In order to accurately define art, it is necessary, first of all, to stop looking at it as a means of enjoyment, and consider art as one of the conditions of human life. Considering art in this way, we cannot fail to see that art is one of the means of communication between people.

What every work of art does is that the perceiver enters into a certain kind of communication with the one who produced or is producing the art and with all those who, simultaneously with it, before or after it, perceived or will perceive the same artistic impression.

Just as the word, which conveys the thoughts and experiences of people, serves as a means of uniting people, so art also acts precisely. The peculiarity of this means of communication, which distinguishes it from communication by means of a word, lies in the fact that with a word one person conveys his thoughts to another, while with art people convey their feelings to each other.

The activity of art is based on the fact that a person, perceiving by hearing or seeing the expression of the feeling of another person, is able to experience the same feeling experienced by a person expressing his feeling.

The simplest example: a person laughs and the other person becomes happy; cries to a person who hears this cry, it becomes sad; a person gets excited, irritated, and the other, looking at him, comes into the same state. A person expresses cheerfulness, determination, or, on the contrary, despondency, calmness, with his movements, sounds of his voice, and this mood is transmitted to others. A person suffers, expressing his suffering with groans and writhings, and this suffering is transmitted to others; a person expresses his feeling of admiration, reverence, fear, respect for known objects, persons, phenomena, and other people become infected, experience the same feelings of admiration, reverence, fear, respect for the same objects, persons, phenomena.

It is on this ability of people to be infected by the feelings of other people that the activity of art is based.

If a person infects another and others directly by his appearance or the sounds he makes at the very moment he experiences a feeling, makes another person yawn when he himself yawns, or laugh or cry when he himself laughs or cries at something, or to suffer when oneself suffers, then this is not yet an art.

Art begins when a person, in order to convey to other people the feeling he has experienced, again calls it into himself and expresses it with known external signs.

Feelings, the most diverse, very strong and very weak, very significant and very insignificant, very bad and very good, as long as they infect the reader, viewer, listener, constitute an object of art. The feeling of self-denial and submission to fate or god, conveyed by the drama; or the delight of lovers, described in the novel; or the feeling of voluptuousness depicted in the picture; or vivacity conveyed by a solemn march in music; or the fun caused by dancing; or comedy caused funny joke; or the feeling of silence conveyed by an evening landscape or a soothing song, all this is art.

As soon as viewers, listeners are infected with the same feeling that the writer experienced, this is art.

To evoke in oneself a feeling once experienced and, having evoked it in oneself, by means of movements, lines, colors, sounds, images expressed in words, to convey this feeling so that others experience the same feeling, this is the activity of art. Art is a human activity, consisting in the fact that one person consciously transmits to others the feelings he experiences through known external signs, while other people become infected with these feelings and experience them.

Art is not, as metaphysicians say, a manifestation of some mysterious idea, beauty, God; it is not, as aesthetic physiologists say, a game in which a person releases an excess of accumulated energy; is not a manifestation of emotions by external signs; is not the production of pleasant objects, the main thing is not pleasure, but is necessary for life and for movement towards the good of an individual person and humanity, a means of communication between people, uniting them in the same feelings.

If people did not have the ability to perceive all those thoughts transmitted by words that were rethought by people who lived before, and to transmit their thoughts to others, people would be like animals ...

If there were no other ability of a person to be infected by art, people would hardly not have been even wilder and, most importantly, scattered and hostile.

And therefore the activity of art is a very important activity, just as important as the activity of speech, and just as widespread.

Evaluation of the dignity of art, that is, the feelings that it conveys, depends on people's understanding of the meaning of life, on what they see as good and what is evil in life. The good and the bad of life are determined by what are called religions.

Humanity is constantly moving from the lower, more particular and less clear to the higher, more general and clearer understanding of life. And as in any movement, in this movement there are advanced people: there are people who understand the meaning of life more clearly than others, and of all these advanced people, there is always one, more vividly, accessible, who expresses this meaning of life strongly in word and life. The expression by this person of this meaning of life, together with those traditions and rituals that usually develop around the memory of this person, is called religion. Religions are indicators of that higher understanding of life, accessible at a given time and in a given society to the best advanced people, to which all other people of this society inevitably and invariably approach. And therefore only religions have always served and serve as the basis for assessing the feelings of people. If feelings bring people closer to the ideal that religion indicates, agree with it, do not contradict it, they are good; if they move away from it, do not agree with it, contradict it, they are bad.

Always, at any time and in every human society there is a religious consciousness common to all the people of this society of what is good and what is bad, and it is this religious consciousness that determines the dignity of the feelings conveyed by art. So it was with all peoples: the Greeks, the Jews, the Hindus, the Egyptians, the Chinese; so it was with the advent of Christianity.

Great objects of art are great only because they are accessible and understandable to everyone. The story of Joseph, translated into Chinese, touches the Chinese. The story of Sakiya Muni touches us. The same are buildings, paintings, statues, music. And therefore, if art does not touch, then one cannot say that this comes from a misunderstanding by the viewer and listener, but one can and should conclude from this only that this is either bad art, or not art at all.

Art differs in this from rational activity, which requires preparation and a certain sequence of knowledge (so one cannot teach trigonometry to a person who does not know geometry), that art affects people regardless of their degree of development and education, that the beauty of pictures, sounds, images infects every person, at whatever stage of development he may be.

The point of art is precisely to make understandable and accessible what could be incomprehensible and inaccessible in the form of reasoning. Usually, when receiving a truly artistic impression, it seems to the recipient that he knew this before, but he just did not know how to express it.

What defines good and bad art in terms of content?

Art, together with speech, is one of the tools of communication, and therefore of progress, that is, the movement forward of mankind towards perfection. Speech makes it possible for people of the last living generations to know everything that previous generations and the best advanced people of our time have learned by experience and reflection; art makes it possible for people of the last living generations to experience all those feelings that people experienced before them and are currently experiencing the best advanced people. And just as the evolution of knowledge takes place, that is, more true, necessary knowledge displaces and replaces erroneous and unnecessary knowledge, so exactly does the evolution of feelings take place through art, displacing lower feelings, less good and less necessary for the good of people, more kind, more necessary. For this good.

The art of our time and our circle has become a harlot. And this comparison is true to the smallest detail. It is just as not limited by time, just as always decorated, just as always corrupt, just as tempting and destructive.

A real work of art can appear in the soul of the artist only occasionally, as the fruit of a previous life, just like the conception of a child by a mother. Counterfeit art is produced by masters, artisans non-stop, if only there were consumers.

True art does not need decorations, like a wife of a loving husband. Counterfeit art, like a prostitute, must always be embellished.

The reason for the manifestation of real art is an inner need to express the accumulated feeling, as for a mother the reason for sexual conception is love. The cause of counterfeit art is self-interest, just like prostitution.

The consequence of true art is the introduction of a new feeling into everyday life, as the consequence of a wife's love is the birth of a new man into life. The consequence of counterfeit art is the corruption of man, the insatiability of pleasures, the weakening of man's spiritual powers.

This is what people of our time and circle must understand in order to get rid of the dirty stream of this depraved, prodigal art that floods us.

From notebooks, diaries, letters and draft editions.

<...>Aesthetic and ethical two arms of the same lever: as one side lengthens and becomes lighter, the other side shortens and becomes heavier. Once a person loses moral sense, so it is made especially sensitive to the aesthetic.

<...>As soon as art ceases to be the art of the whole people and becomes the art of a small class of rich people, it ceases to be a necessary and important matter, but becomes empty fun.

(Tolstoy L.N. Literature, art. M., 1978)

Cognitive (epistemological) function. Reflecting reality, art is one of the ways of understanding the spiritual world of people, the psychology of classes, nations, individuals and public relations. The specificity of this function of art lies in its appeal to inner world of a person, the desire to penetrate into the sphere of the innermost spirituality and moral motives of the individual.

Axiological function of art consists in assessing its impact on a person in the context of defining ideals (or denying certain paradigms), i.e., generalized ideas about the perfection of spiritual development, about that normative model, the orientation towards which and the desire for which is set by the artist as a representative of society.

communicative function. Summarizing and concentrating in itself the diverse experience of people's life different eras, countries and generations, expressing their feelings, taste, ideal, views of the world, their worldview and worldview, art is one of the universal means of communication, communication between people, enriching the spiritual world of an individual with the experience of all mankind. classical works unite cultures and epochs, expand the horizons of the human worldview. “Art, any art,” wrote L. N. Tolstoy, “in itself has the property of uniting people. All art does what people perceive the feeling conveyed by the artist and, secondly, with all people who receive the same impression.

hedonic function lies in the fact that genuine art brings people pleasure (not hiding evil), spiritualizes them.

aesthetic function. By its nature, art is the highest form of mastering the world "according to the laws of beauty." It, in fact, arose as a reflection of reality in its aesthetic originality. Expressing the aesthetic consciousness and impact on people, forming an aesthetic worldview, and through it the entire spiritual world of the individual.

heuristic function. Creation artwork- this is the experience of creativity - the concentration of the creative forces of a person, his fantasy and imagination, the culture of feelings and the height of ideals, the depth of thought and skill. The development of artistic values ​​is also creative activity. Art itself carries amazing ability awaken the thoughts and feelings inherent in a work of art, and the very ability to be creative in a universal manifestation. The impact of art does not disappear with the cessation of direct contact with a work of art: productive emotional and mental energy is protected, as it were, “in reserve”, enters into a stable basis of personality.

educational function. The whole system is expressed in art human relations to the world - the norms and ideals of freedom, truths, goodness, justice and beauty. A holistic, active perception of a work of art by the viewer is co-creation, it acts as a way of the intellectual and emotional spheres of consciousness in their harmonious interaction. This is the purpose of the educational and praxeological (activity) role of art.

To the laws of the functioning of art include such features: the development of art is not progressive in nature, it goes, as it were, in jolts; works of art always express the subjective vision of the world by the artist and have a subjective assessment on the part of the reader, viewer, listener; artistic masterpieces are timeless and relatively independent of changing group and national tastes; art is democratic (it affects people regardless of their education and intellect, does not recognize any social barriers); genuine art, as a rule, is humanistically oriented; interplay of tradition and innovation.

Thus, art is specific kind spiritual activity of people, which is characterized by creative, sensual perception of the world around in artistic and figurative forms.

Exercise 1.

"Art in the system of culture"

1. Introduction.

2. Art like specific form reflections of reality

3. Classification of the arts

5. The main stylistic trends in artistic culture late XIX- XX centuries

6. Modern trends and style features in artistic culture

7. References

Introduction

Art is a form of culture associated with the ability of the subject to the aesthetic, practical and spiritual development of the world; a special side of social consciousness and human activity, which is a reflection of reality in artistic images; one of the most important ways of aesthetic understanding of objective reality, its reproduction in a figurative and symbolic way, relying on resources creative imagination; a specific means of holistic self-affirmation by a person of his essence, a way of forming the "human" in a person.

Character traits art: it serves as a powerful means of communication between people; associated with experiences and emotions; presupposes predominantly sensory perception and certainly subjective perception-vision of reality; it is imaginative and creative.

Social features art.

Cognitive (epistemological) function. Reflecting reality, art is one of the ways of understanding the spiritual world of people, the psychology of classes, nations, individuals and social relations. The specificity of this function of art lies in the appeal to the inner world of a person, the desire to penetrate into the sphere of innermost spirituality and moral motives of the individual.

The axiological function of art is to assess its impact on a person in the context of defining ideals (or denying certain paradigms), i.e., generalized ideas about the perfection of spiritual development, about that normative model, the orientation towards which and the desire for which is set by the artist as a representative of society.

communicative function. Summarizing and concentrating in itself the diverse experience of the life of people from different eras, countries and generations, expressing their feelings, taste, ideal, views of the world, their worldview and worldview, art is one of the universal means of communication, communication between people, enriching the spiritual world of an individual the experience of all mankind. Classical works unite cultures and eras, pushing the horizons of the human worldview. “Art, any art,” wrote L. N. Tolstoy, “in itself has the property of connecting people. Any art does what people perceive the feeling conveyed by the artist and, secondly, with all people who receive the same impression ".

The hedonistic function lies in the fact that genuine art brings pleasure to people, inspires them.

aesthetic function. By its nature, art is the highest form of mastering the world "according to the laws of beauty." It, in fact, arose as a reflection of reality in its aesthetic originality. Expressing the aesthetic consciousness and impact on people, forming an aesthetic worldview, and through it the entire spiritual world of the individual.

heuristic function. The creation of a work of art is an experience of creativity - the concentration of the creative forces of a person, his fantasy and imagination, the culture of feelings and the height of ideals, the depth of thought and skill. The development of artistic values ​​is also a creative activity. Art itself carries an amazing ability to awaken the thoughts and feelings inherent in a work of art, and the very ability to create in a universal manifestation. The impact of art does not disappear with the cessation of direct contact with a work of art: productive emotional and mental energy is protected, as it were, "in reserve", enters into a stable basis of personality.

educational function. The whole system of human relations to the world is expressed in art - the norms and ideals of freedom, truths, goodness, justice and beauty. A holistic, active perception of a work of art by the viewer is co-creation, it acts as a way of the intellectual and emotional spheres of consciousness in their harmonious interaction. This is the purpose of the educational and praxeological (activity) role of art.

The laws of the functioning of art include the following features: the development of art is not progressive, it goes, as it were, in jolts; works of art always express the subjective vision of the world by the artist and have a subjective assessment on the part of the reader, viewer, listener; artistic masterpieces are timeless and relatively independent of changing group and national tastes; art is democratic (it affects people regardless of their education and intellect, does not recognize any social barriers); genuine art, as a rule, is humanistically oriented; interplay of tradition and innovation.

Thus, art is a specific type of spiritual activity of people, which is characterized by a creative, sensual perception of the surrounding world in artistic and figurative forms.

It is true that this sign is internal, and that people who have forgotten about the action produced by real art and expect something completely different from art - and such people among our society are in the vast majority - may think that that feeling of entertainment and some excitement, which they experience when they imitate art, and there is an aesthetic feeling, and although these people cannot be dissuaded, just as it is impossible to dissuade a patient with color blindness that green color is not red, nevertheless this sign for people with a sense that is not perverted and atrophied in relation to art remains quite definite and clearly distinguishes the feeling produced by art from any other.
main feature This feeling lies in the fact that the perceiver merges with the artist to such an extent that it seems to him that the object he perceives was made not by anyone else, but by himself, and that everything that is expressed by this object is the very thing that so long ago he wanted to express. A real work of art does what in the mind of the perceiver destroys the separation between him and the artist, and not only between him and the artist, but also between him and all people who perceive the same work of art. It is in this liberation of the individual from his separation from other people, from his loneliness, in this fusion of the individual with others, that the main attractive force and property of art lies.
If a person experiences this feeling, becomes infected with the state of the soul in which the author is, and feels his merging with other people, then the object that causes this state is art; there is no infection, no fusion with the author and with those who perceive the work, and there is no art. But not only is contagiousness an undoubted sign of art, the degree of contagiousness is also the only measure of the dignity of art.
The stronger the infection, the better art as art, not to mention its content, that is, regardless of the dignity of the feelings that it conveys.
Art becomes more or less contagious due to three conditions: 1) due to the greater or lesser peculiarity of the feeling that is transmitted; 2) due to the greater or lesser clarity of the transfer of this feeling and 3) due to the sincerity of the artist, that is, the greater or lesser force with which the artist himself experiences the feeling that he conveys.
The more special the transmitted feeling, the stronger it affects the perceiver. The perceiver experiences the greater pleasure, the more special is the state of the soul into which he is transferred, and therefore the more willingly and more strongly merges with it.
The clarity of the expression of the feeling contributes to contagion, because, merging with the author in his consciousness, the perceiver is all the more satisfied, the more clearly the feeling is expressed, which, as it seems to him, he has long known and experienced and to which he has now only found expression.
Most of all, the degree of contagiousness of art increases by the degree of sincerity of the artist. As soon as the viewer, listener, reader feels that the artist himself is infected by his work and writes, sings, plays for himself, and not just to influence others, such a state of mind of the artist infects the perceiver, and vice versa: as soon as the viewer, reader , the listener feels that the author writes, sings, plays and does not feel what he wants to express, not for his own satisfaction, but for him, for the perceiver, so is the rebuff, and the most special, new feeling, and the most skillful technique not only do not make any impression, but repel.
I am talking about three conditions for the contagiousness and dignity of art, but in essence there is only one last condition, that is, that the artist should feel an inner need to express the feeling he conveys. This condition includes the first, because if the artist is sincere, he will express the feeling as he perceived it. And since each person is not like another, this feeling will be especially for everyone else and the more special, the deeper the artist scoops, the more sincere and sincere it is. The same sincerity will force the artist to find a clear expression of the feeling that he wants to convey.
That is why this third condition - sincerity - is the most important of the three. This condition is always present in folk art, which is why it is so powerful and almost completely absent in our art of the upper classes, continuously produced by artists for their personal, selfish or conceited purposes.
These are the three conditions, the presence of which separates art from imitations of it and at the same time determines the dignity of any work of art, regardless of its content.
The absence of one of these conditions means that the work no longer belongs to art, but to fakes of it. If a work does not convey the individual peculiarity of the artist's feelings and therefore not especially, if it is incomprehensibly expressed, or if it does not come from the author's inner need, it is not a work of art. If, however, all three conditions are present, even in the smallest degree, then the work, however weak, is a work of art.
The presence in varying degrees of three conditions: features, clarity and sincerity, determines the dignity of objects of art as art, regardless of its content. All works of art are distributed in their dignity by the presence, to a greater or lesser extent, of one, the other, or the third of these conditions. In one, the peculiarity of the conveyed feeling prevails, in the other - clarity of expression, in the third - sincerity, in the fourth sincerity and peculiarity, but lack of clarity, in the fifth - peculiarity and clarity, but less sincerity, etc. in all possible degrees and combinations .
This separates art from non-art and determines the dignity of art as art, regardless of its content, that is, regardless of whether it conveys good or bad feelings.
But what determines good and bad art in terms of content?
XVI
What defines good and bad art in terms of content?
Art, together with speech, is one of the tools of communication, and therefore of progress, that is, the movement forward of mankind towards perfection. Speech makes it possible for people of the last living generations to know everything that previous generations and the best advanced people of our time learned by experience and reflection; art makes it possible for people of the last living generations to experience all those feelings that people have experienced before and are currently experiencing the best progressive people. And just as the evolution of knowledge takes place, that is, more true, necessary knowledge displaces and replaces erroneous and unnecessary knowledge, so exactly does the evolution of feelings take place through art, displacing lower feelings, less good and less necessary for the good of people, more kind, more necessary for this good. This is the purpose of art. And therefore, in terms of its content, art is the better, the more it fulfills this purpose, and the worse, the less it fulfills it.
The evaluation of feelings, that is, the recognition of certain feelings as more or less good, that is, necessary for the good of people, is accomplished by the religious consciousness of a certain time.
In every given historical time and in every human society there is a higher, to which the people of this society have only reached, an understanding of the meaning of life, which determines the highest good, to which the ego society strives. This understanding is the religious consciousness of a certain time and society. This religious consciousness is always clearly expressed by some progressive people of society and more or less vividly felt by all. Such a religious consciousness, corresponding to its expression, is always present in every society. If it seems to us that there is no religious consciousness in society, then this seems to us not because it really does not exist, but because we do not want to see it. And we do not want to see it often because it denounces our life, which does not agree with it.
Religious consciousness in society is like the direction of a flowing river. If the river is flowing, then there is the direction in which it flows. If a society lives, then there is a religious consciousness that indicates the direction in which all the people of this society are more or less consciously striving.
And therefore religious consciousness has always been and is in every society. And according to this religious consciousness, the feelings conveyed by art have always been evaluated. Only on the basis of this religious consciousness of its time has always stood out from the entire infinitely diverse field of art that which conveys feelings that realize in life the religious consciousness of this time. And such art has always been highly valued and encouraged; art, however, which conveys feelings arising from the religious consciousness of the past, backward, already experienced, has always been condemned and despised. The rest of all art, which conveys all the most diverse feelings through which people communicate with each other, was not condemned and allowed, if only it did not convey feelings that were contrary to religious consciousness. For example, the Greeks singled out, approved and encouraged art that conveyed feelings of beauty, strength, courage (Hesiod, Homer, Phidias), and condemned and despised art that conveyed feelings of coarse sensuality, despondency, pampering. The Jews singled out and encouraged art that conveyed feelings of devotion and obedience to the god of the Jews, his precepts (some parts of the book of Genesis, prophets, psalms), and condemned and despised art that conveyed feelings of idolatry (golden calf); all the rest of the art - stories, songs, dances, home decorations, utensils, clothes - which was not contrary to religious consciousness, was not recognized and was not discussed at all. This is how art has always and everywhere been regarded in terms of its content, and this is how it should be regarded, because such an attitude towards art follows from the properties of human nature, and these properties do not change.
I know that, according to the popular opinion of our time, religion is a superstition experienced by mankind, and that therefore it is assumed that in our time there is no religious consciousness common to all people, according to which art could be regarded. I know that this is the common opinion in the supposedly educated circles of our time. People who do not recognize Christianity in its true sense and therefore invent for themselves all sorts of philosophical and aesthetic theories that hide from them the meaninglessness and viciousness of their lives, and cannot think otherwise. These people deliberately, and sometimes unintentionally, confusing the concept of the cult of religion with the concept of religious existence, think that by denying the cult, they thereby deny the religious consciousness. But all these attacks on religion and attempts to establish a worldview that is contrary to the religious consciousness of our time most clearly prove the presence of this religious consciousness, which exposes the life of people that disagrees with it.
If progress is made in humanity, that is, a movement forward, then there must inevitably be an indication of the direction of this movement. And religions have always been such a guide. All history shows that the progress of mankind has been made only under the guidance of religion. But if the progress of mankind cannot be accomplished without the guidance of religion—and progress is always being made, and therefore is being made in our time—then there must be a religion of our time. So, like it's so called educated people of our time or not, they must recognize the existence of a religion, not a religion of worship - Catholic, Protestant, etc., but a religious consciousness, as a necessary leader of progress in our time. If, however, there is a religious consciousness among us, then on the basis of this religious consciousness our art must also be evaluated; and in exactly the same way, and always and everywhere, should be distinguished from all indifferent art, art that conveys feelings arising from the religious consciousness of our time should be consciously, highly valued and encouraged, and art that is contrary to this consciousness should be condemned and despised, and not singled out and not all other indifferent art is encouraged.
The religious consciousness of our time in its most general practical application is the consciousness that our good, both material and spiritual, both individual and general, both temporal and eternal, lies in the fraternal life of all people, in our loving union with each other. This consciousness is expressed not only by Christ and by all the best people of the past tense and is not only repeated in the most diverse forms and from the most diverse sides by the best people of our time, but also serves as the guiding thread of all the complex work of mankind, consisting, on the one hand, in the destruction of physical and moral barriers that hinder the unity of people, and, on the other hand, in the establishment of those principles common to all people, which can and must unite people into one universal brotherhood. On the basis of this consciousness, we must evaluate all the phenomena of our life and between them our art, singling out from its entire field that which conveys feelings arising from this religious consciousness, highly appreciating and encouraging this art and denying that which is disgusting. this consciousness, and without attributing to the rest of the art a meaning that is unusual for it.
Main mistake that the people of the upper classes of the time of the so-called Renaissance made - the mistake we are continuing now - was not that they ceased to value and attribute significance to religious art (the people of that time could not attribute significance to it, because, just as like people of the upper classes of our time, they could not believe in what was considered by the majority to be religion), but that in place of this absent religious art they set an insignificant art, with the goal only of the enjoyment of people, that is, they began to single out, appreciate and encourage, as religious art, that which in no way deserved this appreciation and encouragement.
One church father said that the main grief of people is not that they do not know God, but that they have put in the place of God what is not God. It's the same with art. The main misfortune of the people of the upper classes of our time is not yet that they do not have religious art, but that they have singled out the most insignificant, mostly harmful art in place of the highest religious art, singled out from everything else, as especially important and valuable. which aims at the enjoyment of some, and therefore, due to its exclusiveness, is already contrary to the Christian principle of universal unity, which constitutes the religious consciousness of our time. Empty and often depraved art has been put in place of religious art, and this conceals from people the need for that true religious art that must exist in life in order to improve it.
It is true that the art that satisfies the requirements of the religious consciousness of our time is completely different from the former art, but despite this dissimilarity, what constitutes the religious art of our time is very clear and definite for a person who deliberately does not hide the truth from himself. In former times, when the highest religious consciousness united only some, albeit a very large one among others, a society of people: Jews, Athenian, Roman citizens, the feelings conveyed by the art of those times stemmed from the desire for power, greatness, glory, prosperity of these societies, and the heroes of art could be people who contribute to this prosperity by force, deceit, cunning, cruelty (Odysseus, Jacob, David, Samson, Hercules and all the heroes). The religious consciousness of our time does not single out any "one" society of people - on the contrary, it requires the union of all, absolutely all people without exception, and above all other virtues it puts brotherly love for all people, and therefore the feelings conveyed by the art of our time are not only cannot coincide with the feelings conveyed by the former art, but must be opposed to them.
Christian, truly Christian art for a long time could not be established, and has not been established until now, precisely because the Christian religious consciousness was not one of those small steps by which mankind is steadily advancing, but was a huge upheaval, if not yet changed, then inevitably must change everything. life understanding of people and the whole internal structure of their life. It is true that the life of mankind, like the life of an individual, moves uniformly, but among this uniform movement there are, as it were, turning points that sharply separate the previous life from the next. Christianity was such a turning point for humanity, or at least that is how it should appear to us, the living Christian consciousness. Christian consciousness gave a different, new direction to all the feelings of people and therefore completely changed both the content and the meaning of art. The Greeks could use the art of the Persians and the Romans the art of the Greeks, just as the Jews could use the art of the Egyptians - the basic ideals were the same. The ideal was either the greatness and goodness of the Persians, then the greatness and goodness of the Greeks or Romans. One and the same art was transferred to other conditions and was suitable for new peoples. But the Christian ideal changed, turned everything upside down so that, as it is said in the Gospel: "what was great before people, became an abomination before God." The ideal was not the greatness of the pharaoh and the Roman emperor, not the beauty of the Greek or the wealth of Phoenicia, but humility, chastity, compassion, love. The hero was not the rich man, but the beggar Lazarus; Mary of Egypt, not during her beauty, but during her repentance; not the acquirers of wealth, but those who distributed it, living not in palaces, but in catacombs and huts, people who do not rule over others, but people who do not recognize anyone's power except God. And the highest work of art is not the temple of victory with statues of the victors, but the image of the human soul, transformed by love so that the tormented and killed person pities and loves his tormentors.
And that is why it is difficult for the people of the Christian world to stop from the inertia of pagan art, with which they have grown together all their lives. The content of Christian religious art is so new to them, so unlike the content of the old art, that it seems to them that Christian art is the negation of art, and they desperately cling to the old art. Meanwhile, this old art, in our time no longer having a source in the religious consciousness, has lost all its significance, and we, willy-nilly, must abandon it.
The essence of Christian consciousness consists in the recognition by each person of his sonship to God and the resulting unity of people with God and among themselves, as it is said in the Gospel (John XVII, 21), and therefore the content of Christian art is such feelings that contribute to the unity of people with God and among themselves.
The expression: the unity of people with God and among themselves, may seem obscure to people who are accustomed to hearing such a frequent abuse of these words, and yet these words have a very clear meaning. These words mean that the Christian unity of people, in contrast to the partial, exclusive unity of only some people, is that which unites all people without exception.
Art, all art in itself, has the ability to connect people. What every art does is that people who perceive the feeling conveyed by the artist unite in soul, firstly, with the artist and, secondly, with all people who have received the same impression. But non-Christian art, by uniting some people among themselves, by this very association separates them from other people, so that this particular association often serves as a source not only of division, but of hostility towards other people. Such is all patriotic art, with its hymns, poems, monuments; such is all ecclesiastical art, that is, the art of certain cults with their icons, statues, processions, services, temples; such is the art of war, such is all refined art, actually depraved, accessible only to people who oppress other people, people of the idle, rich classes. Such art is backward art, not Christian art, which unites some people only in order to separate them even more sharply from other people and even place them in a hostile relationship with other people. Christian art is only that which unites all people without exception - either by that which evokes in people the consciousness of the sameness of their position in relation to God and neighbor, or by that which evokes in people one and the same feeling, although the simplest, but not contrary to Christianity and characteristic of all people without exception.
Christian good art of our time may not be understood by people due to the lack of its form or due to the inattention of people to it, but it must be such that all people can experience the feelings that are transmitted to them. It should be the art of not just one circle of people, not one class, not one nationality, not one religious cult, that is, not to convey feelings that are accessible only to a well-educated person in a certain way, or only to a nobleman, merchant, or only to a Russian, Japanese, or Catholic, or Buddhist, etc., but feelings that are accessible to every person. Only such art can be recognized as good art in our time and distinguished from all other art and encouraged.
Christian art, that is, the art of our time, must be catholic in the direct meaning of the word, that is, universal, and therefore must unite all people. Only two kinds of feelings connect all people: feelings arising from the consciousness of sonship to God and the brotherhood of people, and the simplest feelings - worldly, but those that are accessible to all people without exception, like feelings of fun, tenderness, cheerfulness, tranquility, etc. Only these two kinds of feelings constitute the subject matter of art of our time that is good in content.
And the action produced by these two seemingly so different kinds of art is one and the same. Feelings arising from the consciousness of sonship to God and the brotherhood of people, as feelings of firmness in truth, devotion to the will of God, self-denial, respect for man and love for him, arising from Christian religious consciousness, and the simplest feelings - a tender or cheerful mood from a song, or from a joke that is funny and understandable to all people, or a touching story, or a drawing, or a doll - they produce one and the same action - the love unity of people. It happens that people, being together, if not hostile, then alien to each other in their moods and feelings, and suddenly either a story, or a performance, or a picture, even a building and most often music, like an electric spark, connects all these people, and all these people, instead of the former disunity, often even hostility, feel unity and love for each other. Everyone rejoices that the other experiences the same as he does, rejoices in the fellowship that has been established not only between him and all those present, but also between all living people who will receive the same impression; moreover, one feels the mysterious joy of communion beyond the grave with all the people of the past who experienced the same feeling, and the people of the future who will experience it. It is this action that equally produces both the art that conveys feelings of love for God and neighbor, and everyday art that conveys the simplest feelings common to all people.
The main difference between the art of our time and that of the past lies in the fact that the art of our time, that is, Christian art, based on a religious consciousness that requires the unity of people, excludes from the realm of art that is good in content everything that conveys exceptional feelings that do not unite , and separating people, classifying such art as bad art in content, but, on the contrary, includes in the area of ​​​​good art in content a department that was not previously recognized as worthy of highlighting and respecting the art of the world, conveying, although the most insignificant, simple feelings, but such that accessible to all people without exception and which therefore unite them.
Such art cannot but be recognized as good in our time because it achieves the very goal that the religious Christian consciousness of our time sets for humanity.
Christian art either evokes in people those feelings which, through love for God and neighbor, draw them towards greater and greater unity, make them ready and capable of such unity, or it evokes in them those feelings which show them what they already have. united by the unity of the joys and sorrows of life. And therefore, the Christian art of our time can be and is of two kinds: 1) art that conveys feelings arising from the religious consciousness of a person’s position in the world in relation to God and neighbor, religious art, and 2) art that conveys the simplest everyday feelings, those that are accessible to all people of the whole world - the art of the world. Only these two kinds of art can be considered good art in our time.
The first kind of religious art, which conveys both positive feelings of love for God and neighbor, and negative ones - indignation, horror at the violation of love, manifests itself mainly in the form of a word and partly in painting and sculpture; the second kind world art, conveying feelings accessible to everyone, is manifested in the word, and in painting, and in sculpture, and in dances, and in architecture, and mainly in music.
If I were required to indicate in the new art examples for each of these types of art, then as examples of the highest religious art arising from love for God and neighbor, in the field of literature, I would point to Schiller's "Robbers"; of the newest - on "Les pauvres gens" by V. Hugo and his "Miserables" ["Poor people" by V. Hugo and his "Les Miserables" (fr.)], on novels, stories, novels by Dickens: "Tale of two cities" , "Chimes" ["The Story of Two Cities", "The Bells" (English)], etc., on "Uncle Tom's Cabin", on Dostoevsky, mainly his "Dead House", on George Eliot's "Adam Bede".
In the painting of modern times, there are almost no works of this kind, which directly convey Christian feelings of love for God and neighbor, oddly enough, especially among famous painters. There are gospel pictures, and there are a lot of them, but they all convey historical event with great wealth of details, but they do not convey and cannot convey that religious feeling that the authors do not have. There are many paintings depicting personal feelings various people, but there are very few paintings that convey the feats of selflessness, Christian love, and then mainly among little-known painters and not in finished paintings, but most often in drawings. Such is Kramskoy's drawing, worth many of his paintings, depicting a living room with a balcony, past which the returning troops solemnly pass. On the balcony there is a nurse with a child and a boy. They admire the procession of troops. And the mother, covering her face with a handkerchief, sobbing, clung to the back of the sofa. Such is the Langley picture I mentioned; such is the picture depicting a lifeboat rushing to the rescue of a dying steamer in a strong storm, by the French painter Morlon. There are still paintings approaching this kind, depicting the worker with respect and love. Such are Millet's paintings, especially his drawing of a resting digger; in the same vein Jules paintings Breton, Lermit, Defregger and others. Samples in the field of painting of works that cause indignation, horror before the violation of love for God and neighbor, can serve as a picture of Ge - court, a picture of Liezen Mayer "a - a signature of a death sentence. There are very few paintings of this kind Concerns about technique and beauty for the most part obscure the feeling.Thus, for example, the painting "Pollice verso" [Here: "Finish him" (lat.)] by Jerome does not so much express a feeling of horror before what is happening, but a fascination with the beauty of the spectacle.
In the new art of the upper classes, it is even more difficult to point to examples of the second kind, good worldly art, especially in verbal art and music. If there are works that, by their inner content, like Don Quixote, Molière's comedies, like Dickens' Copperfield and The Pickwick Club, stories by Gogol, Pushkin, or some things by Maupassant, could be attributed to this genus, then these things and by the exclusivity of the transmitted feelings, and by the excess of special details of time and place, and, most importantly, by the poverty of the content, in comparison with the samples of the world ancient art, like, for example, the story of Joseph the Beautiful, for the most part are available only to people of their people and even their own circle. The fact that Joseph's brothers, jealous of his father, sold him to merchants; that the wife of Pentefrieva wants to seduce a young man, that a young man reaches a higher position, pities his brothers, his beloved Benjamin, and everything else - all these feelings are available to a Russian peasant, and a Chinese, and an African, and a child, and an old, and educated, and uneducated; and all this is written so restrainedly, without unnecessary details, that the story can be transferred to any other medium you want, and it will be just as understandable and touching for everyone. But these are not the feelings of Don Quixote or the heroes of Moliere (although Moliere is perhaps the most popular and therefore fine artist new art) and even more so the feelings of Pickwick and his friends. These feelings are very exclusive, not universal, and therefore, in order to make them contagious, the authors furnished them with abundant details of time and place. The abundance of these details makes these stories even more exceptional, incomprehensible to all people living outside the environment that the author describes.
In the story of Joseph, it was not necessary to describe in detail, as they do now, the bloody clothes of Joseph, and the dwelling and clothes of Jacob, and the posture and outfit of Pentefrieva's wife, how she, adjusting the bracelet on her left hand, said: "Come in to me," and etc., because the content of feeling in this story is so strong that all the details, except for the most necessary ones, such as, for example, the fact that Joseph went into another room to cry - that all these details are superfluous and would only interfere to convey a feeling, and therefore this story is accessible to all people, touches people of all nations, classes, ages, has come down to us and will live for another millennium. But take away the details from the best novels of our time, and what remains?
So in the new verbal art it is impossible to point to works that fully meet the requirements of universality. Even those that exist are corrupted for the most part by what is called realism, which is more accurately called provincialism in art.

Plan.

Artistic culture and art.

Functions and types of art.

Directions, trends and styles of art.

Topic 4.1. Artistic culture and art.

Art culture- these are perfect, corresponding to the standards accepted in society, art classes and contributing to its functioning and development.

Artistic culture is the occupation of society, group, individual art, about it and in connection with him. The first activity is subdivided into the creation of art, which together with the performing arts is often called artistic creation, and the consumption of it. The second activity consists of the creation, knowledge and dissemination of information about art. The third is mainly in the functional use of art, for example, in the artistic arrangement of everyday life and the provision of artistic influence on different areas of life. Consequently, artistic culture is not limited to the pursuit of art, is not limited to artistic activity. Art is just its core, central part. An important activity is the assimilation of various information about art, which enlightens people about it, makes them artistically erudite, seriously helps them in the perception of art.

Usually people who only know about art are not considered artistically cultured. But can they refuse it? What’s more, there are actually quite a few of them. I think not. But as far as the fullness of their artistic culture is concerned, it certainly turns out to be limited. This follows from the difference between doing art, including its consumption, and activity about art, which consists in obtaining information about art and exchanging it with other people. The first is carried out in order to experience a special experience - aesthetic pleasure, and the second - in order to replenish knowledge about art and better comprehend it.

The peculiarity of artistic culture, its difference from other cultures, is determined by the specifics of art. The latter is a great simulacrum - an imitation of reality. However, unlike other simulacra, art appears not as an imitation of false models, ersatz, but as the result of such a doubling of reality, which carries about it artistic truth. Therefore, the standards of artistic activity are special, they prescribe for people to stay not in a really existing, but in an artistically depicted world, in which simulative thinking and appropriate actions are necessary.

Artistic culture is not only a professional, but also an amateur artistic activity of people, which they indulge in in their free time. Therefore, the subjects of artistic culture are not only those who are professionally engaged in art, but also all people who amateurly produce and consume it.

The artistic culture of individual people does not happen to be their own, but is the result of their familiarization with some of the artistic cultures existing in society. This is expressed in the presence of public, group artistic views in a person. A person's choice of artistic culture is rarely associated with his social affiliation, it is determined more by the characteristics of his artistic taste. His acceptance of artistic culture leaves room for its individual development. Great importance individual vision of art, often with a claim to its own artistic culture, has to create and perform artistic works. To a certain extent, this also applies to all consumption of art.

It is important to emphasize that in all its manifestations, artistic culture appears as an activity carried out according to the standards existing in society and groups. This primarily applies to artistic creativity. The criterion for the cultural consumption of art is the comprehension of art criticism by people, the degree of familiarization with it.

Since artistic culture includes in studies about art and in connection with it, its standards are those that prescribe their exemplary implementation.

Art is one of the most important areas of culture, and unlike other areas of activity (occupation, profession, position, etc.), it is universally significant, without it it is impossible to imagine people's lives. The beginnings of artistic activity are noted even in primitive society long before the advent of science and philosophy. And, despite the antiquity of art, its irreplaceable role in human life, the long history of aesthetics, the problem of the essence and specificity of art still remains largely unresolved. What is the secret of art and why is it difficult to give a strictly scientific definition of it? The thing is, first of all, that art is not amenable to logical formalization, attempts to reveal its abstract essence have always ended either in approximation or in failure.

Three different meanings of this word can be distinguished, closely related to each other, but differing in their scope and content. In the broadest sense, the concept of “art” (and this, apparently, is its most ancient application) means any skill, skillfully, technically performed activity, the result of which is artificial in comparison with natural, natural. It is this meaning that follows from the ancient Greek word "techne" - art, skill.

The second, narrower meaning of the word "art" is creativity according to the laws of beauty. This kind of creativity is a wide range activities: the creation of useful things, machines, this should also include the design and organization of public and personal life, the culture of everyday behavior, communication between people, etc. Nowadays, creativity is successfully functioning according to the laws of beauty in various areas of design. A special kind of social activity is actually artistic creativity, the products of which are special spiritual aesthetic values ​​- this is the third and narrowest sense of the word "art". It will be the subject of further consideration.

Art- a form of culture associated with the ability of the subject to aesthetic, practical-spiritual exploration of the world; a special side of social consciousness and human activity, which is a reflection of reality in artistic images; one of the most important ways of aesthetic understanding of objective reality, its reproduction in a figurative and symbolic way, relying on the resources of creative imagination; a specific means of holistic self-affirmation by a person of his essence, a way of forming the “human” in a person.

Characteristic features of art:

serves as a strong means of communication between people;

associated with experiences and emotions; presupposes predominantly sensory perception and certainly subjective perception-vision of reality;

it is imaginative and creative.

Modern science has established that art originated in the era of the Upper Paleolithic, i.e. about 30-40 millennium BC The polyphony of art also implies a variety of points of view on the reasons for its origin.

Religious theory. In accordance with it, beauty is one of the names of God, and art is a concrete-sensual expression of the divine idea. The origin of art is associated with the manifestation of the divine principle.

Game theory (G. Spencer, K. Bucher, W. Fritsche, F. Schiller). It lies in the fact that art is considered a game in itself, devoid of any content. Due to the fact that the game is a biological phenomenon inherent in all animals, then art is declared one of the natural phenomena. Since the game older than labor, then art is older than the production of useful objects. Its main purpose is pleasure, enjoyment.

Erotic (N. Nardau, K. Lange, 3. Freud, etc.). Supporters of this point of view believed that art arises as a means of luring individuals of the other sex by representatives of one sex. For example, one of the most ancient forms of art - decoration - was created in order to produce the greatest sexual attraction.

Theory of imitation (Democritus, Aristotle, etc.). Here an attempt is expressed to connect the cause of the emergence of art with the social purpose of man. Aristotle saw in art "imitation" of mother nature and one of the means of "cleansing" the feelings of a person, educating him beautiful, noble, courageous ("Poetics"). He considered the natural inclinations of man to imitate, imitate nature to be the reasons for the birth of art.

Functions and types of art

Social functions of art.

Cognitive (epistemological) function. Reflecting reality, art is one of the ways of understanding the spiritual world of people, the psychology of classes, nations, individuals and social relations. The specificity of this function of art lies in the desire to penetrate into the sphere of innermost spirituality and moral motives of the individual.

The axiological function of art is to assess its impact on a person in the context of defining ideals (or denying certain paradigms), i.e. generalized ideas about the perfection of spiritual development, about that normative model, the orientation towards which and the desire for which is set by the artist as a representative of society.

communicative function. Summarizing and concentrating in itself the diverse experience of the life of people from different eras, countries and generations, expressing their feelings, taste, ideal, views of the world, their worldview and worldview, art is one of the universal means of communication, communication between people, enriching the spiritual world of an individual the experience of all mankind. Classical works unite cultures and eras, pushing the horizons of the human worldview. “Art, all art,” wrote L.N. Tolstoy, - in itself has the ability to connect people. Any art does what people who perceive the feeling conveyed by the artist, unite in soul, firstly, with the artist and, secondly, with all people who have received the same impression.

The hedonistic function lies in the fact that genuine art brings people pleasure (and rejection of evil), spiritualizes them.

aesthetic function. By its nature, art is the highest form of mastering the world "according to the laws of beauty." It, in fact, arose as a reflection of reality in its aesthetic originality, expressing aesthetic consciousness and influence on people, forming an aesthetic worldview, and through it the entire spiritual world of the individual.

heuristic function. The creation of a work of art is an experience of creativity - the concentration of the creative forces of a person, his fantasy and imagination, the culture of feelings and the height of ideals, the depth of thought and skill. The development of artistic values ​​is also a creative activity. Art itself carries an amazing ability to awaken the thoughts and feelings inherent in a work of art, and the very ability to create in its universal manifestation. The impact of art does not disappear with the cessation of direct contact with a work of art: productive emotional and mental energy is protected, as it were, “in reserve”, enters into a stable basis of personality.

educational function. The whole system of human relations to the world is expressed in art - the norms and ideals of freedom, truths, goodness, justice and beauty. A holistic, active perception of a work of art by the viewer is co-creation, it acts as a way of the intellectual and emotional spheres of consciousness in their harmonious interaction. This is the purpose of the educational and praxeological (activity) role of art.

Patterns of functioning of art:

the development of art is not of a progressive nature, it goes on, as it were, in jolts;

works of art always express the subjective vision of the world by the artist and have a subjective assessment on the part of the reader, viewer, listener;

artistic masterpieces are timeless and relatively independent of changing group and national tastes;

art is democratic (it affects people regardless of their education and intellect, does not recognize any social barriers);

genuine art, as a rule, is humanistically oriented; interplay of tradition and innovation.

Thus, art is a specific type of spiritual activity of people, which is characterized by a creative, sensual perception of the surrounding world in artistic and figurative forms.

Art, as the most important part of culture, finds its expression in a limitless variety of specific types of artistic creativity, the number and complexity of which - from rock drawings or primitive dance to the grandiose "show" or film series of our time - is steadily increasing as the aesthetic consciousness of mankind grows.

Principles of classification of art forms.

First of all, among the types of art there are:

fine (painting, graphics, sculpture, art photography) and

non-pictorial (music, architecture, decorative applied art, choreography).

The difference between them lies in the fact that the fine arts reproduce life in a form similar to it (depict it), while the non-pictorial ones convey directly the inner state of the spirit of people, their experiences, feelings, moods through a form that is "dissimilar" directly to the object of display.

The fine arts turn to reality as a source of the formation of the human world, non-fine arts - to the results of the impact of reality on the spiritual world of the individual (the worldview of people, their feelings, experiences, etc.).

The division of the arts into:

static (spatial) and

dynamic (temporary).

The former include painting, graphics, sculpture, architecture, arts and crafts, artistic photography; to the second - literature, music, dance. Spatial arts with great power reproduce the visible beauty of reality, the harmony of space, are able to draw attention to certain aspects of the reflected world, to every detail of the work itself, which makes them indispensable in aesthetic education, teaching beauty. At the same time, they are powerless to directly convey the changes in life, its course. This is successfully done by temporary arts that can recreate both the course of events (literature) and the development of human feelings (music, choreography).

Not all types of art can be "ranked" to one or another clearly delimited type. On the basis of the synthesis of simple arts, synthetic arts arise. These include theatre, cinema and television. They, as a rule, combine the features of the fine and non-pictorial, spatial and temporal arts, so that they are sometimes even referred to as a special group of spatio-temporal arts.

According to the method of practical artistic development of the material, art can be divided into types that use natural material - marble, granite, wood, metal, paint, etc. (architecture, painting, graphics, sculpture, arts and crafts), sound (music), the word (primarily fiction), as well as the arts in which the person himself acts as the “material” (theater, cinema, television, stage, circus). A special place here is occupied by the word, the use of which is widely used by various types of art.

We also note the division of the arts into utilitarian (applied) and non-utilitarian (elegant; sometimes they are also called pure). In the works of utilitarian arts (architecture, decorative arts) in recent decades, there has been an increasing utilitarian use of some types of fine arts(music in production and in medicine, painting in medicine), their intended purpose for practical material purposes and their own aesthetic purposefulness are organically intertwined.

Traditional aesthetics divides works of art, primarily on the basis of their relationship to the categories of space and time, into two large groups: spatial and temporal. In accordance with this criterion, the first group includes such types of artistic creativity in which movement is not detected: architecture, sculpture, painting, graphics, etc. To the second - music, ballet, theater, other types of "spectacular" art. However, it is easy to see that far from all types of art are subject to such a “rigid” classification, many of which, if not all, could be called spatio-temporal.

The classification itself distinguishes the types of art - visual, musical, "synthetic", "technical", arts and crafts, etc.

Fine art affects a person visually, i.e. through visual perception. Works of fine arts, as a rule, have an objective (material) form and do not change in time and space (with the exception of cases of damage and destruction). Painting, sculpture, graphics, monumental art, and to a large extent arts and crafts belong to the spatial art.

Synthetic arts are types of artistic creativity, which are an organic fusion or a relatively free combination of different types of arts, forming a qualitatively new and unified aesthetic whole.

The "technical arts" in developed forms arose comparatively recently; it is a kind of symbiosis of art and technology. Typical example- the creation of "light music", the essence of which is the desire to merge into a kind of organic synthesis the "melody" of changing light and color effects, on the one hand, and the actual melody, on the other.

Decorative and applied art is perhaps one of the most ancient. Its name comes from lat. “desogo” - I decorate, and the definition of “applied” contains the idea that it serves the practical needs of a person, while simultaneously satisfying his individual aesthetic needs.

A special area of ​​decorative and applied art is all its manifestations, using nature itself as a source material, as if “connected” to the process of aestheticization of the human environment. “It is necessary to take under protection not only architectural monuments, but also entire landscapes, as is done, for example, in Scotland, where the entire “view” to the horizon is preserved,” wrote D.S. Likhachev. “Outstanding landscapes should be taken into account and preserved as monuments of culture (human and natural).”

Kinds of art- these are historically established, stable forms of creative activity that have the ability to artistically realize the content of life and differ in the ways of its material embodiment. Art exists and develops as a system of interconnected types, the diversity of which is due to the versatility of the real world itself, displayed in the process of artistic creation.

Each type of art has its own specific arsenal of visual and expressive means and techniques.

Qualitative characteristics of art forms.

Architecture- the formation of reality according to the laws of beauty when creating buildings and structures designed to serve human needs in housing and public spaces. Architecture is a kind of art, the purpose of which is the creation of structures and buildings necessary for the life and activities of people. It performs in people's lives not only an aesthetic function, but also a practical one. Architecture as an art form is static, spatial. The artistic image here is created in a non-pictorial way. It reflects certain ideas, moods and desires with the help of the ratio of scales, masses, shapes, colors, connection with the surrounding landscape, that is, with the help of specifically expressive means.

applied arts- these are things that surround and serve us, create our life and comfort, things made not only as useful, but also as beautiful, having style and artistic image, which expresses their purpose and carries generalized information about the type of life, about the era, about the worldview of the people. The aesthetic impact of applied art is daily, hourly, every minute. Works of applied art can rise to the heights of art.

decorative arts- aesthetic development of the environment surrounding a person, artistic design of a “second nature” created by a person: buildings, structures, premises, squares, streets, roads. This art invades everyday life, creating beauty and comfort in and around residential and public spaces. Works of decorative art can be a doorknob and a fence, a stained-glass window and a lamp that enter into a synthesis with architecture.

Painting- an image on the plane of pictures of the real world, transformed by the creative imagination of the artist; the allocation of the elementary and most popular aesthetic sense - the sense of color in a special sphere and its transformation into one of the means of artistic exploration of the world.

Graphic arts is based on a single-color drawing and uses a contour line as the main visual means: a dot, a stroke, a spot. Depending on the purpose, it is divided into easel and applied printing: engraving, lithography, etching, caricature, etc.

Sculpture- spatial and visual art, mastering the world in plastic, images that are imprinted in materials that can convey the life image of phenomena. Sculpture reproduces reality in volume-spatial forms. The main materials are: stone, bronze, marble, wood. According to its content, it is divided into monumental, easel, sculpture of small forms. According to the shape of the image, they distinguish: three-dimensional three-dimensional sculpture, relief-convex images on the plane. The relief, in turn, is subdivided into bas-relief, high relief, counter-relief. Basically, all genres of sculpture developed in the period of antiquity. In our time, the number of materials suitable for sculpture has expanded: works of steel, concrete, and plastic have arisen.

Literature is a written form of the art of the word. It creates a real living being with the help of the word. Literary works are divided into three types: epic, lyric, drama. The epic literature includes the genres of the novel, story, short story, essay. Lyrical works include poetic genres: elegy, sonnet, ode, madrigal, poem. Drama is meant to be staged. Dramatic genres include: drama, tragedy, comedy, farce, tragicomedy, etc. In these works, the plot is revealed through dialogues and monologues. The main expressive and visual means of literature is the word. The word is an expressive means and mental form of literature, the symbolic basis of its figurativeness. Imagery is at the very foundation of the language that is created by the people, absorbs all their experience and becomes a form of thinking.

Theatre- an art form that artistically masters the world through a dramatic action carried out by actors in front of the audience. Theater is a special kind of collective creativity that unites the efforts of a playwright, director, artist, composer, and actors. Through the actor, the idea of ​​the performance is embodied. The actor turns on the action and gives theatricality to everything that is on the stage. The scenery creates on the stage the interior of the room, the landscape, the view of the city street, but all this will remain a dead props, if the actor does not spiritualize things with stage behavior.

Music- an art that consolidates and develops the possibilities of non-verbal sound communication associated with human speech. Music, based on the generalization and processing of the intonations of human speech, develops its own language. The basis of music is intonation. The structure of music is rhythm and harmony, which in their combination give a melody. Loudness, timbre, tempo, rhythm and other elements also play a significant, meaning-forming role in music.

Choreography- the art of dance, the echo of music.

Dance- a melodic and rhythmic sound that has become a melodic and rhythmic movement human body revealing the characters of people, their feelings and thoughts about the world. The emotional state of a person is expressed not only in the voice, but also in gestures, the nature of movements. Even a person's gait can be swift, joyful, sad.

The circus- the art of acrobatics, balancing act, gymnastics, pantomime, juggling, tricks, clowning, musical eccentricity, horse riding, animal training. The circus is not a record holder, but an image of a person demonstrating his highest capabilities, solving super-tasks, creating in accordance with his super-task, according to the laws of eccentricity.

Photo art- the creation by chemical-technical and optical means of a visual image of documentary significance, artistically expressive and authentically capturing an essential moment of reality in a frozen image. Documentary is the “golden backing” of a photo that captures forever the fact of life.

Movie- the art of visual moving images created on the basis of the achievements of modern chemistry and optics, art that has acquired its own language, widely embracing life in all its aesthetic richness and synthetically absorbing the experience of other art forms.

TV- a means of mass video information capable of transmitting aesthetically processed impressions of being at a distance; the new kind art, providing intimacy, domesticity of perception, the effect of the presence of the viewer (the effect of "momentary"), the chronicle and documentary nature of artistic information.

Art forms are closely related to each other, mutually influence each other. Even such seemingly distant art forms as cinema and architecture, music and painting are interconnected. Art forms have a direct influence on each other. Even in ancient times, architecture interacted with monumental sculpture, painting, mosaics, and icons.

Interacting with each other, various types of art solve a common problem - the task of aesthetic education of people, the formation and development of their spiritual world.