14 4 Expressive arts

The concept of expressive arts encompasses poetry, music, dance, architecture, and decorative and applied arts. Their subject is the creation of an image of human feelings, embodied in the material of a certain type of art, feelings acquire an objectified form. A. Schopenhauer wrote: The world can be called embodied music. The stylistic basis of all expressive arts is the rhythmic-metric organization of human feelings. Thanks to them, they get the opportunity to be embodied in artistic images. The inclusion of words in a system subject to rhythmic-intonational alternation, as already noted, is characteristic of poetry; rhythmic-metric duty of sounds characteristic of music; rhythmic alternation of gestures, poses of the human body - for dance; signs - for ornament; forms - for architecture.

The predecessors of artistic expressiveness were cries, screams, which conveyed an emotional state. The beginnings of expression are associated with the change of spatial perception of sounds to meaningful ones. It is precisely this change that speech and music owe. F. Nietzsche (The Gay Science) asserts that poetry and music arose from practical needs. Poetry was useful in that it brought rhythm into language, and therefore, gave thought a new coloring. Human appeals to the gods, thanks to rhythm, can be noted a little more deeply in the memory of the gods and reach their ears faster. Words of appeal, properly designed, rhythmically reinforced by gestures and plastic movements, must certainly be heard. O. Veselovsky derives the beginnings of art from ritual actions based on songs, dances, and actions. Musical sounds subjugated the feeling of society, created an irresistible attraction to participation in the ritual action. Not only the legs, but the soul itself begins to move in time, - notes F. Nietzsche. Sounds in music, words in poetry, movement in dance materialize feelings, make them accessible to perception, empathy and imitation. In this way, the experience of adequate response to phenomena is formed, in contrast to uncontrolled emotional outbursts, they begin to be perceived. communities as savage The ability of rhythmically organized sounds to harmonize the inner world of a person, to console affects (to cleanse the soul) appears. In Ancient Greece, when mental balance was disturbed, the following treatment recipe was proposed: a person should dance to the rhythm of the singer. The concept of treatment: a small person should dance to the rhythm of the singer.

The temporary deployment of human feelings determined the need to store them by providing a visual or auditory image. This is how the graphic sign system is formed in poetry and music. It encodes musical sounds in the same way that the alphabet encodes sounds in speech. By means of graphics (drawing) dance movements are fixed. In order to decode them, it is necessary to have the key to the code: to know writing, musical notation, to be able to read a drawing. In the expressive arts, a mediator is needed: a performer of musical works, a dance director (choreographer), a performer of poetic works (actor). Traits of imaginativeness, combined with image-making, characteristic of ornament. It encodes the aesthetic experience of feeling a graphic sign.

The figurative language of architecture (from the Greek architector - builder), like other expressive arts, is formed by the rhythmic-metric alternation of forms and proportions of the building. The design of the building, its silhouette (horizontal and vertical), the rhythmic alternation of volumes and planes create an artistic image of architecture. The system of artistic means of expressive arts forms the integrity of the image of human sensuality.

Poetry (from the Greek poiesis - creativity) occupies a special place among the expressive arts. Some features of its aesthetic expressiveness were revealed in the previous paragraph. Poetry is a form of art that reflects an individualized experience of experiencing the world; its uniqueness, expressed meaningfulness of figurative language unfolds into a perfect image of feelings. G. Hegel derives the beginnings of poetry from the time when a person began to express himself: what is said for it exists only in order to be expressed. In poetry, in contrast to literature as a whole, we are talking about the rhythmic-metric organization of sounds that form words of a certain length; their alternation in poetry creates an auditory image of feelings. At the same time, the poetic word draws their visual image. The word gives subjectivity to objects of feeling. The sounds of poetic language are cut by force, pitch, duration, timbre, rhythm and melody. Thus, poetry is not only a form of expressing an opinion, but a special way of its being. Form and essence in poetry form a dialectical unity. The universality of the means of creating an image - poetic language - makes poetry the personification of the creative principle as a whole, because its works are not being as such, but the production of meaning in an absolutely perfect way of its being. Poetry is the creation of ideas, therefore it can be considered as the source and essence of all art.

The real subject of poetry is not the external world, not natural phenomena, but spiritual processes. No matter how significant an element of our contemplation poetry contains, in this sense it remains a spiritual activity and creates only for internal contemplation, - notes G. Hegel.

The flourishing of poetry in the New Age, its allocation to the literary genre - processes associated with the individualization of feeling. Poetic thought, embedded in a perfect poetic form, is the source of harmonization of the spiritual structures of man - the mind and feelings.

Music (from the Greek musik - the art of the muses) is close to poetry in the way of creating and existing an image. This is an art in which an artistic image is formed by means of rhythmic-metric and intonational organization of sounds. The subject of music is a feeling expressed by sounds. Sound, based on the harmony of numerical relationships, is the basis of musical imagery. The special role of rhythm is due to its formative function. It is known that all life processes are subject to rhythm. In music, rhythm collects sounds and forms them into an organized whole. Intonation, based on the experience of sound broadcasting, has a decisive influence on the artistic expressiveness of music. Thanks to the repetition of the beat and rhythm, music is subject to regular and symmetrical forms. The composer's opinion sounds as if in the depths of a single system of possibilities: the musical state was given to it. Any sty elemental formation is instantly connected with the system of relations with the world of sounds in its entirety.

Images of music are valuable not for the concrete-objective phenomenon of the image, as is the case in painting; they are also not characterized by the meaningful concreteness of the poetic word. Music by means of melody, polyphony, rhythm, harmony and composition conveys a rich range of human feelings. Harmony organizes sounds into an artistic image, unfolds in time, revealing a wealth of nuances of human sensuality. Music renders a feeling to an object of an expressed form. Music is a feeling that sounds (G. Hegel). The intonation, melodic, rhythmic musical series has a clearly expressed national identity, conditioned by the mentality of the nation (climate, living conditions, nature of activity, temperament, etc.). Music reveals the natural in human feelings of people.

The history of musical art reflects the creation of a culture of human feelings in two plans. Firstly, in the sense of the development of specifically human organs of perception, capable of distinguishing the subtlest nuances of sound (hearing). Secondly, in the ability to master the sound material of reality, forming from it a unique wealth of musical images.

In the early forms of music, the leading role is played by its organizing basis - rhythm. Hymnic songs are subordinated to rhythm. In the developed cultures of the Ancient World, in particular in Ancient Greece, the concept of the beauty of music is associated with the harmonious sound of instruments. The Pythagoreans found out that a string sounds harmoniously or disharmoniously depending on its length and formulated the laws of harmonious sound. They extended the laws of acoustics to the Universe, believing that the Cosmos sounds like the sound of musical instruments. They interpreted the harmony of music as a mathematical quantitative system depending on number, measure, proportion. They discovered that thanks to harmonious organization, music purifies and elevates the human soul. Ancient Greece became the place of creation of melos - a special harmony of musical sounds, which distinguishes developed cultures from earlier ones. Melos denotes the actual musical aspect of a song. It consists of sounds, intervals and durations. The difference between melos and melody, as B. Astafiev proved, is that melos unites everything that concerns the formation of music - its flow and duration; melody is a single instance of melos Melos (Apollonian beginning of music) and orgasmic music (associated with the cult of Dionysus) led to the development of the doctrine of the ethos of music in the aesthetics of Ancient Greece. Its different types influence the character (ethos) of a person. Some harmonize the soul (the positive ethos of Dorian music of the cult of Apollo), others excite, irritate (the negative ethos of Phrygian music of the cult of Dionysus). We assume that a detailed differentiation of the mentioned types of music was carried out by F. Nietzsche (The Birth of Tragedy). Due to its harmonizing effect on feelings, music was an essential component of the school education system. It began in Ancient Greece during the Hellenistic era, and this tradition was preserved in European culture in all eras.

The mode of existence of music - sound, unlike poetry, exists in oral and written form. For most people, music becomes a reality through performance. In the oral tradition, there are folklore types of it and works close to the folklore tradition that are not difficult to perform. The emergence of notation (17th century) contributed to the development of complex musical forms, determined the individualization of musical composition and performance, the development of its species and genre wealth.

Dependences on the method of performance

music is divided into vocal, instrumental, vocal-instrumental; they are distinguished by the means of creating an image, conditioned, first of all, by differences in the sound of the voice and musical instruments. Species differentiation also depends on the content of the images. According to this feature, symphonic, operatic, chamber types of musical works are distinguished. Music is also determined by the richness of genre forms: song, dance, suite, sonata, symphony, opera, etc. The formation of musical genres and their diversity is associated with the formation in the 17th century, along with cult, secular professional music. Since the 18th century, symphonic, opera and ballet music has flourished. This is the period of the formation of national music schools, in particular Ukrainian. Due to the separation from applied needs and liberation from the requirements of the canon, music becomes a means of displaying the uniqueness of the spiritual world of the individual. Romantics saw it as a leading art, a means of revealing the secret movements of the human soul. After all, as I. Franko notes, is the music of human feelings and human moods [26, p. 91]. The outstanding composer M. Ravel sees the essence of music in creating consonance of feelings. The materiality of ways of expressing feelings has increased in dance - the art of rhythmically and plastically organized movements of the human body. The process, the time dimension of the development of the image in dance corresponds to the same nature of the expressive arts. Dance can be likened to sculpture with the difference that it is a sculpture that has come to life, awakened, filled with life and strives to express the fullness of feelings. The poses of the human body in dance are internally organized, subordinated to the mood, united into an organic, purposeful whole and coordinated with music. Music has a rhythmic-metric organization of dance movements, determining their duration. By means of plastic movements, dance reflects the natural activity or lack of an aesthetic measure of feelings, their harmony or, conversely, disharmony. The beginnings of dance art are associated with collective ideas - religious and ritual rites. They relieve energy tension, organize emotions, give inspiration for common coordinated actions ((hunting dance of the aborigines), In ritual dances, as in art in general, a symbolic load is clearly traced: the magical power of a gesture controls the world. People of early cultures knew that the sun makes a circular motion, obeying dance rhythms; grains rise with the jumps of young men; nature enters the limits of communal life.

Individualization of human feelings determines the appearance of individual performers. Dance rhythms are included in the theatrical performance. The plasticity of the movements of the heroes of the tragedy reflects the depth of their inner state, conveys moods and experiences. In ancient times, an aesthetic theory of dance was formed, associated with the cult of Apollo. The purpose of dance was to create harmonious beauty of gestures, poses, movements. Thanks to the balls of Apollo, professional art of dance arose, the apogee of which in European culture. Ballet was the new era. It originated in the Renaissance and flourished in the 17th-19th centuries (primarily in Russia and France). The world of gesture, plasticity and gracefulness of movements in ballet influenced the ways of expressing feelings and the style of behavior, and the smoothness of movements, gracefulness of poses, and moderation of gestures appeared as an indispensable attribute of proper education in an aristocratic environment.

Dance is an indispensable component of folklore. It enshrines important features of the spiritual world of ethnic groups, the embodied plastic culture of peoples. Folk dance collects the human spirit into a concentrated whole, so that Itis is revealed by the uniqueness of its vitality. The metaphysics of the spirit, developed in the plasticity of dance, appears as a concentrated expression of the experience of the people in their relations with the world. Thus, the mountaineers of the Caucasus dance a military dance on pointe; their movements in dance resemble the movements of a leopard or panther: they are light, swift and full of strength. In Ukrainian hopaks the dancer would screw himself into the ground, constantly having to go to it so that, having fallen, he could fly up for a moment in a split, as if embracing the entire space. In both examples given, the philosophy of the national spirit is concentrated in the dance, formed and defined in the way life is communicated in the way of life together.

Classical dance reflects the individualization of feelings, expressed in the nuanced manifestation of internal states through the complex plasticity of the dancers' movements. Ballet is characterized by extremely rich possibilities for creating a detailed account of human feelings. The need to consolidate spiritual achievements in the field of professional choreography led to the formation of national schools

ballet In France, the Dance Academy was created (1661), R. Feuillet published a treatise Choreography, or the art of notating a dance (1701). Under the influence of the romantic ideal, pointe dancing was established (1830s). Romantic ballet is characterized by a spiritual sublimity of feelings, beauty and smoothness of movements, an aesthetic measure of gesture. Ballet showed the possibility of conveying the subtlest mental states of a person by means of movement. This contributed to the deepening of the general perception and experience of the world of another person, because dance seems to bring human feelings out of the inner depths. Gestures, movements, forming certain rhythmic alternations, draw an image of feelings and materialize them. Unlike the chord of feelings characteristic of folk dance, ballet conveys the individuality of feeling, despite the fact that this is a manifestation of the natural in human feelings. Architecture is the art of constructing structures. This is an expressive form of art, which differs from others by its ability to satisfy not only spiritual but also practical needs of people. On this basis, the work of the bottom arises in distinguishing buildings intended for purely practical needs, and architecture as a form of art. The named difference is understood by F. Schelling and gives a clear differentiation of concepts: in architecture, the combination of beauty and utility is such that what is appropriate for it is the form of manifestation, and the essence is beauty. Architecture creates something united from form and essence, and transforms this form associated with utility into a form of beauty, and thus rises to exquisite art. Thus, there is a clear distinction between the figurative language of architecture as an art and purely functional structures, devoid of an artistic image. Like other expressive arts, the architectural image is formed by the rhythmic-metric alternation of forms and proportions of the structure. The design of the building, its silhouette (horizontal and vertical), the rhythmic alternation of volumes and planes, the proportionality of the relationships of individual parts with each other and with the structure as a whole, the proportionality of its individual parts to man (scale), various methods of dividing volumes, wall planes, colonnades and other details of the building, the use of color and decor create the artistic image of architecture. The spatio-temporal nature of works confirms that architecture belongs to the temporal mystique. According to the apt expression of F. Schelling, architecture is music in space." The prerequisite for architecture as an art is the principle of creative construction of the surrounding world by consciousness. This art, with its forms, testifies to the level of harmonious connection with the natural space or is opposed to it, singing measured with man or elevated above it and suppresses it. According to O. Gabrichevsky, the larger the size of the building and the more stereometric its shape, the more inaccessible it will seem. Colossal vertical masses, smooth and inarticulate, awaken a specific feeling of attractive horror.

The figurative language of architecture has a deep symbolic load. Thus, the architecture of ancient Greek temples symbolizes a harmonious connection with the cosmic whole - it is characterized by the proportionality of all parts of the structure and the harmonic entry into space. The perfect forms of temples are not massive, and not pressed to the ground, not carried excessively uphill, and the singing is measured with width, they are characterized by a full measure of diversity. The harmonious peace of the whole and parts of the temples corresponds to the classical ideal, in which the idea of ​​​​beauty as a dominant principle brings into harmony with itself those random and particular elements in which it acquires its vitality in . In the temple buildings of the Middle Ages, the symbolism has a more specific character, connecting with the symbols of the Christian faith. Let's say, the dome system of Christian churches, their numerical symbol Volika is arranged in the following row: one dome is a symbol of Christ, three - three, five - Christ and four evangelists; thirteen - Christ and twelve evangelists.

In creating an architectural image, the building material is important. Stone, wood, brick, limestone, concrete create an image that is different in color, texture, volume. By means of color, a building can be highlighted and contrasted with the natural environment, or it can be harmoniously integrated into it. Each time, the building symbolizes with its forms, decor, material the relationship of mankind with the natural world and its understanding of what is appropriate, beautiful and useful. The image of buildings depends on their purpose, determined by the diversity of human needs - residential, public and civil, religious, economic.

The formation of architecture as an art occurs in the Neolithic era and is due to the transition from a nomadic to a sedentary way of life. The aesthetic features of architecture are formed in the early civilizations of Mesopotamia and Egypt. In Ancient Greece, buildings acquire an individual, unique image. They symbolize the formation

This does not contradict the universality of the architecture embodied in architecture, the appropriateness of form, proportionality of relations between various elements of the structure, etc.

The architectural image contains a general understanding of the beauty and appropriateness of forms, is formed in the experience of individual national cultures, certain historical eras and reflects ideological ideas, determined by the nature of beliefs, types of management, customs, climate, landscape. Therefore, architecture is usually characterized as an "open book of history, a stone chronicle of time. Architecture is the basis of creativity, since it is on its basis that the synthesis of arts is carried out. The first styles in history begin on the basis of architecture in the art of the countries of the Ancient World (Egypt, Mesopotamia, India, China, Ancient Greece, Rome). In European culture, beginning with the Middle Ages, art has consistently developed within the framework of styles, mainly determined by the type of architectural structures: Romanesque (VI-XII centuries), Gothic (XIII-XV centuries), Renaissance (15th-16th centuries), Baroque (16th-18th centuries), Classicism (mid-18th - first half of the 19th century), Eclecticism (second half of the 19th century - 1920s), Art Nouveau, Art Nouveau (other half of the 20th century).

The architectural image of a certain historical time has a rich content, gathering around itself the Spirit of the era. Let us compare, for example, two types of temple buildings: ancient Greek and medieval Greek temple - the place of residence of the statue of the deity. It is open only to priests. Believers prayed in the square near the temple. The temple, being the house of God, must correspond to the ideal beauty of the statue. In temple construction, the Greeks also used a module - the only measure. Christian temples are intended for public prayer - a large number of believers. Therefore, the dimensions of the interior of the temple are important, because each believer seeks communication with God. The shape of a Gothic temple symbolizes the ark, that is, salvation. Its massive, heavy forms reflect the mystical nature of the cult, and the huge number of decorative details, as well as the silhouette of the temple itself, contribute to the creation of an elevated feeling of believers. They are intended to distract the thoughts of believers from everyday affairs and focus on spiritual improvement. The church is dominated by the sympathy of believers with the sufferings of Christ on the cross (Catholic faith). Orthodoxy is characterized by a light, polychrome type of religious building, anthropomorphic in silhouette, symbolizing the agreement of man with the natural world, the non-opposition of the physical and spiritual principles of human nature. The type of Orthodox religious building is determined by the content of the symbol: the joy of believers on the occasion of the resurrection of the God-man Christ and, therefore, affirms the fullness of being. Secular buildings of the Middle Ages also carry a deep symbolic load. For example, feudal castles-fortresses of medieval Europe located on the heights reflect the warlike nature of the time - the era of the formation of states and the redistribution of territory. Together, their forms and locations affirm the social hierarchy of feudal social structures: the superiority (elevation) of the nobility over other social strata. The standardization of daily life in a developed civilization is reflected in the stylistic impersonality of architecture. The crisis of artistry is clearly seen in the destruction of the aesthetic image of architecture. Thus, each architectural style embodies the spirit of its time and fixes it in the architectural appearance, perpetuating the time and spirit that fit into this image.

Decorative and applied art (from Latin decoro - I decorate) is an art designed to satisfy the practical and aesthetic needs of man. Items of everyday use belong to decorative and applied art: furniture, tools, dishes, clothes, jewelry, etc. However, not any objectivity belongs to the rank of artistically valuable, but only those objects that organically combine not only functional accuracy, but also the masterly perfection of forms and functions, artistic expressiveness of objectivity. Historically, objectivity was determined by its value depending on the practical functions that were maximally satisfied with the conditions of object perfection. Such objects were given magical functions, and their possession, as well as the ability to create them, became a means of individualization of subjective forming skills. In Homer's Iliad, a description of the armor of Achilles, made by the god Hephaestus, is given. The expression "Achilles' shield" means the unsurpassedness of a work of art. In folk tales, the hero's weapon corresponds to his strength and skill: in the data on Kotigoroshko, it was remade three times until it began to respond to his strength: it did not break, did not bend during testing, came into the hands of the maker, came into the hand.

Artistic objects were also given magical, protective functions. Due to its qualities, it should protect the owner from evil forces. The weapon should

was to protect from the enemy, agricultural and craft tools - from hunger, clothing - from the cold. Decorative objects served the same purpose. Initially, their purpose was purely magical. Most often, such objects were made in the form of a circle, which symbolized the solar disk, and therefore, light, heat - symbols of life. Such protective objects were: belt, necklace, earrings, rings, bracelets, etc.

Subsequently, artistic and aesthetic objects began to be used to determine the social status of the owner. Specially made jewelry, luxurious clothes, exquisite furniture, carpets, dishes had to confirm the chosenness of their owner. If the property was inherited, it symbolized not the personal qualities of the owner, but the family virtues - the wealth and nobility of the family. Seized by force, appropriated by m Your property serves as a symbol of social relations in which it is not morality or law that weighs, but force and coercion. And in this case, aesthetic objects have a symbolic load.

Mass industrial production transfers artistic objectivity to a fundamentally different plane. It loses its individually defined image and turns into only functionally useful Decorative and applied art, historically developed as a type of artistic and applied form-making, becomes the history of art. In the conditions of mass industrial production, its place was taken by design - artistic and industrial design. The purpose of the latter is to create not an individually defined image, but a unified objectivity designed for the mass consumer. Serial production is preserved even when manufacturing relatively small batches of goods. On the one hand, this is how the principle of democratization of life is manifested. On the other hand, impersonal, unified objectivity does not contribute to the development of aesthetic tastes, but has a leveling influence on them. Thus, expressive arts are characterized by essentially the only way of creating an artistic image - the objectification of human feelings by appropriate material means: words, sounds, movements, etc.