16 5 The concept of the progress of art

An aesthetic analysis of the history of artistic development in the richness and inconsistency of its tendencies actualizes the problem of the progress of art. On the one hand, spirituality of feelings has grown in the development of history, objectively in more and more perfect individual and unique forms of manifestation in the artistic language of art, shows the progress of art time, because every time in each genuinely artistic work, the idea of ​​realizing itself in perfection of the methods of its embodiment, the criterion \ "better - worse \" before melts out of place, therefore the concept of \ "progress \" seems somewhat arbitrary. After all, each historical epoch embodies the idea of ​​its vitality in its original ways of artistic being. Every time it is perfect, it embodies the rational idea of ​​vitality However, the increased richness of the artistic language, the diversity of types and genre forms - the progress of art is unconditional Progress is also manifested in the deepening of the psychologism of artistic creation, which is due to the wrapping of the universal and individual beginnings in the sense of the spiritual experience of humanity. It is enough to compare the epic as the earlier classical form of literature and literary forms - drama, poetry, prose. Epos reflects the idea of ​​spiritual self-awareness of an ethnos, while literary forms are an individualization of attitude, objectified in an individually defined sense of figurativeness in ancient art, the individual and all-vaginal harmoniously combine different types of artistry: \ "typical \" in the senses (Dionisi Linkage of the individual and the universal can also be traced within the framework of the particular Braga, accommodating the richness of aesthetic qualities. So Apollo, personifying the opposite qualities, in its manifestations unfolds them in the direction of reducing spontaneity and deepening orderliness. His image is associated with the beginning of the creation of an aesthetic form (organization) He is aware of the god of light and cultural life. So, if we compare the first stage, the syncretic artistry and art are great. x styles, then progress can be traced especially clearly, then progress will run especially virazno.

The next stage is the formation of stylistic integrity of the figurative language in individual creativity. This is a period characteristic of artistic creativity, starting from the Renaissance. At the same time, the artist is called to a greater variety of manifestations of the vitality of the world in all the richness of its tendencies, combining constant and variable, random and natural, \ " to collect \ "essentially a certain integrity as the unity of the clan and individual, and through the individual to unfold the wealth of the universal, clan began life This is the whole This is not given as unambiguous and defined in its qualities, but is revealed as a result of its creation in art activities. Therefore, art overcomes the next stage of the upward movement, embodying the vast wealth of nuances of experience in the uniqueness of the perfect being of the spirit in the perfect figurativeness of artistic forms of artistic forms.

time is a question of the progress of art remains relevant in the context of the problems of its exhaustion, which is typical for postmodern type of art. Art is in a deep crisis, which, with certain interruptions, lasts almost a hundred years. Hegel once predicted this situation, explaining that humanity from sensual forms of experience as less perfect moves towards logical cognition as more than a board of forms despite the limitations of the system of unfolding forms of the human spirit offered by the philosopher (the process is viewed as a dialectical denial of the previous form of the subsequent), within the limits of art, it cuts forward movement in the direction of improving the form and deepening its content. Note that Hegel sees the development of the human spirit in the direction of growth and deepening the ability to comprehend the universal content in the form of concepts, those. the transition from art to scientific knowledge of knowledge.

However, the question arises: whether the human spirit is satisfied with purely logical forms of being of the universal, or in the pursuit of fullness of vitality, he will constantly turn to art in the richness of sensible manifestations offered to him, ie will preserve itself artistically beautiful as a spiritual value. An analysis of the history of art and the laws of its development is evidenced by a society moving along the ascending line, the realization of the creative potential of the individual, including in art forms and, at certain stages of history, it is mostly they have, this is the period when society objectifies the image of its vitality in the subjects in the forms of the beautiful in art. At the same time, the spiritual experience realizes itself realized beauty, is meaningful and invested in perfect Formermi.

Within the framework of the history of each nation, there is a development of the spirit, when it takes root in sensually perceived forms in the natural (architecture, sculpture) and in the spiritual space of human vitality (music and poetry, painting, theatrical art). The process has certain stages of deployment: at the beginning It appears as the creation of the space of human life in the form of rooting in it with the help of material-sensual forms of being of imagery (architecture, sculpture). The next stage is the period of creation of spiritual space. TWA - the space of spiritual connections of a social whole in the forms of direct transmission of feelings for the creation of their spiritual coherence (music, poetry, theater, etc.), the universal and the individual in experience unfold into a consistent, harmonious unity. This is the optimal stage of creating spiritual consent in the form x the embodiment of her image in perfect artistic creations.

The destruction of this form of spiritual connections is due to its exhaustion, which certifies the exhaustion of this content of public experience, and therefore the ability to give birth to artistically perfect ways of its own TV. History is vividly illustrated by the process of such exhaustion in two main forms that can be defined as: conditional, exhaustion, approval and exhaustion. First warning - this is internal exhausted in spiritual experience, in its deployment went through all stages and received completion in its logical form. These patterns are characteristic of ancient Greek culture. The spirit of the ancient Greek, overcoming the stage of wide incarnation into perfect artistic forms, entered the field of logical thinking and being of truth in concepts. However, the result of the alienation of the spirit from the fullness of being presented the competitiveness of freedoms, the growth of which in the subjects caused the death of the ancient Greek civilization At the same time, the achievements of the culture of ancient Greek society, inherited by other nations, became the source for the unfolding of their cultural development (Rome, Visa Anthony, Arab Caliphate, Western European culture of the Renaissance epoch).

The second form of exhaustion-caution is the experience of the culture of the ancient Roman civilization, the self-becoming of the spirit here took place in the forms that it rooted in the space of physical vitality. Having claimed its own rights and entrenched in it, the spirit dissolved in the infinity of space (the wars of conquest of Ancient Rome) and exhausted itself. culture passed only the first stage, having realized itself in the alienated, coarse in material forms, the Spirit could not form into an ideal vitality as self-valuable, the purpose of which would be to create by The values ​​of social connections of the whole Culture has not created expressive art forms, they would saturate the space of society, nourishing the world of each subject with experience.

All kinds of expressive art in Rome were of a compilation nature, were borrowed from ancient Greece and only transformed into a new reality, but did not become a source for the formation of the spiritual world of the individual, did not cement society into spiritual integrity. Therefore, Rome kept on its strength and compulsion.

European civilization on the model of deployment of its spiritual appearance closer to the ancient Greek, because it was able to realize itself in the physical space by rooting sensually perceptible way of life of Evosti in architecture, sculpture, painting, as well as in expressive arts (music, poetry, theater) that can unite the spirit of communities into a sensually defined whole. In the spiritual space created by the Mist. European culture was formed into a certain integrity, because in the senses they discovered a kind TVO culture of different European nations as the definition of a related entity internally, they opened a wealth of nuanced manifestations of beauty image in architecture, sculpture, poetry, music, theater, etc. However, this stage of culture has already passed: it is necessary to state the exhaustion of this form.

The civilizational stage of the history of Western Europe is dangerous because the ancient civilizations at this stage reached self-determination. Postmodernism is a clear evidence of the spiritual exhaustion of European civilization, because pseudo-culture, pseudo-art, as mentioned above, negatively affects both the spiritual world of a particular human person and social life. the whole depletion of the spirit, its emptiness - revealing the exhaustion of the civilizational type of experience. Focusing on the purely functional sense of experience threatens the existence of humanity as the carrier of the spiritual foundations of life in its moral, aesthetic, intellectual certainty - the Man of Beauty.

The formative orientation of the spirit is the creation of an atmosphere of nourishment for the mind and feelings by the beauty of art. Artistic work is therefore an important area of ​​social activity, it performs the spiritual and unifying functions of the ktion. However, the creation of such an atmosphere of social life in the forms of perfect integrity in itself is possible only on another - non-alien type public relations.

Bibliography

1 Alpatov M Italian art of the era of Dante and Giotto - M; L Art, 1939

2 Volkov And Creative methods and art systems - M: Art, 1978

3 Gachev G Life of Artistic Consciousness - M: Art, 1972

4 Hegel GVF Aesthetics: In 4 t - M: Art, 1969-1971

5 Herder IG Ideas for the Philosophy of the History of Mankind - M: Science 1977

6 Gukovsky G Pushkin and the problems of realistic style - M: Go lizizdat, 1957

7 Engels FM Garknes, early April, 1888 / / K Marx, F Engel Works - M .: Politizdat of Ukraine, 1967 - T 37

8 Aesthetics / Edited by L. Levchuk - Moscow: Higher School, 2006

9 The history of aesthetics Monuments of world aesthetic thought: In 5 t - M: Art, 1967 - T 3

10 Kagan M Lectures on Marxist-Leninist aesthetics - L: LSU, 1971

11. The Literary Theory of German Romanticism. - L: Publishing House of Writers in Leningrad, 1934.

12 Likhachev D. The development of Russian literature X-XVII centuries - L: Science, 1973

13 Makarov And the Light of Ukrainian Baroque - Moscow: Art, 1994

14 Masters of Art on Art: In 7 t - M: Art, 1967

15 Mednikova, Ukrainian and foreign culture of the XX century - Moscow: Knowledge, 2002

16. Nalyvayko D. Art: Directions, Currents, Styles - Moscow: Iskusstvo, 1981

17 OrtegaiaTasset by the Dehumanization of Art / / Self-Consciousness of the European Culture of the 20th Century - M: Politizdat, 1991

18 Petrov With Realism - M: Enlightenment, 1964

19 Field In the Twentieth Century - M: Owl artist, 1989

20 Sokolov A Theory of Style - M: Art, 1968

21 Typology of style development of the new time - M: Science, 1976

22 Schiller F. Aesthetics - M .: Mystezvo, 1974

23 Aesthetics: Dictionary / Edited by A. Belyaev - M: Politizdat, 1989

Questions for self-test

1 Expand the content of the concept of \ "historical life of art \"

2 Analyze the main approaches of aesthetic theory to understanding the artistic life.

3 Analyze the content of the concept of \ "artistic style \"

4 Explain that romantics understand the essence of the artistic style.

5. Analyze the concept of \ "great style \" in art and expand their style of twofold factors.

6 Identify the main levels of the deployment of the image of beauty within the romantic artistic style.

7. Expand the essence of an individual artistic style and the background for its formation.

8. What is common and different in historical variations of realism.

9. Describe the concept of \ "progress in the art \".