12 6 Art - a specific kind of spiritual experience

The features of art that distinguish it from other forms of consciousness are the integral being of spiritual experience in the dialectic of the particular and the general, the lawful and the individually unique, the subjective and the objective, the logical and the sensual. Such a dialectic of relations in artistic formation is conditioned by the specificity of art as a mode of being of spiritual experience: not alienated from the subject of the relationship and the way of experiencing its being. Let us name several aspects that form the originality of art as a type of spiritual experience. Firstly, the creation of images best corresponds to the essence of the spirit: the integrity of its certain vitality in itself. Secondly, the perfection of images (individual images and the work as a whole) is the most convincing and objective evidence of the perfection of the spirit. Indeed, it reveals itself as such and by the perfect mastery of images and the perfection of the content of the depicted. Thirdly, art consolidates in figurative speech the spiritual experience of the community (the universal), providing it with individualized manifestations of vitality, that is, the universal in the form of the special (unique vitality). Fourthly, artistic phenomena - their individual uniqueness with the universality of the idea by which they are organized into an expressive integrity - form the uniqueness of the spiritual world of the subject of perception. It manifests itself as the ability to see the beauty of a work of art, to live by it, filling oneself with spiritual pleasure, and consequently, to recognize art as a necessary source of constant creative communication.

The need to turn to art to nourish the senses is the basis for the feeling of the fullness and richness of life. That is why the experience of artistic reality is a necessary condition for turning to one's own spiritual world for creative self-searching. Voltaire, characterizing the named ability of attitude, conditioned by the properties of the object, writes: "It is not enough for taste to see and understand the beauty of a work, it needs to feel this beauty, to be touched. And it is not enough for it to have an indistinct sensation, an indistinct emotion, it needs to understand all the shades; nothing can escape instant recognition ... "[1, p. 268]. On the one hand, the meaningful fullness of images personifying the universal in the experience of a caring attitude to the world forms the ability of consciousness to manifest the universal through the individual and experience its value. On the other hand, the uniqueness of the vitality of each artistic image forms the human spirit of its uniqueness. It is important to note that the individualization of the spirit, the formation of a unique personality are associated in the history of mankind not so much with the individualization of the experience of practical-formative activity, as with art and thanks to it. No other types of experience contain the fullness of the dialectical connection of the individual and the universal, the unity of comprehending and experiencing the attitude to the subject of caring, the unity of free interaction with the subject, caused caring, and at the same time the need to be actually present in the life manifestations of the subject. We empathize with the heroes of art and are so effectively present in their life destinies that the real world with its daily course of events is less real for us than the world of artistic images in their ideal vitality in the space of a work of art. This is important, because in the European culture of the rationalist era, art began to be interpreted not as a valuable type of spiritual experience in itself, but as one of its forms, which, like mythology, faded into the background in culture compared to philosophy as a new synthesis of the sensory and logical principles of the spirit. In particular, this is how Hegel saw the fate of art. The philosopher connected the reasons for the loss of value by art as a type of experience with the fact that art is the embodiment in a concrete sensory form of the absolute spirit as an ideal. At the same time, natural immediacy is only a "sign" of the idea, as such an idea so enlightened for its expression by the creatively embodying spirit that "this form does not point to anything other than the idea - the form of beauty" [2, p. 383]. As G. Hegel notes, the most adequate embodiment of the absolute idea is not art, but philosophy, rising above the immediate sensory certainty of the existence of the idea. As E. Ilyenkov correctly noted, opposing Hegel's ideas about the historical transience of art, the latter is a self-valuable type of spiritual experience and cannot be replaced by any other form. Logically, theoretical intellect and productive imagination, governing the principle of beauty (that is, art) cannot be considered as the highest and lowest in rank of the phenomenology of the spirit. "These are two independent, equal forms of consciousness. Neither of them is an imperfect," inadequate "copy of the other" [7, p. 327]. According to objective reality as a common subject of display, each of the named spheres reflects its aspects of objective truth. At the same time, with all their sovereignty relative to each other, the world of images of art

the world of science and the sphere of concepts (the sphere of science) reflect the truth each by its own means: the world of science, finally, is similar, so to speak, "isomorphic" to the world of artistic images.

In the history of development, art is defined relative to its subject. It is the awareness of man (humanity) of himself, his inner world, is formed and revealed by the level of perfection due to the nature and content of relations with the world around him and the world in himself. Its various aspects are reflected in different types of art, in its genre wealth, in the content of each work of art, revealing themselves with greater or lesser perfection and internal persuasiveness, the intrinsic value of the content of spiritual experience. Art manifests itself both as a universal type of creation and preservation of the value of the spiritual world of man in the universality of his essence (species peculiarity), and as an individual manifestation of the uniqueness of universal experience in the world of individual subjectivity. It can be argued that the unique possibilities of the species "Man" are most fully revealed through art as a type of activity, the purpose of which is the manifestation of the fullness of human vitality in its intrinsic value. Art as an activity can be taught, but not as creativity. This is always a phenomenon of uniqueness, inimitability of personality, revealed through peculiar manifestations of the vitality of the spirit. Their specificity is determined by the language of a particular type of art, the associative nature of the connections that form the internal logic of the development of the content of the work and determine the specificity of its imagery.

The spirit demonstrates its capabilities by the level of ability to organize itself with the object of indifference and to reveal its attitude to it in an expressive artistic language.

The essence of artistic-formative activity is dual. Firstly, providing an ideal image to the real world, that is, creating an ideal reality as the most adequate for the life of the spirit. Secondly, providing the spirit with a real way of life - its materialization in images. The ideal of its life is characterized by the internal logic of development, determined by the qualities of the object of indifference and the experience of the subject's attitude to them, objectifying its spiritual effectiveness in creative-formative skills. Perfection is possible at several levels: either as perfection of the spiritual world of subjects of the relationship within the ideal space of the work, or as perfection in the methods of providing images with expressive vitality in themselves, including negative, taking into account the ideas by which these manifestations are organized.

Let us note another qualitative feature of art: it is characterized by individual certainty of the content of spiritual experience. Unlike practical skills, artistic experience can only be conveyed as formal skills, but it is impossible to convey the experience of the spirituality of the relationship. Meanwhile, only on its basis does the individualization of the human personality occur. Its patterns are fixed in the ability for artistic formation, which is defined as the image of "divine" skills. E. Cassirer, analyzing the objectification of types of activity and their alienation from immediate reality in the images of gods in the form of the image of divine skills, singles out the artistic-formative ability as the highest of them. Art personifies the uniqueness of experience as a phenomenon of the essential certainty of the world of the individual.

Sometimes the reasons for the individualization of spiritual experience are seen in the phenomenon of the division of labor. Indeed, it individualizes a person's attitude to the world, reflecting in the consequences of formative skills. At the same time, the phenomenon of individualization cannot be associated only with practical skills and knowledge, since they are based on a rational attitude to the world. The division of labor affects the deepening of knowledge and the improvement of formative skills. However, the spiritual factor in the form of a jointly produced and fixed in the mental structures of a person attitude to the world is acquired in the historical development of mankind. Here it acquires that qualitative certainty that acts as an individualization of the image of the universal in the forms of an individually unique perfect way of being - artistic. It is precisely this experience that is valuable in itself, because it is the source and guarantee of the formation of the spiritual world of a unique human personality. The exchange of human worlds, carried out in artistic and formative activity, is a condition for introducing the universal into individually defined unique ways of its being. That is why art is a special form of experience with its inherent features of formation, manifestation and functioning in the experience of mankind. It explains a lot in the rapid (accelerated) growth of not only practical, experienced knowledge and skills, but also in the formative possibilities of the spirit: the ability to manifest itself in forms of unique perfection. Thus, the aesthetic attitude, embodied in artistically perfect images, refers to the fundamental components of the worldview, is one of its main characteristics.

Note that the individualization of experience is

the thetic attitude and its consolidation in artistic phenomena is a long historical process. Thus, already in the days of ancient Greece, along with the affirmation of the cosmic integrity of the world, and consequently, humanity as an integrity, the value of an individually unique experience of attitude begins to form and assert itself, objectifying itself in the uniqueness of artistic images (images of gods personifying the uniqueness of skills, knowledge, etc.) according to the aesthetic certainty of the figurative language of art. The phenomenon of going beyond the established canons of formation is due to the convincing individual vitality of images. They deepen the idea of ​​the life of ideal entities embodied in sculptural, architectural, poetic, musical images.

The integrity of attitude to the world is inherent in cultures with a sufficiently high level of division of labor, and consequently, differences in the experience of practical activity, confirms the inalienability of images of perfection from ideas about the value content of their experience.

The period of the formation of the first states is distinguished by the active formation of ideal images of universal indifference. The content of the attitude testifies to itself not only by the scale of formation, which will require the efforts of a huge number of people, but also by the certainty of the qualities of the images, radiating strength and grandeur. It encourages creation, that is, mobilizes knowledge and skills, the need to consolidate the subject of an indifferent attitude in the most convincing manifestations of its qualities for the senses. In this way, universality is affirmed in art. Even at the level of a separate image, it affirms the idea of ​​​​integral vitality, sometimes as a reality, sometimes as a desired goal and convincingly shows the destructive consequences of disharmony and confrontation in relationships for the spirit. The concept of integrity, as confirmed by the above, is concretized and begins to be interpreted as a consequence of the conscious efforts of the individual, and not as something given. This is the source of self-awareness by the subject of himself as a self-creating, self-forming force. An experiential attitude to the world gives impetus to understanding its laws and searching for one's place in it. If we compare religious-mythological and secular experiences of attitude, then the differences between them are already in the way of reflection. The canonicity of images is characteristic of the art of the first type, that is, religious and mythological. Thus, it shows the stability of the vision of the image of perfection and the constancy of the response to it. The wealth of experience of subjects of relations with the world and with themselves, objectified in "secular" art, causes a wealth of creative manners, styles, trends, methods, and movements. Let us ask ourselves: what is decisive in the aesthetic image of one and the second type of art? What is the purpose of one or the other? The first is addressed to the feelings of the subject and aims to form images of the world that ensure the constancy of the relationship, and therefore, in reality, the constancy and expectability of relations. The secular image of the relationship is addressed to the cognizing subject and directs him not only to experiences, but also to reflection on the relationship, and therefore, to their conscious choice. The criterion here is not the givenness of the sample, but not the stability of the relationship as a criterion of its value, but the activity of the subject of creating relationships - the activity that asserts him as a thinking and experiencing person. A valuable achievement here is the unity of spiritual structures, achieved by the unity of reason and feelings in relation to the object of indifference.

The integrity of the image of the world for a long period of artistic development was fed by the energy of community, the public experience of experiencing the relationship to it. Here the principle of the binding force of connection operates, and acts as the "truth" of the world in the experiencing experience of subjects. The essential nature of connections lies in the fact that they determine the way of seeing reality as a universal whole. That is, connections have an essential character, since they determine the morality of the experience of attitude to the world.

The integrity of relationships, fixed in the images of art, significantly deepens the level of aesthetic experience of society, revealing the essential and natural in it, because the experiencing and evaluative attitude to the objects of indifference fits into the objective ways of their manifestation. That is, they are not evaluated, not about them, but they themselves speak about themselves: they are revealed by their qualities in "living" functioning. Perceiving art, the subject gets the opportunity to realize the patterns of connection between the qualities of the subject of the image and the artist's attitude to them.

The spiritual experience of the aesthetic attitude, fixed in the artistic and figurative language of art, remains the main source of formation of personal spiritual experience. It contributes to the formation of aesthetic certainty of relations. Art is the main source of replenishment of the spiritual experience of the individual and society, acquired in the perfect way of communication with perfect objects of communication. The spirit appears in art as a synthesis of ideas of reason, rational knowledge, experiencing attitude to the world, produced

imagination, fantasy, intuition, forms an organic integral certainty in the integrity of artistic images. Thus, art is one of the forms of spiritual experience, capable of consolidating an aesthetically perfect attitude to the world as an intrinsically valuable type of experience, as a source of human spirituality.

Questions for self-assessment

1 Define the concept of "art", reveal its uniqueness as a type of spiritual experience

2 Define the methodological foundations of the analysis of art in the philosophy of I. Kant

3 Analyze the concept of F. Schelling on the value of philosophy as a methodology for analyzing art

4 Reveal the place and significance of artistic elements in the subject-practical formation

5 Characterize the relationship of the formative skills of the subject and the spiritual and creative nature of consciousness

6 Reveal the wealth of types of aesthetic formation and their significance in the spiritual self-development of humanity

7 Give the differences between subject-practical imagery and artistic image

8 Give the differences between mythological imagery and artistic image of art

9 Define and justify the main goal of artistic and creative activity

10 Analyze the dialectic of the universal and the individually unique in the sense of artistic image

11 Characterize the origins of art

12 Reveal the symbolic nature of the figurative language of art and characterize the historical process of its formation

13 Analyze the features of art as a form of social consciousness

14 Reveal the qualitative characteristics of art as a type of spiritual experience

15 Justify the spiritually formative ability of art as a special type of spiritual experience

Sample answers
1. Define the concept of "art", reveal its uniqueness as a type of spiritual experience
Art is a form of human activity that expresses aesthetic ideas and emotions through the creation of works of art. Art is a unique type of spiritual experience, as it allows you to convey complex feelings and thoughts, evoking emotional and intellectual responses in the viewer.

2. Define the methodological foundations of the analysis of art in the philosophy of I. Kant
Kant in "Critique of Judgment" establishes the foundations for the analysis of art through the categories of the beautiful and the sublime. His methodology includes:

Judgement of taste: subjective, but universal judgments about art.

Disinterested pleasure: an assessment of art without utilitarian and personal interests.

Purposefulness without purpose: art is perceived as harmonious and integral, without pursuing a specific goal.

3. Analyze F. Schelling's concept of the value of philosophy as a methodology for analyzing art
Friedrich Wilhelm Joseph von Schelling believed that philosophy is an integral part of the analysis of art, since it allows one to understand the internal connection between nature and spirit. Schelling argued that art is the highest form of expression of the Absolute, combining reality and idea. Philosophy helps to reveal this connection and understand the aesthetic value of works of art.

4. Reveal the place and significance of artistic elements in subject-practical formation
Artistic elements play an important role in subject-practical formation, since they:

Contribute to the development of creative and technical skills.

Enrich the process of learning and professional training.

Inspire the creation of innovative and aesthetically attractive products.

5. Describe the relationship between the subject's formative skills and the spiritual and creative nature of consciousness
The subject's formative skills, such as observation, imagination, and creativity, are closely related to the spiritual and creative nature of consciousness. These skills allow a person to transform their inner experiences and ideas into artistic forms, creating works of art that reflect their spiritual world and promote self-knowledge and development.

6. Reveal the wealth of types of aesthetic formation and their importance in the spiritual self-development of humanity
Aesthetic formation includes many types, such as music, painting, literature, dance, architecture, and theater. These types contribute to the spiritual self-development of humanity, since they:

Develop aesthetic perception and taste.

Cultivate moral and cultural values.

Stimulate creative and critical thinking.

Strengthen a sense of belonging to the cultural heritage.

7. Give the differences between practical imagery and artistic imagery
Practical imagery: images and symbols used for applied purposes, such as design, architecture and advertising. The main goal is functionality and practical application.

Artistic image: creations designed to express aesthetic ideas and emotions. The main goal is to evoke an emotional response and aesthetic pleasure in the viewer.

8. Give the differences between mythological imagery and artistic imagery of art
Mythological imagery: images and symbols associated with myths and religious beliefs. These images often explain natural phenomena and human experiences

I through supernatural plots.

Artistic image: images created by the artist, not necessarily related to myths or religion. They can be based on reality or fantasy and are intended to evoke aesthetic pleasure and an emotional response.

9. Define and justify the main goal of artistic and creative activity
The main goal of artistic and creative activity is the expression and transmission of complex ideas, emotions and experiences through the creation of aesthetically significant works. Artists strive to evoke an emotional response in the viewer, enrich his inner world and contribute to the spiritual and cultural development of society.

10. Analyze the dialectic of the universal and the individually unique in the sense of the artistic image
The artistic image combines the universal and the individually unique:

Universal: common themes and motifs that can be understood and meaningful for a wide range of people.

Individually unique: the artist's unique vision and style, which makes his works inimitable and original.

The dialectic of these two elements creates the richness and versatility of the artistic image, making it significant both for a specific viewer and for society as a whole.

11. Describe the origins of art
The origins of art lie in ancient rituals and ceremonies, when people used images and symbols to communicate with the spiritual world and express their emotions. Primitive cave paintings, ritual masks and dances are examples of early forms of art that played an important role in the social and religious life of society.

12. Reveal the symbolic nature of the figurative language of art and describe the historical process of its formation
The symbolic nature of the figurative language of art lies in the ability to convey complex ideas and emotions through images and symbols. The historical process of the formation of this language includes:

Ancient rituals and myths, where symbols were used to convey spiritual meanings.

Medieval religious art, saturated with iconography and symbolism.

The Renaissance and subsequent periods, when artists began to use more complex and individualized symbols to express their ideas.

13. Analyze the characteristics of art as a form of social consciousness
Art as a form of social consciousness reflects and shapes the cultural, social, and spiritual aspects of society. It performs the following functions:

Reflection of reality: shows the problems and achievements of society.

Formation of public opinion: influences people's views and beliefs.

Transmission of cultural heritage: preserves traditions and customs.

Emotional and spiritual impact: evokes strong feelings and promotes personal growth.

14. Reveal the qualitative characteristics of art as a type of spiritual experience
The qualitative characteristics of art as a type of spiritual experience include:

Aesthetic value: art evokes aesthetic pleasure and admiration.

Emotional depth: works of art evoke strong emotions and experiences.

Symbolism: art uses images and symbols to convey complex ideas.

Intuitiveness: the perception of art is often based on intuition and subjective experience.

Creativity: Art is an expression of human creative potential.

15. Justify the spiritual-forming ability of art as a special type of spiritual experience
Art has a powerful spiritual-forming ability because it:

Inspires and awakens: Art inspires new thoughts and actions, awakens creative energy.

Enriches the inner world: Works of art expand the horizons of perception and enrich the inner world of a person.

Stimulates self-knowledge: Art helps to understand one's feelings and thoughts, promotes personal growth.

Strengthens spiritual connection: Art creates a sense of belonging to a cultural and spiritual community, strengthens ties between people and generations.