13 4 The symbolic nature of artistic imagery

A symbol is a universal category of aesthetics, correlated with the categories image and sign On the one hand, a symbol is an image taken in the aspect of its symbolism, and on the other - a sign endowed with all organ of the myth and inexhaustible polysemy image [1, p 178] A symbolic meaning characteristic of each cognitive image. His origins are embedded in the very essence of man as a subject of O Lose’s work, agreeing with the opinion of others. O. Losev, weather the weather

F. Schiller, argues that a person - a human person in her view - is a symbol, because in its manifestations the inner - human essence always shines .

The specific type of reality is the language of the artistic image; it has a symbolically symbolic nature. The variety of meaningful layers of spiritual experience inherent in art predetermines the complexity of the structure of its figurative languages. Artistic and figurative speech symbolizes the meaningful depth of life through the individualization of the universal, giving it a "sensually-individual character".The symbol is a means of providing an artistic image from an industrial depth and fullness, layering of meaningful associative x series One of the most profound definitions of the concept of symbol in connection with the concepts image , meaning , sign , allegory in the artistic context belongs to Hegel: The symbol - external existence that is directly present or given for contemplation, is not taken as it directly exists for its own sake, but Vitley must be umchene in a broader and more general sense .

The forming ability of a symbol is determined by its essence, because a symbol never belongs to any one synchronous slice of culture, it always permeates this slice vertically, comes from the past and goes to the future. Symbol as trans cultural phenomenon involves the deeper layers of mental structures, causing associative links both in the world of the subject of creativity and the subject of perception. It is in this particular that lies the secret of the emotionally non-indifferent attitude to each truly artistic piece. since this is where the stratification of semantic values ​​takes place, giving it inexhaustibility and the annual basics, all new facets are revealed. We note that this understanding is through experience and on the basis and due to caring attitude, it is precisely the depth of the cross of any truly xyonexivable text. the symbolically figurative language of art differs in its character of perception from all other types of spiritual experience. By the way, these semantic depths do not open on their own because they are not on the surface. Therefore, art of his true fullness opens only aesthetically educated person, - regularity, which paid particular attention to Voltaire and Winckelmann, Mr. Le ssing, F Schiller, and Kang. Lessing, F. Schiller, I. Kant.

The frying pan characterizes the symbolic nature of artistic imagery in detail, based on the ancient Greek interpretation of image-symbols on the symbolism of the Bible, its language breathes dark divination and the sama contains a short tale of sweet eternity in its node," says the philosopher about the Bible. To understand the symbolic capacity of artistic images, particularly weighty words about the mysterious force , sweet eternity , shine in the infinite depth of artistic images of the interlaced glibin of artistic images.

The scientific development of the theory of the character begins in the philosophy of Neoplatonism (Plotinus, Proclus). His ideas are borrowed by Christianity through the works of Dionysius Areopagite, "About the Names of God," and others, where the whole world appears as a symbol of the essence of God, forming a hierarchical structured integrity. in the Christian tradition, his development, carried out mainly on literary material, belongs to Clement of Alexandria; the philosopher notes the prescription of the symbolic language and its cognitive value, intended to Written for the elect and inaccessible to the uninitiated, there is a symbolic language based on the conscious learned by real installation [3, p. 272] Symbolic language is necessary for every wise man both as a source of knowledge, and as a pledge of moral perfection, and as a means of learning the truth. The Middle Ages is caused by a specific type of culture of this period: it is formed on the basis of religious dogma and has a pronounced symbolic color of barbarism.

Philosophical substantiation of the nature and essence of the artistic image on the basis of the theory of the symbolic language of art carried out by F. Sh. ( Philosophy of Art ). The philosopher develops the theory of the artistic image, character, allegory in their general aesthetic and specific - artistic and artistic dimensions. special place in the universe: it is the unity of the ideal and the real in their perfect expression, and therefore the most appropriate embodiment of the idea of ​​the absolute in sensual forms The idea for art is also Series, and matter, from which all the richness of its forms and symbolic imagery originates, echoing Alexandrian Hellenism in a certain way, in particular with the ideas of Clement of Alexandria, F. Schelling views the universe as a product of God's creativity, a "work of art" based on " eternal beauty Art is a consequence of constructing its matter. Therefore, an important means of creating its perfect vitality (beauty) are: image, allegory, symbol, metaphor. As an internally perfect center integral domain work of art is possible only in symbolic form.

To characterize the connection of a symbol, a sign and an image in art, the analysis of this problem in Hegel’s aesthetics is methodologically important. He distinguishes a symbol in its independent originality, in which it appears to be a complete type of artistic contemplation and embodiment and a symbolic that is elevated only to the level of independent external Forms At the first of the named types of figurativeness, the idea has not yet received an internal uncertainty, and therefore is not able to fit into the corresponding sensitive forms of its phenomenon. in the figurative language of art, the Symbol serves as a kind of explanation of the idea by means of "laying" meaning into a concrete image of C e historically early form of the symbolic, most developed in the art of Ancient Egypt - this country of symbol (H. Hegel). The Egyptian pyramids are symbolic, the colossi of Memnon, the Sphinx, as well as all Egyptian art until the Late time (from the 11th century BC). The second type is more characteristic of the developed stages of artistic formation (classical and romantic), since There is an important artistic form, not the content of the figurative form, but not the essence of the figurativeness.

Expanding the internal connection between the image and the symbol, Hegel speaks about the universal nature of the content, personifies the symbol. It already contains the content of the presentation in an external form, which should reveal "At the same time, it (symbol. -

In M), it is necessary to call in our consciousness not itself as a concrete single thing, but only that universal quality, which is thought in the full sense.That is, the symbol is aesthetic, and not purely thin The reality is that it concentrates deep layers of spiritual experience, compressed into capacious semantic-iconic structures, capable of speaking with the mind and heart of everyone who is attached to its creation and functioning. Symbolic is the language of folk epic art, folklore, mythological ideas, religious Testing, etc. This feature of the symbolic characterizes O Potebnya, emphasizing that the artistic about BrAZ is a kind of interweaving of thoughts Spiritual life in artistic thinking is a consequence of the dialectical connection common folk spirit and the ethical and aesthetic needs of human I The place of their meeting - folk art .

Symbol as a cultural form is a means of providing universality of the content of the figurative structure of art due to the personified (minimized) in it the richness of the spiritual experience of mankind’s relations with the world. The symbol is not only a universal means for explaining ("identifying) the artistic image in the context of spiritual experience, but also helps to deepen its content, bringing from the situational to the sphere above the clock, symbolic being. The artistic symbol has a symbolic nature, since it forms unities The meaning of art is precisely in the relationship, kinship and concrete interconnected roniknenni meaning and image. A symbol as a complex spiritual structure can not be completely inadequate to its meaning, or completely identical to it. Consequently, the symbolic image includes wealth. the symbol of the circle used personifies infinity and at the same time inner completeness, within which all the infinity of the world can be invested. In mythology, this is the image of a wheel is a symbol of the sun, Ursa Major, etc .; at the same time, this image of a snake is a symbol of fertility, earth, water, rain, fire (in particular, heavenly), male and female generators, etc. In art, it is an image-archetype that symbolizes the immortality of life, its eternal revival in the inexhaustible richness of forms: the symbol of eternal return The triangle as a whole has a symbolic content that refers the mind to the idea of ​​God because it contains the same number of sides and corners, which religion finds God in the image of God.

The presence of two types of symbols in art, as they are distinguished and grounded in the aesthetics of Hegel, are not purely historically specific concepts associated with certain stages of artistic development. The symbol in its independent originality is shaped by the earlier stages of art history, as well as the symbolic, that it was erected only to the level of a non-dependent external form, can happen in art p of them in historical periods. Let's say each new stage of artistic development is based on the already produced The artistic language with an increased awareness of art as a way of embodying the essence (idea) of Chu Kristeva by perceived means. Thus, at the stage of “without conscious” symbolism (Ancient Egypt, India) there is a discrepancy between spiritual meaning and its sensual image, which, however, recognized as nezbizhnistyak nezbіzhnіst.

The next stage, defined as symbolism of the sublime , is characterized by the fact that it is impossible to reveal the spiritual universality of content through concrete-sensual forms of objectivity. Therefore, to give it a sensual perceived image, the symbol is used only as festive decoration for the unattainable power of absolute value A vivid example of this type of symbolic is the religious symbolism of the average ovichnogo art universal (creeds) cannot find an adequate sensual expression. The imaginative language is the comprehension of only the outer side of the idea, festive decoration , as noted by Hegel. The third type - symbolism comparative art forms - is the art of the New Age It is inherent to overcome the contradiction of meaning and image in the direction of their interpenetration thanks to the development of artistic awareness that comprehends these contradictions between self-righteousness, and osmyslyut supersynical.

Further, the aesthetic theory, relying on the definitions of the image and the symbol, refined certain aspects of their interrelationship. Thus, Florensky rightly emphasizes that in the artistic image it is important not only with the symbol as a means of creating ideal reality, but also the subject matter of the image, that is, what is symbolized by the latter is connected with the content of experience [18, p 120] Art only then acquires meaningful depths and artistic perfection when its images embody the symbolic fullness of the content. Florence The cue gives the definition of a symbol, specifies some aspects of those already cited above: Being that is greater than itself is oh, this is the basic definition of a symbol. A symbol is something that represents what it is not itself, what is greater than it and however essential through it. it turns out .Here GG Ale's thought partly repeats and at the same time focuses on the substantive completeness of the symbol. He is somewhat essential in the experience, which is a kind of filler in the structure of the image, thanks to which the latter is single Identification of reality and rises to the universal, being sensually perceptible, special, especially sensitive, special.

Certain specification of the levels of the figurative structure of art in unity with the concept of a symbol is carried out by O Losev, distinguishing two levels of symbolism. The first is the level immanent to any artistic work. Here the idea is a symbol of a certain image, and an image is a symbol of an idea [13, p. 145] That is, it is artistic in its intrinsic value, and therefore the work of art is valuable in itself as an ideal reality. The philosopher calls this type immanently thin symbolism The symbol of the second level will be the type of symbolism in which it has naturally going beyond the immanent being of artistry in the symbolic-figurative structure of the work Reality, breaking into its image of ZNU structure, actualizes the life of the image, filling it with a system of associative symbolic meanings. This type of associativity is widely used in the poetic work of T. Shevchenko. Let's say in the poem Testament the image of a wide space of the steppes and fields, the Dnieper and the steep serves as a symbol of the inner freedom that the people should open up on condition that they receive their will and thanks to their efforts pits This type of symbolism was from German romantics and was widely used in the works of European particular romantics. The image of nature was a symbol of freedom and authenticity of life a symbol of inner purity and a source of nourishment of the spirit, unlike sociality, in which a person experiences enslavement and spiritual devastation of people і spiritual devotion.

Thus, the image and the symbol are interdependent components of the internal structure of the work of art as spiritual integrity, which received a sensual way of expression in the symbolic nature of art. A work of art is an integral and semantic and sign-shaped structure. The symbolic-sign nature of an artistic image is a product of a long-term development of an indifferent attitude to the world At each of its qualitative stages, the content of Aries is filled up filling the imagery and deepening the artistic language of the arts va.