9 2 Genesis of aesthetic ability

Objective Prerequisites of the Aesthetic Attitude We noted the ability of the attitude of qualities, properties in objects of the objective world as an immanent characteristic of the manifestations of life, to reveal the oh or qualitative certainty of the human relationship to the world: in the evolution of the form \\ \ "Man it unfolded in the form of spirituality interactions, then acquired self-values. It is important, however, to find the primary e-link and objective grounds that led to the self-development of an ability. Experiencing attitudes toward the world in freedom forms. One of the interaction with him, that is, conscious, spiritual - aesthetic character of the process. The fact that spirituality has an objective law of the natural world in premises, is broader than cosmic being, ensuring its qualitative certainty, formality. Does not explain this phenomenon. other kinds of life did not become the basis for the qualitative consequences — the rational self-organization of spiritual structures and the creation of purposeful objective and spiritual forms that acquire inner life vain vitality.

In humanity, the ability of rational self-organization arose as a result of a special type of relationship with the world: in the forms of activity-related relations, it determined the intelligent, creative nature of relations in the form of f forming the existing interacting.

forming a model in relations with the outside world were relations within human social associations as a kind of integrity. Carried out, spread to the universe, they received the value of a mode-forming model, thus inspiring: the natural world, filled with images of human indifference, moved from a purely physical reality to status of the reality of the spiritual. Naturalness, along with the visible, acquired ideal, symbolic forms, which appeared to reflect the human need for those depending on the desired (or undesired) manifestations zhiznennos natural forms you need to define the way a perfect vitality, they concluded in mind certain images: positive or otritsatelnyevnnі.

The question arises about the objective basis of the ability of an activity-oriented, creatively shaping attitude of man to the world. In the evolution of biological forms of planetary life there are forms that are immanent from it, and the life goes through as adaptation of species richness. to conditions and reproduction Like both they are complete forms, the time evolution of life forms determined the formation of the special- \\ "incomplete o \\\ "of its kind. Its qualitative sign is the ability to develop the existing vitality in the creation of new non-existent forms in nature through a reasonable choice of means and in a special way: using nature as a material for forming Conscious determination of their ways and means of creating the necessary material and spiritual conditions of life - qualitative sign of the form \\ \ "little man of the \" human ".

The ability is called a priori NOT laid down in the nature of a species, but arises as a result of its self-determination, the condition of which is a special organization of relations with the outside world and within its appearance its appearance - spiritualization of the natural world as a result of providing an image to natural phenomena, creating an image of one’s own needs through appropriate objectivity, made from the material of nature. It is also the formation of the ideal image in, which appear the personification of the formative skills in their intrinsic value ( The spiritual skills), creating a conscious organization of relations within communities, creating expediently in their own vitality the natural image through the production of reasonableness of interactions, discover what is natural in it and put it in a system of concepts, laws of categories and under all types of formation appear to be a manifestation of rationality of human nature management.

The content and essence of the concept of \\ \ "organization relationship Organization of the image of relations with the world (actually not the relationship as such, but the creation of their image) acquires in the evolution of the form \\ \ "Man all-pervading nature Its essence arises dialectically some unity of the image of man and the image of the natural world, objectivized in the formative relation of natural objects and phenomena. The latter in their characteristics reflect the abilities and skills of man and acquired in evolution you are, above the result of the process self-imposed This gives rise to a productive creative imagination and its subject - the human personality personality.

Activity attitude means its qualitative certainty: an active, not indifferent, creatively formative character. The activity essence of a person causes a special relationship to the world: there is an ability to see it in the form of its activity, it presupposes an active formative interaction with it. The latter requires the need to master the internal structure of reality forms in wealth e manifestations of their vitality. These are subject-practical and cognitive, creatively formative activities. Each of the species has living ability, not only revealed the qualities of action, but also experiencing their rational and expressive vitality in themselves regardless of the practical interest of the subject. The relationship process, under this condition, becomes not merely pragmatic, but creative. of the essence of the form \\ \ "Man and according to the capabilities of the subject of the formation. The object itself acquires an ideal existence in which his idea (the logic of inner vitality) and the subject's world of khovny, the level of spirituality (humanity) of the demands displayed as formation objects: in the images provided to them. Let’s say a shovel is a tillage object — a means to realize the possibilities of its fertile sex, brings fruits, fruits, grain, etc. The sword is a subject potentially aggressive intentions to other people, although it can also serve a fair goal: self-defense or defense of the second against a possible aggressor. By providing appropriate forms, people seek to master the world of phenomena. The whole process has upmost character in the sense of forming needs and abilities and needs sposobnostistі.

Let us note an important aspect of the relationship of the parties and qualities in objectivity created by man: the harmony of the interactions of needs and possibilities. So, agreement of the hand with the object of labor (the condition of the feasibility of the instrument) also has a reverse character: the agreement of the subject with the hand is necessary And that means that it is NOT a soulless thing, and acquires \\ \ "soul \\\", because it has its own (given to him) image. The ideal image of human need acts as the soul of an object. Therefore, everything created acquires the soul, and therefore the image (and t, everything that acquires an image, acquires the soul) of human feelings and needs are brought into the subject of formation, giving it an image, animating it. This is a human need animated in the subject and creative skills. Their image is identified by an objective basis: the content of the need and the nature of it. satisfaction In turn, the need acquires the image, is determined by its qualities due to the image, the carrier of which is a predmet that satisfies the need. Let's say the sword in the hands of a warrior and the violin in In the hands of a musician, these are symbols of DIFFERENT human needs, and not an instrument of a certain type of activity type of diet.

The creation of expedient objectivity is not only a manifestation of specifically human vitality, but also the condition of the latter. Mankind lends itself to insult, its needs, which are revealed by spiritual certainty. Znar ryadya labor, household items, architectural structures, as well as hymns addressed to the gods, and the gods - all this is a consequence of a person who forms the abilities and the whole Practical and Ideal objectivity - The personification of the human soul and mind Every thing from the past speaks to us on behalf of its time Emeni and personifies his image. Thus, the concept of the soul in this sense is only a mystical coloring, and it means the transfer of human spiritual qualities (mind, abilities, skills) to the subject forming a relationship. On the one hand, \\ \ "soul is realized as the material substratum of the spiritual (form), and on the other hand, as the spiritual basis of material vitality and vitality.

Dialectics of the objective and the subjective in aesthetic respect For the emergence of the aesthetic relationship, the necessary components are the interaction of the subject and the object. imagination and reasoning; the formation of his image is a matter of the objective properties of the volume of the real world, or of the aesthetic ontology. Recall: this is wearing sides, qualities of properties in an object, forming it expediently in itself, harmonious, expressive vitality. True, assets are indifferent to themselves and a subject, which denies the concept of harmonic vitality with its own qualities. It is ordered to search for causes of disharmony and analysis of its possible * consequences. In the world of living EntrePiny, the processes reflect the richness of the manifestations of life, the dialectic of becoming and destruction (the self-exhaustion of concrete objects that are material for the formation of new forms) \ The \ "ordering of dissimilar phenomena is all the more necessary for the creation of consistent \\ \ "interactions with myrgyen \ "interacting and \" with light svitom.

the active side of the creatively shaping - aesthetic in essence of the relationship - is the subject, because he initiates spiritual connections in the form of experiencing the expressiveness in himself of the vitality of the subject of precisely his own feeling, singled out the subject from the surrounding reality, organized it, tune into interaction in the form of admiration (or opposite feelings for him), highlighting the details that e create of his mediocrities and here distinguishes the second. This means that the spiritual structures of the subject are capable of free interaction with the subject and represent the reality of their being in the form of irovaniya appropriately the image of the vitality of the subject not indifference (in aesthetic admiration and evaluation of its qualities) subject with the concept of beautiful, reasonable, expressive and under the Provision that the mind confirms the state of the senses, consistency arises between them, besides this - harmony A in the same, the relation with acquires the character of a free disinterested admiring an object, then a natural one.

Pay attention to the concept of \\ \ "disinterested relationship What should be understood by this concept? carved by species or within one’s own species. In practical formation, it was understood that the object was expedient, then it would be immanently expedient, which is a condition for the vitality of the object without being practical, in the sense useful to man, is secondary, derived from the ontological qualities of the object. the kavlenist subject to bring the translation of his qualities only to the rank of a means for something else, therefore, has no direct aesthetic characteristics. The attitude acquires est First of all, when the object with its expressive vitality is defined for the senses as self-valuable - the source of their vitality (aesthetic admiration) Secondly, when the creative spirit perpetuates itself in the subject, as it was inspired and thanks to which I received definiteness of the image, appeared as a reality for myself (artistic formation). The presence of practical and spiritual types of relationship determines the wealth of creative interactions of people with the world and presents itself as the main the foundation and foundation of his self-development as a conscious creator of his own vitality and vitality.

The creative essence of the aesthetic attitude. Every image as a result of formation constitutes the dialectical unity of two principles: the objective and the subjective. Their dialectical interaction is conditional. The interchange of purely natural objects into aesthetic is carried out through the mediation of their qualities: conclusion into an image. In all cultures, the elements of nature acquire a divine essence and an anthropomorphic image of natural phenomena, forcing a person to feel his or her greatest dependence imosti from them, everywhere \\ "are presented to man in the form of a human being, nominated by a will, and is for her the subject of religious worship \\ \" [21, p. 445], ”Le Feuerbach remarked. Transformed into a human face, they become comfortable creating a relationship The aesthetic content of the latter is determined by the qualitative characteristics of the subject. Zuma is the possibility of \\ \ "streamlining its content human formative needs. This is the amplitude of Raha, admiration and delight to joy, delight, respect. An indifferent ct should enter the image, fixes its qualities, and then the gender of the \ "\ guarantor expectancy attitude. The latter is caused not only by the qualities given to the object (they reflect in the image), but also by the warranty of the relations in the item a (in this image man's attitude to the subject (in this image.

In the development of mankind consisted of a wealth of nuances called dialectic connection. Historically, it moved in two directions. The first type was created in the sphere of objective formation. At first, the objective principle began to dominate here, there is objectivity in its natural qualities and properties used by the person in satisfying his vital needs. Atheria of the world and its forms appear as a model that forms particular skills; such a model for a man is his own body. About Los , for example, calls the hand \\ \ "the generative model of the object variety [15, p. 61] Hand - The archetypical image of the object formed by an ancient person, it serves as the generative model of manufactured tools, because the ax is an image of paired efforts human hands (blade and ax) Plow, rake, shovel - for each of these objects arises Archetypal image of the hand in a certain position The same takes place in the applied object: pot, tray, spoon, fork Such a type of hunting and defense tools : spear, bow and arrow [16] Only under the influence of history, in the process of the growth of knowledge, the natural qualities of an object (its internal characteristics) are less traced in its forms, giving way to the image of human needs. The subjective beginning appears to be dominant in the formation, to reproduce in images of practical objectivity human needs, which are increasingly alienated from ties with the natural world.

The second type of dialectical connections of the objective and the subjective in the formative relation manifests itself in the formation of spiritual phenomena. At the beginning of history it appears in the forms of pronounced domination su kill the objective beginnings. Ancient people actively initiate connections with the natural world; images, it spiritualizes the natural object of the awn, creating Convenient (the idea of ​​convenience) conditions of communication This phenomenon is clearly seen in the mythology of the devil, the steppe and, water nymphs, house - are not only the images of the Ukrainian mythology. Each people in their unconsciously named are named or similar images as archetypes of ethnic self-identification.

With the progress of history, the process acquires qualitatively Other characteristics: the domination of objective knowledge of the world. They are due to the growth of qualitative certainty in the experience of relationships, ensures the cognition of the internal \\ "mechanisms vitality of the natural world and man and the laws of its life. Development of scientific knowledge is especially characteristic. for the culture of New and modern times, is a convincing evidence of the objectivity of this trend and tendency.

Местом \\ \"пересечения ЭТИХ противоположно направленных векторов движения отношений человека с миром есть искусство В нем познания качеств предмета неравнодушие и адекватное отражение отношение к нем м, соединяясь ь в художественном образе, создают его гармоничную целостность Внутри искусства как специфического вида духовно-формирующего отношение также существует диалектика объективного и субъект ивного Например, мисте ства, что, Согласно их видовой спецификой, характеризуются как изобразительные, отражают доминирование объективного начала, призвание утверждать выразительную жизненность прир одных видов, в том числе люди ни как высшего продукта эволюции природного мира (скульптура, живопись), а также синтетические искусства (театр), отражающие диалектику объективного и субъективного (их в птимальную связь) в мире л иудейско взаимоотношений Диалектика объективного и субъективного с выраженным доминированием последнего (субъективного) характерна для выразительных искусств, прежде всего, поэзии и музыки Древние греки, называе их \\ \"Музыкальное искусство \\\", акцент на их духовном характере Материя формирования образов в ЭТИХ искусства также духовным феноменом: слово в поэзии и звуки ин струментов или голоса в музыке, орг анизованы в гармоничное звучание ритмом, продолжительностью, высотностью и др Это виды формирования, в которых прообразом служит идея чисто духовных самопроявлений случайно начать поэзии Связанные с гимнов, обращенных мы к богам прозаическое язык видится НЕ должным образом общения с богами Сам характер общения - возвышенный, вдохновенный, гармоничный - призван в достовер незаурядность объектов, на которые он направлен Поэтические обращения к богам сопровождались мелосом (речитативным пением) Возвышенная форма обращения подтверждало качестве объектов отноше ния, признание их предметами всеобщей небайду Жоста Это и стоял эстетическим отношением по сути, есть адекватным Относительно качеств предмета (реального или созданного воображением, ее возбудила потр ебность в общении) Сама потребность создания отношений спи Общение с Высшим божественнымы силами - свидетельство Возвышение потребностей над чисто биологическими, в сферу духовных взаимодействий Проб ужденный человеческий дух ищет Соответствующий себя объект для общенияовидний себе объект для общенияя.

Итак, искусство формируется как наиболее адекватно воплощение эстетического опыта отношения к миру Как специфически духовный феномен оно создает объективные основания для гармоничное жизненность мате ериы и дух ху: для опредмечивания духа в материи формирования и одухотворением материала формирования Потеря современной культурой искусства как специфического типа опыта, объективирует само-ценную жиз ненность духа в доскон алому способе бытия, составляет кризис не только духа, но и антропологический кризис - кризис феномена человеческого Загалоо.

Заметим еще один весомый аспект эстетического отношения в его генезисе и истории: оптимальное соответствие своему понятию Оно не содержит стремление практического овладения предметом, экспансии в отн ношении него, а направлено на создание гармоничносты связей - оптимальных для согласованных взаимодействий Это утверждение тот гармонии, при которой предмет открывается неравнодушна сознания своими качествами в их с амо-ценной для духа жизненность и сам одухотворяется сознанием, познает и переживает его бытият.

Закономерности становления формирующего отношение Поначалу истории предпосылкой становления элементов эстетического в отношениях дикарей с природой возникает использование предметов природы вне непоср редственно осередньоы необходимости их потребления Они определяются как посредники эффективно удовлетворения потребности: палка усиливает функции руки, позволяя получить плод с дерева Она помогает л учше защищаться е д врага Этой цели служит камень Заостренная палка - еще и орудия охоты В эволюции вида \\ \"Человек это создает объективные основания для выделения себя из второй чисто природных видо в Сознание ди куна, пробужденная началами формирующего отношение, разворачивается по двум направлениям Первый - это создание согласованных взаимодействий с конкретными предметами природы, ведь любой и из них позволяет эффективно ише удовлетворить потребность, если использован целесообразно Именно в этом процессе передняя конечность определяется по своей функции как чисто человеческая рука повторяет во результативности предстает своеобразной мо моделью создания отношений с естественной предметностьприродною предметность.

Это направление, в генезисе человечества и его истории определился как практическая деятельность человека в природе Природа в ЭТИХ взаимодействиях является для человека средством

Второе направление - это своеобразная стратегическая перспектива человечества - создание духовных связей с силами природы Правда, в начале истории она примитивные характер, свидетельствуя примитивнос во субъект ООО создания отношений Стремление овладеть стихийным силами природы (дождь, ветер и тп) через угрозы, застрашування Это модель отношений в первобытно стаде, Который переносится на отноше ния с естественным сви том Лишь в процессе роста упорядоченности отношений внутри человеческих объединений соответствующая их модель начинает распространяться на внешний мир Но это - следующий этап ра звития отношения На этом этап и Гармонизация отношений инициирована средствами задабривания, преклонение, почитание, скажем, на подменю вот современного отношения к природе как к предмету усмирения, \\ \" обуздания \\ \"и тп (В отношении к пр ироды человек как бы осуществляет обратное движение, Моделируем отношение прапращуров, но в значительно руйнивниших для природы и собственного духа масштабах) Яркое с видетельство деструктивности отношений, скажем, образ носителей внеземных цивилизаций, Которые в воображении современного человека, сложившейся стилем отношений в пределах земной цивилизации, рассматр иваются носителями зла, Олицетворением агрессивных инстинктересивних инстинктектів.

Процесс гармонизации отношения, что, как уже упоминалось, осуществлялся в историческом развитии в формах и средствами оказания природе человеческого образа, определяется как эстетическая за объективн ным основанием Эсте этической является сама формирующая потребность, впрочем, и ее содержание, поскольку на протЯжении истории человечество укоринювало собственный образ (собственный дух в образе потр ебносты) во всех видах формирования Так чисто интуитивно уже на ранних их этапах истории осягалася сущностная определенность бытия форм мира как гармоничная слаженность взаимодействия качеств внутри в бъектов и взаимодействий между ними, в том числе и человека как составной взаимодействий В последнем случае предметам неравнодушие, кроме присущего им физически определенного способа жизненность, подо идете желаемый образ Поэтому предмет призван выполнять двойные функции: сочетать сущее и желательно Скажем, солнце, одновременно с разрешением излуч свет и своим теплом питать мир, приобретает, друг ой, невидимого \\ \"духовного образа Таким образом его физическим проявлениям предоставится осмысленный и целенаправленный характер предоставляем чувственно воспринимаемом образа невидимой духовной сущн ости, человек вводить солнце в круг \\ \"духовного общения как желаемый для себя объект Солнце - это главный бог, предметом т преклонение, почитание и надежд на его милость Неравнодушное отношения в вид е одушевлением всех природных объектов обусловлено их влиянием на человеческое жизненное их влиянием на человеческую жизнь.

Возможность перехода идеального (желаемого) в отношениях к реальной практике их создания (или в предметном формирования, то в предоставление желаемого образа естественным силам) гармонизирует человеч ческую психику, нал лаштовуючы на? Инициирование гармонии отношений Итак, эстетическое непосредственно задействованы в создание психически благоприятных условий выживания Заметим присущую ранним шаров турам диалектическое единство духовного и пр актичного аспектов отношения, что влияло на становление их эстетической определенности: потребность мира, модель которой определена практическим формирований ием и продиктована инстинкт выживания Она охватывала собой и практическое, и духовное формирование, взаимно углубляя практические знания и формируя растущую неравнодушие восприятия природных сил в д анном им образе Бесспорно, в предоставленных образах доминирующей возникает желаемой, приобретает весомости реально цинногног.

Aesthetic attitude is a complex spiritual phenomenon. Овладение человека миром действительно именно как процесс духовный, хотя и обусловлен практическим формированием Духовное и материальное начала образуют взаимопереход, являясь диалектический единство ом причинно-следственные ных связей Человек как субъект свободного взаимодействия с миром является следствием отношений, процесс создания которых отражает диалектическое единство свободы и необходимос ты Постоянное содержание предоставленно мир (желаемого или предупреждающего) по ме е овладения знанием о богатстве его проявлений переводить переживания предоставленно мира (предметности мира) чело веческого образа в переживания самоценности богатства вы проявлений его жизненность Последнее - это собственно эстетическое отношение, рождает чувство насыщенности жизни полнотой общения НЕ отсюда в ч еловек постоянная потребность в создание отношения, формирование касается нкив с природой, с социальным миром, миром Вторым конкретным человека как источников настоящей жизненность собственного дух а? .

Итак, эстетическое отношение имеет характер свободного взаимодействия субъекта с качествами предмета неравнодушие (реальными или предоставленнымы воображением) и благодаря этому способно открывать са амоценность бытия мира в его доке ильного жизненность.

Сказанное об истоках и предпосылки эстетического отношения в филогенезе, то есть в человечестве в целом, важно и в онтогенезе - относительно конкретного субъекта отношения Творческая сущность эстетич ческого отношения проявляется в Выделение субъектом предмета неравнодушие (на ранних этапах истории \\ \"субъектом выступает коллективное целое - род), В формированию и содержании его оскорбление создан ия устойчивых форм спилкув Ання, а следовательно, \\ \"гарантированности их связей в духовно определенных формах Так формируется \\ \"память чувств, а следовательно, и постоянство чисто человеческого сп лицо реагирования на действительность На ранних этапах истории нач уття определено Лишь потребностью в предмете неравнодушие В восприятии желаемого предмета каждый раз \\ \"обновляется переживание его бытия, углубляясь и уризноманитнюючись Инициирование отношений с природными силами путем предоставления им антропоморфного (подобного человеческого) образа - способ закрепления и источник осознания в тношение как духовной ценности, а следовательно - и побуждение к предоставления отношении собственно л Иуды (человеческого) образвидношенню собственно человеческого (человечного) образ.

Природа, создав разнообразие форм жизни, индивидуальную неповторимость конкретных его проявлений, будто заботилась о богатстве духовного опыта человечества Отметим, что в основу эстетического отношен ния возложена а идея целостности мира с богатством проявлений его конкретных форм Соответственно, условием адекватности отношение возникает его целостность с богатством нюансов проявления неравнодушие т.

Исторические этапы становления образно-формирующего отношение Выводы о сущности эстетического отношения требуют выяснения исторических закономерностей его развития

Как уже отмечалось, предпосылкой способности неравнодушна отношения было предметное формирования, обусловило необходимость сознательной взаимодействия с природным миром В практическом формирования состояло осознание Эти инность предметов природы как средства для жизни человека Первым этапом формирования отношения, где прослеживаются черты эстетического, стало выделения из природного мира отдел ьных объектов неравнодушие через над Ання им обиду, то есть введение в пространство идеального общения Такими объектами были, кроме орудий практического формирования, животные - предмет охоты, а впосл едствиы приручения Изображение их и характер в зования свидетельствует, кроме достаточно глубокого знания телосложения и поведения, еще и любование силой, грациозностью Именно Эти качества закрепляются я в предоставленных им образах как само-ценные случайно первые боги людей Имеют животную подобное Своим первопредка человек в наивных культурах также считал животное лепным, резные, расписные их изоб ражения служат не столько напоминанием о реально имеющиеся в природных и объекты, сколько стоят сакральнымы предметами Кроме того, вера в магическую силу изображения, в Которые вселяется душа изображенно го, определил разнообразие связей с нимив с ним.

If real animals served predominantly (except for totems) as an object of hunting, then their images were not the object of worship, worship, because they are the source of life and \\ \ "family members (totem animals)) Meanwhile, the very person then He considers weak and helpless. This is confirmed by the frequent images of wounded hunters. The ceremonial actions over the images had a practical purpose (the realization of "wounded souls") as a condition for a successful hunt for a living beast, and a certain aesthetic. Numerous images, Koto rye introduced animals into the space of human life (cave dwellings), relieved feeling of squeezing guaranteed The idea of ​​taming animals to a certain extent owes an image containing this idea to a desired relationship model Sustained interest of stretching is inclined Paleolithic to the animal world as an object of ideal formation allows tracing the diversity of images It exists in the improvement of technology (from bipedal animal contours in four-legged three-dimensional image, from monochrome to poly- Formal oh (a number of individual figures), here are the irregular arrangement of the figures for the creation of compositions and the creation of compositions and and.

In the world of human life during this period, the life principle is singled out and fixed in the sense of value. A woman with an inherent reproductive function (matriarchal day) appears as the personification. This is why non-indifferent parts of her body that perform this function are created as a function and mission of a woman. enshrined in all cultures in the image of the goddess-materer.

In the process of the development of culture, the image of femininity, apart from its natural characteristics, acquires a pronounced moral and aesthetic coloring. Evidence of this in developed religions of the world, particularly in Christians, the earthly woman Mary, gave birth to the Son of God, the spirituality of the image of the Madonna serves as an ideal model (prototype) of female images in developed cultures. Thus, the graphic arts served as a means of consolidating the experience of experiencing the expressive existence of natural forms and manifestations of human life in the early Ultras In images, the world of expressive forms objectively speaks in the same way.

The second stage of forming an image of a relationship takes place in the mind of the whole universality forming needs. This is the stage of the formation of a mythological consciousness that simulates agreement with the natural world as an ideal image from relationships, occupying the entire visible and imaginary world of mythopoetic thinking fits into aesthetic characteristics, since it focuses on the Extreme cosmology of su The purpose of the mythological model of the world has an expressive aesthetic direction, as seen in izatsii space fight with \\ \ "wear and tear of the world \\\", then master hao with and turn it into space [20, p. 162] Here we are talking about the aesthetic development of the world - mastering it with human feelings with the desire to transform (\ "\" restore \\\ "and improve) the world is not practical, but actually aesthetic means; mentally provide him with the desired image and perform the action \\ \ "creating the cosmos (order) in the ritual \ "cosmos (order) in the rituals.

It is during this period that the richest symbolism is formed to denote the qualities, properties, states, relationships of the cosmic world. They cover the symbols of causal, quantitative, semantic, personal, ethical worthy connections. Numerous binary oppositions are created, which reflect various kinds of relationships, for example: happiness - unhappiness, sacred - profane, life - death On the basis of these EXTERIOR dualistic signs, universal sign complexes are constructed - an effective means of understanding the world by the man of that time. etim: it is - the aesthetic relationship, based on the experiences heard governmental data and forming abilities of her fantasies, actively developed by using data of sensory experience and extend them to the whole world people are provided quality vsez galnognoggo.

If we summarize the concepts on the basis of which the aesthetically embodied understanding of the world consisted, then this is its cosmic integrity. Means of its expression are the statement of the idea \\ \ "everything in all \\ \". Therefore, the conceptual matrices are constructed by which the world is described. Row: summer - south - sun - sky - fire - red - iron - some animal - some plant - a certain social class and under [20, p. 163] Such a model is an archetypal image of a culture that forms the beginning of consciousness, and then it saves constant the formative function at all stages of the development of consciousness is a spiral of consciousness.

The perception of objects of reality, human relationships, superimposed on archetypical images, as a spiritual framework, gives the expected type of relationship. In it, a positive response to objects is expected, personify and symbolize vitality, as well as negative responses to events proving their identity. the hostility of life in all its manifestations: in relation to the individs, the genus, according to the animal, vegetable world of the Sun, the sky is a series of symbols of vitality By analogy, a number of symbols of death are built Stettic attitude, as evidenced by what has been said, there are certain nuances of expressing attitudes towards the world, and sutnis has NOT value as a phenomenon of concentration of spiritual experience in forms, not alienated from the objects themselves, which serve as a source of experience. Sensible reality to their subject, the ability to retain these images and clearly see each time the efficacy of their influence on the life of a person.

The perceptible image of ordering provided by the imagination arises forming a model not only in relation to natural phenomena, but also serves as a condition for the ordering of spiritual structures of man. This goal is subject to the repeatability of the rituals of human spiritual interaction with natural forces. forming the kinship of human associations not only e natural, biological (blood kinship), but also the spiritual process of constant the production of relations, that is, the formation of their aesthetically defined - harmonious image, leads Objectification of the relationship, perceiving attitude as a special source of life creation A clear evidence of this understanding is the separation of the process of attitude into a special type of activity carried out according to certain rules, which are imposed only on specially authorized and especially respected people: shamans, priests (later from high-ranking clerics) The fateful for the community confirms that even the slightest deviation from the accepted norms was considered a threat to the well-being and even the lives of violators. Recently, in the Ukrainian folk customs, the reason for the disagreement between the elders in marriage was that some kind of deviation from the norms of the ritual (and of course, they found it) are there, the reasons for the disagreement were made beyond the limits of the relationship between the two personalities Who created the family, in a purely conventional sphere - Rita Rita.

Attitudes, and accordingly, his images, diversified in the process when new objects were introduced into communication and knowledge of their manifestations deepened. In this way, many puffed images of gods were created in the imagination of people. Each of them personified certain natural forces: the sun god, the thunder god, the god of rain, the god of wind, etc. Subsequently, the subject of the relationship was the images of skills possessed by man. Attitude to these forces and it seems to have a perfectly formative character, that is, their aesthetic properties are concentrated images of epic heroes, personified the general ability to recollect even Hercules, Antaeus, Theseus, Orpheus Orpheus.

the harmonious integrity of the mythological image of the world is characteristic of all ancient civilizations. It certifies becoming represented in the expediency of harmonious ties, being fixed in the world and anthropomorphic images presented itself. It can be argued that, on the basis of mythological consciousness, the aesthetic attitude to nature takes on the leading character, because the whole world is covered by human Man, who forms a need, provides the natural forces with their own skills and, as a result of raising them above everyday life in The feru of ideal being (into the world of the gods) is aware of their value. Let's say that the most developed and poetic mythology of the world, the ancient Greek world of people and the world of gods, are coordinated, embodying the idea of ​​everything that is permeable and creatively forming the ability to randomly express the Greek expression: \\ \ "Man is mortal God; God - the immortal man \\\ "Mythological consciousness sacralizes the process of creation as well as its consequences and its consequences.

The real achievements of mankind in the knowledge of the world, the formation of objectivity, the creation of relationships, objectified in the sensually perceived images of gods as their knowledge and skills, open their value in experiencing their own attitude and become the subject of reflection Aesthetic experience of communication with nature in these aspects lays a solid foundation of human spirituality The characterized type of aesthetic relationship can legitimately be considered as an affirmation of the intrinsic value of the experience of the relationship of man with the natural world This is the creation of an ideal image of relationships in the \ "ideal (ritually symbolic m) way of interaction with the world in the idea of ​​the intertwining of the forms of the world, the mythological consciousness has brilliantly envisaged! (At the level of the particular - specific communities) and their spiritually-forming potencies. The world appears in it as an organized whole, created by a human caring for the indifference.

The third stage of the formation of an aesthetic relationship is determined by the consolidation and affirmation of spiritual experience by not indifference in an adequate - artistic-imaginative way in an ideal space: in the limit, we are destined as a special type of spiritual experience. Art space is a special spiritual reality with its own laws of vitality: holistic, sensible-perceived , internally convincing Artistic formations are a special kind of formative attitude: the creation of a special space, dedicated and sublime over Daily This is an ideal space for which the perfect life is given Given its intrinsic desirability Real manifestations of life, Introduced into this space, acquire another - aesthetic dimension, appearing to their qualities as Corresponding to the ideal of spirituality or opposite to it is a way to provide objects with an expressive vitality, thanks to which they open their significance and begin to appeal to the feelings, imagination, mind of each person din

Art, being viralized into a special type of formation, reinforces, on the one hand, objects not indifferent, Discovering the result of the perfect way of artistic existence, the objective grounds of their universal significance On the other hand, it asserts the ideal way of perfect being of spirituality as the most suitable subject of formation, and therefore, the source of real life of feelings - their aesthetic certainty of certainty in the artistic and imaginative formation of the spiritual life of a person acquires a holistic character: in the unity of feelings of the logical and logical principles of the spirit, as the unity of the soul-spiritual, unfolds in the process of its self-actualization.

The purpose of a formative attitude in art: the rise of the spirit (feelings, mind) over ordinariness through the creation of an ideal space and within a concrete whole - works of art and art as an entity IPU attitude to the whole This is a way to separate the real (\ "\" profane \\\ " ) and an ideal space. To thus contain the idea of ​​the different between them, the difference between reality and its ideal. It does not allow you to dissolve the spirit in everyday life - not to be absorbed by it. Art discovered and approved the ways and foundations of the integrity of the spirit in an ideal artistically perfect space. And the spirit lives, has an ideal relationship to ideal phenomena, that personify truth, goodness, beauty. Embodied in artistic images. The mentioned values ​​constantly retain their relevance due to the presence of artistic ideal on the board Buttti.

The history of the development of art confirms a pattern determined by us as inherent in precisely this type of spiritual experience. In its history, artistry has gone through various stages, preserving the tendencies we have identified. It is in art that aesthetic attitude has received adequate and perfect ways to be embodied. man meant, where everything is, identifying yourself with certain public experience and figures, clearly personify it. Here it is not only qualities that are important About the subject are not indifferent (values ​​change over time), and the ability of the senses to organize themselves on the explicit content of experience and to mobilize intellectual forces, imagination, practical skills and knowledge to perpetuate the images of the general indifference in the formation material. These figures are the rulers of the states, which are considered provided gods, and they - the sons of Gods.

No less important is the fact that in the aesthetic experience of the greatness of a ruler, society as a whole begins to realize its greatness, because Pharaoh is a god in human form, his face hid Astnomo not only to the divine, but also to the human world. Connections are maintained on the Objective basis: without the people, recognizes and respects the ruler, there is no ruler as the real carrier of power, and therefore, there are no conditions Approving the consent of the relationship, therefore - the survival of the community Aesthetic factor is the main source here ICOM image formation public (it concretely of a historical type) and morality relating to the identity embodying yi.

the phenomenon that produces non-estrangement attitude becomes artistic and imaginative formation, then the creative activity The immense flowering of art in all cultures of the ancient world - a manifestation of the laws mentioned in this process It opens up the formation of art in a particular type of activity After all, it is precisely the indifference - admiration and worship of the images of grandiose structures that caused the ancient builders, canonical poses of sculptural and the images of pharaohs, the technique of their manufacture, the proportions of the figures and under M Astera-artists were inspired by feelings of elevation to incarnation in the material of forming images of the \ "earthly gods \\\", and imagination prompted adequate feeling methods of creation. Moreover, the meaning was not the same the face of the pharaoh (of a particular carrier of power), and the value of power, I personify it, symbolize the idea of ​​the state as an organized coherent whole.

In the development of history, the artistic-figurative language, as well as the objects of artistic display, has changed. However, the main goal (idea) of the artistic formation remains unchanged: the creation of the ideal and simply shout for unfolding the vitality of the human spirit. Spirit witnessed itself by the richness of manifestations in the developed cultures of the late Middle Ages and European culture of the New and New times (up to the first ten things of the XX century).

It is legitimate to single out the fourth stage of the aesthetic relationship - the postmodern culture stage, characterized by the withdrawal of spirit from the limits of the aesthetically defined space of being and its immersion into the profane space not for the purpose of perfecting the latter, but for the purpose of leveling the first everyday life in its intrinsic uncertainty absorbs the spirit, dissolves in itself , subordinates situational currents. It would seem that leaving the spirit in everyday life is intended to spiritualize reality. However, everyday life washes away the spirit from its borders, calm admitting his own self-sufficiency and not recognizing the authority of the soul because he is really powerless before a realist that he does not recognize the moral truths, the ideal of good, or the intrinsic value of beauty. Serving these values ​​makes a person helpless before life, and therefore culture washes them out of their limits , to produce instead violence, aggressiveness as \\ \ "productive beginning of life; beginning of being.

We traced the laws of the formation of aesthetic as a special type of relationship, the nature of its manifestation in different types of spiritual experience and the qualitative certainty of content indicate that the entire aesthetic nature of the aesthetic crater as a spirit-forming aesthetic abilities is a way of the integral being of the spirit yourself.