12 ART AS A KIND OF AESTHETIC ACTIVITY AND A FORM OF SOCIAL CONSCIOUSNESS 12 1 Aesthetic Principles of Art Analysis

Art has developed in the spiritual experience of mankind as one of its specific types. It is typical for him to have a holistic, concrete and sensual consolidation of the skill of a person's indifferent attitude to reality by means of an artistic figurative language. The subject of indifference acquires a distinct vitality in a specific artistic and formative activity. images expressive in their own vitality in the artistic image have the same valuable ha the actor In the art-forming activity, the spirit objectifies itself, acquires an expressive vital fullness. It is organized and inspired to create its own image thanks to the subject of non-indifference. Therefore, in art weighs not what is depicted, but what is shown, that is, how much the spirit is filled with the ability for free the same deployment, inspired by the content of the goal of indifference. Expressive forms of reality and an indifferent attitude to them of the subject of a relationship assert freedom of creative interaction as the highest spiritual value. It acquires its convincing, sensually visible manifestation in a perfect work of art, arises from an intrinsically vital integrity. Art as a social value, as a self-valued activity and a form of spiritual experience forms a particular ideal reality. Art is a specific form of social consciousness and a spiritual form. formative activity, reflects reality in holistic, concretely sensual, artistically expressive forms according to the idea of onalostі.

In the languages ​​of different peoples, the concept of art has different semantic nuances: For example, in Ukrainian it is derived from the word myth (myth ), which means an expressive story about the phenomenon In Russian concept the artist comes from the word skillfully , i.e. The emphasis on mastery of the image. The English term art means a skillfully made thing, therefore it is used in language both to describe art and the arts. Thus, in different languages, the meaning of a concept is very close and testifies first of all to the ability of consciousness to form an expressive integrity and masterfully reflecting the richness of the nuances of the life of the spirit, who embodied himself in objects of indifference and sense of nuance of life to the spirit, so that he absorbed in himself nebaydzhuostі.

Analysis of art as a special type of spiritual experience, different from other types of art, was first made by Aristotle in the famous work Poetics Recall that the art philosopher singles out as a special type of spiritual experience, compared with scientific knowledge. Another important aspect of aesthetic analysis is understanding art as a special kind of formative activity, creates expressive in the way of the image and internally completed in content the logic of the image of events, phenomena, relationships, in accordance with the idea. Plato's osophism, the concept of idea , applied by Aristotle regarding art, made it possible to determine the basis for its difference from other types of experience. by providing them with the necessary vitality in themselves in the logic of the work as an artistic whole whoor yak artistic whole.

In the further history of aesthetics on the basis of the laws of artistic formation, the unity of the idea and image examines the wealth of the formative capabilities of the spirit, is consolidated in holistic, aesthetically expressive artistic forms. This is an angular problem in the aesthetics of late Hellenism (Plotinus). in particular music (Augustine, Boethius) and lived descriptions (Basil the Great) The subject of particular attention to aesthetic theory in the Renaissance e art ivopisi (Alberti, Leonardo da Vinci, Dürer), the broader aspects of the essence of art is defined as an artistic reflection of the idea of ​​beauty, especially in the aesthetics of English empiricism, philosophy, German and French Prosvescheniyatstva.

A qualitatively new stage in the understanding of art as a special kind of spiritual experience is connected with the works of outstanding representatives of German classical philosophy and for the first time Kant substantiated the originality of art and, as a sphere of spiritual experience, asserts the intrinsic value of a free (practically disinterested) person’s attitude to the world. in the artistic activity of the meaning of the self-valuable universal subject of indifference, as Kant proves, there is a beautiful It likes all no clue , because the universal and the particular are in it, the purpose and the means, the concept and the subject are interconnected in each other. So, the beautiful in art is a sensual manifestation of the idea. The special (image) in it corresponds to the concept. , the inclination is not only brought under all agal categories of reason, but also so expediently connected with the universal, which appear adequate to him The opinion is embodied in the artistically beautiful and exists freely in it In other words, in the arts and contemplation and feelings and elevated to the universal, and the idea turns around the sensual objects of indifference, not abstracting from them, but joyfully enjoying the richness of their manifestations. Note that it is precisely the philosophical theory of art that is determined by the works of Kant as the methodology of aesthetic analysis of artistic analysis.

The aesthetics of F. Schelling (Philosophy of Art ) contains a theoretical justification of art as a specific type of spiritual experience. The philosopher emphasizes that a deep understanding of the essence of art is possible with ishe, provided it is philosophical analysis. Consciousness of an ordinary subject of value judgment, uses only sensual impressions of phenomena, unable to comprehend the work as an artistic integrity and with the position of the universal to discover the depths of the manifestations of the creative spirit of the artist, unfolds in its rich within the work as an aesthetically definite inner vitality, the Philosopher convincingly proves that the number of people touched, captured, inspired by the work was honest: they never wondered why, by what means, the artist manages to capture their feelings, to touch them to the depths of the soul And therefore feelings are passive in nature. They never think how to rise above low feelings towards a higher, more active, i.e. comprehending the experiences of art The philosopher categorically and justly states: He who is not able to rise to the idea of ​​the whole is completely unable to have a judgment about one of the works of art [13, p 57] Note that this is a truth of judgment a therefore, F. Schelling emphasizes the importance of philosophical analysis of art for understanding the specifics of spiritual experience, which is fixed in it, and the specifics of its methods of consolidation. In unity, this allows you to reveal the originality of the life of the spirit in art and the place and role his consolidation of the spiritual achievements of mankind in the historical progressions of the people in the historical actions.

The philosopher emphasizes that art is a self-valuable type of experience, because the only, almost completely includes the the most sublime objects of our admiration Explaining the opinion, he observes that art as a spiritual integrity is an organic whole, equally necessary all their parts, like nature [13, p. 56] Artworks are not assimilation to nature in the sense of imitating its forms in images. Works of art (and this is a criterion of their aesthetic value) arise taking into account the logic of their inner life nennosti as appropriate and necessary in all its elements, as well as the phenomena of nature in this, it would be expedient in the inner vitality of the images, is the similarity of art to nature should be noted the importance of this idea as a methodological basis for the understanding of iskusstvzumіnnya sutnostі Mistetstvo.

F. Schelling draws attention to the different perceptions of expressive manifestations of nature and artistic forms. Contemplate the richness of forms inherent in nature is a source of great pleasure, as well as delve into her study. Nature is an inexhaustible source that countless expressive phenomena Even more interesting is the penetration of into the body of art, because in it, with absolute freedom, a higher unity and regularity is created, which allows us to comprehend the wonders of our own of the spirit is much more direct than we comprehend the nature of Let us dwell on the analysis of this thought, because it reveals the most essential thing in understanding art as a creation activity due to the deep needs of the human spirit. Spirit is the organizing principle of a work as an ideal-real integrity. Life of a work unfolds by its own laws. do not contradict the laws of life, but have their own characteristics, due to the degree of expediency, fullness of life The image metadata.

The philosopher draws parallels between three forms of spiritual experience: sensory perception, aesthetic-artistic formation and philosophical understanding of the content. Sensual contemplation gives us a wealth of sensual impressions of expressive forms of reality in their inexhaustibility. and the process to her Nature opens up with this inexhaustibility, stimulating the need for knowledge of the world I systematize the laws of its development Qualitatively different type of relationship contains the experience of artistic creativity. Depth in its patterns F. Schelling considers even more inspiring phenomenon, because it reveals the greatness of the human spirit capable of creating a higher unity in the free creative upliftment, appears to be a work of art. rightly calls works of art internal organisms , emphasizing their vitality, i.e. internal logic of the development of qualities A convincing in itself expressive vital image of art evidences the fullness and richness of the formative spirit of the artistic spirit of the mitz.

What has been said about the essence of art as the formative ability of the spirit reveals such a specific feature. If philosophy is only a sphere of the ideal, then an internally expedient combination of the ideal and the real occurs in art. And the art appears as the personification of the unity named in the forms of perfection. They are related as a prototype (idea) and mapping (the sensual reality of the vitality of an image) with an emphasis on this pattern of communication between two forms of spiritual experience is important because, as noted by F. Schelling, both forms of They make a reflection of the essence of the spirit. Since the ideal is always higher than the display of the real, the philosopher is forced to realize in concepts a perfect reflection of what is real in the artist. Thus, art is a necessary form of objectification of the spirit, because forms of art are forms of things, but not things as physical reality, but things in themselves , the things they are in first images are, art is the personification of the idea of ​​things, received riches of inner vitality Moreover, recognizing a special place and a special role and kusstva in the spiritual experience, the philosopher emphasizes that it represents the truth of the highest order: is a complete unity with the absolute beauty of this truth of art can only achieve fil osofiya because the sensual form of artistic beautiful it is able to discover the truth is zdatna vіdkrivati ​​іstinu іdey.

F. Schelling formulates an equally important difference between the sensually perceived forms of the objective world and the artistic life of objective forms. In the real world, real things are only an imperfect reflection of the essence (before that-image). The difference is in the fact that real things are objectified in it, i.e. peculiar to the first image (the idea of ​​a thing) of perfection and reproduce the intellectual world, and not the world as a material real reality.

Based on the philosophical analysis of art as a sensual personification of truth (ideas), i.e. manifestations of absolute beauty as the highest spiritual value, F. Schelling for the first time substantiates the historical character of the artistically beautiful. He belongs to the formulation of the idea of ​​the historical character of art. In it (in each of its specific forms) the concretization of the idea in the process of its formation is inevitable character, although its historical certainty is not absolute, but a dialectical unity of the universal and the particular as in Ana forms in which bektivuetsya in spirit, and in the fullness of its content proyavleniiyavіv.

The regularities of the historical development of art, formulated in the aesthetics of F. Schelling and revealed on the basis of an analysis of the dialectical connections of the idea and image, receive a detailed analysis in the aesthetics of Hegel. The previous tradition of understanding art as a sensual image of the absolute, as well as understanding it as a unity of form and content, where the content is an idea, and the form is a sensual, imaginative television, Hegel puts forward the criterion of the artistic perfection of art. Such a criterion is spirituality conducting, and the factors causing its qualitative certainty, is such a degree of internal unity of the idea and its image, in which they form the internal integrity of the entity.

Opinion, already known from the work of F. Schelling, acquires a new dimension in the philosophy of Hegel in the sense that spirit in sensually perceivable forms unfolds in the service of perfection, overcoming not only different types of mind (art, philosophy, religion), but also various historical stages of development within the framework of art. Modifications of the dialectical connections of an idea and an image determine the completeness and depth of perfection of the expressions of the spirit in the forms of art. This is the way of its development by steps of substantial fullness corresponding to a creative change of types of art. These are forms in which the spirit as an artistic whole acquires the consciousness of itself [3, p. 78] In particular, the uniqueness of the unfolding of ideas in the forms of beauty in art, it is specified through specific art forms. Hegel identifies three types of relationship between the idea and its shaping: symbolic well, classical and romantic Ideas of the historical development of art, having received a philosophical justification, serve as a methodology for analyzing the laws of the process. These are the laws of ascent of the spirit of services The philosopher notes that the deepening of the adequacy of the embodiment of the idea in the image. Without taking into account these laws, the understanding of the essence of art is simply impossible. Sensual forms in which spiritual experience of the epochs was invested, especially the figurative language, which the spirit organized for self-manifestation, unleash spirituality as a real process of its acquisition and consolidation in the artistically perfect integrity of the works of art Myschetstva.

An important aspect of the philosophy of art as a methodology is the understanding of its place in the spiritual experience of mankind, and consequently, its social purpose. This aspect of aesthetic analysis was first comprehensively understood in the work of F. Schiller's Letters on Aesthetic Education. Going deeper into the analysis of the inner life of the spirit, the philosopher puts forward the idea of ​​the freedom-free integrity of beauty as the essential features of art. In him to unite sensible and sensible beginnings, forming interpenetrating integrity. Art integrity ennoy beauty forms a specific sphere of spiritual experience, defines its purpose in particular human mirelyudskomu svіtі.

On the basis of the aforementioned feature of art, the philosopher builds a fundamental theory of aesthetic education, realizing its goal as the subject receiving integrity and vital fullness of spirit on the basis of aesthetic and artistic experience. The purpose of aesthetic education, according to Schiller, is the development of senses and inclinations in which they arise intelligent сами в себе и способны реализовать свободной творческом взаимодействии всех духовных структур человека, приобретя выразительной полноты и жизненной глу ины В восприятии художественно прекрасного духовные структуры - созерцание, чувство и мысль - приобретают согласованности и в своем отношении к чувственно прекрасного Эта проблема осмыслена также в анализируемой труда Ф Шеллинга Обосновывая ценность духовного опыта, сконцентрированного в искусстве, философ подчеркивает, что бе из него сознание человечества не могла бы подняться над чисто эмпирическим уровнем [13, с 56-57] Большое внимание уделяет ей Г Гегель (Лекции по эстетике) Всеобщая и абсолютная потребность, с которой возникает мист цт во, как отмечает философ, есть потребность удвоить себя не только как предмет природы, но и как духовную реальность Человек осознает себя, во-первых, теоретически, во-вторых, практически Высшая форму закрепления ценностям и бытия во внешних чувственно воспринимаемых формах дает нам искусство всеобщего потребность в искусстве, а следовательно, и необходимость его философ видит в разумном стремлении человека духовно осознать внутренний и внешний мир, воплощая его в внутрь целесообразных способах бытия, удваивая тем самым себя как духов ую реальность Названа потребность, в свою очередь, приводит развертывания культуры чувств содержанием духов ного опыта, который закреплен в искусстве частности, формируется способность восприятия прекрасного - сущностной признаки искусства и развития на этой основе чувства прекрасного Несмотря ценность искусства как ис рела развития культуры чувств, выше его назначения философ видит в совершенствовании человеческого духа художественно совершенным воплощением в искусстве идеи прекрасногмистецтві ідеї прекрасного.

Согласно сложности искусства как феномена, выделяют несколько типов категорий, отражающих его закономерности: специфического типа опыта и специфического способа его создания и функционирования

Это категории онтологии искусства (художественное произведение, художественный язык, художественный стиль, художественный метод, вид искусства, жанр искусства и др.); категории гносеологии искусства (художественный образ, художественная идея, худо ожня типизация, символ, метафора и др.); категории семиотики и структуры искусства (творческая манера, композиция, сюжет, фабула, ритм, интонация и др.); категории аксиологии искусства (художественная истина, ц иннисть), категории социологии искусства (народность, тенденциозность, публика, художественная критика, элитарное и массовое искусство и др.); категории герменевтического анализа искусства (понимание, толкование интерпретация и др.); категории эстетического восприятия искусства (катарсис, переживания, диалог) и др. [5, с 68 с. 68].

Итак, искусство - это творческая способность формировать идеальный образ реальности согласно законам красоты в пределах произведения как художественного целого Потребность художественного формирования обусловлена, во-первых, необходимостью при акрипиты и удерживать приобретенный человечеством опыт духовных связей с миром в его самоценности Во-вторых, утверждать целостность опыта во внутренне целесообразных универсальных художественно-образных формах как наиболее подходящий его сущности В-третьих, раскрыть неповторимый мир личности, заключенный в совершенные художественные формы, сделав его достоянием духовного опыта человечестватва.