14 6 The aesthetic destination of art

In the Colorful Legends Eliana about art stated: None of the sculptors or artists portrayed the daughters of Zeus armed This means that the life intended for the muses should be peaceful and moderate m Art was defined in the culture of humanity as a source of beautification of feelings aesthetic measure The classical art of harmonious ordering of figurative fabric of works is asserted by princes and harmonization of feelings by “collecting” them into an aesthetically defined whole with a wealth of nuances of manifestation of Hegel. , recognizing the many possibilities of the impact of art on a person, notes: Art really became the first teacher of nations [8, 1, p 57] Indeed, over a long period of human history, the artistic element permeated all activities and spheres of life. from the social origin, property status of the social strata, the artistic element is interwoven into all spheres of life, acts as the organizing principle of the formative skills and their result. The rhythm of labor processes The artistic and artistic language of art and vice versa. Religious, household, labor rituals have a bright artistic coloring. The artistic dramatization has a large extent in pagan cults, as well as in Christian rituals. Pervasiveness of the artistic principle, the mass participation in artistic and ritual activities were socially -organizing source of production of human feelings, their public and the dispute of the different forms of response to the world of Plato in the work Laws notes that participation in the cool Comrades, military and other ceremonies determine the civil status of a person, make him educated. Mass actions with artistic features are a means of creating a collective experience of aesthetic response to light. They organize the individual's emotional responses, directing them into the direction useful for the community’s survival. the phenomenon is a necessary initial (and output) link for the further development in the historical development of mankind of an individual’s ability to individually Secondary manifestation of the riches of the aesthetic experience of artistic announcements of the unique experience of aesthetic experience.

The saturation of artistic life caused an interest in the question of the meaning of its existence. The theoreticians of ancient Greek aesthetics, in particular Aristotle ( Poetics ), saw in art the means ennobled soul through the creation of the ability to adequately respond to the artistic fabric of the work In poetry, music, the philosopher sees the means of moral purification (catharsis) for music, then the philosopher derives its capabilities from the harmonious impact on the psyche due to the effect of healing and purification. In the work "Politics" it is noted that then for upbringing one should use the melodies of an ethical nature and corresponding to them a ladichichnom character і відповіідний їм жами".

In the further history of aesthetics, the concept of catharsis takes on a leading role on the mechanism of the influence of art on man. Catharsis is interpreted as a phenomenon of aesthetic empathy, activating the effects of country, pity and overcoming them. It discharges negative emotions, brings relief and calming. man with others and therefore harmonize spiritual structures. Art in the ancient world, in the middle ones, served as a teacher bismuth.

Along with spiritual purification, art opens up opportunities for self-awareness of a person. Aristotle noted that art is not a reflection of certain facts, but rather what teaches us to think about pictures of a groom. In the history of aesthetics, the concept of education and knowledge was considered through opposition, and in the relationship the educational function was strengthened by Christian theologians, that the immorality of the "pagan" Roman art was keenly criticized. The idea of ​​martyrdom and its Christian symbol, Jesus Christ, appears as the center of aesthetics and Art of Christianity (life literature, icon painting, liturgy) The divine man’s living together with the education of moral qualities according to the ideal model. The emphasis on the spirituality of the content of faith is a failure in aesthetics and art from the harmony of form and content of works on the domination of the moral principle of Justin believed that Christ had a look, devoid of beauty, honor and glory, was nondescript Clement of Alexandria wrote about Christ: He didn’t shine with the beauty of the flesh, but with the beauty of body and soul: the first had in good deeds, the second is in the immortality of the flesh. "Moreover, he purposely took on the seemingly inconspicuous appearance, so that the audience admired not visible beauty, but I was attached to spiritual truths. The idea of ​​external non-indications of Christ determined the character of his picturesque and fresco images in the Middle Ages his images are presented in the form of inappropriate images [4, p. 242] The words of the psalm: You are more beautiful than the sons of men (Ps 44, 3) Tertullian refers to the second coming of Christ. Jesus lived 33 years of people, There is neither kind nor beauty "[4, p. 243] for Christianity steticheskim principle: do not take care of the beauty of the body, but only the spirit of the moral ideal of Christianity and the aesthetic principles of artistic expression badly influenced the formation of the foundations of the European Moral nih obschestvzhnogo vtіlennya neabiyak vplivali on formuvannya moral ambush єvropeyskogo suspіlstva.

The one-sided trend of the aesthetics of early Christianity, with its denial of the value of sensual beauty while absolutizing moral values, was subsequently defeated in favor of the fullness of the beautiful in the unity of the spirit of the beginning and of its sensual image with this, the view of the Enlighteners also becomes beautiful and the see in art as the main source of the formation of the whole person. its aesthetic value: the beauty and expressiveness of art forms in combination with the depth of the measured Educational influence is associated with the individualization of the feelings of the personality In the direction of the personality in order to create a unique experience and understanding of the beauty of artistic works, it is the difference between the aesthetics of the New Age and the aesthetics of the Ancient World which linked the influence of art with public experience. Enlighteners appeal to the individual, turning on the conscious, free, particular communication with art It is in the Enlightenment that a specific branch of aesthetic activity arises: art criticism (Winckelmann, Diderot, Lessing, etc.) Art criticism and aesthetic theory, from revealing the laws of aesthetic perception and experiencing artistic phenomena, form a conscious subject of aesthetic attitude to art They educate the aesthetic tastes of the public, arming the criteria for the essay assessments of artistic phenomena. In the same vein, the interest of the German classical phil Sophia to create systematic works on the theory of aesthetics with a constant appeal to the history of artistic practice and the acquisition of the laws of its historical development (Hegel, Schelling, Schiller). And Kant explains to humanity the peculiarities of his aesthetic ability to experience art and his artistic ability. Hegel a great connoisseur of the history of world art, in the Lectures on aesthetics gave classical examples of his aesthetic analysis. Philosophers convincingly prove that the aesthetic relation s an art - a source of spiritual self-identity in an aesthetic dialogue with the identity of works of art formed duhovnostіst" formuєtsya spiritually. "

In the era of the Enlightenment, art stands out in an independent sphere of spiritual experience, is separated from the craft, where it appeared an integral part of the practical formation, it is also dissociated from the religious cult (this tendency is especially characteristic of Protestantism) The change in the ways of art functioning at the level of social communities becomes no less noticeable. craft production objectively causes replication, and therefore depersonalization of its products, and therefore both Leaning of man In the further development of industrial production, this tendency is only exacerbated. You wanders an objective need to communicate with art as a self-valuable type of spiritual experience that can prevent the loss of artistic flair. The answer to this need in the Enlightenment era was the development of drama and theater, musical art (the formation of national musical schools in Western Europe, Russia, Ukraine), the development of secular painting (the formation of national schools) This is also a period of rapid development of literature Aturi as an art (poetry, prose, drama), etc. Art, acquiring philosophical depth and artistic perfection (its special flourishing, founded by the Renaissance, characteristic for the XVIII-XIX centuries), appeals to the human person, forming its unique spiritual experience. It is to art that European humanity is almost the very measure owes the development of the national intelligentsia genius. The rapid quantitative growth of which is especially characteristic of the 19th century, including in Ukraine, the number in Ukraine.

And Sulzer in his work The Universal History of Fine Arts (1794) wrote about the importance of art for the formation of the spirituality of a person: There is only one means to raise a person educated by sciences, accessible to her heights. This is an improvement and a true application of high arts [ 11, t 2, p 490] Note that the philosopher speaks of educated by science , i.e. educated person However, brilliantly anticipating the problems that modern humanity will face - a moral situation, wider - spiritual devastation of a person, even knowledgeable, informed, - he sees a way out in communication with high arts. Almost two decades later, I Sulzer and I art as a source of spiritual communication - communication of man with the culture of mankind, calling for to enjoy the beautiful everywhere, wherever it occurs, at all times, among all nations, in all types of art [11, t 2, p. 575] The question of the influence of art on the spiritual world of a person occupies one of the central places in the aesthetics of Schiller F. The philosopher sees the value of art in the ability to form personal uniqueness ( Letters on aesthetic education ) in his work About the pathetic notes: Poetry never performs some special task in the service of a person. The circle of its activity is the totality of human nature, and it is able to influence individual human actions only insofar as it affects the whole character (italics auth In M) [28, p. 112] D Umka of the philosopher is interesting because it reveals the ability of art to form a holistic personality, without narrowing it to the social, professional, confessional level of individuality, without a touch to the social, professional, confessional region .

In Aesthetics and Kant, the value of art is seen in the creation of spiritual freedom: in the process of communicating with a work of art, the subject joins the creation of forms. This is not freedom in the sense of capriciousness of the action of destruction of freedom of freedom, and the freedom manifested in its aesthetic dimension. in perfect ways of manifestation thanks to the ability to unfold freely around the subject of indifference, creatively interacting with him. Therefore, freedom embodies itself into perfect images, because beauty is nothing but Freedom, in its representation, the pathos of freedom, as it is manifested in art, is the ability to create perfect forms and images. Therefore, the idea of ​​creativity embodies the idea of ​​creativity. When it is perceived, it is necessary to realize that it is art, not nature, that is, it is the product of spiritual creativity is important to keep in mind that the expediency in artistic and artistic forms should be issued so free from arbitrary rules as if it were a product of nature itself, "the philosopher states [13, since 1168] Aesthetic experience and Art numbered as a type of spiritual activity that gives aesthetic pleasure without reasoning about the utility without mіrkuvannya about korisnіst.

Hegel asserts the inherent value of art for nourishing the human spirit, based on the fact that the goal of art lies in itself: in the sensual, artistically perfect phenomenon of the idea (artistic istii ini) All other goals, such as installation, cleaning, correcting, making money, striving for fame has nothing to do with a work of art and does not define its concept [8, 1, p. 61] Even moral principles are essentially external, alien to its nature. According to the philosopher, see prices the art of art as an edification means "to distort the nature of the artistic work of the creature."

In the democratic aesthetics of the XIX century (Belinsky, Dobrolyubov, Saltykov-Shchedrin) the importance of the connection of art with social life is emphasized. It is stated that its main purpose is to be the source of a scroll of human consciousness. Its educational capabilities are associated with the image of a new person - a hero of art. such opportunities are that under the influence of new types (heroes - V M), a modern person imperceptibly gets new habits, assimilates new views to himself, acquires new convictions, - in one word, - gradually develops from itself a new person [22, ton 7, p. 155) Democrat and aesthetics defend the close connections of art with public life. It connects the possibilities of spiritual enlightenment with the moral qualities of the new art hero. That is why special attention is paid to willow in the art of moral and aesthetic mystic moral and aesthetic.

Another broad direction in understanding the value of art for the spiritual experience of the individual is the psychological direction (Vygotsky, Ovsyaniko-Kulikovsky, Potebnya, Franko) 11, t 4, p. 2, p. 49] D Ovsyaniko-Kulikovsky connects the value of art with the ability to be "nourished with juicy power" for the spirit. It can release consciousness and feelings from oppressive impressions and worries. everyday life and attach to the intuition of the artist and even with him develop his poetic intentions [1 8, t 1, pp 101-102] Art, according to the scientist, is a means of creating spiritual connections between people. It is necessary that people arose and strengthened mutual understanding and sympathy іннили in mutual rozіmіnnya і sp_vchuttya".

Psychological aspects of the impact of a work of art on a person are developed in the work of I. Franko From the secrets of poetic creativity He defends the opinion that the artist’s formative ability is a means of creating aesthetic perception of the subject of perception. things, phenomena, ideas are taken by a poet or an artist as material for his work, and in how he uses and presents them what impression he will cause with their help in our soul, in one thing lies with The secret of artistic beauty "[26, I am 113 beauti" [26, p. 113].

Justifying the psychological aspects of the cathartic action of art gives L Vygotsky ( The Psychology of Art ) Referring to Nietzsche, the author emphasizes the possibility of art to overcome great passions, as Ki did not find a way out in ordinary life. This is the basis of the biological function of art. defines it as follows: There are always such energy excitations that cannot find a way out of useful work. Then it becomes necessary to sometimes discharge energy that did not go into action, give it have a free way to balance our balance with the world [6, p. 322] The scientist notes that e and the arts are not arousal of feelings as such, but to give an emotional detente by feeling to personal emotion .

The power of art is not only in the "cleansing" of the psyche, but also in the creation of spiritual relations between people. Art is characterized as a social technique of feelings, tools of society, by means of which it pulled the most intimate and most personal manifestations of our being into the circle of social life. "[6, с 326] Важна идея ученого относительно диалектического взаимодействия социального и индивидуального начал в эстетическом х чувствах субъекта отношения Поскольку каждый человек переживает произведение искусства по-своему, не переставая быsocial, it also acquires a personal character with a special character.

Стоит отметить также компенсационную функцию искусства, идеи которой разработаны в эстетике Ф Ницше Философ видит жизнь лишенным разумного смысла, хаотичным, чужим и непонятным человеку Только благодаря мыс стецтву оно приобретает смысл, порядок, красоту Чтобы жить, человек вынужден окружать себя блестящими порождениями искусства В работе Рождение трагедии философ подчеркивает, что только как эстетический феномен бы уття и мир оправданы в вечности [17, т 1, с 75] В работе Веселая наука раскрыт механизм очистки психики с помощью ритмичных звуков музыки, пластических танцевальных движений и драматической театралов ной действия Вспоминая о пользе ритма, он приводит примеры его всепроникающего действия, благодаря которой музыке предоставляется магическая сила [17, т 1, с 564] Древние греки называли Аполлона богом ритмов Считалось, что ритм способствовал любой труда, ресниц способен заставить любое божество появиться, приблизиться, выслушать Ритм может лишить собственную душу любого излишка (страха, мании, сострадания, мстительности), и не только собственную душу, но и душу злейшего из демонов [17, т 1, с 565е лише власну душу, але і душу найзлішого з демонів" [17, т. 1, с. 565].

Thus, art is an active creator of aesthetic certainty of the spiritual world of a person, and therefore an environment conducive to spirituality of communication. By organizing the spiritual structures of a subject with the content of aesthetically perfect spiritual experience, art individualizes the aesthetic attitude of a person to the world while putting it into forms of perfection.

Questions for self-test

1 Explain the objective conditionality of the species richness of art.

2 Expand the principles of classification of art.

3. Give the general and excellent in the approach to the classification of the arts And Kant, F. Schelling, G. Hegel.

4 Expand the general features of the visual arts given the specifics of creating an image.

5 Determine the aesthetic means of creating an image in painting.

6 Discover the specific and genre richness of painting and its aesthetic purpose.

7. Expand the differences of literature as an art form from the language of everyday communication.

8. Explain the specifics of the figurative language of expressive arts.

9 Expand the means of creating an artistic image in music.

10 What are the differences between the figurative language of folk and classical dance?

11. Determine the objective basis of architecture accessories to the expressive arts.

12. Expand the features of the artistic-figurative language of architecture.

13 Expand the content of the concept of synthetic art

14. Give the principles of artistic synthesis in theatrical art.

15. Expand the history of the formation of theatrical art and the features of its artistic language.

16. Identify the originality of cinema as an art form.

17. Expand the specifics of the artistic language of cinema.

18. Explain the aesthetic purpose of art.