13 3 The nature and essence of the artistic image

The concept of image is a fundamental category of being: any display is an image, that is, an ideal essence. This is a creation of consciousness, exists as a subjective reality, the phenomenon of individual experience, personifies all the achievements of humanity. All the practical and spiritual assets of humanity fit into a complex system of images. humanity, they are the reality that it perceives, comprehends and respects, shaping the spirit with their content. To become an objective reality can Only acquiring tangible form of expression (characters, words, formulas, symbols, figures, etc.) The image - is a universal category, ui fixes in its symbolic language of practical and spiritual achievements chelovechestvdstva.

Artistic image is the core concept of aesthetic theory, it is the essential basis of art, the condition of its vitality as a specific type of spiritual experience and a special way of its reflection in the formation of art. The artistic image is an art-specific way of translating the artist's creative idea into sensible material forms of artistic language. The artistic image is a means of objectifying the creative spirit in the matter of formation, giving it an expressive, perfect nnyh ways of being in the form of a valid It is a transitional link, a means of providing an aesthetically captured really quite ideal nogo being within the work as a spiritual tselogoovnogo tsіlogo.

The concept of artistic image should be distinguished from the concept artistic image , they have different meaningful content. The first reflects the specifics of art as an activity with its inherent artistic way of reflecting the world, there is an artistic image - the way that reality can imagine themselves in art The concept of artistic image means the qualitative side of the activity of creating an image and aesthetic certainty of consequences. Artistry is a complete, aesthetically perfect life in the image of artistic imagery, there is a specific way of being artistic reality, and artistic image, there is a workshop your perfection as an artistic reality, in unity form the aesthetic definiteness of art as a holistic, sensually perceived ideal being of the real world. this is a world of images symbolizing the richness of expressions of ideal vitality in the forms of perfection. As noted by Losev, the poetic self enno subject on which directed ?? poetry, but a way of mapping it is, in the end, a way of understanding its [12, p 63shtі-Rasht sposіb Yogo rozumіnnya" [12, p. 63].

Art is valuable in itself. After all, this is the only true way of the yogi of being as a spiritual reality. Hegel argued that it is impossible to value art to moral teaching, education, or to see it as an imitation of nature. He relied on the ideas of The Poetics of Aristotle, where it was noted that artistry is the activity of creating the logic of the whole. Even if the poet makes some actual mistake, it’s not important if it does not concern the essence of poetry itself.

The concept of artistic was formed in the aesthetic theory of the XIX century - the time when the stylistic unity of artistic creativity is destroyed. Artistic trends in the search for new aesthetic means of creating an image indicate the relevance of the theoretical development of artistic problems.

The artistic-figurative language of art is a complex spiritual structure, because each element of artistic reality is an image; the work as an artistic whole - the composition on the system of imagery The richness of the figurative structure predetermines the fullness of the depth of ideal being aesthetically captured reality in a work of art appears expedient, capable of self-unfolding vitality This life is much deeper and more convincing than the regular course of everyday events Immediate sensual identifying the essence of the artistic image to make up the content of the beautiful in art.

Specificity of being an idea in the forms of beauty is its being in a unique artistic image. Therefore, spirituality in the dialectic of the particular and the general inherent in art is the source, on the one hand, of the individualization of the spiritual world of the subject, and on the other, of its universalization. the nation and self-realized in the practice of life usually unconsciously become the subject of awareness and a living relationship precisely because of art. The creative individuality of the artist unfolds the unique richness of life, drawing it into artistically perfect, accessible for perception artistic images The universal content of spiritual experience, individualized with respect to the forms and ways of its vitality, becomes personally valuable for the subjects of perception and forms the conscious feelings of the people, uniting it into a spiritual whole. It is important to note that harmonize the spirit, provide it with qualitative certainty, i.e. to unfold in the reality of potentially existing opportunities.

Artistic and imaginative speech of art was formed on the basis of aesthetic imagery of mythology. These two types of imagery are related to the purpose of creation: providing an image, that is, “animation”, perpetuating objects and phenomena that are recognized as generally valuable. In myth, the purpose of creating imagery has a symbolic magical purpose. Mythological the images personify the collective, tribal, above-individual experience, embodied in the internally unchanged timeless images. The artistic image of art is a reflection of the universal value in the sense experience through a particular, that is, through an individualized image of vitality, in which simultaneously it is all-vseo vsezagalne.

The formation of spiritual experience in art is a living process in which the individual reflects the image of the universal - the human creative essence is in the richness of its manifestations. It objectifies itself as a spiritual value and in the content of the work (in the world of inner vitality of the characters) and in aesthetic and artistic qualities works as a product of the spiritually-forming skills of the subject of creativity - the artist The qualitative sign of art, thanks to which it directly enters the world of human life as a new t Under reality, there is a convincing inner vitality of artistic imaginative fabric to the creator.

The peculiarities of the figurative language reveal the specificity of the relation of art to reality: non-detachment from its subject. That is why it is an indispensable source of the formation of integrity and spiritual completeness in experience in the unity of logical and sensual. persuasiveness as an artistic whole. Therefore, a work of art is not any formation, but it but his image and the means by which the image speaks from itself introduces the subject of perception into his world, convinces his own purposeful vitality and encourages empathy. It’s not even about the quality of vitality, personifies the image as subjective "of being, and about the level of artistry of its phenomenon: objective dialectics of comprehending through harmony or, on the contrary, internal contradictions, to spiritual exhaustion. In the artistic whole, it is revealed as an inappropriate ideal nevidovіdna іdealu.

The power of artistic imagery is precisely in the fact that the idea does not appear to be some speculative essence, but acquires vital fullness and convincingness in sensually perceived artistic images. Artistic and artistic speech of art reflects this level of aesthetic attitude to the world that unfolds its being in its internal manifestations. it returns the world of his being, but now not as a certain fluidity and uncertainty, but as his perfection. The latter can arise as a result of of certainty of real life, gathered into perfect integrity as organic to him, and therefore fit into the appropriate ideals of the form in the artistic and figurative language of art. Another situation is possible: life is going into integrity, organizing itself outside the artistic work, in the space of which internal contradictions are unfolding we In this case, art reveals the truth about the world, clarifying the depth of its conflicts in the forms of immediate life situations. So it names its problems in the images of their specific media in the images of their particular noses.

The artistic persuasiveness of the deployment of the image of relationships enters into the experience of creating them, and then allows them to go through as personal experience. Therefore, it is unique and cannot be reproduced in any other way. To understand the values of life, art turns to archetypical cultural images, such as, say, an angel’s struggle. and the devil in the spiritual world of man, the collision of good and evil in the world of human relations Osin, the problem of the meaning of life and the purpose of man, etc. Classical art defines these themes and their artistic understanding as the cornerstone throughout the history of their development, testifying to their contribution to the spiritual experience of humanity.

The destruction of artistic imagery in modern European art, which over the centuries has created perfect patterns of artistic excellence, would be too oversimplified to interpret only as a manifestation of the artist’s evil will or lack of artistic skills. Reality in which spiritual values are replaced by the values of consumerism cannot translate into artistic excellence. The figurative structure of art. The spiritual powerlessness of artists is not a subjective factor, but the result of a loss of orientation towards the values spiritual life, which are concentrated in terms of Truth , Good and Beauty Outside of them, the ability to find factors and incentives is lost, suitable to lift to the heights of artistry. Modern culture is characterized as egocentric, able to reproduce itself, keeping in mind perhaps that a primitive consumer approach converts a primitively positive image.

Let us trace the genesis of artistic figurativeness in the most general laws, its formation was preceded by a long historical process of imaging that combined the ideal and the material, fulfilling the ideal functions provided by the imagination. First of all, it is a fetish subject, a single thing that the mind has provided magical properties to influence a person and determine his destiny. A naive person separates her other This demon thing from things - somewhat unformed, indefinite and threatening Consciousness d Ikar creates horrible images of monsters, monsters late form of creation of imagery - these are beast-like gods: dragons, vultures, hydras, etc. Only later are they perceived as negative images (recall that the cultural hero Hercules leads the victorious battle with them) The next stage is the images combining human and animal features: Sphinix s, sirens, centaurs appearance, which is divided into several stages, certifying the complex process of the formation of a person’s conscious attitude to their own human capabilities, but in peculiar forms a person objectifies his creative possibilities through alienation from direct carriers, giving them to the gods. At first they are gods full of inhuman possibilities and unusual shapes and sizes (titans). In late mythology they are carriers of reason and creative skills. From them come the gods of the human race: women’s deities whose images embody the value of the Inca, symbolizes the immortality of the human race, as well as masculine deities - heroes who become the originators of life thanks to the mind and creative abilities Ordered Olympus in Greek mythology - the symbol of the orderliness of relations in human communities The individualization of the activities of the gods, transferred to the world of human life, indicates that the public (orderliness of relationships) forms the individualization of the image of a person, however, is the bearer of the whole diversity of relations of the public whole. [6, 7azu yak form that structure sv_domostі [6, p. 7].

The higher (historically later) and original form of figurativeness arises an artistic image. It is a synthesis of the ability of consciousness to comprehend reality, finding in it its regular flow, providing it with vital fullness in the images of imagination and, retaining in memory, translate these images into the material of one or another type arts, i.e. materialize images in the language of poetry, painting, sculpture, music, architecture, theater, etc. Thus, another, along with the existing, ideal reality is formed in sensually perceived artistic images.

Sources of artistic imagery, in addition to the mentioned mythology, is folk art. Sustainable repetition of the figurative system in folk art is the basis for the existence of artistry. It is objectively caused by the dispute between ways and means of creating spiritual experience and ways to consolidate it. This pattern is clearly seen in all types of folk art: architect uri, poetry, song and musical creativity, dance, painting, decorative and applied art Individualization of imagery in folk art takes place mainly not at the level of a specific person, but rather at specific ethnic groups. Differences in content and artistic-figurative language are objectively caused by differences in the experience of creating vitality within ethnic communities. The archetypical images of folk art also form perception and the expected response to them now.

Individualization of imagery in European art is a property of relatively recent times (XV century) and reflects the individualization of the spiritual experience of the subject of creativity - the artist. His vision and understanding of the phenomena go beyond the established understanding of the image of the world and the traditions of its conclusion in canonical forms.

Thus, the artistic image of being objectified in sensually perceived ideal forms, alienating it from its direct givenness, which takes it beyond the limits of the life cycle: aging, death, non-existence Reality distanced from the immediate remoteness of the phenomena of the real world, lies in the forms of another, ideal being, in expressive, artistically expedient, sensually perceived images, becomes the subject of a holistic rational-reliving attitude. Thus, the artistic and imaginative nature of art. It is the source of nourishment of the human spirit as the integrity of logical and sensual principles of subjectivity.

Artistic image as a spiritual integrity represents the integrity of the ideal being of the spirit in its fullness and expressive vitality, combining the idea and matter of vitality, objective and subjective, ideal and real, which form its expressive persuasiveness. Even Plato considered the subject of aesthetic consciousness as a synthesis of rational and irrational , ideal and real, that objectified, the present I am to substance Essential in art concretizes itself as the essence of its carriers.

The sensual form of being of essence in artistic images is a means of concretizing the universal through the particular. In such a way of its being, spirituality itself exists as real, being not some speculative goes by her, but sensually given the reality of being of the spirit, materialized itself in the artistic image "Art, - Hegel notes, - he makes his subject in a sensually concrete form that, according to his concepts, the pits are immeasurably concrete, universal spirit . This is soul , which has become \ Art

The natural image, as the highest form of aesthetic imagery, is a phenomenon of animating the natural world, the world of objects, and, consequently, a means of introducing them into human vitality not as purely material forms, but as bearers of ideal vitality. As such, they allow a person to clarify their own spiritual states, to penetrate the pervasive depths of being, recognizing it as the integrity of everything in everything, having recognized it as the wholeness of "everything in everything."

The artistic and figurative richness of content within a specific work, determined by a system of expressive means, molds and shapes the image, imbuing it with an internally meaningful vitality. The concept of artistic image encompasses several levels of artistic embodiment of an idea. It is used to designate specific moments in the artistic fabric of a work. This is the level of micro-image. Such, for example, is the use of certain metaphors, comparative nannies in poetry, and individual tunes in music. The concept of image is broader at the level of character in literature or theme in music. Its understanding is even broader at the level of a work as an artistic whole. The figurative fabric of art is determined by such a unique artistic style, figurative language, and the central idea of an individual artist's work that it can be characterized using the concept of mega-image. This use in the concept of the work of each great master is justified by the creativity of each great artist.

The semantic layering of rich imagery creates ever new nuances of the fullness of vitality in the work as a whole. For example, the poetic image of Ukrainian nature in T. Shevchenko's poem "Dream" is presented through the sequential unfolding of the scene of its awakening after a night's sleep. Each subsequent line of the work further imbues the image of nature with new facets of the expressive, uniquely rich vitality of the world. The internal logic of its movement is determined by the change in natural states at the moment of release from sleep.

The features of the figurative language of art motivated by its specific genre can be images-states (music, dance, literature, theater); images-pictures (literature, theater, cinema); Images-forms (architecture, sculpture, painting). Each element of a work as an internally integral structure is objectively determined by the logic of integrity and forms its figurative fabric. Therefore, the concept of image comprehends each specific element of this structure (a word, phrase, fragment of text in literature; every movement in sculpture; a set of elements in the architectural whole of a building, etc.).

The artistic language of poetry paints a verbal image of nature no less vivid than that of painting. Moreover, thanks to the semantic depth of words, each perceiver, depending on their level of imagination, paints their own picture, supplementing it with ever-new nuances. Each art form is distinguished by its specific imagery, which is important to consider both in the creative process and in the perception of the work. After all, symbolic speech in its sensory-perceived forms is a common feature of all art forms.

The artistic image introduces reality into the world of ideal entities, imbuing it with a holistic existence in a dialectical connection between the real (in the form of existence) and the ideal (in essence). A work as an artistic whole is a specific image of time and radiates its spirit, immersing the subject of perception in its holistic context and organizing its spiritual structures. Each fragment of the picture of life in a work is a layering of superimposed figurative fabric; thanks to the organization of a common idea, it forms a holistic, internally vital, spiritual-material structure. This is convincingly demonstrated, in particular, by poetry. It is enough to change one composition—the emphasis or rhythm—for both the logical structure and the figurative form of the work to be destroyed.

The origins of aesthetic understanding of the imagery of artistic language reach back to antiquity. In Plato's aesthetics (Symposium), the concept of an idea as the defining internal force of a thing's being is directly related to the artistic image of art. Although, according to Plato, the entire cosmos and each individual thing, all forms of reality, are appropriately artistic formation, since each reflects an ideal spiritual meaning. The concept of an idea in aesthetics is a methodological principle for analyzing a specific artistic reality, where every smallest image reflects the logic of the work as an artistic whole. For the artist, the concept of an idea is a constructive principle, since without it, a work as an artistic whole, filled with inner life, is impossible. Images devoid of an internal logic of unfolding, lose artistic persuasiveness, disappear as artistic images, and disappear as artistic images.

In Aristotle's aesthetics (Poetics), the differentiation of types of spirituality was of great importance for the theory of the artistic image.

The well-known comparison of art and history reveals their qualitative differences. History operates with real facts, i.e., it states what is happening. Art reproduces what is possible, what could have happened. History speaks of the concrete, art of the general, and therefore possesses greater depth and generality of vision. Art reflects the dialectic of the real and the ideal, full of symbolic expressiveness. Aristotle perceives art as an autonomous sphere of the spiritual, with its inherent laws of creation and vitality.

Further development of the theory of the image in a broad sense and specifically the artistic image is carried out in the aesthetics of the representatives of late antiquity Clement of Alexandria, Tertullian, Origen and others. This Zuma highlighted the need to create symbols of the Christian faith and perpetuate them by means of the artistic language of art. The renewal of aesthetic issues is caused by the very content of the Christian idea of the world as a dying work of God the artist. A complex system of means of artistic expression of the image is also being developed, according to which His creative power should be presented each time. The entire structure of being is considered as a hierarchical system based on various manifestations of the creative power of God. Human activity is also considered an imitation of the divine visionary, and therefore, bearing a reflection of the divine principle. The secrets of the world can be comprehended provided that the key is found, stored in the forms of divine and human art. Thus, the aesthetic stood as the basis of spiritual experience: the world was perceived as a concrete, sensible embodiment of the Artist's plan, and therefore it is impossible to clarify it. It seemed possible thanks to the concepts of image, likeness, symbol, allegory, sign, etc., "symbol," "allegory," "sign," etc.

The theory of the image is most thoroughly developed by Clement of Alexandria, placing it in the center of his worldview system. He defines the image (eipop) as the main component, the structural principle of constructing a hierarchy of symbols of faith. The latter is built into a system of internal connections and conditioning that form the harmony of the whole. The first cause is God - the beginning of the figurative hierarchy and the prototype of all subsequent types. Man is the image of the Logos. All people are images from birth. The philosopher uses the concept of image to characterize the creative capabilities of man: as a sensory phenomenon of the Logos, it personifies reason and conscience. About the image in Clement's aesthetics - an ontological category. Gregory of Nyssa also gives an ontological interpretation of the image, since all nature is a single image of the Existing. Tertullian perceives the natural world with its whirlpool of dying and resurrection as an image of the future resurrection of man. He is one of the creators of the mimetic (imago) theory of the image. The philosopher interprets the image as a reflection (speculum) and considers it necessary to Its prototype. This interpretation, which emphasizes not the essence of the image, but rather its external similarity, generally developed three types of image: mimetic (imitative), semiotic (symbolic-allegorical), and iconic. The difference between them lies in the nature of the expression of spiritual content in material-sensory images.

A holistic theory of the artistic image as the formative basis of the vitality of a work of art is developed in the aesthetics of the classics of German philosophy: I. Kant, F. Schelling, and G. Hegel. In their philosophical system, art remains an integral component of spiritual existence—the real vitality of the spirit. Therefore, their aesthetics unfolds the objective foundations of the purposeful and expressive vitality of the spirit on the basis of artistic imagery in unity with its symbolic-iconic nature.