16 REGULARITIES OF HISTORICAL LIFE OF ART 16 1 Methodology of the analysis of the history of art

The concept of "historical life of art" reflects the general patterns of the development of the wealth of spiritual experience of mankind in specific, integral, artistic and figurative forms. Differences caused by changes in value ideas about the world in the development of history determine differences in the subject of display and the ways of fixing it in the language of art. At the same time, the speech of art as a means of creating a holistic, artistically convincing image of reality is a dialectical unity of the stable and variable in it. In its essential features, it remains unchanged, indicating that art is a special type of spiritual experience in a special artistically figurative way of its embodiment. At the same time, as the experience deepens, the attitude to the outside world and the increased wealth of the spiritual world of man deepens, the subject of art deepens and its artistic language improves.

Analysis of the history of art requires a comprehensive approach combining various methodological foundations. The key aspects of the methodology of analyzing the history of art are presented below:

1. Historical context
Understanding the historical context of works of art is a fundamental element of the analysis. This involves the study of the political, social, economic, and cultural conditions of the time in which the work was created.

2. Iconography
Iconographic analysis focuses on the study of symbols and motifs in a work of art. This helps to understand what is being depicted and the meanings attached to the work.

3. Stylistic Analysis
Stylistic analysis studies the artistic methods and styles used in a work of art. This includes the study of elements such as form, composition, color palette, and execution technique.

4. Formal Analysis
Formal analysis focuses on the structure of a work of art, including its form, line, color, texture, and spatial relationships. This allows us to understand how these elements interact to create an aesthetic impression.

5. Socio-cultural Analysis
Socio-cultural analysis studies how art reflects and influences society and culture. This includes consideration of issues of identity, gender, race, class, and other social factors.

6. Psychoanalytic Analysis
Psychoanalytic analysis draws on psychoanalytic theories and seeks to understand the unconscious motives and symbolic meanings embedded in a work of art. This approach is often associated with the ideas of Sigmund Freud and Carl Jung.

7. Feminist Analysis
Feminist analysis examines the role and depiction of women in art, and explores how gender representations and stereotypes influence the creation and reception of works of art.

8. Postcolonial Analysis
Postcolonial analysis examines how art reflects and responds to colonialism and its legacy. This includes exploring issues of power, identity, representation, and cultural exchange.

9. Biographical Method
The biographical method focuses on the life and personality of the artist, examining how their biography, personal experiences, and environment influence their work.

10. Technological analysis
Technological analysis studies the materials and techniques used in the creation of a work of art, as well as their evolution and influence on artistic practices.

The advancement of art is evidenced by the following patterns of its historical life. Firstly, as the experience of a caring attitude towards the world deepens, knowledge about it and creative interactions with it improve, the image of its ideal vitality in art unfolds and becomes more complex. Secondly, the individualization of spiritual experience leads to an increased psychologism of creativity, penetration into the depth of experiences, into internal conflicts in the world of the subject of vitality. Thirdly, there is an expansion of the means of artistic display of objects of caring due to the improvement of the language of art, its species and genre diversity. Fourthly, within the aesthetic image of the world, into which a certain historical era is embedded, its own means of expression are developed, forming a unique aesthetic and artistic image of time. Fifthly, the national image of the world, revealed by its uniqueness in the artistic language of art, determines the wealth of the aesthetic artistic experience of humanity as a collective whole.

Approaches to understanding the patterns of artistic creativity were first formulated by Aristotle, who defined the ways of displaying the world by an artist using the concept of "mimesis" (imitation). Interest in understanding the patterns of the historical life of art has been particularly acute in science since the 18th century. Thanks to the development of historical studies of social life, art also acquires a historical dimension. This is the time of awareness of the processes of destruction of the stylistic unity of art of previous eras and the desire to reveal the trends of its further development. Particular interest in this problem is characteristic of German philosophy of the Enlightenment (Winckelmann;

erder; Schiller). I. Winckelmann in his work "History of Ancient Art" (1764) seeks to explore the origin, development, change, decline of art and the different styles of peoples, eras and artists. It is important to improve the work of the outstanding German aesthetician and theorist of linguistics W. Humboldt; representatives of German romanticism F. Schelling, F. Schlegel, A. Schlegel, Novalis. The study of the historical life of art begins with the ideas of I. Goethe, who defined the lawful in its development with the help of differentiation of the concepts of "style" and "manner".

Analysis of the history of art has shown that there are no peoples that would not have art. It also turned out that art as a product of the historical life of mankind is characterized by internal mobility: its speech changes in the direction of improving and deepening artistic expressiveness, completeness and persuasiveness of images, etc. I. Herder in his work "Ideas for a Philosophy of the History of Mankind" showed the objective prerequisites for the formation of art, the content of spiritual experience enshrined in it, the originality of the artistic language of different historical eras and different cultural regions. Relying on the fairly rich material of the history of mankind known at that time, the philosopher brings the spirit of historicism to aesthetics. He proves that art arose and developed already in the early stages of the life of peoples (naive cultures) as a necessary source of self-awareness and consolidation of the experience of relations with the world. The scientist rightly emphasizes that man is not an independent substance, but is connected with all natural elements, influencing its consciousness, understanding of the beauty and expediency of natural forms, cause the need for their perpetuation (the content of consciousness of their expressive life). "Man is harmony ... a living self, which is influenced by the harmony of all surrounding forces," the philosopher notes. I. Herder emphasizes that all artistic abilities of man were formed in the process of active interaction of peoples with the natural world, and the creative nature of these interactions became the source of improvement of human nature: the formation of man as a thinking and creative force. Language and consolidation of creative skills in artistic formation occupied a special place in this process. The philosopher characterizes man as a "creator of forms". Hearing and sight are defined as "the most noble senses". I. Herder connects artistic skills not only with the ability to produce forms (that is, inheritance), but also with the ability to see the whole and spiritualize images: "The statues of the ancients will show us that proportion, or symmetry, as they called this phenomenon, they saw not only in the size of the limbs of the body, but also in their harmonious combination, which corresponds to the soul of the whole ... In each figure lives the genius of a specific individual, and he occupies the whole body with his breath, that the body is only a shell of the spirit ... " . Thus, artistry has its own laws as an objectively defined type of spiritual experience. In art, according to the scientist, the depths of the national character are most clearly manifested. In particular, mythology, music, song creativity are important in this sense (I. Herder belongs to the concept of "folk song"). The scientist showed the differences between literature as an art based on conventional signs (the symbolic nature of language) compared to painting, the signs of which are taken directly from nature. He also studied the history of the development of art in various cultural regions, seeing its origins, as well as the origins of scientific knowledge, in Asia and Egypt, which coincides with modern theories of the genesis of artistry. The idea of ​​​​systematizing art taking into account the features of the artistic vision of the world and the originality of figurative language is given by I. Goethe in literary works and articles on the history of aesthetics ("Simple imitation of nature, manner, style", "On truth and verisimilitude in art", "Shakespeare and there is no end to him ", etc.). He focuses attention not only on the historicity of art as a spiritual phenomenon, but also reveals the essence of its historical life, using the concepts of "manner" and "style". The content of the spiritual experience enshrined in them is clarified. Manner is considered as the embodiment of a unique artistic language found by the artist "of his impressions of phenomena that deeply touched the soul. Style is characterized as a phenomenon of creating a common language of art due to a more accurate knowledge of the properties of things and the ability to convey expressive manifestations and states, that is, what is most characteristic in them. I. Goethe characterizes style as "the highest level that art can reach - a place equal to the highest human efforts." He considers the species richness of art to be an achievement of history, in the development of which artistic language is complicated, and a synthesis of arts occurs. As a striking example of such synthesis, I. Goethe cites opera. Despite the conventionality of artistic language, opera has "inner truth", which follows from the sequence of the work. The statement sounds almost aphoristic: "A perfect work of art is a product of a person

spirit". I. Goethe connects the historicity of artistic forms with the peculiarities of the attitude of peoples to the world in different periods of their lives. Art most vividly reflects the uniqueness of various stages of the history of a people. The following thought has become classic: "All eras move backwards and are engulfed in decay, full of subjectivity, but all eras move forward and have an objective direction. Our present time is reactionary because it is subjective. You see this not only in poetry, but also in painting and in many other things." Agree that it is relevant today, especially if you compare modern and highly developed European art in the historical past.

W. Humboldt, under the influence of the ideas of I. Herder and I. Goethe, explores art as a phenomenon of the realization of an ideal in a concrete, including national form ("Aesthetic Experiments"). The scientist proves that the spirit of the people is reflected in the creative nature of its speech and in the figurative nature of art. Thus, he paves the way for understanding the stylistic differences of national art. In order to understand the historical originality of art, in particular national artistic styles, W. Humboldt analyzes the differences between epic poetry and the novel form of creativity. At the same time, there is a qualitative difference in the content of art and the artistic means of its embodiment: in epic poetry, the richness of the external world unfolds, the fullness of life in its expressive, sensually given vitality. On the contrary, the novel form is focused on the development of the inner world of the heroes. These are the typological characteristics of historical forms of art.

In the process of studying its history, aesthetic theory finds two important factors that allow us to trace the patterns of artistic development. Firstly, these are the features of the relationship between idea and form in works of art; secondly, the relationship between the objective and subjective in its content.

The aesthetic theory of enlightenment realism and romanticism manifests a dialectical connection between two types of relationship between reality and ideal, substantiating the concept of method in art. The first type, defined in the works of J. Goethe, reveals the methods of artistic depiction. Namely: the relationship of the ideal and reality in the forms of raising the sensually perceived reality to the level of the ideal by creating a new, supernatural, ideal reality, united by the logic of perfect artistic formation. I. Goethe formulates the concept of classical realism as an artistic method.

F. Schiller ("On Naive and Sentimental Poetry") reveals the patterns of the historical life of art in relation to the subject of artistic depiction. Based on a comparison of the poetry of the Ancient World, in particular ancient and modern times, he discovers that the artists of the Ancient World sought to convey reality most fully in the figurative language of art. F. Schiller defines such poetry using the concept of "naive"91. Another type is "sentimental" poetry. Its subject is the reflection of a direct impression from objects that inspired feelings. This art gives a direct image of the ideal. Note that the position of W. Humboldt echoes the ideas of F. Schiller.

F. Schlegel traces the patterns of development of art for its specific features. He considers romantic poetry to be an important special achievement of art, equating it with the epic in terms of its ability to display an era. At the same time, unlike other arts, which, according to the philosopher, have already exhausted themselves, romantic poetry is in "constant formation", because it is the free creativity of artistic genius [11, p. 173]. In his work "The Epochs of World Poetry" F. Schlegel comes from the position of a comparative analysis of the art of different historical eras, beginning with antiquity and up to the work of the great I. Goethe. Similar ideas are expressed by A. Schlegel ("Reading about dramatic literature and art"). He characterizes the artistic progress of mankind based on the analysis of modern and ancient poetry and art in general. Comparing ancient (classical) and contemporary (romantic) art, the philosopher emphasizes the uniqueness of each, conditioned by the spirit of the times. These differences are built as follows: "the internal character of all ancient art and poetry is plastic, while modern art is picturesque." Paying tribute to the perfection of ancient art, reflecting the harmony of all natural and spiritual forces of the people, A. Schlegel is forced to state that ancient culture could not rise above "enlightened and ennobled sensuality." He notes that the plastic imagery of ancient art is generated by the spirit of its time and cannot be mechanically transferred to another historical time, to another meaning of culture, and ultimately to other geographical and climatic conditions. Romantic art, the scientist emphasizes, grows on the ideal of Christianity, contrasts the earthly and the heavenly, the transient and the eternal, "transforming life into a night world of shadows." Comparing the two types of ideal, the philosopher speaks of the Greek ideal of humanity as a harmo

balance of all forces, that is, about "natural harmony". Modern times come to the realization of the unattainability of such an ideal. "Hence the desire of poetry to humble, to merge together these two worlds - the spiritual and the sensual, between which we waver." The given opinion is fruitful for understanding the grounds for replacing aesthetic thinking and its artistic embodiment with the language of art. A. Schlegel proves that the artistic image of the world as a spiritual integrity is born of the spirit of its time. The latter is a synthesis of all relations of specific peoples with the world in certain historical eras. In artistic imagery, this originality is traced on the basis of a comparison of ancient Greek and romantic art. Therefore, in Greek art and poetry there is an initial unconscious unity of form and content. Modern poetry, remaining faithful to its bifurcated spirit, strives for a close interpenetration of both opposites. The characteristics of two types of spiritual experience, which determine two types of aesthetic ideal and are realized in the qualitative differences in artistic imagery of classical and romantic types of art, serve as a methodological basis for analyzing the patterns of artistic development: all types and genres of art.

Conclusion
The analysis of art history requires an interdisciplinary approach that combines various methodological foundations and research methods. This allows for a more complete and profound understanding of works of art, their meaning and influence on society and culture.

In post-romantic aesthetics, approaches to identifying the richness of the historical life of art are more diverse. Accordingly, the conceptual apparatus of science is expanded, designed to understand it. Along with the concepts of "style" and "manner", the concepts of "direction", "current", "method" are used. It turns out that their content is different in different historical eras, since it is due to differences in spiritual experience. They comprehend the species and genre richness of art, the specificity of the relationship between the ideal and reality in its various forms, the uniqueness of figurative language, as well as the dialectical unity of the regular, typical and individually unique both at the level of an individual work of art and at the level of entire historical eras, and ultimately the history of art as the collective spiritual achievement of humanity.