13 2 Art object and material

The subject of art consists in the development of history and reflects the level of mastering humanity’s relations with nature, within human associations, views on the value of man and the meaning of his life, etc. Therefore, the subject of art is reality in its most significant manifestations, which is concretized, acquires an image in the spiritual world of man, that is, arises in a human way - as far as its humanity. In other words, the main subject of art is man as a subject of spiritual experience. Art unfolds the image of reality as an object and source of real being of a person - a subject of creativity. The world in the richness of its manifestations is \ "material \" realiza a person whose supreme personification is the artistic formation of Reality only as an aesthetic background, in the space of which the spirit is determined relative to the character and ways of identifying Mystetst in, collecting aesthetic (both positive and negative) manifestations of reality into an artistic whole, unfolds being in the forms of artistic and imaginative reality within a work as a spiritual whole. Say, the landscape described in artina is not an "anatomical map \" "of nature, but an image that was fixed by the artist’s consciousness and received in his imagination and memory an independent vitality, personifying moods, experiences, reflections on the value of life, on the eternal and perishable in it, etc. Images that contain natural and social, eternal and transient, subjective in vision and experience and objective (real manifestations of life is a complex spiritual synthesis, it can translate into musical sounds, poetic language, pictorial work, etc.) However, each time it will be a synthesis of real defeats about the world of phenomena, understanding their expedient in themselves vitality and material formation in which the image will heal an independent life. Images of imagination are not passive with respect to the ways of their being in the material art, and actively creating the most convenient and expedient for themselves artist in embodiment. In the artist's imagination they appear either as picturesque, or as poetic or musical images. Therefore, it is quite fair to believe that the subject of art is reality, but with the necessary reservations about measured reality , namely: aesthetically mastered reality, in the world of the person acquires an individualized image. It reflects the essence, the idea of ​​the universal in the fullness of the content Lednev st Therefore, in relation to the care of the world of humanity forms its own image and the image embodies indifference things lying down in the figurative language of specific art forms, this synthesis creates a new reality so un - artistic realnosttip realnostі - hudozhnyu realnіst.

Therefore, the subject of art is the reality inspired by man. This is a world, above its fluidity and chance. As such, it is an irreplaceable source of self-consciousness of humanity as a creative beginning of life.

To concretize the problem of becoming an object of art, let us consider the creation of human relations with nature, as reflected in art. During the period of ancient civilizations, natural forces acquire concrete concepts, appearing in images of gods, which are provided with human traits and human qualities. Thus, the entire cosmic world appeared to be a whole, founded on mutual relations and obligations The natural (divine) properties provided to natural forces over objectively determined the need for human relations eka to them in the forms of declension and reverence Note that it is not nature that is important in its values, which is unconditional, but the nature of the images given to it, which reinforce the aesthetic relationship of man and natural forces. As knowledge of its relationship properties does not undergo qualitative changes, but is concretized with respect to the awareness of the value of you of different vitality of nature in its self-worth, as a subject of nourishment and harmonization of human feelings and mind Relations with mythological is translated into aesthetic level and embodied in artistic imagery of art. This phenomenon is interesting to follow by the example of man’s attitude to nature in the culture of the Chinese Middle Ages. The classical tradition of painting is formed here as far back as 4th century and reflects in thought and respect for nature as a source of internal appropriate and harmonious in itself vitality Artist Xie He (V in) in \ "Notes on the classification of art The art of painting, based on a preliminary tradition, identifies six basic principles of painting, among which the sound of the spirit, the movement of life, considers the most important. The successor of Xie He is Wang Wei (VIII century) in his treatise on the Mystery of Painting. I \ "spirit \" in landscape painting, emphasizing the need to transfer natural states, and not just describing landscapes of Philosophical depth, this tradition gets in the treatise Jing Hao (end of IX - beginning of X in) \ "Notes on brush exercises \" The author analyzes the cornerstone \ "spirit \" using understanding tie \ "principle of spirit \" He argues that the purpose of painting is not limited to truthfully transferring some natural states. Even the beauty of the image is not the final goal. Painting is designed to comprehend the truth-truth in things, to understand the external beauty of things and to achieve it in art. One, he warns that \ "one cannot take external beauty as real. Anyone who tries to express the spirit through external beauty loses an image. This is the death of an image \" [15, p. 74] What then is the truth-truth in the suit stve referred to in the treatise? there is an artist’s artistically shaping ability: the ability to embody two ideal entities in matter of formation so skillfully that the work becomes convincing in itself. Let us dwell in more detail on the first two principles related to the attitude to the subject of non-indifference. "The principle of the spirit means that the heart follows the movements of the hand and captures images without hesitation. The principle of the idea means that it doesn’t matter that it is cut off, it’s essential to concentrate on the shape of objects (italics of the author - V M) \ "[15, p. 75] t about \ "sounding of the spirit \" of the objects depicted. Note that there is a deep mastery of \ "the spirit \" of the nature of one world, that is, its aesthetic vitality as self-valuable, which is expressed in relation to it of man’s time, there is a correlation of the spiritual world of man life of the latter leads zdnnis to comprehend the natural world in its essential manifestations and provide them with a perfect life in the images. Art skills are thus the source of the creative connection of man with peace and mind. Natural causeway's World at Yogo sutnіsnih viyavah that nadavati їm doskonalogo Zhittya in images. Artists are so talented as a creative link for people.

Let us turn to another comparison in order to trace changes in attitudes towards nature and, consequently, to what it is seen as an object of art. In European spiritual experience, nature becomes the subject of art reflected only in the Renaissance. This is why it requires the development of scientific knowledge and gradually destroys religiously. -mythological ideas about the world and the value of life. Long-lasting domination of the religious certificate of the ostroma, opposing the material and the ideal, the natural and the spiritual, consolidated in the European consciousness centuries of ignoring the value of nature Culture has failed to completely overcome alienation from nature and in subsequent eras. In the artistic depiction it is only a background or arena for the unfolding of mythological scenes and religious events, in particular, the Gospel. Only romanticism introduces a new personal perception of nature into the European culture, seeing in its manifestations, the source and means of clarifying their own spiritual states.

It is significant that the genius of the Renaissance Leonardo da Vinci in his treatise "On Painting", focusing on analyzing the advantages of painting over other types of art (poetry, music), focuses mainly on his ability to convey the depth, volume and sensible visibility of the subject of his image focuses on the \ "technical \", that is, the imaginative possibilities of painting, the laws of which he finds, creating the sciences about painting. In his aesthetics developed the theory of perspective, design, light and neither, colors in painting, etc. The thoroughness of his scientific presentations was based on experience and experiments, which are extremely valuable for science and for the creative approach of artists to the artistic process. However, we will not find in his treatise that poeticization of nature characteristic of Chinese theorists and practitioners of animal art. For European culture, Leonardo’s treatise convincingly proves , the emphasis is not on the subject of the image, but on the skills of the artist to reflect the object. Even when the concept of "spiritual" is used, it differs in content compared to Eastern tradition. For example, exploring the shadow as a means of creating three-dimensional figures and perspectives of images, Leonardo da Vinci writes: \ "The shadow comes from two things that are not similar to each other, since one of them is physical, the second is spiritual physical, which creates a shadow, spiritual is light. So, light and body are the causes of the shadow (italics of the auth - V M) \ "[9, p. 313]. active st sub'єkta CREATIVE umіn.

A peculiar \ "result \" of the European understanding of the value of nature as an object of art is the words of F. Schelling: \ "Painting is extremely schematic in landscape \" [19, p. 272] The explanation of this idea sounds inconsistent, because the argument is that \ "is formalized symbolized through the form, there is a formless \ "Since the landscape is \" somewhat infinite \ ", the philosopher believes that this type of creativity is legitimate for this kind of creativity \" schematic \ "The question arises: what then should be considered expressive pr the phenomena of vitality (\ "spirit \") of natural species? the goals of art in the experience of specific cultures and in the process of history arise objective evidence of the level of their value orientations of the posting of the most active to the people of their own original oriental traditions.

So, the concept of \ "object of art \" should be understood as the wealth of experience of a person’s relations with the world as they evolved, objectively in practical activities, ideas, theories, value ideas. C The ability to spiritualize them by creating an artistic whole - a work of art - is due to the formative the idea of ​​it \ "collects \" life, reveals its inner core principles and holds them when deploying the sensual baggage of images in a particular artistic creation of artistic creation.

The integrity of being of the spirit is unalienated from the object, nourishing and expanding its forming skill, is consolidated by the artistic-figurative language. The work of art by an objectively defined perfect life, in which the whole integrity is based on the principle of beauty Beauty is already a consequence of the artistic formation, thanks to the organizing power of the mind On the other hand, it is due to the whole in itself the vitality of the object. This acquires organic integrity \ "The neo-romanticism of the ideal and the real as the non-romanticism turns out to be in the ideal world and through art \", says Schelling [19, p 80] Beauty is present where the special (real) has a universal valuable content, or otherwise the infinite (concepts) is contemplated as concrete. Thus, the objective condition for the vitality of a work is beauty as a sensual way of being truth, and the spiritual basis is the convincing integrity of the idea of ​​(the universal) in a particular (perfect art image) Let us say that painting has a certain level of symbolization as the basis for the integrity of an image. Essence (idea) - the organizing principle of the spirit and its convincing artistic embodiment in the material of formation is the key to a perfect artistic creative artist.

We have uncovered the most general laws of the life of art in two main dimensions. First, as a type of spiritual experience in the dialectic of a particular and universal in a special sensory way, its boot is within the work as an ideal reality. as an objective condition for the existence of truth in the sensually perceived forms of its being.

The basis of the existence of a work as artistic reality is the material of formation and historically developed means allowing to give life to objects not indifferent in the figurative system of a particular art form East Toric. resentment, can provide them with real life only by applying the artistic language of its expressiveness and in by internal expediency, it will provide the subject with a convincing inner vitality. The artistic persuasiveness of the work depends not even on the subject of the petition, but on the idea that is adequately embodied in the material of art and expressive means.

The material of artistic formation in the development of history, while retaining its original principles, determined by the specific specificity of art, experiences diversity and improvement. Its possibilities expand, so experience of seeing, understanding phenomena and artistic formation of their image is improved. Say, in music, sound is the basis of musical imagery and expressiveness. the fact that he is devoid of meaningful specificity of the word or the ability to reproduce the natural forms of sensually perceived pictures of the real spine, musical sound has tonal nature That tone makes the music sound art, absorbed in SEB e rich experience speech intonation and rhythmic movements expressive means of music, providing rhythmic certainty of its forms and types, there is a melody, harmony, rhythm, composition, etc. The intonational nature of music is well traced in its national color, created by the melodic and rhythmic structure.

Fine arts (painting, sculpture, graphics, monumental art) reflect the material-sensitive properties of the real world in real space due to their volume, texture of objects, color and light, etc. They not only record the sensual appearance of phenomena, but transmit the internal movement of subject images, the unfolding of their properties in space. in the topic 1515).

The dominance of a particular type of art, as well as the choice of material, is not arbitrary, but objectively determined. For example, the leading art form in ancient Greek classical era is sculpture, reflecting the aura of the world’s ideas about the cosmos as a material and sensual reality. perfect plastic (sculptural) images of the gods of Olympus. The state of inner peace is reflected in the grace of posture, in the smooth harmony of the forms of the sculpture of Agesander \ "Venus M. Lossky \ ", reveals the spirituality of beauty, radiates the figure of the goddess Incarnated in human form, she with the assumption that the divine being should have fully imagined herself in a female image, or else, personifies the features of the divine Perfect vitality of artistic images - a manifestation of harmony inside the Trishna of the world personality, organized by the ideas of measure, harmony, proportionality, balance Outside the artistic perfection of the work can not arise the reality of the art of mystice.

So, we come to one more important conclusion: whatever the subject of a work of art, which we would not choose its type or genre, it is always the person, his inner world, the creative essence that her image is embodied in sensually perceived forms; как реальность, ценна сама по себе, как предмет переживания и осмысления, а значит, как непосредственный источник обмена человеческими мирами есть, искусство, ко жен художественное произведение как неповторимость, призвано свидетельствовать жизни духа в его непосред ственном развертывании через предметы неравнодушия Через характер отношения к ним раскрывается уровень совершенства формирующего духуху.

Способ изображения, предмет и материал его имеют не случайный или произвольный, а закономерный характер Скажем, статичность внутреннего мира человека, не индивидуализирован его содержание объективно обусловлен ет доминирование статических скульптурных изображений в культурах ранних цивилизаций Востока (древнеегипетская, шумеро-вавилонская) Статика поз, закреплена скульптурным каноном, символизирует также мировоззренческие представления человека того времени: доминирование идеи незыблемости времени, а затем неизменности и всемогущества власти фараонов, предоставленной богамми.

Отмечая закономерный характер названной триединства (предмет изображения, идея его и материал формирования), приведем еще одно сравнение Оно доказывает, что различия представлений о ценности человека и с смысл ее жизни определяющих эстетические качества произведений в пределах одного и того же вида или жанра искусства При этом весит материал, служит воплощению изображений Скажем, мраморная скульптура эпохи греко й античности отличается от скульптур в камне, характерных для других культур Древнего мира, пластичностью образов и одухотворенностью изображений Ведь мрамор, окутанный лучами света, начинает излучения юват его будто с середины Художественная совершенство изображений убедительно отражает идею духовности человекюдини.

The harmony of the human body as inspired its perfection fits into the concept of rhythm, symmetry, measure. This phenomenon is called somatism, is the spirituality of human corporeality [11, p. 168] spirit, that is, the lack of formation of the human person toast.

The level of artistic perfection of art is thus presented as convincing evidence of the content of relationships that form an idea of ​​the value of life and the purpose of man. These patterns, opened by Hegel, ("Lectures on aesthetics"), allowed to build the logic of the artistic life of humanity , having embodied its history in three main forms: symbolic, classical, romantic. Accordingly, the main types of artistic formation inherent in each of them were different. The features of this pattern are analyzed in more detail in the lecture 14) So, the level of artistic integrity of the work is objectively determined by the level of spiritual experience of mankind, which is a historical phenomenon and as such is manifested in the idea,material and formative skills This aspect of its analysis reflects the objective determinism of the artistry of it all the universality of the content of spiritual experience and the adequate means of its artistic expression produced in the development of history in the material of artiste myst va.

Материал искусства - понятие, не однозначное по смыслу Классическая традиция употребления его связана с содержательным слоем духовного опыта Ф Шеллинг применяет его относительно предмета формирования, а не средств:: \"материалом греческой мифологии была природа\" [19, с 127] Он подчеркивает, что \"мифология является необходимым условием и первым материалом всякого искусства\" \"То есть, поскольку предмет искусства - это эстетично опа нований предмет, а мифология предстает первой формой эстетического познания природного мира, искусство использовало ее образы как свой \"материал\" В современной эстетической теории как более употребляемое относительно сферы худ ожнього опыта закрепилось понятие \"предмет искусствакріпилось поняття "предмет мистецтва".

Понятие \"материал\" употребляется в значении \"вещественного\" первоэлементов произведения как залог реальности его жизни, т.е. чувственно воспринимаемая действительность бытия духа в образе Вне материалом формирования произведение оставляет ется бы замыслу, намерением соответствии с видом искусства используется разный материал для воплощения творческого замысла художника: звук - в музыке, цвет и линия - в живописи, слово - в литературе, движение - в танце, твердые материалы (дерево, камень, бронза) - в скульптуре и т.д. Отметим, что так же как предметом искусства является не любая, а эстетически освоены реальность, так и материалом искусства есть не звуки, цвета или движения как физическая реальность, а эстетически определены - музыкальные звуки, художественное, поэтическое слово в литературе, отношение цвета и света в живописи, пластичные движения в танце тощтичні рухи у танці тощо.

Остановимся подробнее на объективных основаниях изменения понятия \"материал\" искусства Перенос акцента на средства формирования образа происходит не ранее, чем установится предмет изображения Идея красоты я как формирующая основа духа и его художественных воплощений, т.е. как сущностная основа искусства присутствует уже в культурах Древнего мира Воплощенная в художественном формировании, она становится объективным основанием Осознание я духом себя как самоценное жизненности Закономерность этого процесса в диалектике особенного и всеобщего впервые раскрыта Дж Вико (\"Основы новой науки об общей при рода наций\") Начат всеобщего сти опыта связаны с мифологической сознанием Мифы, отмечает Дж Вико, обращаясь к древнегреческой мифологи содержат отражение реальных отношений В них воплощена история обычаев людей Древнего мир у, осознаны как ценные благодаря тому, предоставленные богами Напомним, что классическая эстетическая теория определяет мифологию как \"необходимое условие и первый материал для всякого искусства\" [19, я 105для усякого мистецтва" [19, с. 105].

Возникает вопрос: почему мифология способна быть лишь \"материалом\" искусства, а не художественной реальностью как таковой? которого заимствованы из практики взаимоотношений внутри сообществ и возведенные в положенного в них - к идеалу Вместе с тем, несмотря на всю свою поэтичность, мифологическое сознание не поднимается до уровня искусства, в сколько не организована духовно определенную целостность художественной идеей и не способна вкладывать ее проявления в индивидуально определенные неповторимые образы Поэтому мифология - это \"материал\" и \"стихия\" поэзии В мыс тецтва всеобщее приобретает индивидуально определенного жизни, своей способностью развиваться в художественно убедительные формы свидетельствует о себе как диалектическое единство идеи и образтична єдність ідеї та образу.

Интересно в этом смысле проследить переход мифологического сознания к художественной образности искусства Г Гегель, обращаясь к древнегреческой культуре, сопоставляет ранние мифологические представления и позднюю мифоло огию Это позволяет проследить становление диалектической связи всеобщего и индивидуального в содержании опыта Если в ранней мифологии он уложился в всеобщие мифологические представления о мире, то в п изний мифологии, по мере индивидуализации опыта в пределах сообществ и осознание его ценности, он заключается в индивидуализированные образы свою поэтичностью поздняя мифология обязан Гомеру и Гесиоду что систематизировали божественную иерархию, индивидуализировало образы богов и героев и предоставили им художественно выразительной жизненности, благодаря чему искусство встал высшей формой, в которой народ представлял богов и у свидомлював истину, - отмечает Г Гегель [7, т 1, с 110] есть опыт отношений с миром, который способен заключить истину в формы красоты, реализует себя в диалектике всеобщего и индивидуального как художественное в совершенный Чувственный опыт, возвышенный до уровня идеи и воплощен в предоставленных его носителям индивидуализированных проявлениях в художественном формировании, приобретает истинности в формах красоты Итак, предметом искусства является мир человеческой жизни в его ценностных измерениях соответствии с идеей красот ідеї краси.

Материал художественного формирования обусловлен идеей произведения и характером ее художественного воплощения Скажем, лирические чувства влюбленных в скульптуре А Кановы \"Амур и Психея\" получили наиболее адекватное воплощение я в мраморня у мармурі.

Этот материал нежностью цвета, пластичностью изображаемого способен наиболее убедительно передать совершенную красоту человеческого тела и внутреннее состояние человека: духовную (мраморную) чистоту чувств влюбленных х Бронза как материал скульптуры служит воплощению идей величия и монументальности изображений Поэтому она - преимущественно материал монументальной скульптуры Правда, возможности скульптурного материала надз вычайно большие - и драматическое напряжение чувств, и самоуглубленность, и титанизм образов героев Микеланджело равно совершенстве воплощены в мраморных статуях: \"Скованный раб\", \"Восставший раб\", \"Пьета\", \"Да вид \"и т.д. Дерево как материал скульптуры обычно используемый в народных художественных традицийзвичай вживаний у народній художній традиції.

So, a work of art as a spiritual whole is a consequence of the definiteness of the idea and the means of its realization in the matter of the artistic formation in a specific way - by providing vital fullness and inner expediency to each of the elements of the work as an artistic whole.