16 REGULARITIES OF HISTORICAL LIFE OF ART 16 1 Methodology of the analysis of the history of art

The concept of \ "the historical life of art \" reflects the general laws of the unfolding of the wealth of the spiritual experience of mankind in specific, holistic, artistic and figurative forms. Differences caused by the change of value ideas about the world in the development of history determine the differences in the subject matter of display and the methods of consolidating it in the language of art. this language of art as a means of creating a holistic, well-convincing image of reality is the dialectical unity of the stable and the variable in it Signs it remains unchanged, testifying that art is a special type of spiritual experience in the os poured art over the time, as the experience deepened, the attitude to the outside world and the increased wealth of the person’s spiritual world deepens the subject of art and its artistic language.

The act of art is evidenced by the following regularities of its historical life. Firstly, as the experience of a caring attitude to the world deepens, the knowledge of it and creative interactions with it are enhanced and the image of its ideal vitality in art becomes more complex. Secondly, the increased psychologism leads to individualization of spiritual experience. creativity, penetration into the depths of experiences, into the inner conflicts in the world of the subject of vitality Thirdly, there is an expansion of means of artistic display objects of indifference due to the improvement of the language of art, its species and genre iznomanity Fourthly, within the aesthetic image of the world, into which a certain historical epoch is embedded, develop their means of expression, which form the unique aesthetic-artistic image of the time. Fifth, the national image of the world It opens with its uniqueness in the artistic language of art, determines the wealth of the aesthetic and artistic experience of mankind as an aggregate whole.

Aristotle first formulated the approaches to understanding the laws of artistic creation, defining ways the artist reflects the world using the concept of \ "mimesis \" (imitation) The historical dimension acquires an interest in understanding the regularities of the historical life of art in the 18th century. also art This is a time of understanding the processes of destruction of the stylistic unity of the art of previous eras and the desire to reveal its tendencies Of particular interest to this problem is characteristic of German philosophy to Enlightenment (Winckelmann; Herder; Schiller) and Winckelmann in the work \ "History of the Art of Antiquity \" (1764) seeks to explore the origin, development, change, decline of art and various styles of peoples, epochs and artisans. It is important the legacy of the outstanding German aesthetics and theorist of linguistics In Humboldt; representatives of German romanticism F. Schelling, F. Schlegel, A. Schlegel, Novalis. The study of the historical life of art begins with the ideas of Goethe, who determined the natural way of its development through the differentiation of the concepts "style" and "style" to understand "style".

Analysis of the history of art has shown that there are no peoples who would not have art. It also became clear that art as a product of the historical life of mankind is characterized by internal mobility: the yogi's speech changes in the direction of improving and deepening artistic expressiveness, fullness and persuasiveness of images, etc. And Herder in his work \ "Ideas for the Philosophy of the History of Mankind \" showed the objective prerequisites for the establishment of art, the content of spiritual experience, enshrined in it, the originality of the artistic language of different historical eras and different cultural regions Based on the fairly well-known material of human history at that time , the philosopher introduces the spirit of historicism into aesthetics. He argues that art emerged and developed already in the early stages of the life of nations (naive cultures) as a necessary source of self-respect and consolidation of trying to relate to the world The scientist rightly emphasizes that a person is not an independent substance, but is associated with all natural elements that affect his consciousness, understanding of the beauty and expediency of natural forms, necessitate their perpetuation (the content of the consciousness of their expressive life) \ "Man is harmony is a living self, which is affected by the harmony of all the surrounding forces, "- said Phil Sof [5, p. 176]. And Herder emphasizes that all the artistic abilities of a person have developed in the process of active interaction of drugs Odov with the natural world, and the creative nature of these interactions became the source of improvement of human nature: the emergence of man as a thinking and creative force. A philosopher characterizes the special place in this process in language and the consolidation of creative skills in the artistic formation of man. Hearing and sight are defined as \ "the most noble bodies are felt like" the most noble organizations of pochutt ".

Artistic skill And Herder connects not only with the ability to produce forms (that is, imitation), but also with the ability to see the whole and inspire images: \ "The statues of the ancients will show us the proportion of,, or symmetry, as they called this phenomenon, they did not see only in the size of the body members, but also in their harmonious combination, which corresponds to the soul of the whole. In each figure, the genius of a particular individual lives, and in others it takes the whole body with its breath, as if the body is just a shell of the spirit \ "[5, p. 186] the artistry has its own law nosti as an objectively determined type of spiritual experience. In art, according to the scholar, the depths of the national character are particularly evident in people, particular in this sense are mythology, music, song creation (the concept of “folk song” belongs to Herder). iterations of art based on conventional signs (the symbolic nature of the language) compared with painting, whose signs are taken directly from nature. He also investigated the history of the development of art in their different cultural regions, seeing its origins, as well as the origins of scientific knowledge in Asia and Egypt, coincides with the modern theories of the genesis of artistry and the theories of Genesis art.

The idea of ​​systematizing art, taking into account the peculiarities of the artistic vision of the world and the originality of figurative speech, is presented by Goethe in literary works and articles on the history of aesthetics (\ "Simple imitation of nature, manner, style \", \ "On truth and likelihood in art \", \ " Shakespeare and there is no end for him \ "and others.) He focuses attention not only on the historicity of art as a spiritual phenomenon, but reveals the essence of his historical life, using the concept of \" manner \ "?? and \" style \ "Clarifies the content of spiritual experience enshrined in them manner of races matrized as an embodiment of a kind of artistic language found by the artist \ "yo tho impressions of phenomena, deeply touched the soul. Style is characterized as a phenomenon of creating a common language of art thanks to a more accurate knowledge of the properties of things and the ability to convey expressive manifestation and state, that is, the most characteristic Style And Goethe describes as \ "the highest step, which art can achieve - a place equal to the highest human effort \" [9, 85-86 ну tugged, - a gangway, looking for people 's suspicions "[9, p. 85-86].

He considers the species richness of art to be an achievement of history, the development of which complicates the artistic language, as well as the synthesis of the arts as a vivid example of such a synthesis. And Goethe gives the opera Despite the conventionality of the artistic language, the opera has an "inner truth" that follows from the sequence of the work. saying: \ "A perfect work of art is a product of the human spirit \" The historicity of artistic works of Orm and Goethe connects with the peculiarities of the relationship to the world of nations in different The periods of their life. Art most vividly reflects the originality of various stages in the history of a people. The following thought became classic: \ "The sun and eras moving backward and covered in disintegration are full of subjectivism, but all epochs take a step forward, have an objective direction. Our present time is reactionary, because it B is subjective and see it not only in poetry, but also in painting and in many other things "[9, p. 107] Agree that it is relevant even now, especially if you compare the modern and highly developed European art in the historical past have passed єvropeyske Mistetstvo.

In Humboldt, under the influence of the ideas of Herder and Goethe, he explores art as a manifestation of the realization of an ideal in concrete, including national form (\ "Aesthetic Experiments \"). The scientist argues that the spirit of the people is reflected in the creative nature of its language and in the imaginative nature of art. Thus, he paves the way for understanding the stylistic differences of national art. In order to comprehend the historical uniqueness of the mystery, in particular, the national artistic styles, V Humboldt analyzes the differences in epic poetry and romance At the same time, there appears a qualitative difference in the content of art and the artistic means of its embodiment: in epic poetry the richness of the external world unfolds, the fullness of life in its expressive, sensually given vitality. On the contrary, the novel form focuses on the development of the inner world gerous [9, 143-144] These are the typological characteristics of the historical forms of mystist art forms.

In the process of studying its history, the aesthetic theory finds two important factors that make it possible to trace the laws of artistic development. Firstly, these are features of the relationship of ideas and forms in tons of works of art, secondly, the relationship of the objective and the subjective in its content.

The aesthetic theory of enlightenment realism and romanticism reveals a dialectical connection between two types of relation between reality and ideal, substantiating the concept of method in art. The first type, defined in Goethe's programs, reveals the ways of artistic representation. Namely: the ratio of ideal and reality in the forms of elevation of perceptionally perceived reality to the level ideal by creating a new, supernatural, Idea reality, united by the logic of a perfect artistic formation, and Goethe formulates s classical realism as an artistic metodetodu.

F. Schiller (\ "On the naive and sentimental poetry \") reveals the patterns of the historical life of art on the subject of the artistic image. On the basis of comparing the poetry of the ancient world, in particular the ancient t and modern times, he discovers that the artists of the ancient world sought to convey the reality to the most figurative the language of art Such poetry F. Schiller defines with the help of the concept of \ "naive91. Another type is \" sentimental \ "poetry. Its subject is a reflection of the direct impression of the objects in which ohnovlyalis feeling This art gives a direct image of the ideal should be noted that the position in Humboldt per egukuetsya with ideas F Schiller peregukuєtsya of іdeyami F. Shіllera.

F. Schlegel traces the regularities of the development of art through his specific features of romantic poetry, he considers it an important special achievement of art, equating it to the epic on the possibilities of reflecting the new age of the epoch. In contrast to other arts, which, according to the philosopher, have already exhausted themselves, romantic poetry is in the \ "constant formation \", because it is the free creativity of the artistic genius [11, from 173] In the work \ "Epoch of world poetry \" F. Schlegel goes from the standpoint of a comparative analysis of the art of various historical their epochs ranging from antiquity and to the works of the great and Goethe Close ideas are revealed by Schlegel A ("Readings on dramatic literature and art"). He characterizes the artistic progress of humanity based on the analysis of new and ancient poetry and art in general. Comparing ancient (classical) ) and contemporary (romantic) art, the philosopher notes the originality of each, conditioned by the spirit of the time. These differences are arranged in the following way: \ "the inner character of all the ancient art and poetry is PL, the modern, picturesque \" [11, 214] Paying tribute to the perfection of ancient art, reflecting the harmony of all the natural and spiritual forces of the people, Schlegel was forced to state that antiquity culture could not rise above the "enlightened and ennobled sensuality". He emphasizes that the plastic imagery of ancient art was generated by the spirit of its time and it cannot be mechanically transferring hay to another historical time, to a different meaning of culture, finally to a different geographic and climatic condition of a culture, most importantly, to our geographical and climatic chnі minds.

Romantic art, the scientist emphasizes, grows up in the ideal of Christianity, contrasts the earthly and the heavenly, transient and eternal, \ "turning life into the night world of shadows \" Comparing two types of ideal, the philosophy of speaking of the Greek ideal of humanity as the harmonious equilibrium of all forces, t. e. about "natural harmony \" The newest time comes to the realization of the inaccessibility of such an ideal \ "Hence the desire of the poetry of the world, to merge these two worlds - spiritual and sensual, between which we hesitate \" [11, 219] The thought is fruitful for understanding the grounds replacing aesthetic thinking and artistic embodiment of his language, we will be a status A Schlegel proves that the artistic image of the world as a spiritual integrity is born of the spirit of its time. The latter is a synthesis of all relations of specific nations with the world in certain ways. In its historical epochs, by its artistic imagery, this originality is traced based on a comparison of ancient Greek and romantic arts. Therefore, in Greek art and poetry there is an initial unconscious unity of form and content. New poetry remains faithful to its split spirit, strives for the close interpenetration of both of these forms and content of the same subject.

The characteristics of the two types of spiritual experience, which determine the two types of aesthetic ideal, are realized in the qualitative distinction of the artistic imagery of the classical and romantic types of art, serves as a methodological basis for analyzing the patterns of artistic development: of all types and genres of art.

In the post of romantic aesthetics, there are more varied approaches to revealing the richness of the historical life of art. The conceptual apparatus of science is accordingly expanded, it is designed to understand it. Along with the concepts of "style" and "manner", the concepts of "direction", "flow" are used \ "method \" It turns out that their meaningful content is different in different historical epochs, since it is caused by differences in spiritual experience. They comprehend the specific and genre richness of art, the specifics of the relationship of the ideal and reality in its various forms, the originality of heat of the language, as well as the dialectical unity of the natural, typical and individual but unique at the level of a separate work of art, and at the level of entire historical eras, finally the history of art as the cumulative spiritual achievement of mankind and mystical spiritual unity of the people.