Artistic image- a generalized reflection of reality in the form of a specific individual phenomenon.

For example, in such vivid artistic images of world literature as Don Quixote, Don Juan, Hamlet, Gobsek, Faust, etc., the typical features of a person, his feelings, passions, desires are conveyed in a generalized form.

The artistic image is visual, i.e. accessible to , and sensual, i.e. directly affecting human feelings. Therefore, we can say that the image acts as a visual-figurative recreation of real life. At the same time, it must be borne in mind that the author of an artistic image - a writer, poet, artist or artist - is not just trying to repeat, "double" life. He complements it, conjectures according to artistic laws.

Unlike scientific activity artistic creativity deeply subjectively and is copyrighted. Therefore, in every picture, in every verse, in every role, the personality of the creator is imprinted. In a particularly significant role imagination, fantasy, fiction, which is unacceptable in science. However, in some cases, the means of art can reproduce reality much more adequately than with the help of strict scientific methods. For example, human feelings - love, hate, affection - cannot be fixed in strict scientific terms, and masterpieces of classical literature or music successfully cope with this task.

plays an important role in art creative freedom- the ability to make artistic experiments and simulate life situations without limiting yourself to the accepted framework of the prevailing scientific theories or everyday ideas about the world. In this regard, the science fiction genre is especially indicative, offering the most unexpected models of reality. Some science fiction writers of the past, such as Jules Verne (1828-1905) and Karel Capek (1890-1938), were able to predict many of the achievements of our time.

Finally, if viewed from different angles (his psyche, language, social behavior), then the artistic image is an inseparable integrity. A person in art is presented as a whole in all the diversity of its characteristics.

The brightest artistic images replenish the treasury cultural heritage humanity, influencing the consciousness of mankind.

An artistic image is an image of art, i.e. specially created in the process of special creative activity according to specific laws by the subject of art - the artist - a phenomenon. In classical aesthetics, a complete definition of the artistic image and the figurative nature of art has developed. In general, an artistic image is understood as an organic spiritual-eideic integrity that expresses, presents a certain reality in the mode of greater and lesser isomorphism (likeness of form) and is realized (having existence) in its entirety only in the process of perception of a specific work of art by a specific recipient. It is then that the unique artistic world is fully revealed and actually functions, folded by the artist in the act of creating a work of art into its objective (pictorial, musical, poetic, etc.) reality and unfolding already in some other concreteness (another hypostasis) in inner world subject of perception. The image is a complex process of artistic development of the world. It presupposes the presence of an objective or subjective reality, which gave impetus to the process of artistic display. It is transformed in the act of creating a work of art into a certain reality of the work itself. Then, in the act of producing this art, another process of transformation of features, form, even the essence of the original reality (the prototype) and the reality of the work of art (the “secondary” image) takes place. The final (already third) image appears, often very far from the first two, but retaining nevertheless, something (this is the essence of isomorphism and the very principle of display), inherent in them and uniting them in a single system of figurative expression, or artistic display. A work of art begins with the artist, or rather, with a certain idea (this is a vague spiritual and emotional sketch), which occurs before starting work. As he creates, the work is concretized, in the process of creating the work, the spiritual and spiritual forces of the artist work, and on the other hand, the technical system of his skills in handling (processing) with specific material, from which and on the basis of which the work is created. Often nothing remains of the original figurative-semantic sketch. It serves as the first stimulus for a sufficient spontaneous creative process. A work of art that has arisen is also, and with great reason, called an image, which, in turn, has a number of figurative levels, or sub-images - images of a more local nature. Inside this folded image-work, we also find a number of smaller images determined by the pictorial and expressive structure of this type of art. The higher the level of isomorphism, the closer the image of the figurative-expressive level to the external form of the depicted fragment of reality, the more “literary” it is, i.e. lends itself to verbal description and evokes the corresponding "picture" representations in the recipient. Images through isomorphism can be verbalized, but not verbalized. For example, in connection with some painting by Kandinsky, we cannot talk about a certain compositional image, but we are talking about color transfer, balance and dissonance of color masses. Perception. In the spiritual world of the subject of perception, an ideal reality arises, which, through this work, introduces the subject to universal existential values. The final stage of the perception of a work of art is experienced and realized as a kind of breakthrough of the subject of perception to some levels of reality unknown to him, accompanied by a feeling of the fullness of being, extraordinary lightness, exaltation, spiritual joy.

Another variant:

Hud image: a place in the arts, functions and ontology. A thin image is a way to technically express that endless semantic horizon that the cat launches the claim. Initially, the image was understood as an icon. The 1st meaning of the image fixed the reflective epistemological attitude to art (prototype, likeness, correspondence to reality, but not reality itself). In the Estonian language of the 20th century, there were 2 extremes: 1) absolutization of the meaning of the concept of image. Since the art is to think in images, it means to think in lifelike similarities, which means that the real art is life-like. But there are types of claims that do not work with life-like images of reality. (What, for example, does music copy in life?). In architecture, in abstract painting, there is no clear subject denotation. 2) The image is not the category with which to convey the features of the claim. Rejection of the category of the image, tk. the lawsuit is not a copy of reality. Art is not a reflection, but a transformation of reality. ? Important aspects of the hood of consciousness, art, the cat are accumulated in a bad way, indicate the boundaries of the art. ? Scheme of the claim: the world, the cat is directed to the development of thin? bad tv? work? bad perception. A hood image is an ideal way of hood activity, a structure of consciousness, by means of a cat art solves the following tasks: 1) Hood mastering the world 2) Broadcasting the result of this mastering. That. An image is a way of conveying bad information, an ideal structure for bad communication. The image is inherent in the art of its specific ideal form. Those. with o.s. the image is a mechanism, a way (internal form of consciousness), and with others, it is not a synonym for a work of art, it is an ideal structure, the cat lives only in the mind. A mat layer of an image (of a body, a play, a novel, a symphony) exists in a potential form. The objective reality of the claim is thin texts, the work "is not equal" to the text. ? a bad image is a specific substratum, a substance of bad consciousness and bad information. Outside of this substance it is impossible to fix the state of artistry. This is the fabric of thin consciousness. An image is a specific space of being of ideal thin information, experiences and its products, a space of communication. ? the image is a specific reality, it appears as a kind of world for a person, as a unifying world of the artist. The image is such an organic structure of consciousness, the cat appears instantly ("Not yet. Already there"). ? 2 possible relations of this specific reality of the image to the consciousness of the creator: 1) Self-movement of the image. 2) The imperious submission of the artist to this reality, i.e. S becomes an instrument of self-creating activity of the image, as if someone is dictating the text. The image behaves like S, as a self-positing structure. ? The specificity of the thin image. The old dogmatic understanding of the image presupposes an isomorphic correspondence, a one-to-one correspondence with reality. But the image simultaneously truncates, transforms, turns, complements reality. But this does not remove the correspondence relation. We are talking about a homomorphic partial correspondence between the image and reality. ! The image deals with a value reality, the claim reflects the spiritual value relationship between S and O. It is these relationships that are the goal of the claim, and not O. The goal of the claim: objectivity, filled with a certain significance + attitudes towards this O-that (the state of S-ta). The value of O-that m.b. disclosed only through the state of S-ta. That. the task of the image is to find a way to combine in interpenetration the value objectivity of O-ta and the internal state of S-ta. Value is the revealed meaning of the specificity of the image - to become a way of actualizing the spiritual value relations of a person. ? thin images are divided into 2 classes. 1) Modeling value relations through recreating the feelings of the structure of O-that, and the sub side is revealed indirectly. And all this is called an image. The images here have a clear objective x-r (architecture theater, cinema, painting). 2) Modeling the reality of subjective semantic relations. The state of S-that cannot be depicted. And this is called non-image art (music, ballet). Is the subject here in pure subjectivity and in relation to something outside of itself? hence 2 forms of presentation of reality. 1st form: epic form, the value meaning is revealed by O-tom itself, and S-t is the receiver of this spirit of information. 2nd form - lyrical: O - a mirror of S-ta. O-you just talk about something to S-tu, hook him int. condition.? Conclusion. Hud image is a special ideal model of a person's attitude to the world in a concentrated form.

Artistic image as a philosophical and art history category

The concept of "artistic image", even being fully clarified, remains nevertheless complex and ambiguous. The image is the whole novel "Eugene Onegin", and Tatyana or Lensky in "Eugene Onegin", and almost every word in this novel. The artist thinks in images, and the image is the result of his creative activity. At the same time, images are different depending on their life content (for example, the image of a person, or the image of nature, or the image of a thing), and depending on the artistic material, on the capabilities and characteristics of the kind of art in which they are created.

In practice, art exists not so much in its generic concept, but in specific varieties. We love not art as a whole (how would the phrase “I love art” sound? Doesn’t it seem strange, pretentious and, most importantly, empty?), but poetry, or music, or painting - or both, and another, and the third , and a fourth, - but not together, but each separately. We love something more, something less, we remain more or less indifferent to something. In any case, our love or dislike in their living manifestation does not refer to a single concept of art, but to its specific varieties.

When we think about various types art, we inevitably think about different language these arts, about the forms of imagery characteristic of each of them. The composer creates his work with the help of the sounds of a specially organized musical series, the painter creates with color and line, the architect - with volume and planes, the poet and prose writer or playwright - with a word.

Figurative language is a common, defining feature of art. But the image in painting and the image, say, musical in the presence of common features also have important differences. These differences ultimately determine the specifics of each art form, its boundaries and its possibilities. To talk about the figurative language of each art means to talk about the peculiarities of art itself, about the originality of its reflection of reality.

Architecture is one of the oldest art forms. Its emergence is connected with the practical needs of man. The very first, most primitive architectural structure was a dwelling that could shelter a person from rain, snow or the scorching rays of the sun. “The palace, as a single architectural volume, had its “progenitor”, just like the temple, an ordinary residential building.” It must be said that the practical needs of a person, to a greater or lesser extent, lie at the origins of all the arts of ancient times. So, from distant antiquity many rock paintings have come down to us - contour or relief images on the rocks of various animals, as well as archers, hunters, etc. What brought these drawings to life, what purpose did they have? Ancient people conjured the forces of nature with the help of drawings, sought to influence them.Ancient dances were of the same practical nature.

Architecture, unlike these art forms, has a practical purpose not only in its origins. The very existence of architecture, both in ancient and modern times, is inseparable from the practical needs of man. With regard to residential buildings and buildings of a public-civilian type, this is obvious. However, this is also true for temple buildings.

What are, for example, the works of ancient Egyptian architecture - the pyramids? These majestic temples were created as dwellings for the dead. People believed that a person does not die, but only passes into another life - the afterlife. And in this other life he also needs everything that surrounds him in this world. The huge size of the pyramid did not contradict its purpose. After all, it was not the dwelling of an ordinary dead person, but the ruler of the entire Egyptian kingdom - the pharaoh. The pyramids in their size, as it were, were commensurate with the grandeur that the pharaohs attached to themselves and their power.

Nowadays, the pyramids are no longer perceived in their utilitarian meaning. They became a symbol of the era that created them - the ancient Egyptian statehood. Surviving many centuries, they themselves have become a symbol of time, monuments of history and the great art of antiquity.

They say that Napoleon, before the decisive battle during the Egyptian campaign, pointed to the pyramids and exclaimed: “Soldiers! Forty centuries look at you from the height of these pyramids. These "beautiful" words were accurate in their own way. The pyramids tell us not only about Ancient Egypt, but also about the past time in general - about whole centuries, about the historical path of mankind. This also applies to other monuments of world architecture. An architectural work is always twofold. It serves (or served) specific practical purposes - and at the same time expresses a thought, an idea of ​​general meaning. It combines the material, the extra-figurative - and the figurative, the spiritual, the usefulness and beauty are combined.

Perhaps, with particular clarity, this unity of utility and beauty appears in ancient architecture - in Greek and Roman temples, circuses, amphitheatres, etc. I will show this using the example of the Parthenon - one of the most remarkable buildings of ancient Greek architecture.

The Parthenon was built under King Pericles, in 447-438 BC. e. The building was supposed to become a temple of the goddess Athena and at the same time have a utilitarian purpose - to be a repository of the treasury, a kind of state bank. The statue of Athena was commissioned from the most prominent sculptor of the time, Phidias. He made it of wood, and covered the whole outside with gold and ivory. Thus, the statue served both as an object of worship and as a “golden fund” of the state.

But the very cult purpose of the Parthenon, in essence, also had a practical character. Like many peoples of the ancient world, the ancient Greeks believed that the gods, like people, needed earthly houses, dwellings. The Parthenon was supposed to become such a dwelling for the deity: in honor of the goddess Athena, various religious services and festivities were held in her “house”.

All this refers to the non-artistic, non-artistic purpose of the Parthenon.

However, the Parthenon was also created as a work of art, an artistic monument. A monument in the narrow sense of the word - in honor of the victory of the Greeks over the Persians - and in a broad sense - as a monument to Athenian statehood, Athenian culture. It remained for us a symbolic expression of a great era, an artistic monument to a great people...

Thus, an architectural work contains a utilitarian, non-figurative meaning and at the same time an artistic, figurative meaning. In the art of architecture, this latter has a multi-valued and even somewhat indefinite character. The image in architecture has the virtues of depth, strength, but not accuracy. What is, for example, a Gothic cathedral as an image? What is he telling us? Answers to these questions can only be of a very general nature. With all its appearance, the Gothic cathedral, according to the plan of its creator, should express the ideal desire for heaven, for God. Unlike the Greek temple, which is all permeated with a sense of joy, all open to man, the Gothic cathedral is built on contrasts. This is primarily a contrast between the interior (internal view) of the temple and its external appearance. Inside - dusk, flickering candle, suggestive of the sinfulness and vanity of earthly life. Outside - an unstoppable, impetuous flight up, to the sky, of all the spiers and vaults of the cathedral.

But it is easy to see that our answer to the question about the meaning gothic architecture, for all its correctness, is not entirely accurate. The aspiration "to God" does not touch us - and yet the grace, the strict nobility of the soaring lines of the Gothic cathedral is not perceived by us as abstract, cold beauty, but disturbs and elevates the soul. The artistic image turns out to be wider and more significant than its original design, and the power of its influence is difficult to explain. We understand the architectural image with the soul, but it is difficult for us to translate it into the language of concepts. This applies more to the architectural image than to the sculptural, or pictorial, or verbal image. But the main thing is clear: a work of architecture, like any great work of art, is a person's path to the high.

We are on Vladimir land, not far from Bogolyubovo, in front of a small, tree-lined, ancient temple building. This is the Church of the Intercession on the Nerl. Why is it difficult to take your eyes off this church? Why is it so irresistibly attracted to itself, what does it tell us? Maybe she speaks with her special, almost mysterious language about ancient and imperishable beauty? About beauty, before which you want to bow down and which makes a person better and higher? This answer looks again not very specific, too general. And this has its own pattern.

In a sense, architecture can be called "the language of the inexpressible." It brings architecture closer to music. No wonder the German romantic Friedrich Schlegel called architecture "frozen music." Of course, this is not an exact term, but a metaphor, but, like any metaphor, it helps to notice the similarity of phenomena. The similarity between music and architecture is that both arts are based on the harmony of mathematical relationships. The similarity also lies in the fact that both music and architecture create images, although fuzzy from a logical point of view, but at the same time deep and impressive.

With all the uncertainty and non-objectivity of its figurative language, architecture is dependent on the surrounding objective world. Reality, the material world imposes its stamp on the works of architecture. In this sense, architecture is no exception among other arts that are closely and diversely connected with reality.

The ancient architects of Egypt saw around them a flat, monotonous surface, endless lines of the desert - and this was reflected in the forms of the architectural monuments they created. The architects of India saw trees twined with vines, mysterious, lush flowers, impenetrable jungle, and this was reflected in Indian architecture.

In the same way, Russian wooden churches, which are found in large numbers in our North, do not accidentally resemble the discreet and deep beauty of our northern nature. Located, as a rule, among a dense spruce forest, these “fabulously beautiful dream churches” seem “as spiky as spruce trees, as gray-haired as they are” (Igor Grabar).

Architectural works not only depend on the world around them, but also express this world in their own way, in a special language.

An essential feature of architecture is that it does not know the direct image of a person. No architectural structure is in itself an image of a person. However, it does not follow from this that the image of a person is completely absent in architecture. It exists in it not directly, but hidden, indirectly. A great architectural work creates an image of time and an image of history, but it is always an image human time and human stories.

Looking at the Moscow Kremlin, we think about Russia, about the greatness and fortitude of its people. Looking at the Parthenon, we recall the heroic time in the history of Greece. An architectural work captures in itself not an individual, but a collective image of a person - the image of a people. Architecture is a large-scale art in the truest sense of the word. It is a language through which one generation echoes another, peoples and centuries speak to each other. Architecture, N.V. Gogol wrote, “speaks when both songs and legends are already silent, and when nothing speaks of the dead people.”

Sculpture as an art form arose approximately at the same time as architecture. Unlike architecture, sculpture is characterized by a direct image of a person. Its main possibilities lie in the creation of both the bodily and spiritual image of a person.

The art of sculpture flourished in Ancient Greece, but it also existed in more distant times. We know, for example, wonderful sculptural works created in ancient Egypt. So, in the III millennium BC. e. the statue "Scribe" was created, which still arouses deep interest and admiration. Everyone is well aware of another masterpiece of ancient Egyptian sculpture - the image of Queen Nefertiti.

At the origins of sculpture, as well as architecture, lie the quite practical needs of ancient man. Here is what the French art critic Andre Bazin said about the origin of ancient Egyptian sculpture: “The Egyptian religion, entirely aimed at overcoming death, made the afterlife directly dependent on the material preservation of the body. In this way, she satisfied one of the primordial needs of human psychology - the need to protect oneself from time. Death is just the victory of time. To artificially fix the bodily appearance of a being means to pull it out of the flow of time, to “attach” it to life. Hence the natural desire to preserve the bodily appearance of life in the very reality of death.

The first Egyptian sculpture is a mummy, a human body treated with caustic soda. But the pyramids and labyrinths were not a sufficient guarantee against violating the sanctity of the tomb; extra precautions had to be taken. Therefore, clay figurines were placed in the sarcophagus along with food for the deceased - something like spare mummies in case the mummy itself was destroyed. Here we see the religious origins of sculpture, its original function: to save existence by preserving the appearance.

And no doubt, the statuette of a bear, pierced by arrows, found in the cave of a prehistoric man, can be considered as the opposite expression of the same desire, this ritual replacement of a real animal with an image in order to make a successful future hunt.

So, sculpture, like architecture, arose from real human needs. Sculpture is similar to architecture in that it creates an artistic image with the help of weighty and voluminous matter. But this is where the similarity ends - the difference begins. One of the most significant differences between a sculptural image and an architectural image is that the former is immeasurably more characterized by semantic clarity and certainty. In architecture, the figurative meaning of a work is hidden in the material and material; in sculpture, it is directly revealed through the material. The real in sculpture is clay, marble, wood, metal. These materials are given the form of that living being - most often a person - whose artistic embodiment they serve. In sculpture, the image is in many respects adequate to its life prototype - of course, as far as it is generally possible in art.

With all the closeness of the sculptural image to the real prototype, we cannot talk about their identity. The sculptural image, like any other artistic image, both reaches out to its prototype and repels it, is distracted from the purely concrete. If this were not the case, the sculptural image would cease to be a language art. The language of art equally needs both the material, the real, and abstraction from the material-real. The first thing he needs to be alive emotional language; the second - to be the language of generalization, ideas.

One of important funds distraction from the real in the sculptural image is its fundamental monochromaticity. More precisely, the sculptural image in the process of historical development showed an increasing tendency towards one color. In ancient times, both among the Egyptians and partly among the Greeks, sculpture was multicolored. Multicolored sculpture is found in the future. Such are the painted statues of saints in the Spanish sculpture of the 17th century (they were so natural in their coloring that they were already beyond art).

Of course, the absence of colors that are characteristic of a living figure leads the sculptural image to deviate from direct likelihood. To an inexperienced person, a one-color sculpture may seem less real than a multi-color one, but it is more integral and generalized, more expressive. The lack of color in sculpture is what refers to regular for this art form conventions. And the regular, organically inherent convention of this art always helps its truthfulness.

What is the famous sculpture of Venus de Milo? An image of a goddess? Or a portrait of an Athenian woman? No, this image has a universal meaning. This is the embodiment of high bodily and spiritual beauty, the embodiment of an ideal person, as he can and should be, if nothing prevented him from developing all his best qualities. The absence of real flesh colors does not prevent us from perceiving this sculpture as an expression of the human ideal. And not only does it not interfere, but it helps to perceive it that way.

The sculptural image is not only one-color, it is also static - outwardly static. The image of a person or an animal, an animal has the character of an instantaneously seized and frozen. This does not deprive the sculptural work of internal dynamics. There are artists whose unsurpassed art of reproducing in sculpture rapid movement, instantaneous muscle tension, physical and emotional impulse has gained worldwide fame. Such sculptors include the greatest sculptor of the Renaissance, Michelangelo Buonarroti (1475-1564). New dynamic possibilities of sculpture were discovered in late XIX- early 20th century French sculpture by Auguste Rodin (1840-1917). Austrian poet R.M. Rilke wrote about Rodin thus: “Rodin starts from afar. He does not rely on the first impression, nor on the second, nor on any of the subsequent ones. He observes and fixes. It captures movements that are not worth a single word, turns, half turns, forty angles and eighty profiles. He takes his model by surprise with her habits, with her accidents, with her newly emerging expressions, with her fatigue and tension. He knows all the changes in her features, knows where the smile comes from and where it hides. He experiences the face of a person as a scene in which he himself participates.

With Rodin, as with the Soviet sculptors Konenkov, Matveev, Erzya, Merkurov and others, the internal movement of the Figure is not constrained by its external static character. These two qualities are organically merged. The result is captured movement, once and for all seized, extremely concentrated. Not the movement itself, but image of movement- instantly caught and stopped, so that he could exist outside of time.

With the latest sculpture in mind, Edgar Degas argued that it is better, more expressive than painting, to depict human suffering. Suffering is also a kind of inner movement. And sculpture is capable of depicting imprinted suffering, the very image of suffering that can exist outside of time.

The sculptural image is perceived outside of time, as something that has always existed, was, is and will be - in eternity. And because the sculpture is capable perpetuate person. No wonder the synonym for the word "perpetuate" is the expression "to erect a monument." You can preserve the memory of a person with the help of art by writing a novel or a poem about him, by drawing his portrait, etc. But the strongest and most direct way to do this is to erect a monument. Sculpture, due to the peculiarities of its figurative nature, is able to perpetuate the memory of a person better, stronger than a work of any other art.

Between different types of art there is a greater or lesser degree of closeness. The most closely related species visual arts. In addition to architecture and sculpture, these include painting and graphics. Let us now turn to the art of painting.

The picturesque image, like the sculptural one, we feel visibly. Depicted in the picture, as well as sculptured by the sculptor, creates a more or less direct illusion of real life. When we look, for example, at the picture of the remarkable realist artist I. E. Repin “Protodeacon”, the first and most important thing that we perceive is not lines, not colors, but the very image of the protodeacon. Colors and lines help to create an image - but we directly perceive the image. And this happens with every work of painting, unless this work belongs to the category of the abstract.

Comparing the art of the word with painting, the French artist Paul Cezanne argued: “A writer expresses himself with the help of abstractions (we would now say: with the help of a sign system.- EAT.), while the artist through drawing and color visually conveys his feelings, his perception.

The pictorial image, more than any other, is characterized by the effect of recognition. A work of art is most often felt by the perceiver as a direct reflection of life.

Does this mean that in painting, in fact, the visible, external side of reality is directly reflected? No, it doesn't. Like other forms of art, painting creates a true illusion of life, but not an exact copy of it. It cannot be otherwise, since reality is reflected in a painting in the conditions of not real - three-dimensional, but artificial - two-dimensional space. As Hegel wrote, "painting does not need a third dimension, but deliberately ignores it in order to replace a purely spatial reality with a higher and richer principle of color."

Consider the words of Hegel: does not need in the third dimension. What does it mean? Obviously, two-dimensionality is by no means a disadvantage, but rather an advantage of painting. It's just like one color in sculpture. Two-dimensional space both limits and enriches the possibilities of painting. Two-dimensionality is inherent painting convention. Two-dimensionality creates a sense of mastery, the creative victory of the artist, overcoming the material without which there is no art. When we admire a work of painting - as well as a work of any other art - we not only feel the reality depicted in it, but also enjoy how well it is done, enjoy the miracle of artistic reproduction.

In a work of art there is no third dimension, but there is its illusion - the illusion of volume. It is created primarily with the help of color. “There is a direct connection between form and color,” wrote the Soviet artist K. S. Petrov-Vodkin. “Three-dimensionality in the picture is settled by their mutual relationship. From them, an image develops with all the actions inherent in it.

Color in a painting reflects reality - colors, colors that are really inherent in natural nature. At the same time, color is a kind of conditional language of painting. It also conveys the peculiarities of the perception of the world by one or another artist. Not without reason, almost every artist has his own favorite color scheme, and even by color alone we can recognize such artists as Rembrandt or Titian, Vrubel or Serov, Deineka or Petrov-Vodkin ... And finally, color acts as a "substitute" spatial reality - a substitute for the three-dimensionality that is characteristic of things in nature and which is not in painting. With the help of different colors and shades of the same color, the artist conveys the volume of objects, their natural shape. Chiaroscuro and the use of linear perspective also help him in this. The converging lines of the drawing, together with light and color, create the effect of depth, volume, removal or approximation of the subject.

The discovery of perspective belongs to a relatively late period in the history of pictorial art and marks a huge artistic conquest. The use of the laws of perspective gave fine art new possibilities.

But it does not follow from this that artistic truth could not be achieved before the discovery of linear perspective. Essentially, perspective in painting is just as conventional as the flat, volumeless image characteristic of the Egyptians, medieval art, or children's drawings. Visual space, solved with the help of perspective, is also conditional, although in a different way than flat space. Both flat and three-dimensional image in their own way true and in my own way implausible.

One artist told how he painted a peasant's house in the presence of the owner of this house. When the artist drew slanted lines to convey perspective, the peasant protested: “Why do you draw the roof so curved? After all, my house is quite straight! This viewer did not perceive the conventionality of perspective drawing, was not accustomed to it.

On the other hand, flat, devoid of volume figures of medieval painting were perceived as truthful. They corresponded to the ideals of their time, served as symbols of the spiritual.

Concepts truth in art, the truthful language of art are historical, not absolute. These concepts are changing, and with them the language of art is changing. An image in which the laws of perspective are applied replaces a flat image, but

this does not mean that the worst is replaced by the best, but indicates a change artistic concepts and laws of perception. As the psychologist R. Arnheim noted in the book “Art and Visual Perception” (Moscow, 1974), linear perspective is “just a new solution to a problem that was solved in other ways in other cultures. This solution is no better or worse than, say, the two-dimensional space of the ancient Egyptians or the system of parallel lines in an inclined cube used in Japanese art. Each of these solutions is complete and perfect in the same degree. And each of them differs from other possible options only in the special idea of ​​the surrounding world that it reproduces.

It is significant that in the latest painting there is sometimes a conscious repulsion from the laws of perspective that have become traditional. An example of this is the work of the remarkable Soviet artist Petrov-Vodkin. His method of artistic transformation of space was called "spherical" or "oblique" perspective. In the paintings of Petrov-Vodkin, what is depicted is devoid of trivial plausibility, the world of the picture seems to be shifted from the usual coordinates of verticals and horizontals - and at the same time it seems to the viewer to be unusually wide, unfolded, as if participating in the vast world of the Universe.

The image in the art of painting is able to include both a person (as in sculpture) and his external environment (what sculpture gives only to a minimal extent). Thanks to this, painting conveys vital ties and relationships well. It is able to reproduce all the fullness and all the fullness of space, and this opens up the possibility for it to reflect life broadly.

Painting is no better and no worse than sculpture, it is different, its figurative language has other possibilities. She can depict something more fully and wider, but she cannot portray something. It cannot be exactly what only sculpture or only architecture can convey. All types of art exist in parallel, actively coexist, not replacing, but complementing each other.

Until now, we have talked mainly about the types of fine arts - architecture, sculpture, painting. But a completely different kind of art, capable of directly expressing the feeling, the excitement of the soul, is the art of music.

What is the language of music based on? On a combination of sounds. Sounds are arranged in time in a mathematically correct sequence, giving them inner harmony, harmony. In a piece of music, dissonances and disharmony are also possible. But disharmony in music is felt as disharmony because it appears against the background of harmony.

Even the ancient Greeks caught the connection of musical art with mathematics. The Pythagoreans (followers of the ancient Greek philosopher Pythagoras) noted that music is based on a number. But, according to their concepts, the number is the basis of the whole world. They saw in music an inner, intimate image of the universe, an expression of world harmony. The model for music was considered to be the harmony that exists among celestial bodies. The movement of celestial bodies, the Pythagoreans believed, best embodies mathematical and musical laws at the same time. From their point of view, music is not only first of the arts that bring joy to people, but also the most useful of the arts in an ethical and social sense. The Pythagoreans called for cleansing the body through healing, and the soul through music.

Not only the Pythagoreans, but also many philosophers, scientists, artists of modern times consider music to be one of the highest forms of art. Music is “the true expression of our inner feeling,” said the Russian writer and philosopher Vladimir Odoevsky. “Music is the voice of the soul of the world, its voiceless song,” wrote Fyodor Chaliapin. It is remarkable that in the utopian state created by the imagination of the 17th century writer and scientist Cyrano de Bergerac (the novel The State of the Moon), the rulers of the country express their thoughts on the most important social issues not verbally, but through music.

Music is often called the most romantic art form. This is due to the nature of the musical image. The vital content in it is abstracted from everything objectively material. The development of musical images is a "pure movement". When listening to music, we do not have a contemplated object in front of our eyes, but, as it were, we follow the movement of the soul itself.

A musical image cannot be imagined visibly, it is not capable of pouring out into a stable tangible form - it does not exist so much in itself as is valid. The musical image can be very deep, and at the same time, it is devoid of any subject specificity. It is for this reason that it is so difficult to convey the content of a musical work. Here is how, for example, the content of Schubert's "Unfinished Symphony" is presented in one of the programs of a philharmonic concert: "We begin with deep seriousness, from which anxiety is born, after which an almost painful excitement appears, until completeness removes the veil from unexpected consolation, which soon penetrates cheerfulness and then suddenly breaks off ... "

This presentation is similar to a parody, but at the same time it is quite typical for conveying the content of musical works. Verbal analysis of a piece of music, done at a higher level, can be similar to this and outwardly vulnerable. Vulnerable primarily because of the specifics of the musical image, because of its fundamental untranslatability into the language of concepts.

The language of music can be called “non-objective”, but it cannot be called empty. “Music,” wrote the Soviet philologist M. Bakhtin, “is devoid of subject specificity and cognitive differentiation, but it is deeply meaningful ... the content here is basically ethical.”

The figurative language of music is built from sounds based on rhythm, modulation (that is, the transition from one key to another), and melody.

The music of the ancients was basically rhythmic. At the heart of the latest European music, including folk music, is the melody. A melody is not just a sequence of musical sounds, but also a unity of sounds endowed with inner meaning, an expressive wholeness. Melody is the highest poetic aspect of music. Very often it is in the field of melody that artistic discoveries are made in music. The idea of ​​a musical work is expressed mainly through the melody. The art of music that renounces its natural language - ordered rhythm and melody - is an art without content, without ideas. About such art - non-art - Pyotr Ilyich Tchaikovsky wrote with anxiety: “The musical idea has receded into the background; it became not an end, but a means, an occasion for the invention of this or that combination of sounds. Before they composed, created - now they select, invent.

Musical art can exist both independently (for example, symphonic music), and in close connection with other types of art, as "accompaniment". This term should not be taken too bluntly. The music of "accompaniment" is not an auxiliary, but an equal (sometimes leading) beginning in the arts of a synthetic kind.

One of the most common types of synthetic (“mixed”) art, in which music is included as an integral part, is the song. The song creates a synthetic image based on a combination of a verbal and melodic-musical image. At the same time, both principles - verbal and musical - mutually enrich each other. The word gives the song image concreteness and conceptual certainty. Music deepens the content of the verbal image, makes it more expressive, translates it into a sublimely generalized plan.

A word accompanied by music, a song word, is something qualitatively different from an independent poetic word. Qualitatively different because the influence of music profoundly changes the very artistic meaning of the word, affects the nature and strength of its influence. Sometimes it even happens that a text, average in its merits, is perceived in the musical setting as deeply poetic. There are many examples of this kind.

Alexei Konstantinovich Tolstoy, a good poet, like every poet, has poems that are less and more successful. Among the less successful, in my opinion, is the poem "Among the noisy ball ...". It ends with the words: "Do I love you, I do not know, But it seems to me that I love." No matter how we feel about the poem as a whole, we must admit that these final words are rather prosaic. But that's how they seem poem, not in romance. The romance "In the midst of a noisy ball ..." was created by P. I. Tchaikovsky to the words of Tolstoy. In the musical design, the words of the poem, including the final ones, deepened, acquired new colors, renounced possible everyday meanings - that is, they became poetic in the exact meaning of this word.

Another example, of a somewhat different kind, is Lensky's dying elegy composed by A. S. Pushkin. In Pushkin, it does not sound serious, it is a parody, a mockery, although not evil, but kind. But let us remember how the words of this elegy sound in Tchaikovsky's opera Eugene Onegin. Here, the share of mockery contained in them disappears, they seriously touch, excite the listener. And this is explained by the fact that music deepened and elevated the word and thereby contributed to the removal of irony.

Music performs together with other types of art, not only in the song genre. It forms the text and leads the action in opera, ballet, cinema, etc. The widespread use of music in various forms of art is due to the very nature of music, those original properties of the musical image that we have already spoken about. The image in music is the embodiment of pure spirituality; he expresses feeling without using material forms for this. This allows him to easily enter into a combination and interaction with other images, more material. The musical image turns out to be not alien to them, it gives them a new quality, strengthens them and elevates them.

A few years ago, the French film "The Umbrellas of Cherbourg" was shown on the screens of our cinemas. Its authors are director Jacques Demy and composer Michel Legrand. The film is based on a rather banal plot: love - parting - new love - sad memories of the past. The story is ordinary and extraordinary. It is thanks to the music that she becomes extraordinary.

The characters in this film do not speak, but sing or speak to the music (recitative). It is not easy for the audience to get used to this "unnatural" manner of speaking at first. But then you get used to it imperceptibly. The musical element of the film captures, the conditional ceases to be perceived as artificial, the viewer enters the special world of the film, at the same time everyday, ordinary, and yet - thanks to the music - not at all ordinary, not everyday, but high and generalizing.

This film has a musical character not in the formal, but in the deep sense of the word. And that is why the melodramatic story told in it is perceived as sublime, as one of the "eternal", ageless plots. The film shows how much music can mean for other arts, how it can enrich them.

Performing in combination with other arts, music creates a special art world- the world of high feelings, high emotional stress. This is especially evident in the art of opera. In fact, the film that we talked about is also a kind of opera (film-opera).

In the very general view Opera can be defined as a theatrical performance in which people sing rather than speak. Singing and song are an indispensable part of this art form. At the same time, the song appears in different forms: it is an aria - a monologue song, a confession song; duet - song-dialogue; recitative - imitation of colloquial forms in music, etc. A special place in the opera is occupied by choral singing, which reveals not an individual, but a mass image - the image of a people or some large group of people. In some operas, choral forms play a leading role. This is typical for musical folk dramas. Mussorgsky's brilliant opera-dramas "Boris Godunov" and "Khovanshchina" can be cited as an example.

Of course, opera is not only a song. This is also the music that exists in the opera in addition to the one directly related to the song. This is the role of an actor-singer. And elements of fine art - in the scenery, props.

Opera is a synthetic art. But at the same time, as in any form and genre of art, it has its own leading principle. This leading element in the art of opera is music-song. First of all, it makes the opera a unique art, the art of spiritually sublime truth.

Due to the special nature of its figurativeness, the opera conveys the non-domestic, poetic side of life. Goncharov's "An Ordinary Story" or Chekhov's "A Boring Story", with all the depth of their content, could hardly serve as a good plot basis for an opera performance. An operatic libretto can be a sad story, a tragic story, or a heroic story, but not "ordinary" or "boring." Opera is always closer to the poetry of life than to its prose. “A girl can sing about lost love, but a miser cannot sing about lost money” - these words can serve as a good description of operatic art. You can sing not on any topic, and this is due to the internal laws of art itself.

Closer than others to the opera in terms of the nature of the internal laws of art is ballet. Ballet is a combination of music and choreography (dance, pantomime). Like opera, ballet is primarily a musical art. It can be said that the ballet is "doubly musical". It is dominated by the element of sounding music and, no less than that, visible music. Dance in ballet is such "visible music". Only outwardly he can appear mute. In essence, the dance is based on music that fills it from the inside.

This musical fullness of the choreographic image, as well as the purely musical image, cannot be fully and accurately expressed through verbal explanations. The ballet image has a multi-valued, generalized symbolic character. Reducing the essence of the ballet image to everyday meaning not only does not explain it, but also destroys it in many ways. In this case, the same thing happens as with any kind of exposition of the content of symphonic works.

Ballet art, like opera, does not allow for a too mundane, grounded plot. Of course, there can be no categorical prohibitions in art. But absolute freedom is also impossible. It is possible, for example, to translate into the language of ballet even Tolstoy's Anna Karenina. Rodion Shchedrin and Maya Plisetskaya proved that it is possible. However, this "translation" is by no means adequate - it is deliberately selective. To understand the problems of Tolstoy's social novel based on Shchedrin's ballet is not only difficult, but impossible. The ballet does not pretend to this. Anna Karenina by Shchedrin is a song of beautiful and tragic love. it

Ballet based on not even novel Tolstoy, but Tolstoy plot. The same can be said about Minkus's Don Quixote, Glière's The Bronze Horseman, etc. The choice of plot material in these ballets shows well what ballet art can and cannot do. It can be neither too mundane and grounded, nor too edifying, nor momentary topical.

Important problem modernity cannot be solved in a ballet in a straight line. The very artistic nature of ballet does not permit this. K. S. Stanislavsky, as an obvious curiosity, cited the example of staging a ballet on the topical topic of the fight against malaria: “Malaria was rampant in the city, and it was necessary to popularize the means to combat it. For this, a ballet was staged, in which a traveler appeared, inadvertently falling asleep in a marsh reed, depicted as swaying beautiful half-naked women. Bitten by a nimble mosquito, the traveler dances on the steps of fever. But the doctor comes, gives quinine or some other remedy, and in front of everyone, the dance of the patient becomes calm.

This production dates back to the first years of the revolution, when art was especially keen to "intervene in life", to be active, to overcome decayed traditions. The young art seemed to be able to do everything. But in the experience of searching, the inviolability of some traditions gradually manifested itself.

Unfortunately, similar examples (although not so anecdotal) occurred in the history of ballet in later years. The well-known ballet critic V. Krasovskaya spoke with bitter irony about the ballet N. Chervinsky - A. Andreev "Native Fields" (1953). The heroine of this ballet dances her call to the groom to come to his native collective farm to build a power plant, and the groom expresses excitement before defending his diploma, pleasure over the success of his defense and doubts whether he should choose graduate school or a collective farm.

This ballet, with its straightforwardly understood "vitality", is far from the specifics of the dance image, and the mistake of its creators is of a fundamental nature. As V. Krasovskaya noted, “musical theater is, after all, primarily a theater of generalizations, and this applies even more to ballet than to opera”; “Ballet, like music, is able to convey the subtlest shades of feeling and its highest, grandest, heroic ups. But ballet is unable to convey ordinary and prosaic actions, it cannot express itself in prose, even if inspired ideas and great thoughts are hidden behind it.

Speaking of opera and ballet, we thereby touched on theatrical, performing arts. This is one of the most complex, most effective and most ancient arts. This art is heterogeneous, synthetic. As its components, theatrical art includes architecture, painting, sculpture (decorations), and music (it sounds not only in a musical, but also in a dramatic performance), and choreography (not only in ballet, but also in drama), and literature (the text of a dramatic work), and the art of acting, etc. Among all of the above, the art of acting is the main thing that determines the theater. The well-known Soviet director A. Tairov wrote: "... in the history of the theater there were long periods when it existed without plays, when it did without any scenery, but there was not a single moment when the theater was without an actor." (“Without plays,” of course, not literally - this means the improvisation of the performance, the actor’s free attitude to the text, or the creation of his own text according to the storyline.)

An actor in the theater is a creator who directly creates what is called a "stage image". More precisely, at the same time the artist-creator, and the material of creativity, and its result - the image. “To create a work of art,” wrote the great French actor B.K. Coquelin, - the painter has paints, canvas and brushes; the sculptor has clay and a chisel, the poet has words and a lyre... the actor's tool is himself."

Acting allows us to see not only the image in its final expression, but also the very process of its creation - the formation of the image. The actor creates an image "out of himself" and does it in the presence of the audience, in front of their eyes. This is the main specificity of the stage image - and this is the source of the unique artistic pleasure that the theatrical image gives the viewer. In theatrical art, the viewer is most directly involved in the miracle of creation.

Of course, when we think and talk about an actor, we understand how important for the theater is not just an actor, but an ensemble of actors - the unity, the creative interaction of actors. “A real theater,” wrote F. I. Chaliapin, “is not only individual creativity, but also a collective action that requires complete harmony of all parts.”

Theater is a social and collective art. Spectators perceive the stage action not alone, but collectively, “feeling the neighbor's elbow”, which to a large extent enhances the impression, the artistic contagion of the theatrical production. At the same time, the impression itself comes not from one person - an actor, but from a team of actors. Both on the stage and in the auditorium, on both sides of the ramp, live - feel and act - not individual individuals, but a society of people connected to each other for this time by an internal connection.

To a large extent, it is precisely this that determines the enormous social and educational role of the theater. Art, which is created and perceived together, becomes in the true sense of the word school.“The theater,” wrote the famous Spanish poet Garcia Lorca, “is a school of tears and laughter, a free platform from which people can denounce outdated or false morality and explain, using living examples, the eternal laws of the human heart and human feeling.”

We have already talked about the dual nature of acting. The actor is the creator, and he is also the result of his creation. As a result of creation, as an image, he feels the same feelings that his character feels. As a creator, he looks at himself from the outside, evaluates his ability to feel and keeps his feelings under control. Thus, the actor is simultaneously in artistic "captivity" - as an image, and at the same time he is free - as a creator. F. I. Chaliapin wrote: “The embodied image is always in front of me. He is before my eyes every moment ... There are two Chaliapins on the stage. One plays, the other controls. “Too many tears, brother,” the proofreader says to the actor. - Remember that you are not crying, but the character is crying. Reduce the tear. "Or:" Little, dry. Add ...".

We have already talked about this quality of an actor. It does not interfere with the truthfulness of the stage image. Moreover, the stage image is perceived by us as the most authentic of all existing in different types art (in this only cinema can be compared with the theater).

The most authentic - despite its obvious conventionality. How can this be explained? Why is the image created by the actor so reliable for us, so vividly affecting us? First of all, because it is as adequate as possible to its “material”. In the theater (as in the cinema) the image of a person is created by a person. We don't need much effort, we don't need any work of the imagination to imagine a human character in a human actor. Of course, in the actor we see not himself, but another person, maybe even of a different era - but still a person. What is supposed in the image is inherent in the person himself, in the actor himself.

I saw Moskvin in the role of Tsar Fyodor Ioannovich in a performance of the Moscow Art Theater based on the play by A. K. Tolstoy. The great actor played this role in such a way that for the audience he was no longer Ivan Mikhailovich Moskvin, but a genuine, living Fyodor Ioannovich. When Moskvin - Fedor spoke, throwing himself on Irina's neck: “Arinushka! My dear! Perhaps you blame me for not keeping him now?.. What can I do, That I was not born to be a sovereign! - the audience heard genuine tears in Fyodor's voice, felt them - the tears of the "quietest tsar", for whom Monomakh's hat turned out to be too heavy. It was almost impossible to imagine Fyodor Ivanovich not the way Moskvin created him. This amazing feeling of the truthfulness of the artistic image is explained not only by Moskvin's acting skills, but also by the very nature of theatrical art - the fact that the image human created man.

The maximum reliability of the stage image is also associated with a sense of time that is special for him. Each type of art has a specific artistic time. In sculpture, this time is "zero" - the absence of time limits, setting for eternity. In epic or lyric poetry, this is usually the past tense. In dramatic art - the present time.

When we read Homer's "Iliad" or even the most modern story - say, the story of F. Abramov or V. Belov - we perceive all events as having already passed. When we watch a theatrical performance - tragedy, drama or comedy - everything that happens on the stage is happening for us in the present. Events take place simultaneously with their perception. Psychologically, this leads to the fact that in the theater we feel ourselves not only spectators, but also accomplices in the action. This makes the theatrical action especially convincing and contagious.

No matter how uncomfortable, “immature” spectators children may be, we still cannot but note for ourselves the naturalness of their activity, their desire to actively interfere precisely in theatrical art, and not in any other. The story of the madman who carved Repin's painting "Ivan the Terrible Kills His Son" is quite unique. The desire to become an active participant in events in the atmosphere of the theater is not so unique and distinguishes not only children. Undoubtedly, the illusion of authenticity in painting, sculpture or poetry is less than in theatrical art. Smaller, in particular, and because only the theater lives in the present tense.

It is no coincidence that he recalled "truth" and "untruth" as evaluative ones are applied to the theater much more often than, for example, to painting or sculpture, not to mention architecture and music. It is more natural to call for the direct truthfulness of art when such almost immediate truthfulness is already contained in the very nature of this art, the nature of the artistic image it creates.

But theatrical art, as we already know, is not only truthful, but also conditional. In this it is like any other art. Types of art, as well as various directions and methods in art (classicism, romanticism, realism, etc.), differ from each other in the degree of truthfulness and conventionality, however, without the very combination of truthfulness and conventionality in one or another of their proportions, no art can exist. maybe.

In terms of the degree of direct impact on the audience, the relatively young art of cinema is closer to the art of theater than others. The effect of vitality, direct plausibility in a movie can be even stronger than in a theater.

The art of cinema is close to theatrical, and noticeably differs from it. Let's try to compare the work of an actor in the theater and in the cinema. Such a comparison will help us better understand the specifics of these "adjacent" arts.

I knew a theater director, an intelligent and talented woman. She did not allow her actors to act in films: “The cinema will spoil you. If you want to become a film actor, your will. But then I have nothing to do with you.” She must have been wrong. But I now remembered this not to condemn or justify, but because the behavior of this director clearly showed the conviction that there are important differences between cinema and theater, the work of an actor in making a film and in creating a theatrical performance.

To find out what are the distinctive features of the work of a theater actor and a film actor, let's put the question this way: where can an actor be more natural in his acting, more truthful - in the theater or in the cinema?

Much in the performance of an actor in the theater not only brings him closer to the truth of life, but also leads him away from it. For example, the theater loves the expression of feelings "loud" and "talkative". “The theater is not a living room,” wrote the great realist actor B.K. Coquelin, to whose statements I have already referred more than once. - One and a half thousand spectators gathered in the auditorium cannot be treated as two or three comrades with whom you are sitting by the fireplace. If you do not raise your voice, no one will hear the words; if you do not pronounce them articulately, you will not be understood.

Meanwhile, in reality, human emotions can be deeply hidden. Grief can be expressed in a subtle trembling of the lips, the movement of the muscles of the face, etc. The actor knows this very well, but in his stage life he must reckon not only with psychological and everyday truth, but also with the conditions of the ramp, with the possibilities of perception of the audience. It is precisely in order for the words and feelings of the character to reach the audience that the actor must somewhat exaggerate the degree and form of their expression. This is what the theatrical art requires.

Another thing is cinema. The very trembling of the lips, which in the conditions of the theater the actor cannot convey to the audience, is easily conveyed in the conditions of the cinema. In cinema, the distance from the scene to the viewer's eyes is a variable. The eye of the viewer either approaches the subject of the image, then moves away from it. Most of the time we don't even notice it. After all, our “eye” is also a film lens. It is not the objects themselves and not the eyes of the audience that approach and recede in the cinema, but the movie camera - it is she who sets the required distance between the viewer and the objects being filmed, people. If necessary for artistic purposes, this distance becomes very small: the image is given close-up. Then the smallest detail the human face becomes noticeable and expressively effective: both the trembling of the lips or eyelids, and the movement of the facial muscle ...

A film actor does not need to exaggerate in expressing feelings, he does not need to "press", "pedal". It can be as natural as possible. He is allowed to speak as in life, without raising his voice, even in a whisper (a matter of film technology, so that the audience can hear his whisper), he does not need excessive affectation.

And yet, it does not follow from what has been said that the truth of the image is more accessible to the film actor than to the theater actor. The potential realism of cinema is adjacent to such features of this art that are purely conditional and do not meet the requirements of direct plausibility. This applies primarily to the conditions creative process. Charlie Chaplin, in his book My Biography, describes his first impression of the film studio in which the film was shot: “Three different sets were set up side by side, and three crews were working in them at the same time. It was like the pavilions of the World Exhibition. In one corner, Mabel Norman was pounding on the door with her fists and yelling, “Let me in!” Then the cameraman stopped turning the camera handle and the sequence was filmed. For the first time, I learned that films are made like this, piece by piece.”

The most “unnatural” and “unreal” thing about the process of making a film is, perhaps, precisely that it is filmed piece by piece. A film actor must create an image outside the logic of his real existence. For example, an actor is often forced to play disappointment before “charm”, to show a person’s maturity earlier than youth, etc. That is, in the conditions of cinema, an actor lives in a disorderly, random time. This has important implications for him. He must get used not so much to his hero, but to this or that human situation. He must be able to play the situation psychologically subtly and in accordance with the character of his hero. He keeps the character of the hero in his mind to a greater extent than he himself becomes such a character. He needs to remain faithful to character in order to maintain the unity of the person portrayed, the unity of all situations. But it is more difficult for him to “become a character” than for a theater actor, just because he plays his role not for 2-3 hours, not in a single impulse, but for two or three months, or even more. And he plays it every time not entirely, but with breaks that are filled with other thoughts and deeds.

To this we must also add that the actor in the cinema is deprived of direct communication with the audience. Meanwhile, the possibility of "live contact" between spectators and actors not only creates somewhat different conditions for the developing dramatic action, but determines the essence of the performance.

A theater actor's communication with the audience is deep and creative. During the performance, invisible strong threads are stretched between the actor and the audience, along which invisible waves of sympathy and antipathy, sympathy, understanding, delight are transmitted. This internally controls the acting of the actor, helps him to create.

“The theater, whatever its arrangement, is always a date, always the warmth of live communication,” says the famous Soviet artist Alexei Batalov. on the subtle movements of the soul of the actor, accurately guessing the most complex psychological turns. This is how what we call the unified breath of the hall arises, what unites unfamiliar, randomly gathered spectators. In turn, this breath, like a wave, picks up the actor, imparting to his own internal movement a gigantic additional force. An actor who truly connects with the audience sometimes does the almost unbelievable. Like a Polynesian on a board, he moves only thanks to these living waves coming from the hall.

The film actor is deprived of all this. Imagine a teacher (we have already compared an actor with a teacher) who is offered to teach a lesson in an empty classroom. This is an experienced teacher, he knows the material well and knows how to present it well. But will he be just as experienced and skillful in an empty auditorium? No matter how they warn him, no matter how he is specially prepared for a lesson in an empty classroom, something good and important in this lesson will inevitably disappear.

The film actor is just in the position of this teacher. The knowledge that his performance is being taped, that when the film starts showing the audience will fill up - and will fill up many times over, cannot make up for the absence of the audience at the time of the performance. A film actor must possess some special qualities, a special skill, in order to compensate for the lack of communication with the audience.

The stage image in the cinema, on the one hand, has the highest degree of authenticity, even naturalness, but, on the other hand, in comparison with the theatrical image, it has a ready-made, more immobile character. The stage image in the theater is outwardly more conventional, but at the same time, due to the direct connection with the audience, it turns out to be more lively, quivering. A film actor, in labor and search, once and for all creates his image. The theater actor will create it many times, and each time at least a little in a new way.

Thus, cinema has its advantages over theater, but theater also has its advantages over cinema. Accordingly, this also applies to actors employed in the theater and cinema. It is neither easier nor more difficult for any of them to create an image than for another. They have different conditions, different opportunities, partly different tasks.

There is another essential difference between the position of the actor in the theater and in the cinema. We know that the main thing in the theater - the image of a person - is created by the actor. The theater cannot exist without an actor. You can't say the same about cinema. In cinema, the human image is created not only by the skill of the actor. Of course, the actor in the cinema is of paramount importance - but not as exclusive as in the theater.

Editing is one of the important means of creating a film image.

In its most elementary form, editing can be explained as the selection, the arrangement of the individual parts of the film, filmed on film, in such a sequence that a single work of art is obtained.

Editing is the language of cinema, its only means of creating an image (although not the only means).

In the theater, the viewer perceives what is happening on the stage directly. The film is first shot in parts on film, and then the already processed film is shown to the audience. A film is a kind of intermediary between an actor and a viewer, just like a book is an intermediary between a writer and his reader. This resemblance, however, is not absolute. The pages of a book typed in a printing house are a passive intermediary. The film, on the other hand, is active, it is itself capable of becoming a source of art, it contains rich possibilities for the creators of cinematography.

These opportunities were not immediately open. It began with the fact that very soon after the invention of cinema, it became obvious that film could be cut and glued, composing shots in accordance with the desires of the filmmakers. Initially, this was perceived as a purely technical possibility: if the film can be cut and the cut pieces glued together in any order, then the film can be shot not in its entirety, but in pieces, not in the course of the script, but in a way that is convenient for the film crew. Cutting and gluing individual pieces of the film that has been shot is actually editing, editing as a technique. But gradually it became clear that with the help of this technique it is possible to solve ideological and artistic problems. And then the technical installation turned into the art of editing- into a special means of expression, into a special language of cinema.

Indeed, if the director has the opportunity to compose the shots in his own way, to cut out what turned out to be unnecessary, insufficiently expressive, to emphasize by comparing shots what he considers the main thing, then he has such a potential source of expressiveness that no other art knows. . Realizing this, the directors began to strive to maximize the use of this source.

In Russia, film director Lev Kuleshov was one of the first to understand the artistic possibilities of montage. Later, he wrote about his discovery in the 1920s: “In those years, in addition to working in the chronicle, I made a montage experiment known in the history of cinema as the “Kuleshov Effect.” I alternated the same frame of Mozzhukhin with various other frames - a bowl of soup, a girl, a children's coffin. Depending on the montage relationship, these plans acquired different meanings. The discovery stunned me - so I was convinced of the greatest power of montage. "

When L. Kuleshov and director V. Pudovkin, who assisted him, showed the described montage effect, unprepared viewers were shocked not by the possibilities of cinema art that opened up, but by Mozzhukhin's acting. They were sure that they saw the great actor Mozzhukhin in three different roles. “The audience,” Pudovkin recalled, “admired the artist’s subtle play. They noted his heavy thoughtfulness over the forgotten soup. They were touched by the deep sadness of the eyes looking at the deceased, and admired the slight smile with which he admired the playing girl. We knew that in all three cases the face was the same. Such is the power of the influence of montage.”

Many major film artists have created films based primarily on expressive montage of shots. The art of editing was developed by Soviet directors Kuleshov, Pudovkin, Eisenstein. The American director Griffith followed the same path.

In Sergei Eisenstein's film "Battleship Potemkin" there is an unusually expressive tragic scene of the execution of a demonstration. All of it is built on the principle of installation. The frames in it do not just follow one after another - they collide, create contrasts, each of them emphasizes the meaning of the other. And as a result, a revolutionary-accusatory pathos of the picture is created. Before the viewer, replacing each other, the following shots pass: representatives of the revolutionary people are walking, soldiers are marching in a tightly closed formation, a wide staircase is occupied by a walking Odessa crowd, again soldiers, the menacing glare of their bayonets, a rifle volley, the death of an elderly woman with a kind face, in a pince-nez, and as the artistic completion of the whole montage piece - the deserted Odessa stairs and the baby stroller with the baby jumping along its steps among the corpses.

The impression of the whole scene is determined primarily by the montage ratio of shots. This ratio, created by the director, becomes in the exact sense of the word the language of art. Editing does not simply record what happened, but explains it and, in explaining it, blames it; not only conveys reality, but also makes you think.

Introduction

An artistic image is a general category of artistic creativity: a form of reproduction, interpretation and mastery of life inherent in art by creating aesthetically affecting objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content (for example, a character in literature, symbolic images). But in a more general sense, an artistic image is a way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.

In a number of other aesthetic categories, this one is of relatively late origin, although the beginnings of the theory of the artistic image can be found in Aristotle's doctrine of "mimesis" - the artist's free imitation of life in its ability to produce integral, internally arranged objects and the aesthetic pleasure associated with this. While art is in its self-consciousness (coming from ancient tradition) was closer to craft, skill, skill and, accordingly, in the host of arts, the leading place belonged to the plastic arts, aesthetic thought was content with the concepts of the canon, then style and form, through which the artist's transforming attitude to material was illuminated. The fact that the artistically reshaped material imprints, carries in itself a kind of ideal formation, in something similar to thought, began to be realized only with the advancement of the more “spiritual” arts - literature and music. Hegelian and post-Hegelian aesthetics (including V. G. Belinsky) widely used the category of artistic image, respectively, opposing the image as a product of artistic thinking to the results of abstract, scientific and conceptual thinking - syllogism, inference, proof, formula.

Since then, the universality of the category of artistic image has been repeatedly disputed, since the semantic connotation of objectivity and visibility, which is part of the semantics of the term, seemed to make it inapplicable to “non-objective”, non-fine arts. And, however, modern aesthetics, mainly domestic, at the present time widely resorts to the theory of the artistic image as the most promising, helping to reveal the original nature of the facts of art.

The purpose of the work: To analyze the concept of an artistic image and identify the main means of its creation.

Expand the concept of artistic image.

Consider means of creating an artistic image

To analyze the characteristics of artistic images on the example of the works of W. Shakespeare.

The subject of the research is the psychology of the artistic image on the example of Shakespeare's works.

Research method - theoretical analysis of the literature on the topic.

1. Psychology of the artistic image

1 The concept of artistic image

In epistemology, the concept of "image" is used in a broad sense: an image is a subjective form of reflection of objective reality in the mind of a person. At the empirical stage of reflection, images-impressions, images-representations, images of imagination and memory are inherent in human consciousness. Only on this basis, through generalization and abstraction, images-concepts, images-conclusions, judgments arise. They can be visual - illustrative pictures, diagrams, models - and not visual - abstract.

Along with a broad epistemological meaning, the concept of "image" has a narrower meaning. An image is a specific appearance of an integral object, phenomenon, person, his “face”.

The human mind recreates the images of objectivity, systematizing the diversity of movement and interconnections of the surrounding world. Cognition and practice of a person lead the entropic, at first glance, variety of phenomena to an ordered or expedient correlation of relationships and thereby form images of the human world, the so-called environment, residential complex, public ceremonies, sports ritual, etc. The synthesis of disparate impressions into integral images removes uncertainty, designates this or that sphere, names this or that delimited content.

The ideal image of an object that arises in the human head is a certain system. However, in contrast to Gestalt philosophy, which introduced these terms into science, it must be emphasized that the image of consciousness is essentially secondary, it is such a product of thinking that reflects the laws of objective phenomena, is a subjective form of reflection of objectivity, and not a purely spiritual construction within the stream of consciousness.

An artistic image is not only a special form of thought, it is an image of reality that arises through thinking. The main meaning, function and content of the image of art lies in the fact that the image depicts reality in a concrete face, its objective, material world, a person and his environment, depicts the events of public and personal life of people, their relationships, their external and spiritual and psychological features.

In aesthetics, for many centuries there has been a debatable question of whether the artistic image is a cast of direct impressions of reality or is it mediated in the process of emergence by the stage of abstract thinking and the processes of abstraction from the concrete by analysis, synthesis, inference, conclusion, that is, the processing of sensually given impressions. Researchers of the genesis of art and primitive cultures single out a period of "prelogical thinking", but even the later stages of the art of this time do not apply the concept of "thinking". The sensual-emotional, intuitive-figurative nature of ancient mythological art gave K. Marx reason to say that the early stages of the development of human culture were characterized by unconsciously artistic processing of natural material.

In the process of human labor practice, not only the development of the motor skills of the functions of the hand and other parts of the human body took place, but also, accordingly, the process of development of human sensibility, thinking and speech.

modern science argues for the fact that the language of gestures, signals, signs in ancient man was still only the language of sensations and emotions, and only later the language of elementary thoughts.

Primitive thinking was distinguished by its primary signal immediacy and elementarity, like thinking about the current situation, about the place, volume, quantity, and immediate benefit of a particular phenomenon.

Only with the emergence of sound speech and the second signal system does discursive and logical thinking begin to develop.

Because of this, we can talk about the difference in certain phases or stages in the development of human thinking. First, the phase of visual, concrete, primary-signal thinking, which directly reflects the momentarily experienced situation. Secondly, this is the phase of figurative thinking, which goes beyond the limits of what is directly experienced thanks to the imagination and elementary ideas, as well as the external image of some specific things, and their further perception and understanding through this image (a form of communication).

Thinking, like other spiritual and psychic phenomena, develops in the history of anthropogenesis from the lowest to the highest. The discovery of many facts testifying to the prelogical, prelogical nature of primitive thinking gave rise to many interpretations. famous explorer ancient culture K. Levy-Bruhl noted that primitive thinking is oriented differently than modern thinking, in particular, it is “prelogical”, in the sense that it “reconciles” with contradiction.

In Western aesthetics of the middle of the last century, the conclusion is widespread that the fact of the existence of pre-logical thinking provides grounds for the conclusion that the nature of art is identical to the unconsciously mythologising consciousness. There is a whole galaxy of theories that seek to identify artistic thinking with the elementary-figurative mythologism of prelogical forms of the spiritual process. This concerns the ideas of E. Cassirer, who divided the history of culture into two eras: the era of symbolic language, myth and poetry, firstly, and the era of abstract thinking and rational language, secondly, while striving to absolutize mythology as an ideal ancestral basis in history. artistic thinking.

However, Cassirer only drew attention to mythological thinking as a prehistory of symbolic forms, but after him A.-N. Whitehead, G. Reid, S. Langer tried to absolutize non-conceptual thinking as the essence of poetic consciousness in general.

Domestic psychologists, on the contrary, believe that consciousness modern man represents a multilateral psychological unity, where the stages of development of the sensual and rational sides are interconnected, interdependent, interdependent. The measure of the development of the sensory aspects of the consciousness of historical man in the course of his existence corresponded to the measure of the evolution of reason.

There are many arguments in favor of the sensual-empirical nature of the artistic image as its main feature.

As an example, let us dwell on the book by A.K. Voronsky "The Art of Seeing the World". She appeared in the 20s, had sufficient popularity. The motive for writing this work was a protest against handicraft, poster, didactic, manifesting, "new" art.

Voronsky's pathos is focused on the "mystery" of art, which he saw in the artist's ability to capture the immediate impression, the "primary" emotion of perceiving an object: "Art only comes into contact with life. As soon as the mind of the viewer, the reader, begins to work, all the charm, all the strength of the aesthetic feeling disappears.

Voronsky developed his point of view, relying on considerable experience, on a sensitive understanding and deep knowledge of art. He isolated the act of aesthetic perception from everyday life and everyday life, believing that it is possible to see the world "directly", that is, without the mediation of preconceived thoughts and ideas, only in happy moments of true inspiration. Freshness and purity of perception is a rarity, but it is precisely such an immediate feeling that is the source of the artistic image.

Voronsky called this perception “irrelevant” and contrasted it with phenomena alien to art: interpretation and “interpretation”.

The problem of the artistic discovery of the world receives from Voronsky the definition of a “complex creative feeling”, when the reality of the primary impression is revealed, regardless of whether a person knows about it.

Art "silences the mind, it achieves that a person believes in the power of his most primitive, most direct impressions"6.

Written in the 1920s, Voronsky's work is focused on searching for the secrets of art in naive pure anthropologism, "irrelevant", not appealing to reason.

Immediate, emotional, intuitive impressions will never lose their significance in art, but are they enough for the artistry of art, aren't the criteria of art more complicated than the aesthetics of direct feelings suggests?

The creation of an artistic image of art, if it is not a study or a preliminary sketch, etc., but a complete artistic image, is impossible only by fixing a beautiful, direct, intuitive impression. The image of this impression will be insignificant in art if it is not inspired by thought. The artistic image of art is both the result of impression and the product of thought.

V.S. Solovyov made an attempt to "name" what is beautiful in nature, to give a name to beauty. He said that the beauty in nature is the light of the sun, moon, astral light, changes in light during the day and night, the reflection of light on water, trees, grass and objects, the play of light from lightning, the sun, the moon.

These natural phenomena evoke aesthetic feelings, aesthetic pleasure. And although these feelings are also connected with the concept of things, for example, about a thunderstorm, about the universe, it can still be imagined that the images of nature in art are images of sensory impressions.

Sensual impression, thoughtless enjoyment of beauty, including the light of the moon, stars - are possible, and such feelings are capable of discovering something unusual again and again, but the artistic image of art incorporates a wide range of spiritual phenomena, both sensual and intellectual. Consequently, the theory of art has no reason to absolutize certain phenomena.

The figurative sphere of a work of art is formed simultaneously on many different levels of consciousness: feelings, intuition, imagination, logic, fantasy, thought. Visual, verbal or auditory depiction artwork is not a copy of reality, even if it is optimally lifelike. Artistic depiction clearly reveals its secondary nature, mediated by thinking, as a result of the participation of thinking in the process of creating artistic reality.

The artistic image is the center of gravity, the synthesis of feeling and thought, intuition and imagination; the figurative sphere of art is characterized by spontaneous self-development, which has several vectors of conditioning: the “pressure” of life itself, the “flight” of fantasy, the logic of thinking, the mutual influence of the intrastructural connections of the work, ideological tendencies and the direction of the artist’s thinking.

The function of thinking is also manifested in maintaining balance and harmonizing all these conflicting factors. The artist's thinking works on the integrity of the image and the work. The image is the result of impressions, the image is the fruit of the artist's imagination and fantasy and at the same time the product of his thought. Only in the unity and interaction of all these aspects does a specific phenomenon of artistry arise.

By virtue of what has been said, it is clear that the image is relevant, and not identical with life. And there can be an infinite number of artistic images of the same sphere of objectivity.

Being a product of thinking, the artistic image is also the focus of the ideological expression of the content.

An artistic image makes sense as a “representative” of certain aspects of reality, and in this respect it is more complex and multifaceted than the concept as a form of thought, in the content of the image it is necessary to distinguish between the various ingredients of meaning. The meaning of a hollow work of art is complex - a "composite" phenomenon, the result of artistic development, that is, knowledge, aesthetic experience and reflection on the material of reality. Meaning does not exist in the work as something isolated, described or expressed. It "flows" from the images and the work as a whole. However, the meaning of the work is a product of thinking and, therefore, its special criterion.

The artistic meaning of the work is the final product of the artist's creative thought. The meaning belongs to the image, therefore the semantic content of the work has a specific character, identical to its images.

If we talk about the information content of an artistic image, then this is not only a sense that states certainty and its meaning, but also an aesthetic, emotional, intonational sense. All this is called redundant information.

An artistic image is a multilateral idealization of a material or spiritual object, present or imaginary, it is not reducible to semantic unambiguity, it is not identical to sign information.

The image includes the objective inconsistency of information elements, oppositions and alternatives of meaning, specific to the nature of the image, since it represents the unity of the general and the individual. The signified and the signifier, that is, the sign situation, can only be an element of the image or an image-detail (a kind of image).

Since the concept of information has acquired not only a technical and semantic meaning, but also a broader philosophical meaning, a work of art should be interpreted as a specific phenomenon of information. This specificity is manifested, in particular, in the fact that the figurative-descriptive, figurative-plot content of a work of art as art is informative in itself and as a "receptacle" of ideas.

Thus, the depiction of life and the way it is depicted is full of meaning in itself. And the fact that the artist chose certain images, and the fact that by the power of imagination and fantasy he attached expressive elements to them - all this speaks for itself, because it is not only a product of fantasy and skill, but also a product of the artist's thinking.

A work of art makes sense insofar as it reflects reality and insofar as what is reflected is the result of thinking about reality.

Artistic thinking in art has a variety of areas and the need to express their ideas directly, developing a special poetic language for such expression.

2 Means of creating an artistic image

The artistic image, possessing sensual concreteness, is personified as a separate, unique, in contrast to the pre-artistic image, in which the personification has a diffuse, artistically undeveloped character and therefore is devoid of originality. Personification in the developed artistic and figurative thinking is of fundamental importance.

However, the artistic and figurative interaction of production and consumption is special character, since artistic creativity is, in a certain sense, also an end in itself, that is, a relatively independent spiritual and practical need. It is no coincidence that the idea that the viewer, listener, reader are, as it were, accomplices in the creative process of the artist, was often expressed by both theorists and practitioners of art.

In the specifics of subject-object relations, in artistic-figurative perception, at least three essential features can be distinguished.

The first is that the artistic image, born as an artist's response to certain social needs, as a dialogue with the audience, in the process of education acquires its own life in artistic culture, independent of this dialogue, since it enters into more and more new dialogues, about the possibilities of which the author could not suspect in the process of creativity. Great artistic images continue to live as an objective spiritual value not only in the artistic memory of descendants (for example, as a bearer of spiritual traditions), but also as a real, modern force that encourages a person to social activity.

The second essential feature of the subject-object relations inherent in the artistic image and expressed in its perception is that the “bifurcation” into creation and consumption in art is different from that which takes place in the sphere of material production. If in the sphere of material production the consumer deals only with the product of production, and not with the process of creating this product, then in artistic creativity, in the act of perceiving artistic images, the influence of the creative process takes an active part. How the result is achieved in the products of material production is relatively unimportant for the consumer, while in the artistic-figurative perception it is extremely significant and constitutes one of the main points of the artistic process.

If in the sphere of material production the processes of creation and consumption are relatively independent, as a certain form of human life, then artistic production and consumption cannot be separated without compromising the understanding of the very specifics of art. Speaking of this, it should be borne in mind that the limitless artistic and figurative potential is revealed only in the historical process of consumption. It cannot be exhausted only in the act of directly perceiving "single use".

There is also a third specific feature of subject-object relations inherent in the perception of an artistic image. Its essence boils down to the following: if in the process of consumption of products of material production, the perception of the processes of this production is by no means necessary and does not determine the act of consumption, then in art the process of creating artistic images, as it were, "comes to life" in the process of their consumption. This is most obvious in those types of artistic creativity that are associated with performance. We are talking about music, theater, that is, those types of art in which politics to a certain extent is a witness to the creative act. In fact, in different forms this is present in all types of art, in some more, and in others less obviously, and is expressed in the unity of what and how a work of art comprehends. Through this unity, the public perceives not only the skill of the performer, but also the direct power of artistic and figurative influence in its meaningful meaning.

An artistic image is a generalization that reveals itself in a concrete-sensual form and is essential for a number of phenomena. The dialectics of the universal (typical) and the individual (individual) in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its singularity: the general is manifested in the individual and through the individual. The poetic representation is figurative and shows not an abstract essence, not an accidental existence, but a phenomenon in which, through its appearance, its individuality, the substantial is known. In one of the scenes of Tolstoy's novel "Anna Karenina" Karenin wants to divorce his wife and comes to a lawyer. A confidential conversation takes place in a cozy office, covered with carpets. Suddenly a moth flies across the room. And although Karenin's story concerns the dramatic circumstances of his life, the lawyer no longer listens to anything, it is important for him to catch the moth that threatens his carpets. A small detail carries a great semantic load: for the most part, people are indifferent to each other, and things are more valuable to them than a person and her fate.

The art of classicism is characterized by generalization - an artistic generalization by highlighting and absolutizing a specific feature of the hero. Romanticism is characterized by idealization - generalization through the direct embodiment of ideals, imposing them on real stuff. Typification is inherent in realistic art - artistic generalization through individualization through the selection of essential personality traits. In realistic art, each depicted person is a type, but at the same time a well-defined personality - a "familiar stranger."

Marxism attaches particular importance to the concept of typification. This problem was first posed by K. Marx and F. Engels in their correspondence with F. Lassalle about his drama Franz von Sickingen.

In the 20th century, old ideas about art and the artistic image disappear, and the content of the concept of "typification" also changes.

There are two interrelated approaches to this manifestation of artistic and figurative consciousness.

First, the maximum approximation to reality. It must be emphasized that documentary art, as the desire for a detailed, realistic, reliable reflection of life, has become not just a leading trend artistic culture XX century. Modern Art improved this phenomenon, filled it with previously unknown intellectual and moral content, largely defining the artistic and figurative atmosphere of the era. It should be noted that interest in this type of figurative conventionality does not subside even today. This is due to the amazing success of journalism, non-fiction films, art photography, the publication of letters, diaries, memoirs of participants in various historical events.

Secondly, the maximum strengthening of conventionality, and in the presence of a very tangible connection with reality. This system The conventionality of the artistic image involves bringing to the fore the integrative aspects of the creative process, namely: selection, comparison, analysis, which act in an organic connection with the individual characteristics of the phenomenon. As a rule, typification presupposes a minimal aesthetic deformation of reality, which is why in art history this principle was given the name lifelike, recreating the world "in the forms of life itself."

An ancient Indian parable tells of blind men who wanted to know what an elephant was and began to feel it. One of them grabbed the elephant's leg and said: "The elephant is like a pillar"; another felt the giant's belly and decided that the elephant was a jug; the third touched the tail and understood: "The elephant is a ship's rope"; the fourth took the trunk in his hands and declared that the elephant is a snake. Their attempts to understand what an elephant is were unsuccessful, because they did not cognize the phenomenon as a whole and its essence, but its constituent parts and random properties. An artist who elevates the features of reality to a typical fortuitous feature acts like a blind man who mistook an elephant for a rope only because he could not grasp anything other than the tail. A true artist grasps the characteristic, the essential in phenomena. Art is capable, without breaking away from the concrete-sensual nature of phenomena, of making broad generalizations and creating a concept of the world.

Typification is one of the main regularities of the artistic exploration of the world. Largely thanks to the artistic generalization of reality, the identification of the characteristic, essential in life phenomena, art becomes a powerful means of understanding and transforming the world. artistic image of Shakespeare

The artistic image is the unity of the rational and the emotional. Emotionality is a historically early foundation of the artistic image. The ancient Indians believed that art was born when a person could not restrain his overwhelming feelings. The legend about the creator of the Ramayana tells how the sage Valmiki walked along a forest path. In the grass he saw two waders gently calling to one another. Suddenly a hunter appeared and pierced one of the birds with an arrow. Overwhelmed with anger, grief and compassion, Valmiki cursed the hunter, and the words escaping from his heart overflowing with feelings formed themselves into a poetic stanza with the now canonical meter "sloka". It was with this verse that the god Brahma subsequently commanded Valmiki to sing the exploits of Rama. This legend explains the origin of poetry from emotionally rich, agitated, richly intoned speech.

To create an enduring work, not only a wide coverage of reality is important, but also a mental and emotional temperature sufficient to melt the impressions of being. Once, casting a figure of a condottiere from silver, the Italian sculptor Benvenuto Cellini encountered an unexpected obstacle: when the metal was poured into the mold, it turned out that there was not enough of it. The artist turned to his fellow citizens, and they brought silver spoons, forks, knives, and trays to his workshop. Cellini began to throw this utensil into the molten metal. When the work was completed, a beautiful statue appeared before the eyes of the spectators, however, a fork handle stuck out of the horseman's ear, and a piece of a spoon from the horse's croup. While the townspeople were carrying the utensils, the temperature of the metal poured into the mold fell ... If the mental and emotional temperature is not enough to melt the vital material into a single whole (artistic reality), then "forks" stick out of the work, which the person perceiving art stumbles upon.

The main thing in the worldview is the attitude of a person to the world, and therefore it is clear that it is not just a system of views and ideas, but the state of society (class, social group, nation). The worldview as a special horizon of the public reflection of the world by man relates to the public consciousness as the public to the general.

The creative activity of any artist is dependent on his worldview, that is, his conceptually formalized attitude to various phenomena of reality, including the area of ​​relations between various social groups. But this takes place only in proportion to the degree of participation of consciousness in the creative process as such. At the same time, the unconscious area of ​​the artist's psyche also plays a significant role here. Unconscious intuitive processes, of course, play a significant role in the artistic-figurative consciousness of the artist. This connection was emphasized by G. Schelling: "Art ... is based on the identity of conscious and unconscious activity."

The worldview of the artist as a mediating link between himself and the public consciousness of the social group contains an ideological moment. And within the very individual consciousness, the worldview, as it were, is elevated by some emotional and psychological levels: worldview, worldview, worldview. The worldview is more of an ideological phenomenon, while the worldview has a socio-psychological nature, containing both universal and concrete historical aspects. The worldview is included in the area of ​​everyday consciousness and includes mindsets, likes and dislikes, interests and ideals of a person (including an artist). It plays special role in creative work, since it is only in it that the author realizes his worldview with its help, projecting it onto the artistic and figurative material of his works.

The nature of certain types of art determines the fact that in some of them the author manages to capture his worldview only through the worldview, while in others the worldview directly enters into the fabric of the works of art they create. Thus, musical creativity is able to express the worldview of the subject of productive activity only indirectly, through the system of musical images created by him. In literature, the author-artist has the opportunity, with the help of the word, endowed by its very nature with the ability to generalize, to more directly express his ideas and views on various aspects of the depicted phenomena of reality.

For many artists of the past, the contradiction between the worldview and the nature of their talent was characteristic. So M.F. Dostoevsky, in his views, was a liberal monarchist, moreover, he clearly gravitated towards resolving all the ulcers of contemporary society through his spiritual healing with the help of religion and art. But at the same time, the writer turned out to be the owner of the rarest realistic artistic talent. And this allowed him to create unsurpassed samples of the most truthful pictures of the most dramatic contradictions of his era.

But in transitional epochs, the very outlook of the majority of even the most talented artists turns out to be internally contradictory. For example, the socio-political views of L.N. Tolstoy bizarrely combined the ideas of utopian socialism, which included criticism of bourgeois society and theological searches and slogans. In addition, the worldview of a number of major artists, under the influence of changes in the socio-political situation in their countries, is able to undergo, at times, a very complex development. Thus, Dostoevsky's path of spiritual evolution was very difficult and complicated: from the utopian socialism of the 40s to the liberal monarchism of the 60s-80s of the 19th century.

The reasons for the internal inconsistency of the artist's worldview lies in the heterogeneity of his constituent parts, in their relative autonomy and in the difference in their significance for the creative process. If for a natural scientist, due to the nature of his activity, the natural history components of his worldview are of decisive importance, then for an artist, his aesthetic views and beliefs come first. Moreover, the talent of the artist is directly related to his conviction, that is, to "intellectual emotions" that have become motives for creating enduring artistic images.

Contemporary artistic and figurative consciousness should be anti-dogmatic, that is, characterized by a resolute rejection of any kind of absolutization of a single principle, attitude, formulation, evaluation. None of the most authoritative opinions and statements should be deified, become the ultimate truth, turn into artistic and figurative standards and stereotypes. The elevation of the dogmatic approach to the "categorical imperative" of artistic creativity inevitably absolutizes the class confrontation, which in a concrete historical context ultimately results in the justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. The dogmatization of the creative process also manifests itself when certain methods and attitudes acquire the character of the only possible artistic truth.

Modern domestic aesthetics also needs to get rid of the epigonism that has been so characteristic of it for many decades. To get rid of the method of endless quoting of the classics on issues of artistic and figurative specificity, from the uncritical perception of other people's, even the most temptingly convincing points of view, judgments and conclusions and to strive to express their own, personal views and beliefs, is necessary for any and every modern researcher, if he wants to be a real scientist, and not a functionary in a scientific department, not an official in the service of someone or something. In the creation of works of art, epigonism manifests itself in the mechanical adherence to the principles and methods of any art school, direction, without taking into account the changed historical situation. Meanwhile, epigonism has nothing to do with a truly creative development of the classical artistic heritage and traditions.

Thus, world aesthetic thought has formulated various shades of the concept of "artistic image". AT scientific literature one can meet such characteristics of this phenomenon as "mystery of art", "cell of art", "unit of art", "image-formation", etc. However, no matter what epithets are awarded to this category, it must be remembered that the artistic image is the essence of art, a meaningful form that is inherent in all its types and genres.

The artistic image is the unity of the objective and the subjective. The image includes the material of reality, processed by the creative imagination of the artist, his attitude to the depicted, as well as all the richness of the personality and the creator.

In the process of creating a work of art, the artist as a person acts as the subject of artistic creativity. If we talk about artistic-figurative perception, then the artistic image created by the creator acts as an object, and the viewer, listener, reader is the subject of this relationship.

The artist thinks in images, the nature of which is concretely sensual. This links the images of art with the forms of life itself, although this relationship cannot be taken literally. Forms such as art word, a musical sound or an architectural ensemble, does not and cannot exist in life itself.

An important structure-forming component of the artistic image is the worldview of the subject of creativity and its role in artistic practice. Worldview - a system of views on the objective world and a person's place in it, on a person's attitude to the reality surrounding him and to himself, as well as the basic life positions of people, their beliefs, ideals, principles of cognition and activity, value orientations conditioned by these views. At the same time, it is most often believed that the worldview of different strata of society is formed as a result of the spread of ideology, in the process of transforming the knowledge of representatives of a particular social stratum into beliefs. Worldview should be considered as the result of the interaction of ideology, religion, science and social psychology.

A very significant and important feature of modern artistic and figurative consciousness should be dialogism, that is, a focus on continuous dialogue, which is in the nature of constructive polemics, creative discussions with representatives of any art schools, traditions, and methods. The constructiveness of the dialogue should consist in the continuous spiritual enrichment of the debating parties, be creative, truly dialogic in nature. The very existence of art is conditioned by the eternal dialogue between the artist and the recipient (viewer, listener, reader). The contract binding them is indissoluble. The newly born artistic image is a new edition, a new form of dialogue. The artist fully pays his debt to the recipient when he gives him something new. Today, more than ever before, the artist has the opportunity to say something new and in a new way.

All of the above directions in the development of artistic and figurative thinking should lead to the assertion of the principle of pluralism in art, that is, the assertion of the principle of coexistence and complementarity of multiple and most diverse, including conflicting points of view and positions, views and beliefs, trends and schools, movements and teachings. .

2. Feature of artistic images on the example of the works of W. Shakespeare

2.1 Characteristics of the artistic images of W. Shakespeare

The works of W. Shakespeare are studied at literature lessons in grades 8 and 9 high school. In grade 8, students study Romeo and Juliet, in grade 9 they study Hamlet and Shakespeare's sonnets.

Shakespeare's tragedies are an example of "classical conflict resolution in a romantic art form" between the Middle Ages and modern times, between the feudal past and the emerging bourgeois world. Shakespeare's characters are "inwardly consistent, true to themselves and their passions, and in everything that happens to them they behave according to their firm certainty."

Shakespeare's heroes are "counting only on themselves, individuals", setting themselves a goal that is "dictated" only by "their own individuality", and they carry it out "with an unshakable consistency of passion, without side reflections." At the center of every tragedy is this kind of character, and around him are less prominent and energetic ones.

In modern plays, the soft-hearted character quickly falls into despair, but the drama does not lead him to death even in danger, which leaves the audience very pleased. When virtue and vice oppose on the stage, she should triumph, and he should be punished. In Shakespeare, the hero dies "precisely as a result of resolute fidelity to himself and his goals", which is called the "tragic denouement".

Shakespeare's language is metaphorical, and his hero stands above his "sorrow", or "bad passion", even "ridiculous vulgarity". Whatever Shakespeare's characters may be, they are men of "a free power of imagination and a spirit of genius... their thinking stands and puts them above what they are in their position and their specific aims." But, looking for an "analogue of inner experience", this hero "is not always free from excesses, sometimes clumsy."

Shakespeare's humor is also wonderful. Although his comic images are "immersed in their vulgarity" and "they have no shortage of flat jokes", they at the same time "show intelligence". Their "genius" could make them "great people".

An essential point of Shakespearean humanism is the comprehension of man in motion, in development, in becoming. This also determines the method of artistic characterization of the hero. The latter in Shakespeare is always shown not in a frozen motionless state, not in the statuary quality of a snapshot, but in motion, in the history of a person. Deep dynamism distinguishes the ideological and artistic concept of man in Shakespeare and the method of artistic depiction of man. Usually the hero of the English playwright is different at different phases of dramatic action, in different acts and scenes.

Man in Shakespeare is shown in the fullness of his possibilities, in the full creative perspective of his history, his destiny. In Shakespeare, it is essential not only to show a person in his inner creative movement, but also to show the very direction of movement. This direction is the highest and most complete disclosure of all the potentials of a person, all his inner forces. This direction - in some cases there is a rebirth of a person, his inner spiritual growth, the hero's ascent to some higher stage of his being (Prince Henry, King Lear, Prospero, etc.). (“King Lear” by Shakespeare is studied by 9th grade students in extracurricular activities).

"There is no one to blame in the world," proclaims King Lear after the tumultuous upheavals of his life. In Shakespeare, this phrase means a deep awareness of social injustice, the responsibility of the entire social system for the countless suffering of poor Toms. In Shakespeare, this sense of social responsibility, in the context of the hero's experiences, opens up a broad perspective for the creative growth of the individual, his ultimate moral rebirth. For him, this idea serves as a platform for asserting best qualities his hero, in order to assert his heroically personal substantiality. With all the rich multicolored changes and transformations of Shakespeare's personality, the heroic core of this personality is unshakable. The tragic dialectic of personality and fate in Shakespeare leads to the clarity and clarity of his positive idea. In Shakespeare's "King Lear" the world collapses, but the man himself lives and changes, and with him the whole world. Development, qualitative change in Shakespeare is distinguished by its completeness and diversity.

Shakespeare owns a cycle of 154 sonnets, published (without the knowledge and consent of the author) in 1609, but apparently written as early as the 1590s and which was one of the most brilliant examples of Western European lyrics of the Renaissance. The form that managed to become popular among English poets under Shakespeare's pen sparkled with new facets, accommodating a vast range of feelings and thoughts - from intimate experiences to deep philosophical reflections and generalizations.

Researchers have long drawn attention to the close connection between sonnets and Shakespeare's dramaturgy. This connection is manifested not only in the organic fusion of the lyrical element with the tragic, but also in the fact that the ideas of passion that inspire Shakespeare's tragedies live in his sonnets. Just as in tragedies, Shakespeare touches upon in sonnets the fundamental problems of being that have worried humanity from the ages, talks about happiness and the meaning of life, about the relationship between time and eternity, about the frailty of human beauty and its greatness, about art that can overcome the inexorable run of time. , about the high mission of the poet.

The eternal inexhaustible theme of love, one of the central ones in the sonnets, is closely intertwined with the theme of friendship. In love and friendship, the poet finds a true source of creative inspiration, regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, and mental anguish.

In the literature of the Renaissance, the theme of friendship, especially male friendship, occupies an important place: it is regarded as the highest manifestation of humanity. In such friendship, the dictates of the mind are harmoniously combined with a spiritual inclination, free from the sensual principle.

The image of the Beloved in Shakespeare is emphatically unconventional. If in the sonnets of Petrarch and his English followers a golden-haired angel-like beauty, proud and inaccessible, was usually sung, Shakespeare, on the contrary, devotes jealous reproaches to a swarthy brunette - inconsistent, obeying only the voice of passion.

The leitmotif of grief about the frailty of everything earthly, passing through the whole cycle, the imperfection of the world, clearly realized by the poet, does not violate the harmony of his worldview. The illusion of afterlife bliss is alien to him - he sees human immortality in glory and offspring, advising a friend to see his youth reborn in children.

Conclusion

So, an artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. The artistic image is different: accessibility for direct perception and direct impact on human feelings.

Any artistic image is not completely concrete, clearly fixed setpoints are invested in it with the element of incomplete certainty, semi-appearance. This is a certain “insufficiency” of the artistic image in comparison with the reality of a life fact (art strives to become reality, but breaks against its own boundaries), but also an advantage that ensures its ambiguity in a set of complementary interpretations, the limit of which is put only by the accentuation provided by the artist.

The inner form of the artistic image is personal, it bears an indelible trace of the author's ideology, his isolating and transforming initiative, due to which the image appears to be an appreciated human reality, a cultural value among other values, an expression of historically relative trends and ideals. But as an “organism” formed according to the principle of visible revitalization of the material, from the point of view of artistry, the artistic image is an arena of the ultimate action of aesthetically harmonizing laws of being, where there is no “bad infinity” and an unjustified end, where space is visible, and time is reversible, where chance is not is absurd, and necessity is not burdensome, where clarity triumphs over inertia. And in this nature, artistic value belongs not only to the world of relative socio-cultural values, but also to the world of life values, cognized in the light of eternal meaning, to the world of ideal life possibilities of our human Universe. Therefore, an artistic assumption, unlike a scientific hypothesis, cannot be discarded as unnecessary and replaced by another, even if the historical limitations of its creator seem obvious.

In view of the inspiring power of artistic assumption, both creativity and the perception of art are always associated with a cognitive and ethical risk, and when evaluating a work of art, it is equally important: submitting to the author’s intention, recreating the aesthetic object in its organic wholeness and self-justification and, not completely submitting to this intention, preserve the freedom of one's own point of view, provided by real life and spiritual experience.

When studying individual works of Shakespeare, the teacher should draw students' attention to the images he created, quote from texts, and draw conclusions about the influence of such literature on the feelings and actions of readers.

In conclusion, we want to emphasize once again that the artistic images of Shakespeare have eternal value and will always be relevant, regardless of time and place, because in his works he raises eternal questions that have always worried and worried all of humanity: how to deal with evil, what means and is it possible to defeat him? Is it worth living at all if life is full of evil and it is impossible to defeat it? What is true in life and what is false? How can true feelings be distinguished from false ones? Can love be eternal? What's the point human life?

Our study confirms the relevance of the chosen topic, has a practical focus and can be recommended to students of pedagogical educational institutions within the subject "Teaching Literature at School".

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