Lecture
It is interesting and important to trace the origins of aesthetic ideas of our ancestors, the level of their creative skills and consolidation in the images of experience related to the phenomena of reality (natural forces) and people to themselves. The cultural monuments on the lands of modern Ukraine are attributed to the Upper Paleolithic era. clay sculpture: a three-dimensional image of animals, certifying possession of the anatomy of the body and the ability to convey its proportions. Then also sculpted female images appear. life, in which accentuated on the reproductive parts of the body (often the head and legs are missing, there is only torso) This confirms the awareness of the role of women in increasing the type of male images of the Paleolithic era is much less Features of plastics - the combination of conditional and naturalistic tendencies in images team with the natural world: totemic beliefs in the relationship of man and animals (a common ancestor), fertility and magical influence on it Hence the symbolism of \ "fir trees \" - rhythmically repeating schihsya \ "triangle \", \ "angle \", symbolizing the female womb - a place of mysterious origin of life [4 25-26єmnichogo zarodzhennya Zhittya [4, p. 25-26].
The deployment of the symbolism of the image took place in the Neolithic era. The woman (mother) occupied the leading place in the social structure. Her image is simultaneously a symbol of mother earth (the development of the mother cult coincides with the development of agriculture) Much later, images of men began to dominate.
People create their own images, comprehending their functions, attitudes to these functions, that is, consists of an emotionally non-indifferent attitude of a person to his own similarity, objectified by the formation of her image and therefore arises the subject of reflection and experience. The complexity of the symbol of motherhood is associated with the process of transition from cattle breeding to agriculture Female deities (Mother Ancestor) is a carrier of two images: the goddess of agriculture and cattle breeding. Such images are common in the lithuania of Tripoli - one of the ancient civilizations in Eastern Europe, which arose and established in the III-II millennium BC in the areas of the middle reaches of the Dnieper and along the Dniester. A common symbol for the image of the feminine in Tripoli culture was the rhombus. It meant a woman-mother, the earth, there are not many variants of a rhombus, there are many, and it always symbolizes fertility, the tree of life, the beginning of everything that exists. Circles - a symbol of the sun - signified a masculine principle. they formed a concentric circle, and the entrances were located to the center of the circle (mapping of community affinity) very often in this culture schematized female figurines are a symbol of the goddess of earth and fertility. These images are molded from clay and characterized by a symbolic interpretation of the image with a greater conventionality in the transmission of proportions and forms of the body, compared with the Paleolithic depiction of images.
artistic knowledge and skills were diversified. A man of early cultures mastered the technique of making images of bone and horn with a rather delicate filigree processing. In the culture of Tripoli a prominent place is set up making dishes, figurines of animals and birds The ornamental images typical of the entire development of fine art, ranging from Paleolithic epochs. Ornamental images are especially widespread in the successors of the Trypillian culture - Eastern Slavic tribes, It happened around V-III century BC and is associated with Indo-European, Aryan culture. This is the culture of people from Central Asia, the culture of pastoralists and farmers. Ornament development during this period is characterized by a variety of lines, cuts, sketches they were applied to all objects, made by man , - ceramic products, battle axes, swords, knives, etc. The lines were symbols of space, determined the distance, location and delimitation of things from one another, that is, they were a method of fixing and transmitting information about things, their location The ika of the lines also had an aesthetic direction. Objects designated by lines, each time unique, acquired the peculiarities of the image, its individual appearance - the “soul”. The line underlying all artistic images is also a sign language. The lines also had a magic character: outlined the lines of the objects (fenced) fell into a symbolic circle, the shortage was not for evil forces. Therefore, it is from here that the tradition of fencing the premises develops, and then the cities can be enclosed with a wall fence.
In the first millennium BC, the number of sculptural images of a man grew. These are stela obelisks of Cimmerians in the steppe territories of the Northern Black Sea region, stone sculptures of Scythians. Many of them were set up in these same areas in VI-PI century BC. with the attributes of their specialty: swords, quivers, war hammers, whips. Often depicted a cornucopia. Scythians left the masterpieces of the iconic culture: a golden pectoral from the Thick Grave, numerous images of people and animals of extremely fine work; the golden crest of Solokha, decorated with images of human figures, and a number of other finds from K ul-Ob, Chertomlyk, the Hayman Grave, and igil ta іn.
Numerous anthropomorphic sculptures of the Polovtsy are widely known - \ "stone women \", put on the same lands. They were not just \ "traces \" of the presence of the people, but also claimed its ingrained image in this area. Ideoplasty of the Slavs on your lands is known from III- IV century BC The Slavs of the Dnieper and Carpathian region worshiped idols, in particular four-faced human statues. These include the found idol in the 19th century in Zbruch Idol, a quadrangular stone pillar with carved images of human life and cosmogony from all sides. representations of the ancient Slavs It depicts a complex complex that combines the three spheres of being to the OTU: gods (top row of images), people (middle row), underground world (bottom row). Their imagery is much more difficult, because the real and imaginary, heavenly are intertwined , terrestrial and underground in the Saint tsnomu tier of the stele - a number of Slavic gods Complicated composition, thoughtfulness of images, pronounced symbolism of images indicates the period of idol creation - this is the time of developed mythology with stable intelligence of the functions of deities and their “Relationships” with people The images are named - the symbolic personification of the integral cosmogonic ideas of the ancient Slavs about the world. This is the system that was later imposed on the one-gods - Christianity. It gives rise to another figurative and symbolic system reflecting other world views and attitudes toward it. on svit ta stavlenya to nyogo.
So, aesthetic objectivity is a symbolic personification of the needs, abilities, ideas about the world of people of early cultures. Practical formation of the symbolic meanings provided to it is a way to create spirituality and relationships with natural forces, a manifestation of the active image-forming attitude of man to nature "of the world in images) is a universal form of interaction with the outside world and the basis for creating the constancy of the experience of interaction within the framework of joint activities not.
1 Hegel GVF Aesthetics: In 4 t - M: Art, 1969 - T 1
2 The history of aesthetic thought The formation and development of aesthetics as a science: In 6 t - M: Art, 1985
3 E. Cassirer. The Philosophy of Symbolic Forms: In 2 t - M, S-Pb: Univers, 2002 - T 2
4 Krvavich D / 7, Ovsiychuk V A, Cherepanova S O Ukrainian art: V 3 t - L: Mir, 2003 - T 1
5 Langer S Philosophy in a New Key - M: Republic, 2000
6 Leonardo da Vinci Selected Works - Mn: Harvest; M: AST, 2000
7 Lesia Ukrainian Collected Works: 12 t - K: Science, Thought, 1975 - T 2
8 Masters of art on art: In 7 t - M: Art, 1965 - T 1
9 Mathieu M Ancient Egyptian myths - M; L: USSR Academy of Sciences, 1956
10 Mikhailov BP Vitruvius and Hellas - M: Publishing house on construction, 1967
11 Rigveda Mandalas I-IV - M: Science, 1989
12 Rubinstein SL Principles and ways of development of psychology - M: USSR Academy of Sciences, 1965
13 Russian aesthetic treatises of the first third of the XIX century: In 2 t - M: Art, 1974 - T 2
1. Expand the origins of a person's ability to substantively form and objectify relations with the world in aesthetic forms.
2 Analyze the laws of the formation of aesthetic knowledge as a special sphere of spiritual experience in the historical development of mankind.
3 Identify the objective basis for the formation of symbolic objectivity and expand its functions in naive cultures.
4 Explain the concept of \ "symbolization \" of the world, justify its origins and foundations in early cultures.
5. Describe the main ideas of the ancient Indian treatise on aesthetics \ "Chitrallakshana \".
6. Give the typical aesthetic characteristics of the gods and heroes of the ancient Indian epic.
7. Expand the symbolically imaginative system of anthropomorphic images in the culture of the original Ukrainians.
8 What is the relationship of practical and symbolic aesthetic values of everyday and religious objectivity in naive cultures?
Comments
To leave a comment
Aesthetics
Terms: Aesthetics