the presence of this image, the reader guesses that Nadezhda finds the true source of Good and all Good; that she does not die in sin, but is reborn into eternal life; that this is given to her at the cost of severe mental suffering, at the cost of abandoning herself.
The need to contrast the two main characters of the story stems, according to the author, not only from their social inequality. The contrast emphasizes the different value orientations of these people. He shows the harmfulness of the indifference preached by the hero. And at the same time it affirms the great power of the love revealed by the heroine.
With the help of contrast, Bunin achieves another, global goal. The author emphasizes the central artistic image - the icon. The icon depicting Christ becomes the writer’s universal means of spiritual and moral transformation of characters. Thanks to this image, leading to the Prototype, Nadezhda is saved, gradually forgetting about the nightmarish “dark alleys.” Thanks to this Image, Nikolai also takes the path of salvation, kissing his beloved’s hand and thereby receiving forgiveness. Thanks to this Image, in which the characters find complete peace, the reader himself thinks about his life. The image of Christ leads him out of the labyrinth of sensuality to the idea of Eternity.
In other words, an artistic image is a generalized picture of human life, transformed in the light of the artist’s aesthetic ideal; the quintessence of creatively cognizable reality. In the artistic image there is an orientation towards the unity of the objective and subjective, individual and typical. He is the embodiment of public or personal existence. Any image that has clarity (sensual appearance), internal essence (meaning, purpose) and a clear logic of self-disclosure is also called artistic.
2. Properties of an artistic image
An artistic image has special characteristic features (properties) that are unique to it alone. This:
1) typicality,
2) organic (liveness),
3) value orientation,
4) understatement.
Typicality arises on the basis of the close connection of the artistic image with life and presupposes the adequacy of the reflection of existence. An artistic image becomes a type if it generalizes characteristic rather than random features; if it models a genuine and not a contrived impression of reality.
This, for example, happens with the artistic image of the elder Zosima from the novel by F.M. Dostoevsky "The Brothers Karamazov". The named hero is the brightest typical (collective) image. The writer crystallizes this image after a careful study of monasticism as a way of life. At the same time, it focuses on more than one prototype. The author borrows the figure, age and soul of Zosima from Elder Ambrose (Grenkov), with whom he personally met and talked in Optina. Dostoevsky takes the appearance of Zosima from the portrait of Elder Macarius (Ivanov), who was the mentor of Ambrose himself. Zosima “got” his mind and spirit from Saint Tikhon of Zadonsk.
Thanks to the typicality of literary images, artists make not only deep generalizations, but also far-reaching conclusions; soberly assess the historical situation; They even look into the future.
This is what M.Yu. does, for example. Lermontov in the poem “Prediction”, where he clearly foresees the fall of the Romanov dynasty:
The year will come, Russia's black year,
When the kings crown falls;
The mob will forget their former love for them,
And the food of many will be death and blood...
The organic nature of the image is determined by the naturalness of its embodiment, simplicity of expression and the need for inclusion in the general image system. The image then becomes organic when it stands in its place and is used for its intended purpose; when it flickers with the meanings given to it; when with its help the most complex organism of literary creation begins to function. The organic nature of the image lies in its liveliness, emotionality, sensitivity, intimacy; in what makes poetry poetry.
Let's take, for example, two images of autumn from such little-known Christian poets as St. Barsanuphius (Plikhankov) and L.V. Sidorov. Both artists have the same narrative subject (autumn), but live and paint it differently.
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, an independent life and content (for example, a character in literature, symbolic images). But in a more general sense, the artistic image is the way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.
Among other aesthetic categories, this one is of relatively late origin, although the beginnings of the theory of the artistic image can be found in Aristotle’s teaching about “mimesis” - about the artist’s free imitation of life in its ability to produce integral, internally arranged objects and the aesthetic pleasure associated with this. While art in its self-awareness (coming from the ancient tradition) 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 orderly or expedient correlation of relationships and thereby form images of the human world, the so-called environment, residential complex, public ceremonies, sports ritual, etc. The synthesis of disparate impressions into holistic images removes uncertainty, designates one or another sphere, names one or another delimited content.
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 the early stages of the development of human culture were characterized by unconscious 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 that the language of gestures, signals, and signs among 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 figurative thinking, going beyond the limits of what is directly experienced thanks to the imagination and elementary ideas, as well as the external image of some specific things, and their further perception and understanding through this image (a form of communication).
Thinking, like other spiritual and mental phenomena, develops in the history of anthropogenesis from lower to higher. The discovery of many facts indicating the prelogical, prelogical nature of primitive thinking gave rise to many interpretation options. The famous researcher of ancient culture K. Levy-Bruhl noted that primitive thinking is oriented differently than modern thinking, in particular, it is “prelogical”, in the sense that it “reconciles itself” with contradiction.
In Western aesthetics of the middle of the last century, a widespread conclusion is that the fact of the existence of pre-logical thinking gives grounds for the conclusion that the nature of art is identical to the unconsciously mythologizing consciousness. There is a whole galaxy of theories that seek to identify artistic thinking with the elementary-figurative mythologism of pre-logical forms of the spiritual process. This concerns the ideas of E. Cassirer, who divided the history of culture into two eras: the era of symbolic language, myth and poetry, firstly, and the era of abstract thinking and rational language, secondly, while trying to absolutize mythology as the ideal primordial basis in history artistic thinking.
However, Cassirer only drew attention to mythological thinking as the prehistory of symbolic forms, but after him A.-N. Whitehead, G. Reed, S. Langer tried to absolutize non-conceptual thinking as the essence of poetic consciousness in general.
Domestic psychologists, on the contrary, believe that the consciousness of modern man is a multilateral psychological unity, where the stages of development of the sensory and rational sides are interconnected, interdependent, and interdependent. The degree of development of the sensory aspects of the consciousness of historical man in the process of his existence corresponded to the degree of evolution of the mind.
There are many arguments in favor of the sensory-empirical nature of the artistic image as its main feature.
As an example, let's look at the book by A.K. Voronsky “The Art of Seeing the World.” It appeared in the 20s and was quite popular. The motive for writing this work was a protest against craft, poster, didactic, manifesting, “new” art.
Voronsky’s pathos is focused on the “secret” of art, which he saw in the artist’s ability to capture a direct impression, the “primary” emotion of perceiving an object: “Art only comes into contact with life. As soon as the 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 searching for the secrets of art in naive pure anthropologism, “irrelevant”, not appealing to reason.
Impressions that are immediate, emotional, and intuitive will never lose their significance in art, but are they sufficient for the artistry of art? Are the criteria of art not more complex than the aesthetics of immediate feelings suggests?
Creating an artistic image of art, if we are not talking about a sketch or preliminary sketch, etc., but about a completed artistic image, is impossible only by capturing a beautiful, immediate, intuitive impression. The image of this impression will be of little significance in art if it is not inspired by thought. The artistic image of art is both the result of impression and the product of thought.
V.S. Solovyov made an attempt to “name” what is beautiful in nature, to give a name to beauty. He said that the beauty in nature is solar, lunar, astral light, changes in light during the day and night, the reflection of light on water, trees, grass and objects, the play of light from lightning, the sun, the moon.
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.
The artistic meaning of a work is the final product of the artist’s creative thought. The meaning belongs to the image, therefore the semantic content of the work has a specific character, identical to its images.
If we talk about the informativeness of an artistic image, then this is not only a meaning that states certainty and its meaning, but also an aesthetic, emotional, and intonational meaning. All this is commonly called redundant information.
An artistic image is a multifaceted idealization of an object, material or spiritual, real or imaginary; it is not reducible to semantic unambiguity and is not identical to sign information.
The image includes objective inconsistency of information elements, opposition and alternative meaning, specific to the nature of the image, since it represents the unity of the general and the individual. The signified and the signifier, that is, the sign situation, can only be an element of the image or an image-detail (a type of image).
Since the concept of information has acquired not only technical and semantic meaning, but also a broader philosophical meaning, a work of art should be interpreted as a specific phenomenon of information. This specificity is manifested, in particular, in the fact that the visual-descriptive, figurative-plot content of a work of art as art is informative in itself and as a “container” of ideas.
Thus, the depiction of life and the way it is depicted is full of meaning in itself. And the fact that the artist chose certain images, and the fact that by the power of imagination and fantasy he added expressive elements to them - all this speaks for itself, because it is not only a product of imagination and skill, but also a product of the artist’s thinking.
A work of art has meaning insofar as it reflects reality and insofar as what is reflected is the result of thinking about reality.
Artistic thinking in art has various spheres and the need to express one’s ideas directly, developing a special poetic language for such expression.
2 Means of creating an artistic image
An artistic image, having sensual concreteness, is personified as separate, unique, in contrast to a pre-artistic image, in which personification has a diffuse, artistically undeveloped character and is therefore devoid of uniqueness. Personification in developed artistic and imaginative thinking is of fundamental importance.
However, the artistic-imaginative interaction of production and consumption has a special character, since artistic creativity is, in a certain sense, also an end in itself, that is, a relatively independent spiritual and practical need. It is no coincidence that the idea that the viewer, listener, and reader are, as it were, accomplices in the artist’s creative process, was often expressed by both theorists and practitioners of art.
In the specifics of subject-object relations, in artistic and figurative perception, at least three significant features can be distinguished.
The first is that an artistic image, born as an artist’s response to certain social needs, as a dialogue with the audience, in the process of education acquires its own life in artistic culture, independent of this dialogue, since it enters into more and more new dialogues, about the possibilities of which the author may not even have been aware of the creative process. Great artistic images continue to live as an objective spiritual value not only in the artistic memory of descendants (for example, as a bearer of spiritual traditions), but also as a real, contemporary force that encourages a person to social activity.
The second significant feature of the subject-object relations inherent in the artistic image and expressed in its perception is that the “bifurcation” into creation and consumption in art is different from that which takes place in the sphere of material production. If in the sphere of material production the consumer deals only with the product of production, and not with the process of creating this product, then in artistic creativity, in the act of perceiving artistic images, the influence of the creative process takes an active part. How the result is achieved in products of material production is relatively unimportant for the consumer, whereas in artistic perception it is extremely significant and constitutes one of the main points of the artistic process.
If in the sphere of material production the processes of creation and consumption are relatively independent, as a certain form of human life, then artistic-imaginative production and consumption are absolutely impossible to separate without compromising the understanding of the very specifics of art. Speaking about this, it should be borne in mind that the limitless artistic and figurative potential is revealed only in the historical process of consumption. It cannot be exhausted only in the act of direct perception of “disposable use”.
There is 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 for them are of greater value than a person and his fate.
The art of classicism is characterized by generalization - artistic generalization by highlighting and absolutizing a specific feature of the hero. Romanticism is characterized by idealization - generalization through the direct embodiment of ideals, imposing them on real material. Realistic art is characterized by typification - artistic generalization through individualization by selecting essential personality traits. In realistic art, each depicted person is a type, but at the same time a completely definite personality - a “familiar stranger.”
Marxism attaches particular significance to the concept of typification. This problem was first posed by K. Marx and F. Engels in correspondence with F. Lassalle regarding his drama “Franz von Sickingen”.
In the 20th century, old ideas about art and the artistic image disappear, and the content of the concept of “typification” also changes.
There are two interrelated approaches to this manifestation of artistic and figurative consciousness.
Firstly, as close to reality as possible. It must be emphasized that documentaryism, as a desire for a detailed, realistic, reliable reflection of life, has become not just the leading trend in the artistic culture of the 20th century. Modern art has improved 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. Overwhelmed by anger, grief and compassion, Valmiki cursed the hunter, and the words that escaped from his heart overflowing with feelings spontaneously formed into a poetic stanza with henceforth the canonical “sloka” meter. It was with this verse that the god Brahma subsequently commanded Valmiki to sing the exploits of Rama. This legend explains the origin of poetry from emotionally rich, excited, richly intonated speech.
To create an enduring work, not only a wide scope of reality is important, but also a mental and emotional temperature sufficient to melt the impressions of existence. One day, while casting the figure of a condottiere in silver, the Italian sculptor Benvenuto Cellini encountered an unexpected obstacle: when the metal was poured into the mold, it turned out that there was not enough metal. The artist turned to his fellow citizens, and they brought silver spoons, forks, knives, and trays to his workshop. Cellini began throwing these utensils into the molten metal. When the work was finished, a beautiful statue appeared before the eyes of the spectators, but the handle of a fork was sticking out of the rider’s ear, and a piece of a spoon was sticking out of the horse’s croup. While the townspeople were carrying utensils, the temperature of the metal poured into the mold dropped... If the mental-emotional temperature is not enough to melt the vital material into a single whole (artistic reality), then “forks” stick out from the work, which the person perceiving art stumbles upon.
The main thing in a worldview is a person’s attitude to the world and therefore it is clear that it is not just a system of views and ideas, but the state of society (class, social group, nation). Worldview as a special horizon of a person’s social reflection of the world relates to social consciousness as the social to the general.
The creative activity of every artist depends on his worldview, that is, his conceptually formulated attitude to various phenomena of reality, including the area of relationships between various social groups. But this occurs only in proportion to the degree of participation of consciousness in the creative process as such. At the same time, a significant role here belongs to the unconscious area of the artist’s psyche. Unconscious intuitive processes, of course, play a significant role in the artistic and figurative consciousness of the artist. This connection was emphasized by G. Schelling: “Art... is based on the identity of conscious and unconscious activity.”
The artist's worldview as a mediating link between himself and the social consciousness of a social group contains an ideological element. And within the individual consciousness itself, the worldview is, as it were, elevated by certain emotional and psychological levels: attitude, worldview, worldview. Worldview is to a greater extent an ideological phenomenon, while worldview is of a socio-psychological nature, containing both universal and specific historical aspects. Attitude is part of the realm of everyday consciousness and includes moods, likes and dislikes, interests and ideals of a person (including the artist). It plays a special role in creative work, since only in it with its help does the author realize his worldview, projecting it onto the artistic and figurative material of his works.
The nature of certain types of art determines the fact that in some of them the author manages to capture his worldview only through his perception of the world, while in others, the worldview directly enters into the fabric of the artistic works they create. 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 nature of his activity, the natural history components of his worldview are of decisive importance, then for an artist his aesthetic views and beliefs come first. Moreover, the artist’s talent is directly related to his conviction, that is, to “intellectual emotions” that became the motives for creating enduring artistic images.
Modern artistic and figurative consciousness must be anti-dogmatic, that is, characterized by a decisive rejection of any absolutization of one single principle, attitude, formulation, evaluation. None of the most authoritative opinions and statements should be deified, become the ultimate truth, or turn into artistic standards and stereotypes. The elevation of the dogmatic approach to the “categorical imperative” of artistic creativity inevitably absolutizes class confrontation, which in a specific historical context ultimately results in the justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. Dogmatization of the creative process also manifests itself when certain techniques and attitudes acquire the character of the only possible artistic truth.
Modern Russian aesthetics also needs to get rid of the epigonism that has been so characteristic of it for many decades. Freeing oneself from the method of endlessly quoting classics on issues of artistic and figurative specificity, from uncritical perception of others, even the most temptingly convincing points of view, judgments and conclusions, and striving to express one’s own, personal views and beliefs, is necessary for any and every modern researcher, if he wants to be a real scientist, and not a functionary in a scientific department, not an official in the service of someone or something. In the creation of works of art, epigonism manifests itself in mechanical adherence to the principles and methods of any art school or direction, without taking into account the changed historical situation. Meanwhile, epigonism has nothing to do with the truly creative development of the classical artistic heritage and traditions.
Thus, world aesthetic thought has formulated various shades of the concept of “artistic image”. In the 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 expression, musical sound or architectural ensemble do not and cannot exist in life itself.
An important structure-forming component of the artistic image is the worldview of the subject of creativity and his role in artistic practice. Worldview is a system of views on the objective world and man’s place in it, on man’s 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 is in the nature of constructive polemics, creative discussion with representatives of any art schools, traditions, methods. The constructiveness of the dialogue should consist of continuous spiritual mutual enrichment of the disputing parties and be of a creative, truly dialogical nature. The very existence of art is determined by the eternal dialogue between the artist and the recipient (viewer, listener, reader). The contract binding them is indissoluble. The newly born artistic image is a new edition, a new form of dialogue. The artist repays his debt to the recipient in full when he gives him something new. Today, more than ever, the artist has the opportunity to say something new and in a new way.
All of the listed directions in the development of artistic and imaginative thinking should lead to the affirmation of the principle of pluralism in art, that is, the affirmation of the principle of coexistence and complementarity of multiple and diverse, including contradictory points of view and positions, views and beliefs, directions and schools, movements and teachings .
2. Features of artistic images using the example of the works of W. Shakespeare
2.1 Characteristics of William Shakespeare’s artistic images
The works of William Shakespeare are studied in literature lessons in the 8th and 9th grades of high school. In the 8th grade, students study “Romeo and Juliet”, in the 9th grade - “Hamlet” and Shakespeare’s sonnets.
Shakespeare's tragedies are an example of the "classical resolution of conflicts in the romantic art form" between the Middle Ages and modern times, between the feudal past and the emerging bourgeois world. Shakespeare's characters are "internally consistent, true to themselves and their passions, and in everything that happens to them they behave according to their firm determination."
Shakespeare's heroes are “self-reliant individuals” who set themselves a goal that is “dictated” only by “their own individuality,” and they carry it out “with an unshakable consistency of passion, without side reflections.” At the center of every tragedy stands this kind of character, and around him are less distinguished and energetic ones.
In modern plays, a soft-hearted character quickly falls into despair, but the drama does not lead him to death even in danger, which leaves the audience very satisfied. When virtue and vice confront each other on the stage, she must triumph and he must be punished. In Shakespeare, the hero dies “precisely as a result of decisive loyalty to himself and his goals,” which is called the “tragic denouement.”
Shakespeare's language is metaphorical, and his hero stands above his “sorrow” or “evil passion”, even “ridiculous vulgarity”. Whatever Shakespeare's characters may be, they are men of "the free power of imagination and the spirit of genius...their thinking stands and sets them above what they are in their station and their determined ends." But, looking for “an analogue of internal experience,” this hero “is not always free from excesses, at times clumsy.”
Shakespeare's humor is also remarkable. Although his comic images are “immersed in their vulgarity” and “they have no shortage of flat jokes,” they at the same time “show intelligence.” Their “genius” could make them “great men.”
An essential point of Shakespearean humanism is the comprehension of man in movement, in development, in formation. This 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 in extracurricular activities).
“There is no one to blame in the world,” proclaims King Lear after the tumultuous upheavals of his life. In Shakespeare, this phrase means a deep awareness of social injustice, the responsibility of the entire social system for the countless suffering of poor Toms. In Shakespeare, this sense of social responsibility, in the context of the hero’s experiences, opens up a broad perspective for the creative growth of the individual, his ultimate moral revival. For him, this thought serves as a platform for affirming the best qualities of his hero, for affirming 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 of creative inspiration, regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, and mental anguish.
In the literature of the Renaissance, the theme of friendship, especially male friendship, occupies an important place: it is considered as the highest manifestation of humanity. In such friendship, the dictates of reason are harmoniously combined with spiritual inclination, free from the sensual principle.
Shakespeare's image of the Beloved is emphatically unconventional. If the sonnets of Petrarch and his English followers usually glorified a golden-haired, angelic beauty, proud and inaccessible, then Shakespeare, on the contrary, devotes jealous reproaches to a dark brunette - inconsistent, obeying only the voice of passion.
The leitmotif of grief about the frailty of everything earthly, passing through the entire cycle, the imperfection of the world clearly realized by the poet does not violate the harmony of his worldview. The illusion of afterlife bliss is alien to him - he sees human immortality in glory and offspring, advising his friend to see his youth revived in children.
Conclusion
So, an artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. An artistic image is distinguished by: accessibility for direct perception and direct impact on human feelings.
Every artistic image is not completely concrete; clearly fixed establishing moments are clothed in it with the element of incomplete definiteness, half-manifestation. This is a certain “inadequacy” of the artistic image 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 ideology, its isolating and implementing initiative, thanks to which the image appears as an assessed human reality, a cultural value among other values, an expression of historically relative trends and ideals. But as an “organism” formed on the principle of visible revitalization of the material, from the artistic side, the artistic image is an arena of the ultimate action of aesthetically harmonizing laws of existence, where there is no “bad infinity” and unjustified end, where space is visible and time is reversible, where chance is not is absurd, but necessity is not burdensome, where clarity triumphs over inertia. And in this nature, artistic value belongs not only to the world of relative socio-cultural values, but also to the world of life values, known in the light of eternal meaning, to the world of ideal life possibilities of our human Universe. Therefore, an artistic assumption, unlike a scientific hypothesis, cannot be discarded as unnecessary and replaced by another, even if the historical limitations of its creator seem obvious.
In view of the suggestive power of artistic assumption, both creativity and the perception of art are always associated with cognitive and ethical risk, and when evaluating a work of art, it is equally important: submitting to the author’s intention, to recreate the aesthetic object in its organic integrity and self-justification and, without completely submitting to this idea, maintain the freedom of your own point of view, ensured by real life and spiritual experience.
When studying individual works of Shakespeare, the teacher must draw students' attention to the images he created, provide quotes from the texts, and draw conclusions about the influence of such literature on the feelings and actions of readers.
In conclusion, we would like to emphasize once again that Shakespeare’s artistic images have eternal value and will always be relevant, regardless of time and place, because in his works he poses eternal questions that have always worried and are worrying all of humanity: how to fight evil, what means and is it possible to defeat him? Is it worth living at all if life is full of evil and it is impossible to defeat it? What is true in life and what is a lie? How to distinguish true feelings from false ones? Can love be eternal? What is the general meaning of human life?
Our research confirms the relevance of the chosen topic, has a practical orientation and can be recommended to students of pedagogical educational institutions in the subject “Teaching literature at school.”
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 of poetic text // Teaching literature. - March 2003. P. 11.
Kirilova A.V. Culturology. Methodological manual for students of the specialty "Socio-cultural service and tourism" of distance learning. - 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.
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Shakespeare Encyclopedia / Ed. S. Wells. - M.: Raduga, 2002. - 528 p.
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An artistic image is an image of art, i.e. a phenomenon specially created in the process of special creative activity according to specific laws by the subject of art - the artist. In classical aesthetics there was a complete definition of the artistic image and the figurative nature of art. In general, an artistic image is understood as an organic spiritual-eideic integrity that expresses and presents a certain reality in the mode of greater and lesser isomorphism (similarity of form) and is realized (having existence) in its entirety only in the process of perception of a specific work of art by a specific recipient. It is then that the unique artistic world is fully revealed and actually functions, folded by the artist in the act of creating a work of art into its objective (pictorial, musical, poetic, etc.) reality and unfolding in some other specificity (another hypostasis) in the inner world subject of perception. An image is a complex process of artistic exploration of the world. It assumes the presence of an objective or subjective reality that gave impetus to the process of artistic representation. It is transformed in the act of creating a work of art into a certain reality of the work itself. Then, in the act of a work of art, another process of transformation of the features, form, even the essence of the original reality (prototype) and the reality of the work of art (“secondary” image) occurs. The final (already third) image appears, often very far from the first two, but preserving nevertheless, something (this is the essence of isomorphism and the very principle of display) inherent in them and unites them in a single system of figurative expression, or artistic display. A work of art begins with the artist, or more precisely with a certain idea (this is a vague spiritual-emotional sketch) that arises in him before starting work. As his creativity progresses, the work becomes more specific; in the process of creating the work, the artist’s spiritual and mental powers work, and on the other hand, the technical system of his skills in handling (processing) the specific material from which and on the basis of which the work is created. Often nothing remains of the original figurative-semantic sketch. It acts as the first motivating impulse for a sufficiently spontaneous creative process. The resulting work of art is also, and with greater justification, called an image, which, in turn, has a number of figurative levels, or sub-images - images of a more local nature. Inside this collapsed image-work we also find a whole series of smaller images, determined by the visual and expressive structure of this type of art. The higher the level of isomorphism, the closer the image of the visual-expressive level is to the external form of the depicted fragment of reality, the more “literary” it is, i.e. lends itself to verbal description and evokes corresponding “picture” ideas in the recipient. Images through isomorphism can be verbalized, but also not verbalized. For example, in connection with any painting by Kandinsky, we cannot talk about a specific compositional image, but we are talking about color rendering, balance and dissonance of color masses. Perception. In the spiritual world of the subject of perception, an ideal reality arises, which through this work introduces the subject to universal existential values. The final stage of perception of a work of art is experienced and realized as a kind of breakthrough of the subject of perception to some unknown levels of reality, accompanied by a feeling of the fullness of being, extraordinary lightness, sublimity, spiritual joy.
Another variant:
Hood image: place in the art world, functions and ontology. The thin image is a way to technically express that infinite semantic horizon that the cat launches art. Initially, the image was understood as an icon. The first meaning of the image fixed a reflective epistemological attitude to art (prototype, similarity, correspondence to reality, but not reality itself). In the 20th century there were two extremes: 1) absolutization of the meaning of the concept of image. Since the art is to think in images, it means to think in life-like similarities, which means that real art is life-like. But there are types of art that do not work with life-like images of reality. (What, for example, does music copy in life?). In architecture and abstract painting there is no clear subject denotation. 2) Image is not a category that can help convey the features of art. Refusal of the image category, because the claim is not a copy of reality. Art is not a reflection, but a transformation of reality. ? Important aspects of thin consciousness, art, cat are accumulated in a thin image and indicate the boundaries of art. ? Scheme of the claim: the world at which development is aimed? bad TV? work? bad perception. The thin image is an ideal way of thin activity, the structure of consciousness, through which art solves the following problems: 1) Hud mastery of the world 2) Translation of the result of this mastery. That. An image is a way of transmitting information, an ideal structure for communication. An image is inherent in art, its specific ideal form. Those. with o.s. an image is a certain mechanism, a method (an internal form of consciousness), and with other words, it is not synonymous with a work of art, it is an ideal structure, the cat lives only in consciousness. The mat layer of the image (body, performance, novel, symphony) exists in potential form. The objective reality of art is artistic texts, the work is “not equal” to the text. ? a bad image is a specific substrate, a substance of bad consciousness and bad information. Outside of this substance, it is impossible to capture the state of artistry. This is the fabric of bad consciousness. An image is a specific space of existence of ideal information, experiences and its products, a space of communication. ? the image is a specific reality, it appears as a kind of world for the h-ka., as uniting the worlds of the artist. An image is such an organic structure of consciousness, the cat appears instantly (“Not yet. Already there”). ? There are 2 possible relationships of this specific reality of the image to the consciousness of the creator: 1) Self-motion of the image. 2) The artist’s imperious subordination of this reality, i.e. S becomes an instrument of the self-creative activity of the image, as if someone is dictating the text. The image behaves like S, like a positing structure itself. ? Specifics of the thin image. The old dogmatic understanding of the image presupposes an isomorphic correspondence, a one-to-one correspondence with reality. But the image simultaneously truncates, transforms, turns, and complements reality. But this does not remove the correspondence relation. We are talking about a homomorphic partial correspondence between the image and reality. ! The image deals with axiological reality; the claim reflects the spiritual and value relations between S and O. It is these relations that are the goal of the claim, not O. The purpose of the claim: objectivity filled with a certain significance + relationships to this O-that (state S-that). The value of O-ta m.b. revealed only through the S state. That. The task of the image is to find a way to connect in interpenetration the value objects of O and the internal state of S. Value is the manifest meaning of the specificity of the image - to become a way of actualizing the spiritual and value relations of a person. ? thin images are divided into 2 classes. 1) Modeling value relationships through the recreation of the feeling structure of O, and the sub side is revealed indirectly. And all this is called an image. The images here are of a visual, objective nature (architecture, theater, cinema, painting). 2) Modeling the reality of subjective semantic relations. S's state cannot be depicted. And this is called non-image art (music, ballet). Here the subject is pure subjectivity and reference to something outside oneself? hence 2 forms of presentation of reality. 1st form: epic form, the value meaning is revealed by the O-th itself, and the S-t is the receiver of this spirit of information. 2nd form – lyrical: O – mirror of S. Oh, you just talk about something to S, hook him inside. state.? Conclusion. The hood image is a special ideal model of a person’s relationship to the world in a concentrated form.
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