15 5 The Artist and Society

The problem of the role of the artist in society is, on the one hand, the problem of creating a genius of the fullness and integrity of the image of national existence, on the other hand, the problem of people's awareness of their own image thanks to the tv thieves of brilliant artists. an effective formative factor of the national spirit arose. The folk artistry of the portrayal of the way of life of ethnic groups at the level of practical and spiritual achievements and, accordingly, value ideas of perfection They are connected with the necessity of the survival of the people, self-preservation, and the creation of harmony with the natural world within the social whole.

Professional art of brilliant representatives of the people concentrates the content of value ideas, collecting them in the images of beauty, which reflect the spirit of the people, their desire for freedom, its heroic competitions in the nature and elements of social unrest. It creates the characters of national heroes , the morality of relations between people, as well as the problem arising in the relationship of Vido, that the Greeks of their gods created Homer and Hesiod, and in the poetic nature of their images embodied poetic l perception of the world by the whole people. Here acts the law, in due time aptly formulated by Marx: The subject we are - something similar happens with every other product - creates an audience that understands art and is able to enjoy beauty. Therefore, it is not only an object for the subject that produces , but also the subject for the subject "[10, p 718" for the subject "[10, p. 718].

Spiritual attitudes of believers to Christian gods were formed by medieval artists, as we noted in previous paragraphs, due to the development of the iconographic canon of images of faith. Due to light and color symbolism, expressive modeling of figures, a culture of attitude to faith symbols was formed. \ Served as a shell and reliable protection the immeasurable truth from the eyes and ears first of all the best", not worthy of the knowledge of the truth A symbol containing in itself the beauty hidden inside allows to comprehend the essential , spiritual light (1, p. 124] As Pseudo-Dionysius noted, the theorist eats the ethics of Christianity, whose ideas were shaped by the Byzantine painters, it is necessary to teach people the "vision" of the symbol. This example confirms that the symbols of faith were assimilated by the Christian world for yaks produced the iconographic symbols of the images of their artistic expressiveness and informative load were formed by the culture of perception and experience of the inner depth depicted the experience and experience of the inner glibini image.

It should be noted that social life, which in the middle is characterized by complex hierarchical structuring, in the Christian faith is not very effective democratization factor. First, it proclaims the equality of all before God, i.e. verbal-symbolic fullness of the image of faith and its pictorial-symbolic phenomenon is open to all believers and objectively aimed at bringing people together. The objective characteristic of their relationship is that everything is children of God Secondly, it is the artists (builders, painters, icon painters, copyists of the Holy Books, the creators of music and its performers) create the spiritual atmosphere of filling, I am living with an inferior personal content.

In Byzantine aesthetics on the material of literary works, painting and architecture, issues of spiritual factors capable of elevating the soul begin to be actively developed. The works of Byzantine students of their theologians, orators, historians have been preserved, they have fixed and described the psychological impact of art on the consciousness of the subject of perception. They teach culture sensory experience of the beauty of the creeds and the deepening of the content of the faith that these symbols personify. With this, art realizes the need d singularity of being and giving it universal valuable content, attracting to the transcendental scenes.

The creators of artistic masterpieces, usually people from the democratic strata of society, successfully combine people's attitude to objects of faith and the entire universality of the experience of creating its symbols thanks to abutim knowledge and transmission of tradition. Therefore, they appear to be an active force for uniting society into a certain spiritually related wholeness. They had enormous prestige in the company of Inimni, so it was until the last decades of the 20th century, when the artists themselves refused to perform this good hydrochloric mission: living spirit, creating beauty, to unite around her senses and mind sus exists, and in the present circumstances - and globalized chelovechestvstvo.

At all stages of the historical development of art, its spiritual and formative influence on Leonardo da Vinci’s society in The Treatise on Painting reflects on the importance for artists to form in the viewer a correspondence of the experiences of the content of the image. This concerns the importance of such an action of works the consciousness according to which they are called upon to induce the spectators, the observers in the same action as the one for which this historical plot was depicted [11, t 2, p. 136] the artist must call in Shah perceiving the mental state that is depicted in the work. At the same time, the power of the senses I must be such that the souls of those who observe should bring the members of their body (italics auth-VM) in such a motion that it would seem as if they themselves participate in the same event, presented with the help of figures in the historical plot. But if they do not, then the talent of such an artist is useless [11, t 2, p. 136] This idea is relevant in connection with the question of the ability of art to influence spiritual personality structures: to shape the adequacy of the response is not nly on works of artistic expression, but also to teach the content is so deeply imbued with the image to the senses and the mind can live Reductions, schobi pochuttya i Rozum could zhiti him.

Numerous reasoning of the brilliant Leonardo about the artist’s means of creating expressive perfection of paintings is to form the viewer’s deep mental states caused by their perception. They note that the character of artistic images not only reflects the spiritual atmosphere of life, but also influences the person’s mental structures. , the idea of ​​the inviolability of time, characteristic of the ancient Egyptian art, embodied in artistic forms the idea of ​​the eternity of the power of Pharaoh s, appropriately formed the mental structures of a person of that time: the attitude to see the world as unchanged, I reiterate to the eternity. In the arguments of Leonardo da Vinci, another is affirmed - the moving paradigm of life. The art of the new historical time forms the image of the world as a substance full of inner vitality Expanding the inexhaustible richness of life forms, the art of Renaissance leads the objective process of unfolding spiritual human structures when perceived artistically. Here is another feature that the subject focuses on the art of this era: an emphasis on beauty, on the expressive and rich vitality of the natural world and on the expressive beauty of natural qualities, people and its spiritual beauty, i.e. draws the interest of the person inside himself On this particularity, it is necessary to focus attention precisely because the ideological revolution, characteristic of the Renaissance, is carried out, first of all, art, and only then it was expanded by scientific knowledge, also actively developed, and consolidated in the form of the ideological system, philosophy philosophy.

No less significant step in the spiritual development of European society was the movement towards the secularization of consciousness, the function of which was actively carried out in mass consciousness. Writings. In von Gutten, Rotterdam, E. paved the way for ideological pluralism, reflecting the process of Martin Luther A talented writer, an educated, erudite person, belonged to the highest circles of the clergy, he became the first translator of the Bible into a new European language, Aviv The Reformation movement finally, this act began the process of splitting the Catholic Church and the emergence of the Protestant church of Heine, analyzing the historical heritage of M. Luther in the spiritual liberation of European nations, notes that this literary talent of the giant will and strength of mind of the German-speaking Bible translation M contributed to this Luther created a single literary language for his people, because, as Heyne writes, I sincerely confess that I don’t know how the language arose, it still reigns in Germany, providing Thread literary unity fractured politics and religion of the country [5, p 72єyu kraїnі" [5, p. 72].

No less important in the spiritual heritage of M. Luther in the development of the German nation G. Heine considers the secularization of the consciousness of wide circles of German society thanks to the Lutheran Bible Thousands of copies made by the young at that time book printing, not only presented Lutheran language to the rank General written Regarding the meaning of this translation in the spiritual development of the German people, G. Heine remarks: Everything in Israel and the momentum contained in the Luther Bible is German, and the writer can now (the article was written by G. Heine 1834 -M) to consume, and the book is in the hands of the poorest people, they don’t need any special scientific language to learn to express literally [5, p. 73]. We’ll pay attention to the poet’s final opinion: Luther interprets the Bible as a source of development Omsk and culture of the wider circles of German society, including the the poorest people, among whom there are" the best people. "

No less significant contribution to understanding the laws of social life and the development of value ideas of wide circles of society is characteristic of the artists of the Enlightenment. Leading at this time there are two and the most philosophical arts: literature and theater. Deployment of life contradictions, penetrating the world of the individual, becomes the main subject of artistic display in art In the novels, the novel x, the dramas of this period, through the fate of the heroes, the artists trace the patterns of the characters in the system of of events and the interaction of chance and necessity in the activities and relationships of people The goal of the art of enlightenment of titels is to appeal to the rationalization of human nature to the formation of rationality in those artistic works of enlighteners (Voltaire, Didro, Lessing, Schiller, Goethe) deep into The contradiction of human nature, in which naturalness is shown unreasonable, and rationality - cruel. Reflecting on the spiritual situation of its time, on aesthetic preferences about Voltaire writes bitterly: “The crowd does not search for the correct, noble, strict beauty. The epic poem is read less than the obscene epigrams of the room are decorated with gold and lacquer, and the noble architecture is neglected - that is, in all genres, mendacity takes precedence over true dignity." [3, I 105nistyu "[3, p. 105].

The art of the Enlightenment showed that the world included factors that acquired a leading meaning in human life and before which they were powerless about the value of moral qualities: this is a wealth riches obtained without regard to means. "The one who is richer is stronger, the one who is poorer then weaker, "such logic of reasoning, characteristic of the hero of the bourgeoisie, is actively established in the life of European society in the XVII-XVIII centuries. Art thus served to develop the consciousness of society, forming an understanding of the complexity of human nature and people ewe relations By directing the consciousness of the person inside himself and discovering what is natural in social relations through their direct manifestations in the subjects, the artists form a conscious attitude towards social life to social life.

We note one more important feature of the experience that personifies the creative work of the artist of genius: the people speak the world a perfect language, born a genius. Only such a language and expressed by it are interesting in experience to humanity: everyone, without exception, people and every person. Therefore, artists are speakers people, connecting its link with humanity. Inside their people, they are the spokesmen of his conscience and his talent. In the Ukrainian culture such representatives are his outstanding artists: T. Shevchenko, and Franco, Lesia Uk In the works of T. Shevchenko, the cornerstone of poetic creativity is the idea of ​​freedom. The will is understood as an equal fate, because it comprehends the whole life of a person. Freedom as an ideal of human life is a leading theme of social, philosophical and artistic creativity, and of Franco-philosophical and artistic creativity І. Frank.

A special place among the geniuses of national art is occupied by the figure of a large Lesia; her genius personifies the highest spiritual achievements of European culture.

She is alien to the ethno-mental narrowness of understanding of spiritual values ​​and nationally limited ideas of dividing society into elite and masses , according to which elite is savior of masses. She stands in the positions of European personality, He sees in every person an equal subject of vitality. The named vision, embedded in the ingenious perfection of poetic thinking, opens up the infinity of the spiritual world of the human person and asserts man as the highest value of vitality that affirms people as his life.

So, an artist in public life acts as a personality, which has a special mission. He is called to shape the consciousness of each person, appealing to his mind and feelings. Spiritual experience, concentrated in a particular artistically convincing form in works of art, contributes to its penetration into the consciousness and depths of the human soul. also in a specific sense of experience: this is the inner life of any fluid, its feelings and experiences, reflections on life, open up for direct communication with them each subject of artistic perception Only art creates such opportunities, and therefore only it, thanks to the genius of artists, enables creative unfolding of the inner world of each subject of communication.

Bibliography

1 Bychkov In Byzantine Aesthetics - M: Art, 1977

2 Bychkov In Aesthetics of late antiquity - M: Science, 1981

3 Voltaire Aesthetics - M: Art, 1974

4 Hegel GVF Aesthetics: In 4 t - M: Art, 1969 - T 1

5 Heine G. About artistic creativity - M .: Art, 1988

6 Kant And the Critique of the ability of judgment / / And Kant The foundations of the metaphysics of morality - M: Thought, 1999

7. Levchuk L. Psychoanalysis: History, Theory, Art Practice - C: Lybid, 2002

8 Losev A daring spirit - M: Politizdat, 1988

9 Losev A. Renaissance Aesthetics - M: Thought, 1978

10 Marx K Introduction to the economic manuscripts of 1857-1858 / / K Marks, Engels F. Compositions: D 30 t - K: Holding Political, 1963 - T 12

11 Masters of Art on Art: In 7 t - M: Art, 1965 - 1970

12 Thinkers of German Romanticism / Emphasis L Rudnytsky and About Fe-shovets - Ivano-Frankivsk, 2003

13 Nietzsche F Merry Science / / Cit: 2 tons - M: Thought, 1990 - T 1

14 Ovsyaniko-Kulikovsky D. Literary-critical works: In 2 t - M: Hud lit, 1989 - T 1

15 Florensky P Iconostasis - M: AST, 2000

16 Franco I. S Secrets of Poetic Works / / Collected Works: 50 tons - C: Science, Thought, 1981 - t 31

17 Schelling F. Philosophy of Art - M: Thought, 1966

18 Schopenhauer A Aphorisms and Maxims - L: ilu, 1991

19 Schopenhauer A The world as will and representation // Monuments of world aesthetic thought: In 5 t - M: Art, 1967 - T 3

20 Jung K Favorite - Mn: Potpourri, 1998

Questions for self-test

1 Expand the relationship of artistic intent and the stages of its implementation in the creative process.

2 Identify the differences in practical and artistic formation, taking into account their ultimate goal and purpose.

3 Expand the connection of the artist’s need to impart to the work an internally perfect life with the level of his artistic skills.

4. Describe the four types of artistic formation.

5 Determine the nature of the art-forming ability.

6 Explain why the process of artistic formation is the activity of the creation by mankind of its own image?

7. Expand the main differences of talent and genius, determined by German classical aesthetics.

8 Uncover the spiritual factors of genius forming ability.

9. Analyze the concept of Jung about the mental foundations of artistic creativity in the context of the concept of archetype

10. Expand the history of the ideas of mankind about the role of the artist in society.

11 Expand the excellent in relation to talent and genius to his vocation.

12. Determine the role of art schools in the development of national artistic talent.

13. Expand the place and role of the artist in the development of public ideas about the value of life.