12 4 The genesis of art

With regard to art as a type of activity and a special type of spiritual experience, it is necessary to analyze the origins of the art-forming skills of mankind. Art as a special form of spiritual experience, as one of the ways of creating and consolidating is not indifferent to the relationship between man and the world originated in the depths of primitive culture. Modern science connects the origins of the artistic formation of the Upper Paleolithic with the time (about 40-ZO millennium BC) This is confirmed by the findings of rock and cave images of animals that are common in different regions of the plans of the planet (A freak a Europe, Asia). Their systematic research began in the twentieth century. It was mostly graphic material, although there were elements of theatricalization (magic and ritual forms) and music. in particular, images of musical instruments on mammoth tusks, painted with red ocher, dating from the period of the Middle Paleolithic period (about 30-10 thousand BC) were found in the Kirillov camp. Agen related Tote cal subsequently mythological beliefs of the people of earlier cultures had special significance and animism dei ma (including Latin anima - the soul; idea of ​​the animated world) to begin the arts are woven into practical actions in magical rites and myths and are not separated from them by functions: create animated, similar to man images of the natural world Researchers note: Phenomena, which we call art, are not singled out in traditionally society, because dissolved in the general flow of life [8 p. 514] Tanne, music, plastic movements, theatrical elements are intertwined with myths and provide them with auditory and visual forms of both myth and art awes create peace with the help of holistic images. However, myth reinforces the collective experience in its most common and unchanging forms. Artistic formations inevitably bring in elements of individualization, conditioned communication with real objects, indifferent, real objects of indifference.

Creating ideal objects is related to isolating them from a friend and providing an image. According to naive ideas, any creature acquires a new life of a Man in the century of the day Paleolithic, a feature on the walls of caves thanks to the image. Numerous images of animals, believed that gives them life. them, they moved into the painted images. So, the person in imagination and with the image of well-being and embodies it in the images. This is a way to get rid of the fear of existence by time, people who began priru To real animals, before taming them in imagination. Devils of animals that prompted animate them were the basis for the adoration of animals, forging spiritual ties with them: the awareness of a particular animal totem (founder of the clan and defender of it). animal and its spiritual image There are grounds for adoration: admiration, worship chilyan, worshiped.

Numerous confirmations are presented in the ability to provide real life with a subject of non-indifference through the creation of his painted image and are preserved in cultures much later in time. For example, in ancient Egypt, statues of gods are perceived as real bodies of gods. The same goal was used to place statues of the dead in their tombs. that the soul of the deceased revives his image [12, p. 27] The same peculiarity is also noted by other researchers of G-Mas-pero noted that, in the opinion of the Egyptians, he who creates or copies Any image directly creates a new e being in In ancient Egyptian art, two types differed: magical function One type is associated with a funeral cult and requires maximum image accuracy (mimetic, according to Greek terminology), another type - conditional (symbolic) Oh, the same person could be depicted in a realistic and conditional style. to assume that in some cases the image was associated with the image of a real being, while in others it was the function of a sign (symbol), I recall the phenomenon where the sign helps to recreate the feeling born in previous societies, art in the sources arises with a kind of “tool” of knowledge, or even less, a form of the existence of knowledge about the phenomenon, is not alienated from its image Describing the process of forming the image, the researchers write that there was a reconstruction of the image, which appeared before the human mind, and therefore - the process of abstraction. The hand was helped by the opinion, fixing the image, where is it accessible from perception, research, translation in space and time. The image allowed to emphasize details, Group objects, identifying their meaning and essence [8, p 518 x meaning and essence [8, p 51

The art of primitive society is a universal means of communication, a communication channel between an individual and society, between generations within an ethnic group and between ethnic groups. Animal world is the most common subject of the image. The images combine accuracy of detail, generality of features, and their symbolic workload. as researchers believe it is possible to assert that in us are made according to the canon [8, p. 515 ] This, firstly, serves to consolidate the experience of seeing the value of the image animals as a condition of establishing , fixes the creative skills of the formation of the subject and indifference for creating constancy connections with non-constancy of connections with.

The value of images, in particular, ornamental (purely symbolic), is that they are intended for associated : serve as events of myth or ritual, which when izvan is stored in the generic memory Rhythmic patterns - the canvas, which helps to reproduce the plot of the myth As M justly notes Lifshits, the content of a myth personifies the power of a collective, unlike the scattered consciousness of private life. D mobilizes people to reveal the collective will in the form of creating and experiencing joint etov unindifference [11, p 351n ebayduzhosty [11, p 351.

In subsequent epochs, in particular the Neolithic (8-5 thousand BC, the time of taming animals), the images lose the documentary Special attention is focused on the symbolic meaning of the physiological EPT depicted by Zag Alom in the Neolithic era. Rock painting is undergoing evolution towards the loss of figurative expressiveness and its replacement with signs. The above shows that an animal as a subject by knowing and creating relationships is no longer interesting, osky liky knowledge of the purpose of the images associated with the reminder of the This will diversify the themes and motives of the images, extending to various practical activities. The production of ceramic and metal products has contributed to the development of the ornament used as a means of life rendering of the subject, that is, creating its individually defined image and emphasizing its function and ability to fulfill its purpose. For example, since the times of the Neolithic, a large number of hands of Tripolian amicable products and cultures have survived. them ornament charger value charger value charger.

With the Neolithic, there is a transition from the image of individual objects to the Creation of a composition — holistic scenes that convey the internal connection of elements in images. Art styles begin to form and, and the property of which is the technique of plot similarity to images. Many types and forms of images appear. the pace of development to a variety of different regional trends. The general orientation of artistic images from the animal world changes. Interest is transferred to heaven person forces (sun, moon, stars, sky) Creating images of gods, in front of Avl ya them human appearance, a person feels a change in attitude towards himself Now she associates her ancestry not with the animal world, but with the heavenly forces Obtained knowledge and skills I they are recognized in the images of cultural heroes-demiurges, who directly come from their gods to the Middle Ages. The ancestor and guard are considered human.

Focusing on another feature of understanding the place and role of gods in relationships with people. B. Cassirer notes that the presence of God in any activity, in particular, an appeal to the gods, arises evidence of going beyond the purely practical value of the results towards the realization of their spiritual significance [9, p. 210] This role is already played by mythological images, since they are stationary, they cite I of the person and the subject and the world. Their differentiation becomes possible thanks to intermediary - of the images of the heroes, it became necessary to consolidate the knowledge and skills gained by the communities, concentrating them in ways that embody the general strength, skills and knowledge of the Heroes The founders of states and cities, founders of zakons and state pores are considered to be considered as mediators between gods and people. The qualities and functions of heroes are preserved later in folk art (heroic epic, fairy tales, songs, epics). From THIS sources they become professional. arts odyat in professional iskuss.

The original roots of the heroic epic of all nations are connected with mythology, telling about the deeds of cultural heroes. This, for example, is a long story about Gilgamesh, Old Indian - drunk in the frame, Jewish - in the heroes of the epic Pentateuch, the Greek epic of the Iliad and Odyssey, the German Eddas, the Eddas, the German Edda, the Eddinians, the German epic of the Epic Pentateuch, the Greek epic of the Iliad and Odyssey, the German Eddas, the Edda, and the Germanic Edde. legends of the Caucasian mountaineers and the Turkic-Mongol nomads, Epic epic in the East with fishing.

Since the Neolithic era, two types of buildings are formed. The distinction between two types of experience is reflected: one for the needs of the body (housing), the second for spiritual needs (cult), a stone temple architecture of several types extends: overhead crypts (dolmens), vertically Set stone pillars (menhirs) ), a circle of stone slabs (cromlechs) The symbolic character of the art of the Neolithic era indicates the complication of the content of spiritual experience, enshrined in artistic images. They concentrate in themselves social experience, extruded before the symbol The symbol requires the ability to read it in, to belong to the carriers of the experience of communities and its they differ from a stranger not only on the basis of blood kinship, but also on the basis of long-term content, to maintain a certain content and type of experience, to preserve the spiritual achievements of the family (people), as the oral cultural tradition shows in the rich, in images, ancestors, ritual, ceremonial actions will revive images of ancestors and Doing things means creating a relationship creates a relationship.

Researchers note that for early cultures, myth and art are a universal channel of communication between the individual and the community, between generations within an ethnic group and ethnic groups [8, with 515] ornament symbols, geometric figures serve as a kind of reminder of the course of events of myth or epic tale, stored in the memory of the narrator Rhythmic patterns in this case is a band that helps to eat Play the plot Probably, this is where the expression memory node Symbols and Nacks (circles, triangles, etc.) - Former myths of the information character of the era are stored in folk culture as ornamental poisons on clothes, applied things, tools, etc. That is, art permeates spiritual experience, and its qualitative definition is higher to the aesthetic characteristic of objectivity Art and aesthetic experience compressed in the language of symbols and signs, as confirmed by the fact that it was rooted in the spiritual world by the ethnos in the world of the ethnoseo p.

In the Bronze Age (III millennium BC) - the time of the creation of class societies and slaveholding relations - general trends of artistic development are formed. This period stands out in a special form of active full-fledged personalities. Specific art forms: architecture, sculpture, painting, literature, music. in terms of content, they retain the tendencies of previous eras. So, in the sculptural and pictorial works of art, depending on their purpose, the documentaries of images are preserved, or convention rules, say, in ancient history In connection with the funeral balls, this art of art retains a greater accuracy of symbolic images that reproduce and reinforce general educational values ​​in the spiritual experience contained in the memory of communities as the basis and condition for their unity in the integrity of H. We recall that in the first case its immediacy in the object (mimeticness of images), in the second - the image is intended to serve as a reminder of the value content of the phenomenon (it tells the memory of feelings ) Both Named tees The pictures are saved throughout the entire history of the art of art history.

So, the analysis of the history of the development of art shows that already at its initial stages, art is formed as a universal means of creating and preserving the integrity of human spiritual experience and their communities in not the same qualities of an object and their experience, fixed in the sense of its image. (real or created by the imagination) and the medium of their embodiment in the artistic language, art stands out in a specific kind of spiritual experience. His figurative speech allows for put the ideal spiritual phenomena of the integrity of being: inner life, due to inherent qualities and qualities. This is a symbolic reality that is also real, because it is formed by feelings, imagination, imagination, memory, thought and practical experience of a person. - to nourish the spiritual world of a person, forming its integrity and due to the holistic vitality of ideal objects, unevenly balanced harmony of the spirit.

In the created symbolic world, a person everywhere perceives his own image, and consequently, space appears NOT alienated, but full of human content. These are symbols of her dreams, hopes, in terms of values ​​and so on. In character, offendedly shines through the level of her creative interactions with the world. in mythology they have predominantly verbal (poimanuvannya) and ritual (rituals of veneration) character, then in the art of the spirit objective lens itself in matter formations are as evaluative.