16 2 Art styles - the general concept of the system art

The objective dialectic of self-development of society in the richness of the trends of spiritual life is fully reflected in the system of concepts: style , direction , flow , method , manner

Modern aesthetic theory chooses the concept of direction as the original, seeing in it an effective means of systematizing art. It can reveal the dialectic of typical and individual, universal and comprehensible mainly in the art of the New Age - a period when the individualization of the spiritual experience of humanity is extremely deepened, creating wealth directions, trends, style manners in various types of cape tzetsva. The study of the problem takes place mainly on the material of literary literature.

If we consider the patterns of artistic development throughout its long history, then the approach proposed at the time by Hegel is more fruitful. To systematize the patterns of historical life and art, Hegel applies the concept of style. Style as a category of artistic creativity reflects the inner unity of the figurative system and means of artistic expression, generated by the artistic idea and practice of its sensual embodiment in the material of art, Hegel proves that the style in art tve is the "volumetric" concept. It embraces the specifics of art as a sensual embodiment of an idea, there is its essential feature. Understanding style can also be extended to certain laws of the artistic image arising from the nature of the art form in which the image is presented. , in music, church and opera style, in the painting of ISU - the style of historical paintings and genre works, etc. The concept of "style" also comprehends the type of artistic thinking; osyagaє takozh type of artistic mislennium.

The system of concepts, reflecting the historical life of society, embodied in the language of art, began to take shape in the 18th century. True, the concept of "style" has been known in European culture since antiquity. At first it was used in a purely philological sense to explain the features of sentences and writing In this sense, it was rooted in the poetics and rhetoric of antiquity and the Middle Ages. The purpose of the style was to observe proper phraseological turns and vocabulary depending on the type of literature (ancient the three styles remained until the era of classicism) and Winckelmann applied it in a wider sense: to designate the artistic development in general, F. Schiller ("The Beautiful in Art"), following Winckelmann, connects the beauty of artistry with the presence of style, ie . considers style as a type of artistic creativity. By this concept, features of the artistic language, expressive means caused by the material of art and the subject of the image are perceived. In contrast to the artist’s subjectivism (man era), the style is considered the highest image independence from all subjective and objectively random definitions [22, p. Signed [22, p. 57-58].

Romantics consciously strive to create a stylistic unity of art, relying, on the one hand, on the experience of classical Greece, and on the other, on folk art. In their work, style is recognized as the basis of their artistry. The style is associated with the artist’s individual work, but embodied in it. Participation of the artist to the infinite, divine. In the poets of romance they see the prophets foreshadow the liberation of mankind from the oppressive reality by creating the poetic world ).

Hegel discovers the natural in the development of art based on the stylistic unity of its types. He views style as artistic image corresponds to the nature of the depicted and the nature of a certain type of mystical. The concept of style in this sense is contrasted with the manner. According to the philosopher, the manner arises because the artist proceeds from his own whims. , instead of respecting the laws of artistic formation. Based on the history of the artistic development of mankind, it combines all the wealth of the lawsuit. The qualities in a certain system of creating artistic forms Therefore, their stylistic features are placed in a symbolic, classical, romantic form [4, t 2, pp 7-10c. 7-10].

Later, precisely on the basis of the ideas of Hegel, the study of the regularities of artistic development is also carried out by famous art historians (A. Wrigley The emergence of baroque art in Rome ; G. Wölflin Renesmey Sans and Baroque , Basic concepts of the history of art The problem of style evolution in New art ; Veidle Dying art and others.) In the work Renaissance and Baroque G Wöllflin analyzes the style of epochs as a history and typological formations successively replacing each other Veidle connects especially fruitful The periods of artistic development of the society with the stylistic unity of art. He sees the sources of the general in artistic formation in the psychology of the era D. Likhachev specifies this idea, considering that the concept of style of eras characterizes those periods of artistic development when there are no separate directions in the art and indie intellectual styles of artists, i.e. style is formed on the basis of artistic canons [12, p 166] Ukrainian researcher D Nalyvayko describes the style as a universal category of artistic creativity, noting that it is not the form itself, not the synthesis of forms, but the "formative principle that permeates the structure of the work" [16 , p. 26] M. Kagan notes the objective definiteness of aesthetic and artistic qualities of a style: it is conditioned by a certain content, but is itself a quality of form, a law of its structure [10, 727 styling: wіn zumovleniyu singing, e he Je yakіstyu form, the law її Budova [10, p. 727].

the comprehensiveness of art by the concept of "style" manifests itself on several levels: firstly, at the level of the historical life of art (Large style), secondly, at the level of the national identity of artistic life; thirdly, at the level of stylistic peculiarities of artistic trends and trends; fourth, at the level of individual artistic styles. Finally, we can talk about the style of a separate literary creative work.

Large styles in art Style as a structural unity of the imaginative system and methods of artistic image used to characterize the originality of art in historical eras is defined by the concept B Large style The wholeness of life of historical eras centered around symbols of general indifference is the basis for the creation of Great Styles In the symbolic imagery of Great Art styles reflects the most essential thing in spiritual experience, that is, what exactly consciousness considered absolute (H. Hegel) Because soda The neighing of experience is embodied in the symbols of universal indifference, they include the principle of their formation.

Considering the regularities of artistic formation, the history of mankind can be divided into three stages. Historically, the earliest and longest is the syncretic artistic stage. It began about 10 thousand years BC and lasted until III-II thousand BC in regions of North Africa, Asia Minor. , India, China, the Black Sea region (areas of the earliest cultural development) Elements of artistry at this stage are not too powerful from practical life and have not received a specific type of activity, which is TVO is characteristic of this stage is the penetration of figurative elements in different types of practice It is a phenomenon of symbolization content of activity and its consequences, the period mifosvidomosti with elements of artistic hudozhnostі.

The second stage in the history of artistry - the epoch of art development itself. Its historical time - from the formation of the first states (PG-BC millennium BC) to the end of the XIX century in this epoch in which artistry reaches its heights, is rich in species and genres. , stylistic diversity, diversity of trends, trends, methods. Art is interpreted in this period as the leading type of spiritual experience, it reinforces knowledge of Ann, practical skills, and ideas about the world in a holistic, sensually perceptible form. It develops within the framework of the Great Styles. According to Hegel’s characteristic, this is a symbolic, classical, romantic form of art. Within this stage, art is defined as the leading form of social consciousness, influenced by all others (religious, moral, philosophical, political, etc.) .I am thin tosh).

The third stage is the stage of post artistry. It begins at the end of the 19th century and is characterized by the destruction of the integrity of the image of the world, the loss of spiritual certainty of the content and artistic image of art, domination of the subjectivism of stylistic manners, the essential certainty of art as a certain type of spiritual experience embodied in a special, integral, artistic-figurative language. Therefore, the mystery loses its significance as a spokesman and the formative force of the spiritual experience of society and an individual. informative functions of art pass to science Disappears the connection of art with practical forms (Its aesthetic formation takes its place: the construction of objective forms) Art also loses its connection with morality, since the spiritual life of the individual ceases to be the main subject of creativeness Spirituality, which is always historical heyday was the main content of art, replaces entertainment as such. It appeals not to the feelings, but to the emotional sphere of the subject, because the need to replace and comprehending the experiences of the subject of indifference. During this period, art finally loses its essential certainty - the artistic and figurative nature.

As already noted, the most fruitful stage in the history of the artistic development of mankind is the era of the Great Styles, which were invested in three main artistic forms: symbolic (the art of the early civilizations of the Middle 3rd century); classical (ancient Greek and Roman art); romantic (art of European countries from the Middle Ages to the XIX in the inclusive) Style-educational factors they have the originality of portrayal of ideas (content of art) and form (sensually-figurative embodiment of the idea) This is the problem of the internal expediency of the form, organizes the deployment of the idea of ​​the work in its entire life fullness The artistic form is designed to reveal the spirituality of the content, its expressive inner vitality - the expediency of just such a way of artistic being 3 Considering what has been said Generic form is the main element of the creation of style. It is a steady utterance that comprehends the spirit of the time, the atmosphere of historical epochs, fixing the amplitude of form unfolding within the style takes place mainly in the direction between the more perfect and less perfect, i.e. there is a problem of skill level, not a way of seeing a battered one.

The peculiarity of the form is due to its time: the life style of the epoch. Say, the high ancient tragedy in the face of its prominent representatives of Aeschylus, Sophocles, Euripides reflects the Greek understanding of man as the "mortality of a fine god." the narrowing of the scale of a human character Conflict acquires a local content, communicating with the daily course of events Into the inner world of a tradesman-personality, the opposite of a high spiritual impulse, heroic and tragic pathos, character for ancient heroic hero.

The spiritual basis for creating a style is a universal personal idea. Thanks to the aesthetic definiteness of its manifestation, it fits into a holistic image-symbols. This is an idea capable of acquiring vital fullness, tangling into expressive, sensually perceptible, artistically perfect ways of manifestation. due to the integrity of the worldview on the basis of mythology (within the limits of symbolic and classical art forms) and religion (romantic form skusstva) The image of the world and human existence in them given - determined by the content of faith. Therefore, the Big style is a cultural education, which is a consequence of the emotive-caring, aesthetically certain attitude of large human communities to the general images of indifference (gods of mythology and gods of monotheistic religions) Reality appears in them not so much as a parameter of logical cognition and reflection (forms of relationship, alienate the object of indifference from the sensual fullness of his being), as much as the subject of feeling by email

The character of images given by a myth or religious canon, leads to the canonicity of the artistic form. The artist’s efforts are directed to creating an image consistent with the sample. Canon as an aesthetic way x artistic shaping is organic for Great Styles. He is called to assert eternal character over personal ideas. nourishing the spirit of the community of formation within the canon leaves unchanged the spiritual essence of the image. Diversity is carried out mainly due to individual details, to torye deepen the nuances of relationships, without changing the essence of the manner in which nested symbols of faith are realized as inspired by higher forces, prompted imimi forces pіdkazanі them.

Large style - a holistic system capable of self-development. Hegel reveals the logical nature of style development based on the dialectical connection between an idea and an image, identifying three types of relationship between an idea and its shaping. In symbolic art, the idea has not yet received a substantial certainty in itself. artistic language A striking example of it is the art of ancient Egypt. Let us say, the figures of sphinxes (a creature with the body of a lion and a human head), being the personification of the royal Fins, clearly demonstrate the conventionality of such symbols, abstract forms of embodiment comes іdeї.

The second form - the classical artistic style - eliminates the conventionality of symbolic figurativeness. It is inherent to the idea and the way of its artistic embodiment, namely: the idea of ​​perfection acquires an expressive, defined life in a human form. It is the most appropriate content of the idea. On this basis, Hegel rightly notes that It is classical art that creates a completed ideal and allows one to contemplate it as a realization. Such is the ancient Greek art. In it, an idea takes the form of a natural personal spiritual being [4, t 1 to 84] It characters tragedies Behila, Sophocles, Euripides; heroes of sculptural works The Field of the Cage, Phidias, Praxitel, Agesandra In the Greek sculpture of the classical era, the human body in its spirituality is a manifestation of the consistency of the human spirit: it occupies and organizes the matter of human life.

The third form - the romantic artistic style - breaks away from the unity of the idea and its sensual embodiment in the figurative language inherent in classical art. Recall that in the classical art form the spiritual and sensual bumps appear as perfect correspondence to each other. It is this view that is objected to in the romantic art form. A new type of inconsistency between the artistic idea and its sensual embodiment, the Dux unfolds on it as an infinite subjectivity of the idea, cannot adequately embody while the corporeal form is the only definite way of its being of the romantic style, the self-conscious inner ne life is inherent. Unlike the sensual ideas about the forms of being of the spirit that are characteristic of previous types of art, romantic art goes deeper into the inner spiritual life and makes it its material and its content. Romantic form art arises the most expanded and sublime manifestation of the vitality of the spirit in its inexhaustible wealth. This form is characterized by the fact that the subject art is free concrete spirituality It should serve as a subject for inner spiritual eye is the vitality of the spirit should fit into a form that comprehends the richness of the nuances of its manifestation [4, t 1, with 86 ns yv yogo viyava [4, t. 1 , with. 86].

Итак, диалектика саморазвития трех Великих стилей характеризуется тем, что художественное движение осуществляется через отрицание отрицания: отрицание предыдущих форм, как таковых, которые исчерпали себя, для собе ортання нового уровня полноты воплощения идеи в образном языке искусства Если для символического искусства характерна незнайденисть образа для воплощения идеи вследствие несовершенства самой идеи, то для класса ческого искусства свойственна единство идеи и ее чувственного воплощения в образном языке искусства Идея духовности приобретает здесь адекватного чувственного воплощения в совершенном образе человека в вид: одухотворенной телесности Исчерпанность последней рождает новый уровень диалектической связи идеи и образа в романтическом искусстве Здесь идея как дух (всеобщая сущность) проявляется реальным бытием в полноте его в определенном жизни, способному к развертыванию внутри себя самого и с себя самого Каждый из названных Великих стилей реализует полноту своей идеи в каком-либо виде искусства: в символической форме - это архитектора ра; в классической - скульптура, в романтической - живопись, музыка и Поэзиоезія.

Каждая из названных исторических форм художественности внутри себя проходит три основных этапа, приобретая эстетически определенных качеств Во-первых становления идеи и формы, во-вторых, виднайденисть наиболее отв соответствующих образного языка, способной развернуть идею как можно полнее ее жизненности, в-третьих, исчерпанности возможностей дальнейшего развертывания духа в художественном языке искусства результате смысловой исчерпан сти самого духа Общим законом исторической жизни искусства является художественно прекрасное, предстает духовностью, которая получила чувственные формы своего воплощенияня.

Остановимся на некоторых более конкретных проявлениях диалектики идеи и образа, характерные для Великих стилей В символическом искусстве, наиболее яркое олицетворение которого - египетское, почти каждая форма симв волична Яркое ее воплощения - пирамиды - огромные кристаллы, внутри которых - внутреннее ядро\" - фигура фараона (пирамида защищает ее, выделяя из естественности как таковой) Более развита символика скульптурных изображений Колоссы Мемнона - массивные скульптурные изображения, нерозгорнутисть внутреннего мира которых проявляет себя не только в статике фигур, но и в отсутствии какого-либо душевного жеста у выражении лиц Символика египетского искусства имеет таинственный характер, что ярко выражено в фигуре сфинкса Г Гегель отмечает, что образ сфинкса - это символ самого символизма\" [4, т 2, с 71] Человеческий д ух здесь стремится вырваться из животного прочности тела, но не достигает желаемой мета, але не досягає бажаної мети.

Классический стиль сформировался на почве идеи всеобщности общественных интересов и внутренней свободы личности древнегреческого общества Соответствие всеобщему и особенного в духовном опыте бу ула основанием гармоничного мировосприятия Гармоничность мировоззрения прослеживается во всех произведениях, где свобода осознанная и получила определенности относительно своей сущности Идеал классического искусства предстает как наивысшее проявление красоты в форме пластической индивидуальности, духовно определенной и богатой Греческий народе осознал в лице богов в чувственной, созерцательной, воображаемой форме свой дух и крыша этим богам с вспом ощью искусства существования, вполне соизмеримо истинному смыслу , - отмечает Г Гегель [4, т 2, с 149] Это дух, получил истинную форму своего бытия Внутренний движение в образе отсутствует, а следовательно, отсутствует и движение художественных форм, приобрели законченного содержательного наполнения Именно поэтому греческая религия, за Г Гегелю, - это религия самого искусства;релігія самого мистецтва".

Возросшее доминирование идеи над образом в романтическом искусстве предопределяет особенности его стилевого развития Красота в средние представляется духовной субстанцией, сущность которой не узнаваемая В пред дметности она проявляется лишь как отражение высшей божественной красоты В разных видах искусства происходит конкретизация высшей божественной красоты Соответственно, развертывание ее образа имеет несколько уровней Первый - это укоренение духа в массивных архитектурных формах готических соборов (XII-XV вв) В стилевых чертах архитектуры имеется прямая форма создания образа духовной возвышенности: в виде направленности готической постройки на вертикаль В богатстве его декора воспроизводится богатство нюансов чувств Они обусловлены переживаниями собственной греховности, несовершенства, вполне открывается человеку перед обр азом абсолютного совершенства богочеловека Второй уровень это проявление духовности в чувственно данных живописных изображениях (XIII-XVI вв) Именно в романтическом искусстве дух предстает в образе единого Бога, единого ду ху, как абсолютная субъективность бы она не получила чувственно воспринимаемого образа, она была бы доступна только мышлению Благодаря чувственном воплощению абсолюта в человеческом облике ценность приобретает настоящий окр емий субъект с его внутренней жизненностью В его внутреннем мире приобретают жизни вечные моменты абсолютной истины, что является истинной именно как дух Идея духовности, положенная в основу живописного искусства, сосредоточивает его на раскрытии богатства духовного мира человека Лицо в неповторимости ее образа возникает основным предметом живописи, разворачиваясь неисчерпаемым богатством проявлений жизненности духа Искусств в Возрождения - период наивысшего расцвета живописи (фресковой, станковой) ввиду величия, титанизма образов (произведения Рафаэля, Леонардо да Винчи, Микеланджело, Тициана, Дюрера и др.ана, Дюрера та ін.).

Третий уровень - это явление духа в развитой музыкальной языке (XVII-XIX вв) Здесь он все явственнее господствует над материей\" образа Самоутверждение духа как гармонизируя силы мира осуществляется на этом этапе средствами ритма, мелодии, гармонии Музыка как искусство не только по содержанию, но и по форме имеет субъективное как таковое Звук как объективный способ существования музыки призван воспроизводить не предметность как, скажем, живопись, а мир человеческих чувств Музыка - это способ, которым разворачиваются самые сокровенные проявления самобытия духа в идеальной его самоорганизации в субъекте Своеобразие музыки как духовного феномена заключается в том, что она способна стихию чувств превратить в гармоничные чувства, благодаря мелодичной, ритмично организованной речи звуков Музыка - это душа, звучит, одухотворяющее звуки, вк ладаючы их в свободную согласованную единство, благодаря чему они приобретают духовной наполненности Подобно архитектуры музыка берет свои формы не из природного мира, а из духовного вымысла"духовного вимислу".

С одной стороны, музыка подчинена гармоничным законам звука, основанный на количественных отношениях, а с другой - благодаря их разработке и повторяемости такта и ритма она образует закономерные и симе етрични формы целом же музыке свойственно более свободное развертывание духа через мир гармонично организованных музыкальных звуков, чем, скажем, это позволяет скульптура или живопись В названном аспекте к музе ческого искусства близка поэзия, материалом которой также звукки.

Четвертый уровень романтического искусства - романтическая поэзия (укладывается в те же исторические границы, что и романтическая музыка) ее материал - поэтическое слово Подобно музыки разворачивает дух в символической их формах закономерно организованных звуков, образуя душу звуков\", язык поэзии чисто символическая Предмет поэзии - внутренняя жизнь духа, обращенного к самому В области внутренней жизни в формах у объявления, созерцания, чувств поэзия создает широкий объективный мир в единстве событий, настроений, размышлений и т.д. Предметом поэзии является духовность как таковая, есть жизнь духа самоценное в себе В поэзии духовные фо РМИ, т.е. внутреннее представление и созерцание, образуют материал художественного формирования, тогда как, скажем, в скульптуре - это мрамор или бронза, в живописи - краски, в музыке - звуки и т.п. Универсальность п оетичнои языка определена возможностями различных родов поэзии в их жанре, богатств жанрі, багатстві.

Итак, в романтическом художественном стиле, как и в более ранних Великих стилях искусства имеется внутренняя субординация видов Она отражает общую тенденцию художественного развития в историческом развитии, а именно: все глубже развертывания духовного начала учитывая его содержательной глубины и одухотворенности форми.

Национальный художественный стиль - особый вид стилетворення Большие стили к определенной степени связаны с национальным стилем Это понятие постигает собой и конкретизирует своеобразие духовного опыта отдельных народ дев и культур Богатством, разнообразием и неповторимостью национальных стилей и создается разнообразие художественной культуры человечества Начат становления национальных стилей - это период формирования этнических их культур Народы Древнего мира, в которых становления государственности опиралось на религию и искусство, создали Большие стиле, совпадающих с понятием национальный стиль\" (Древний Египет, Древняя Греция, Ки тай и др.) В других народов, у которых процесс художественного формообразования НЕ наложился на крепкие основы государственности, стиль не приобрел ярко определенных черт, поскольку не имел возможности развернуться на нескольких уровнях духовного опыта и закрепиться в богатстве художественных форм Тем не менее, каждая этнонациональная культура имеет свои индивидуально-неповторимые черты духовного опыта, закрепляются в языке искусств а, образуя национальный художественный стилний художній стиль.

Этнонациональные стили имеют у своих истоков духовные основы практического життетворення этносов Они отражают своеобразие практического и духовного опыта отношений с природой, отношения внутри ни сообществ, своеобразие верований, обрядов, традиций и т.п. этнонациональный стиль проявляет себя во всех видах формообразования, а не только в художественном формировании как таковом этнонациональный стиль - это спос бы и возможность заключить все практические и духовные достижения народа закодировав\" их символической художественным языком в системе образов архетипов Сокровенный их смысл понятен только носителям этого типа опыта и служит проявлением их духовного родства Для отдельного индивида он является весомым фактором идентификации себя с ментальным целым Поэтому каждый народ входит в культуру человечества своим неповторимым образом сви ту этнонациональный стиль - это начальная (исходная) форма индивидуализации образа мира - на уровне этноса как духовно недифференцированного целогоційованого цілого.

Дальнейшее уровень индивидуализации - это творчество художников с их неповторимым художественно-образным мышлением, а следовательно, индивидуальным художественным стилем В их творчестве также имеются черты ценностных представлений национ нально-ментального образа мира Неповторимость эстетического образа народа, нации закрепляются в творчестве гениальных художников, которые собирают\" ментальный опыт в эстетически определенную целостность и предоставляют ему художественно совершенного способа воплощения языком искусства Понятие национальный стиль\" не тождественно понятию народное искусство\" В современной эстетической теории понятие народное искусство\" употребляется для о значение остаточных\" форм художественности (фольклор, декоративно-прикладное творчество), в отличие от развитых форм профессионального искусства Национальный стиль - понятие, занимает все богатство художественных явлений как народного, так и профессионального искусства Основой стилевого единства является народное искусство, народные формы художественностиої єдності є народне мистецтво, народні форми художності.

Folk art based on the mythopoetic worldview is inherent in the syncretism of forms and repeatability of motives. Objective certainty of them - in the peculiarity of practical experience. Here is also laid the foundation soil of uniqueness. black color, on the contrary, personifies the forces of good because it is associated with the color of fertile silt from the river Nile, and, consequently, of well-being and vital life.

Saturation of life with symbolic artistic and figurative language is a way to create mentally comfortable conditions for survival and unfolding relations with the outside world and streamlining mental structures (organizing them) with the content of experience within a social whole. The internal relationship of the subjects of experience expresses itself in the language by the nature of sound formation, in the manner of intonation and intonation music, plastic movements in dance, etc. ethnonational spiritual experience sets a person the rhythm of life processes from the first days of birth. It determines the way to respond to the phenomena surrounding the world.

Consequently, the national style is an aesthetic category, reflecting the spiritually-forming foundations of national life, enclosed in sensually perceived subject-shaped forms, acquire artistic excellence in the TV grumbling of professional artists. Professional art and folk art are correlated as special and common. and not only in folk art) the existing spiritual origins of the work of professional artists in pr ethnic artistry is unfolded implicitly by the richness of figurative forms of professional artistic activity. The constancy of the forms of folk xness shows a vital pattern: they gain experimental knowledge and artistic skills that are defined as reasonable with respect to quality and perfect with respect to forms.

Individual artistic style The stylistic riches of art and its individual originality are defined as the spiritual achievement of mankind, above all European, starting from the epoch of New Time. His work is a long process that asserts itself in the Renaissance Neither the formation of stylistic riches of art within specific historical epochs were influenced by a number of factors, in particular, the interest in the ideas of the wealthy circles of society and their tastes in a certain way affected artistic creativity. On the other hand, and this was a decisive factor, a creative person, whose role is the authority in society with considerable growth, begins to realize the importance of his talent and, consequently, the value of his own creative skills. Brilliant artists overcome artistic canons, unfolding in works of art and ideas. aystemnosti.

Creative search for an individual artist is recognized and encouraged by society. The subject of artistic creativity also expands. If medium art mainly serves the needs of a religious cult, then in the Renaissance it becomes secular. Even in works that are recognized for religious purposes, secular motives become dominant. In fresco painting, for example, the outstanding Italian Joti-to (beginning of the XIV century) the three-dimensional image of space becomes characteristic, the presence of a color harmonic plastic to it and his work destroys the medieval artistic canon and Mayan Byzantine-Italian. In his work, artistic tasks acquire valuable values. A vivid example of such harmony is in particular the Padua cycle Lamenting Christ the Christ."

Religious and mythological themes become the subject of cultural transformation in the works of outstanding artists of the Renaissance. This is the overcoming of medieval canonical painting with an individual artistic style (Italian ki, and then German, Spanish artists, etc.) From the second third of the 16th century, the unique spiritual world became dominant in creative interest. personality, which leads to the flourishing of portrait art and sketches the "modernizing" of traditional mythological and religious subjects, in particular, It is about providing them with the vital fullness of the situation.

In aesthetic theory, the problem of individualization of artistic creativity acquires relevance from the 19th century, due to the collapse of the Great styles and the diversity of individual artistic styles and ways of comprehending or the foundations of the stylistic richness of creativity, researchers discover the following pattern: the essence of the image should reveal not only the content fabric of the work, but also artistic ways Formations are there, the logic of the internal life of the images should fit into convenient forms and the way of vitality This idea was well outlined by the famous French artist MK Latour (XVIII c) In stating the objective grounds for the individualization of the artistic style, he writes: I wish that in the paintings the manner and painting techniques were as different as the objects are different in nature itself, I would also like our poets to diversify their style according to the characters: exalted, agitated verse - for Hercules, pompous - for heroes, majestic - for great people, upscale - for thieves, soft smooth, light, Living - according to the named female characters [14, p. 338] So, MK Latour sets out a whole program of diversity in the style style of each painter and each artistic work. To use the language of the subject of the image is a requirement of the art of the New Age. It is caused by interest in the objective qualities of the phenomena and the increased interest of art, in particular painting, to natural philosophy and with relatives of the family science and natural sciences.

On another aspect of this problem, Hegel emphasizes: he sees the true objectivity of art not in the objectivity of the world, but in the subjectivity of the artist, which mediates between reality and aesthetic revealing the pits of the laws of vitality of phenomena. The given opinions do not contradict each other. Hegel’s uniqueness of creative individuality the artist is manifested in the ability to conclude the universal laws of the vitality of the phenomena of the world in the individual uniqueness of their embodiment in the figurative speech of art.

Justification by artists of aesthetic programs for the purpose of artistic reflection, and therefore the foundations of the styletvorennya actualized from the second half of the XIX century. During this period, the discrepancy between the declared ideas of artistry, artistic truth, expressiveness of artistic forms and glibine content of the works, on the one hand, and real artistic practice - on the other hand Let us say, the French painter A Deren, presenting his artistic program, emphasizes the importance of finding art These tools give the product of internal expediency. His thoughts clearly sound: The only correct style is the one that makes techniques use, which is so appropriate that you don’t notice it. Good style that is absorbed by expressiveness [14, T 5 , Part 1, p. 279] As a negative phenomenon in the style of creation, he considers disguise banality under originality Together, the constant change of artistic trends (pointillism, fauvism, cubism, etc.), in which A Derain works, shows that he capable of find an individual artistic style іndivіdualny artistic style.

At the beginning of the 20th century, another tendency manifests itself in art: the rejection of style, the rejection of sensual givenness of images, that is, the rejection of the figurativeness of artistic language. Such aesthetic principles are declared by cubism ((founder Picasso, 1908) Criticizing the aesthetic positions and stylistic features of cubism, the famous French sculptor Mayol writes: Cubists assure that they seek art, cleansed of sensuality, and what a delusion!, Vol. 5, part 1, p. 374].

The type of artistic individualization is determined by the nature of the epoch, the content of its aesthetic ideal. Say, a peculiar manifestation of the individual beginning of goodness per day of the Middle Ages. Analyzing the sculptures of Reims Cathedral, M Alpatov notes that, on the one hand, their faces express the depth of experiences and individual originality of rice However, despite all the diversity of their states, all the images are marked with impersonal expressiveness . In-depth mental life does not reveal their personalities, does not attach them to real Nome world Rather, it involves them in the transcendental direction that soaked the whole cathedral is, the connection between the figures is not an immediate sense of life, and is outside the direct sense perception [1, p 80ih spriyman [1, p. 80].

In the further development of history, the phenomenon of individualization manifests itself in the forms of subjectivization of spiritual experience. In it, the tendencies oppose the individual to the general, to the disregard of the souls of acquired humanity (moral, aesthetic and artistic) spread. Already the heroes In Shakespeare find themselves from a variety of random relationships and conditions within which tay or otherwise. Therefore, the conflict, the prerequisite for me who is the external conditions, essentially focuses on the character of the hero. Individuals, seized by passion, action tvuyut according to nature without considering the justifiability of its objectives, but because another they are what they are [4, ie C, 604 [4 t. H, p. 604].

Objectivity in this context means the artist’s ability to walk around the inner logic of the development of spiritual phenomena and provide them with expressive forms of vitality, the artist does not put forward himself and confirms the picture, but speaks the language of the subject of indifference , providing convenient, organic forms to it At the same time, the artist’s individuality is not lost. On the contrary, the object is revealed to its qualities precisely to him, his indifferent attitude. In art, on the part of the subject of reflection, individualization manifests On the part of the artist, in providing the form, the most yaskra expresses the unique vitality of the subject as it opened to the artist's individual style, as well as to art in general, is inherent in the subordination of all elements of the work to the logic of an artistic whole. the law ", which combines the elements, provides the whole of its integrity, makes it necessary just such details of the style system [20, 34]. Therefore, it is appropriate to define the style as" the integrity and integrity of the Armed Forces of their components of the content form of the work [21, from 9 forms of creation” [21, p. 9].

So, in terms of the individualization of spiritual experience, perfection is possible not only as expressive manifestations of life, but also as a phenomenon of aesthetic ability of duties. This gather reality into a coherent, clear vitality and add it within the artistic whole - a specific work of art. Formative power of talent being the source of the integrity of life and its artistic perfection. Therefore, art becomes a spiritual reality, is oriented towards the ideal and forms the consciousness of the public, ie giving the lost image of perfection one really great artist is peculiar stylistic originality creativity Moreover, it can be traced even that di, when the object image requires speak his language For example, expressed stylistic originality distinguished works in Shakespeare and Cervantes M; And Goethe and F Schiller, A Balzac and G. Flaubert; F. Dostoevsky and L. Tolstoy; I. Franko and Lesia Ukrainskiye Tolstoy; І. Franca і Lesі Ukrainka.

The complexity of the process of creating an image of integrity in artistic formation is manifested in the increased subjectivity of creativity, characteristic of the art of modernism, especially postmodernism. The latter shows itself by deforming the image, losing the artistic character of the language, and then losing the spiritual essence of creativity. Destruction of the aesthetic expressiveness of natural forms, loss of spirituality of human relations - not only you are the creative powerlessness of the artist. This is the reality of relations in which spiritual principles are lost, but their manifested manifestations arise as the only truth of life. The world has lost the richness of colors of painters of its vitality for artists and comes to modern times only as some kind of formal construction, is usually devoid of internal logic and random regarding the forms of its existence as a whole. Subjectivism in the forms of profanation of artistry is a manifestation of the public spiritual crisis modern humanity.