14 2 Principles of Classification of Art

Recall that the first attempts at classification relate to the times of Greek antiquity, where the arts were divided into musical and tech . Historically, this phenomenon is valuable in that it reflects the awareness of artistic TV grumbling as a special type of spiritual experience. It is characteristic that the latter was so important for the formation of the world of the human person, musical, poetry contests, theatrical performances were realized as a civil case. Attending the theater was considered a day of archaic as a public duty of free people (citizens), and between expenditures from the state treasury for the low-income was an article to the theater dance and music are interesting his reasoning about the difference between rhythm and meter, which are specific to music, but at the same time, according to their laws, any artistic and work is built: Meter has mechanical resolution, while the rhythm of life and reveals the internal pulsing nature of art .

the dispersed integrity of the spirit in the era of late antiquity leads to the concentration of interest on certain types of art depending on the needs of the time. The tendencies of using art for certain out of artistic needs borrowed from the late antiquity of the Middle Ages the Christian Middle Ages, based on the awareness of the influence of music on the mental structures of personality, puts it next to art of the word and develops esteticheskih music theory (Augustine, Boethius) In the Byzantine Middle Ages, living art is considered to be the leading art inventory (John Damascene, Theodore the Studite) and in subsequent periods aesthetic theory to make sense of a kind of individual art forms, depending on the characteristics of their artistic language, the subject image and spiritual needs obschestvstva.

The first classification of arts as a system subordinate to the objective laws of vitality, determined by the subject of the image, the material and means of creating an image and, finally, the ways of its perception according to the specifics of the figurative language (depending on the effect of the artistic language on the subject’s spiritual structures), gives Kant (Criticism of the ability of judgment ) The philosopher writes: There are only three types of fine arts: verbal, visual, and the art of refined play of sensations [13, from 1184] In the above classification, And Kahn in turn, identifies the following types: verbal arts belong to the eloquence and poetry; in the goiter of the artistic arts - plastic and painting; to the art of refined play of sensations - the artistic play of sensations of hearing (music) and from the senses of sight (the art of colors) Further, inside the second kind, plastic as you do, it covers sculpture and architecture, sculpture and architecture.

The objective basis for the above classification And Kant considers the peculiarities of the expression of aesthetic ideas. So, according to the visual arts, or otherwise, the arts, expressing ideas in sensual contemplation, in the distinction between plasticity and painting is that the first is the art of sensual truth and the second is the art of sensual likeness . The basis for both is the aesthetic idea (archetype, prototype) .

A thorough description of the types of art as a system is given by F. Schelling (Philosophy of Art ), choosing as the basis for the classification the distinction between real and ideal interaction in the artistic image. Such principles classify painting, music, poetry, architecture The Real series of arts in F Schelling personified visual arts (music, painting, plastic); to the ideal series referred to the word of a dream of art (lyrical, epic, dramatic poetry, epic, dramatic poetry).

The philosopher analyzes in detail the symbolic nature of art as an organic combination of the universal and the particular, as opposed to the one-sidedness of schematism and allegory, arising from the destruction of integrity to one’s mind, personified in mythology and art. The classification proposed by F. Schelling is especially interesting for the internal connections of the arts, because the philosopher finds universal spiritual foundations for them, Zuma is the specifics of the interaction of the ideal and the real in the context of specific types of spiritual experience of the epoch The architecture of Greek antiquity, the philosopher shows the connection of its forms with musical forms Architecture, because it is plastic music, includes, like music, rhythmic, harmonic and melodic component [27, p. 295] Accordingly, the manifestation of architectural rhythm the philosopher rightly, the BWA drinks in the periodic separation of the homogeneous, namely, in such elements: the reduction and gradual thinning of the columns up and down, in the amount of the distances between the columns, and in the Dorian warrant, first of all, in the United States of bounces, forming the cornice, the number of triglyphs in one interval between the columns, etc. And further: Three orders of columns (Dorian, Ionian, Corinthian - In M), in turn, are related to each other as rhythm, harmony and melody, or, in other words, they are built either mainly on rhythmic, or harmonious, or and, finally, on a melodic basis "[27, p. 296]. The bas-relief (" painting into these layers ") is considered in unity with other arts, in particular, architecture. Schelling's ideas on the basis of the classification of art have a certain effect on aesthetics Hegel, divided art into symbolic well, classical and romantic artistic forms, classic and romantic artistic forms.

Hegel, seeking to classify art, notes that this section should be based on the nature of the work of art, expands the integrity of the nuances in it. The philosopher sees the sensual nature of art and, therefore, the need to take into account the perception of artistic objects by feelings, these feelings are different, but theoretical the senses capable of perceiving artistic phenomena are vision and hearing. We do not think that it was precisely Hegel who first identified the mentioned means. Ia, describing them as theoretical sense and as the basis for the classification of the arts .

Describing the specificity of visual and auditory perception of figurativeness, the philosopher notes that these are ideal, spiritual processes of creating the vitality of an image. In the sounds of music, the ear perceives theoretically, similarly to how the eye perceives form or color, causing the inner contents of objects to become our inner life (italics auth - V M) The third important component, along with the sense of sight and hearing, is sensual representations, memories, image storage. Thanks to the dialectical connection of mental structures, both imagining the perception of images and comprehending the experiences of their expressive life, the arts are divided into forms of creativity (the embodiment of the image in forms and color) sound (music); verbal (poetry) ].

However, the separation on the basis of the sensory features of an image is just one of the approaches. The main task of art is to confront the sensual contemplation of truth in a work of art as the integrity of objectivity and perception of the beginning depending on the nature of the relation of an idea and its artistic embodiment in art. symbolic art instead of the identity of form and content is only their sporidnenist; in the classical - the ideal corresponds to the image of the absolute as such in its independent, embodied reality within itself; the romantic art form has both the content and the form the subjective character of the soul and feeling [8, t C, s 17] Art, depending on the characteristics of the connection of the idea and the image in them, is divided: the beginning of art is architecture; the following form is sculpture (its principle and content is a spiritual individuality) and, finally, a kind, it unfolds the inner experiences of the subject, firstly, painting, secondly, music, thirdly, poetry As Hegel argues, these n in art form a certain system of his. Others, he considers an imperfect art of its own ad hoc reconstructions."

Subsequently, the aesthetic theory on the classification of arts focuses on the features of sensory perception of works (Fechner, Külpe, Ogden), then on the features of the combination of material in it with the characters of a particular type and specificity of its spiritual content (Zeising, Suri, Dessuar) Modern aesthetic theory divides art , depending on the material existence of the artistic form, into three modes of existence of self: spatial (painting, drawing, sculpture, architecture, applied arts) temporary (poetry, music); space-time (theater, dance), or, respectively: purely spatial - static; purely time - pre-dynamic processes, finally, those that unfold in space and in time [12, p. 3600].

So, throughout the long development of the history of art, they formed into a system, comprehended and unfolded the human spirit according to its possibilities of perception and experience of reality, enclosed in expedient and eesthetically expressive artistic forms. Species diversity shows that arts were formed as a spatial-temporal reality, objectively matter of formation and in relation to space and time from there to, such an art form has developed: architecture, decorative and applied art arrangement, sculpture, painting, poetry, music, dance, theater As the experience of objectification of reality is incremented by means of artistic manner, new forms of it appear. In the 19th century, special art — graphics — was distinguished in painting. At the same time, the concept of "poetic art" expands to the notion of literature , including the species and genre richness of works, material of which is the artistic word. In the XX, cinema emerged as an art form, thanks to advances in technology. stage, circus; in the 21st century, it acquires computer graphics in the art atus of the status of computer graphics.

Art is also distinguished by expressive visual techniques: statics in architecture, dynamics in music and dance, three-dimensionality in architecture and sculpture, flatness in painting and graphics, duration m in music Unity of all means of art creates a wealth of art possibilities in reflection of reality.

The key to the differentiation of arts is the ramification of spheres of activity and the growth of experience in relation to the world. You can divide them into three main groups depending on the functioning of arts in the aesthetic experience of mankind. The first type reflects the need to embody a person’s practical attitude to the world in artistic and figurative form, that is, invest image of human practical-formative activity. These are the archives and arts and crafts. The second type reflects the need to consolidate harmony with the ideals and relations of mankind with the world, enclosing them in images and giving them self-valuable content. This is painting, sculpture, graphics. They reveal the conscious and Poeticized beauty of the natural world and the beauty of man. The third kind is connected with the need to shape human feelings, mental states, human relations, giving he is offended by him. He unites theater, music, dance, poetry. By enclosing the image of the human inner world and its manifestations in relationships, art affirms the intrinsic value of spiritual experience — it reflects the level of his perfection

The species diversity of arts is also determined by the differentiation of meaningful layers of reality based on the completeness of the forms of its existence: place, time, action is, in artistic images the human spirit asserts itself as your orcho-forming force, capable of organizing space action, feeling, giving them artistic and imaginative ways of life. Some arts master the image of space by rooting in it and changing His image (architecture, sculpture), others exist in time and the duration of image creation unfolds time, creates its countdown (music, poetry, dance) Some form an action that takes place in history and time, combining them in meaningfully filled with being (theater, kinono).

Thus, the species richness of art is the manifestation of the wealth of abilities and skills of mankind to consolidate the acquired experience of an indifferent protege - this is the most appropriate for the nature depicted and the characteristics of his spree. Therefore, the unity of art forms a full relationship. At the same time, the increased need of the spirit to live in beauty is created. world, reflect its fullness, the phenomena in the integrity and perfection of the artistic-figurative language FIW.

The process of creating artistic experience is complex and controversial, determined by the subject of the image. Deployment of the substantive layers of artistic reality and the characteristics of their organization in artistic form are determined by the dialectically contradictory unity of the real world existence as harmony and disharmony, dynamics and statics, formation and destruction, etc. Thus, the musical image unfolds in the unity of harmonious combinations of sounds (consonance) and their solutions (dissonance) The content of the image is determined by the creation of the essential in the senses: their formation, change, internally contradictory logic of deployment In painting, the vitality of the image is created by generalizing the essential qualities of the object according present themselves in the sensually given authenticity of the image depicted with the help of paints and design, light and light, volume and flatness, etc. Together, painting perpetuates one, albeit the most significant, moment of discovering the internal state of the image object. The architectural image is created by a rhythmic alternation of horizons, verticals, dynamics and statics of forms, monochrome and polychromy of the decor. It also opposes the dynamic vitality of nature.

The origins of the species diversity of art are also due to the peculiarities of human perception of reality. The way of responding to the phenomena of art reveals the truth of feelings. Artistic feelings are the unity of what we mentally affirm about the subject and what is in it Feelings are spiritual education, in which a generalized relationship, revealed significant in the object and the ways of his artistic image of the day.

In the development of history, the organs of perception and experience of artistic objectivity were formed and perfected Recall that vision and hearing as the main sources of communication with the outside world is a product of a long history of Toric development reasonable man (social organs ) And, as noted in previous themes, the ability to perceive and experience artistic reality is a consequence of a particular aesthetic development of the organs of perception. It is thanks to their qualitative certainty that human perception has spiritual nature Most animals have keen ears and eyes, but the musical melodious sounds in the richness of their figurative language are perceived and only the person is able to experience. Similar is the perception of aesthetic and artistic qualities of objectivity. The animal recognizes and not indifferently perceives only that which is related to its biological needs. deeply experiencing the beauty of artistic phenomena precisely because it is capable of raising consciousness and feelings over the practical necessity of practical chnoyu neobhіdnіstyu.

So, as the analysis shows, the arts in the history of the formation of their artistic-figurative language and features of the vitality of the image were formed as a system. It is due to the following specific features: the originality of the ways of existence (spatial, temporal and spatial-temporal arts); means of creating images and materials of the process (the word is in literature, sounds are in music, paints are in painting; marble, bronze, etc. in sculpture, stone in architecture), features of perception (visual - painting, sculpture graphics, architecture