have long been occupied by artists, philosophers, and psychologists. Experiments of such a study were carried out in the era of antiquity by ancient philosophers, in particular, Plato1, who studied how the process perception colors and meaning for the viewer works pictorial art generally.
Plato. Phaedo, Pir, Phaedrus, Parmeid. - M.: Publishing House "Thought", 1999. - 528p.
Aristotle made a connection between the pleasure arising from visual perception, and activity, including “the activity of feeling”2. At perception beauty, an unreasonable impulse of feelings first arises, and then the mind, agreeing with it, helps to do wonderful things. In the Middle Ages, light acquired a special sacred meaning, as one of the few ways by which a person can see God3. Color and light got special symbolic meaning, and their use in works of art regulated by church canons. Color perception becomes a process perception specific religious information. However, Thomas Aquinas already admits that the contemplation of light does not make it possible to "see" God directly, but serves only as an auxiliary tool that improves the mind for the knowledge of God4. Renaissance artists discover "beautiful as such"5, the emotional power of colors and forms outside of a religious context. This makes it possible to express in work pictorial art, including with the help of paints, intellectual, highly moral content of the creator works of art, as the idea of ​​a man - a creator who surpasses his art nature itself, and therefore equal to God.
In the 17th century, in the philosophical concepts of many thinkers
the role of the sensual perception. So, according to Bacon,
_
Aristotle. Ethics. - M.: Publishing House ACT, 2002. - 492 p.
s Augustine the Blessed. Creations. - St. Petersburg: Aleteyya, 1998. - 742 p.
4
Thomas Aquinas. sum of theology. - M.: Elkor - MK, 2002. - Part 1,559 p.
Feuerbach L. History of Philosophy. Collected works in 3 volumes. - M .: Thought, 1976.-vol. 3,544 pp.-p. 73.
Leonardo da Vinci. Judgments: - M.: CJSC Publishing House EKSMO-Press, 1999. -416 s, Dürer. Treatises. Diaries. Letters. - St. Petersburg: Azbuka, 2000. - 662 p.
sensations serve as a kind of “gateway to the intellect”1, based on the concept of Hobbes, human thoughts are directly connected with sensations and are the result of back pressure generated by the pressure of an object on parts of our body. Descartes studied perception colors in context common work eyes, nerves and brain. According to Locke's Essays on Human Understanding, perception color contains features inherent in two types of knowledge - demonstrative and intuitive, the latter being the most reliable. With visual perception in general, and perception color, in particular, a whole complex of sensations can arise, composed not only of visual, but also of tactile and other sensations - such is the concept of Berkeley5. According to Hume, sense impressions are the strongest and cause vigorous activity person6. Fine art works art are perceived not only visually, but also by a certain “sixth sense”, and when perception colors i.e. color works, according to Dubos, the features of the emotional and physiological state of the viewer matter7.
Based on Kant's Critique of Judgment, the process perception colors can be represented in two ways: as
Bacon F. Works in 2 volumes. - M.: Thought, 1971. - vol. 1.590 s, vol. 2.582 s. 2 Hobbes T. Leviathan. - M.: Thought, 2001. -478s.
Descartes. (Euvres philosophiques. - Paris: Classiques GARNIER, 1997. - 856p.
Locke J. Works in 3 volumes. - M.: Thought, 1985. - v.2,560 p.
Berkeley J. Works. - M.: Thought, 1972. - 554 p.
Hume D. About human nature. - St. Petersburg: Azbuka, 2004. - 320s.
Dubos J.-B. Critical Reflections on Poetry and Painting. - M.: Art, 1976. 766s.
about
Kant I. Collected works in eight volumes. - M.: Choro, 1994. - v.5,414s.
8
an objective sensation perceived by the senses and as an aesthetic act that evokes a subjective sensation, in which a propensity for an object is aroused, devoid of any interest.
According to Goethe's Theory of Color, perception colors is a process feature which, contrary to Kant, is its integrity, because through perception the sense of sight reveals all nature in its unity. The eye and color have a certain affinity, and perceiving the color of the eye itself finds opposition to it, and pleasure arises from the integrity acquired as a result of this process.
Based on Hegel's Aesthetics, the task art is the expression of the all-encompassing truths of the spirit, and in the process of visual perception of works of art there is a unity of the sensual, representing an object in form, with pure thought, and the acquisition of unity with the absolute. Schopenhauer in his book "The World as Will and as Representation" proclaims the thesis: "The world is my representation"3, defining everything that exists as an object of contemplation in relation to the subject - the viewer. Schopenhauer owns a separate study perception color, according to which the color in the eye arises as a result of the excited nervous activity of the retina.

1. G. I. Uspensky has a wonderful story “I straightened it out”. It is about the influence that the wonderful sculpture of Venus de Milo, exhibited in the Louvre, had on the narrator. The hero was struck by the great moral force that emanated from antique statue. The “stone riddle”, as its author calls it, made a person better: he began to behave impeccably, felt the happiness in himself to be a person.

2. Different people ambiguous perception of works of art. One with delight will freeze in front of the canvas of the master, and the other will pass by indifferently. D.S. Likhachev discusses the reasons for such a different approach in Letters about the Good and the Beautiful. He believes that the aesthetic passivity of some people is generated by the lack of proper familiarization with art in childhood. Only then will a real spectator, reader, connoisseur of paintings grow up, when in his childhood he will see and hear everything that is displayed in works of art, be transported by the power of imagination into a world clothed in images.

The problem of the appointment of genuine art (What kind of art does society need?)

Can art change a person's life? Actress Vera Alentova recalls such a case. One day she received a letter from unknown woman, which told that she was left alone and she did not want to live. But, after watching the film “Moscow Does Not Believe in Tears”, the woman became a different person: “You won’t believe it, I suddenly saw that people are smiling and they are not so bad as it seemed to me all these years. And the grass, it turns out, is green, And the sun is shining ... I have recovered, for which I thank you very much.

The problem of human perception of music

1. In a number of works by Russian writers, the characters experience strong emotions under the influence of harmonious music. One of the characters in Leo Tolstoy's epic novel "War and Peace" Nikolai Rostov, losing at cards a large sum money, is in dismay, but, having heard the magnificent performance of the aria by his sister Natasha, he cheered up. the unfortunate incident ceased to be so tragic for him.

2. In A.I. Kuprin’s story “ Garnet bracelet"To the sounds of Beethoven's sonata, the heroine Vera Sheina experiences spiritual cleansing after the difficult moments of her life she has experienced. The magical sounds of the piano helped her find inner balance, find strength, find the meaning of her future life.

HUMAN RELATIONSHIP TO THE NATURAL WORLD

The problem of a soulless, consumerist, ruthless attitude of man to the natural world

A striking example of a barbaric attitude to nature are the lines from a poem by M. Dudin:

We did not do it under duress,

And with the zeal of our own grief,

From clean oceans - landfills,

The seas have been redone.

In my opinion, you can't say it better!

35.the problem of human susceptibility or insensitivity to the beauty of nature

The nature of the heroine of Leo Tolstoy's novel "War and Peace" is treated differently. There is something uniquely Russian in the soul of Natasha Rostova. She subtly feels the beauty of the Russian landscape. It's hard to imagine Helen Bezukhov in Natasha's place. In Helen there is no feeling, no poetry, no patriotism. She does not sing, does not understand music, does not notice nature. Natasha sings soulfully, with soul, forgetting about everything. And how inspired she admires the beauty of summer moonlit night!

The problem of the influence of the beauty of nature on the mood and way of thinking of a person

In the story of Vasily Makarovich Shukshin "The Old Man, the Sun and the Girl" we see an amazing example of the attitude to the native nature that surrounds us. The old man, the hero of the story, comes to the same place every evening and watches the sun go down. Next to the girl-artist, he comments on the minutely changing colors of the sunset. How unexpected it will be for us, readers, and the heroine to discover that the grandfather, it turns out, is blind! For over 10 years! How one must love one's native land in order to remember its beauty for decades!!!

The problem of the negative impact of the scientific and technological process on the relationship between man and nature (What is the negative impact of civilization on human life, his relationship with nature?)

On the Internet, I read an article from the Krymskiye Izvestiya newspaper about the fate of the famous Saki Lake, from the depths of which a unique mud is extracted that can raise thousands of sick people to their feet. But in 1980, the miraculous reservoir was divided by dams and bridges into two parts: one “healed” people, the other “produced” soda ... After 3 years, the soda part of the lake turned into a fetid water surface that kills everything around it ... Years later, I want to exclaim: “Really there was no other less significant lake in a huge power named the USSR, on the shores of which it would be possible to build a soda plant ?! Can't we call a man a barbarian in relation to his native nature for such a crime?!

38. the problem of homeless animals (is a person obliged to help homeless animals?)

The story of Konstantin Paustovsky "The Disheveled Sparrow" shows that people are not indifferent to the problems of our smaller brothers. First, the policeman saves little sparrow Pashka, who fell from the roof of the stall, then gives it to the "education" of the kind girl Masha, who brings the bird home, cares for her, feeds her. After the bird recovers, Masha releases it into the wild. The girl is happy that she helped the sparrow.

The artist creates a work of art as a result of aesthetic development and creative rethinking of reality. The thoughts, moods and worldview of the author, embodied in it, are addressed to society and can be understood by other people only in the process of aesthetic perception. Aesthetic perception of works of art (or artistic perception) is a special form of creative cognitive activity, characterized by emotional comprehension of a work of art through the comprehension of a specific figurative language of art and the formation of a certain aesthetic attitude, expressed in evaluation.

A work of art is a product of spiritual and practical activity and carries certain information expressed by means of this type of art. In the process of a person's perception of a work of art in his mind, on the basis of this information, a kind of model of a cognizable object is formed - a "secondary" image. At the same time, an aesthetic feeling, a certain emotional state, arises. A work of art can give a person a feeling of satisfaction, pleasure, even if the events depicted in it are tragic or negative characters act in it.

A person's perception, for example, of injustice or evil depicted by an artist, of course, cannot evoke positive emotions, but the very way of artistic expression negative traits nature of people or reality can give rise to a sense of satisfaction and even admiration. This is explained by the fact that when perceiving a work of art, we are able to evaluate not only its content side, but also the very way of organizing this content, the dignity of the art form.

Artistic perception involves different ways of interpreting works of art, their different interpretations. The individual perception of this or that work for all people occurs differently, even the same person, reading, for example, a literary work several times, receives new impressions from an already known one. When there is a historical distance between a work of art and the public that perceives it, which, as a rule, is combined with an aesthetic distance, i.e., a change in the system of aesthetic requirements, criteria for evaluating art, the question arises of the need for a correct interpretation of a work of art. Here we are talking about the attitude of a whole generation to the cultural monument of the past. Its interpretation in this case largely depends on how it is performed, read by a contemporary artist (especially in the performing arts: music, choreography, theater, etc.).

When perceiving works of art, a person, as already noted, performs a certain mental activity. The structure of the work contributes to the direction of this activity, its orderliness, concentration of attention on the most significant and significant aspects of the content and thus has a significant impact on the organization of the perception process.

Any creation of the artist reflects the features and contradictions characteristic of the contemporary era. real life, public sentiment and trends. The figurative reflection in art of typical events and characters makes a work of art a special means of understanding reality. A work of art is the result of not only the activity of the artist, but also the influence of the social environment, era, people - a product of the historical development of society. The social nature of art finds its expression not only in the social conditioning of the artist's creative process, his worldview, but also in the determining influence public life on the nature of the perception and evaluation of works by the public. Art as a product of social development plays a significant role in shaping a person's ability for active creative development of artistic values. Nevertheless, a work of art as an object of perception is by no means the only factor influencing the ability to master and comprehend art.

Aesthetic perception is formed under the influence of a variety of conditions, which include: individual characteristics of the human psyche, attitude to active communication with art, general cultural level and worldview, emotional and aesthetic experience, national and class characteristics. Let's take a closer look at some of these factors.

Spiritual needs that objectively arise at a given stage of the historical development of society find their expression in public interests, which are manifested in a social attitude. Installation is the readiness to perceive phenomena in a certain way, the psychological mood that a person has created as a result of the previous, in this case aesthetic, experience. Installation is the basis on which the interpretation, understanding of a work of art takes place. A person's internal attunement to a certain type or genre of art, the specific features inherent in the work with which he is to get acquainted, will greatly contribute to the correctness and fullness of his perception. In turn, perception itself forms a new attitude towards art in a person, changes the previously established attitude, and, thus, there is a mutual influence of attitude and perception.

Another important point that determines the nature of the aesthetic perception of art is the cultural level of a person, which is characterized by the ability to objectively assess reality and art, the ability to explain an artistic phenomenon, the ability to express one’s understanding of these phenomena in the form of aesthetic judgments, and a broad artistic education. Raising the cultural level of the people is one of the most important conditions for aesthetic education. Constant communication with art develops a person's ability to express certain judgments about it, evaluate, compare works of different eras and peoples, and justify one's opinion. Perceiving artistic values, a person acquires emotional experience, enriches himself, and increases his spiritual culture. Therefore, the perception and the level of preparedness for it have a mutual influence, stimulate and activate each other.

Taking into account the above factors allows in a certain way to influence the process of perception of works of art, to develop in a person the ability to creatively, actively comprehend art. Let us consider what characterizes this stage of perception and how it is achieved.

As a result of the interaction of a person with a work of art, in his mind, as already noted, a "secondary" artistic image, more or less adequate to the one that arose in the artist's mind when creating this work and which depends on the degree and depth of penetration of the perceiving subject into the artist's creative concept. An important role here is played by the ability for associative thinking - fantasy, imagination. But a holistic perception of a work as a special object does not arise immediately. In the first phase, there is a kind of "identification" of his genre, the creative manner of the author. Here, perception is still passive to a certain extent, attention is focused on one of the features, some fragment and does not cover the work as a whole. Further, there is a deeper penetration into the structure of the perceived work of art, into the author’s intention expressed in it, comprehension of the system of images, understanding of the main idea that the artist sought to convey to people, as well as those laws of real life and those contradictions that are reflected in the work. On this basis, perception becomes active, accompanied by an appropriate emotional state. This stage can be called "co-creation".

The process of aesthetic perception is evaluative. In other words, awareness of the perceived work of art and the feelings it evokes gives rise to its appreciation. When evaluating a work of art, a person not only realizes, but also expresses in words his attitude to its content and art form; here there is a synthesis of emotional and rational moments. Evaluation of a work of art is a comparison of what is depicted and expressed in it with certain criteria, with an aesthetic ideal that has developed in the mind of a person and the social environment to which he belongs.

The social aesthetic ideal finds its manifestation in the individual ideal. Each artistically educated person develops a certain system of norms, assessments and criteria that he uses when expressing an aesthetic judgment. The nature of this judgment is largely determined by individual taste. I. Kant defined taste as the ability to judge beauty. This ability is not innate, but is acquired by a person in the process of practical and spiritual activity, in the process of aesthetic assimilation of reality, communication with the world of art.

The aesthetic judgments of individuals regarding the same work of art can be varied and manifest themselves in the form of assessments - “like” or “dislike”. Expressing their attitude to art in this way, people limit their attitude only to the sphere of sensory perception, without setting themselves the task of understanding the reasons that gave rise to these emotions. Judgments of this kind are one-sided and do not indicate a developed artistic taste. When evaluating a work of art, as well as any phenomenon of reality, it is important not only to determine whether our attitude towards it is positive or negative, but also to understand why this work causes such a reaction.

In contrast to the judgments and assessments of the public, professional art criticism gives a scientifically based aesthetic judgment. It is based on knowledge of the patterns of development of artistic culture, analyzes the relationship of art with the phenomena of real life, reflected in it the fundamental problems of social development. With its assessment of art, criticism influences people, the public, drawing its attention to the most worthy, interesting, significant works, orients and educates it, forms a developed aesthetic taste. Critical remarks about artists help them choose the right direction of their activity, develop their own individual method, style of work, thereby influencing the development of art.

General list of basic literature

1. Akimova L. Ancient Greek art. - Encyclopedia for children. T. 7. Art. Part 1. M., 1997.

2. Alpatov M. Unfading heritage. M., 1990.

3. Alpatov M. Artistic problems of art Ancient Greece. M., 1987.

4. Anisimov A.I. On ancient Russian art. M., 1983.

5. Barskaya N.A. Plots and images of ancient Russian painting. M., 1993.

6. Benois A. Baroque. // New Encyclopedic Dictionary, edited by K.K. Arseniev, ed. Brockhaus F.A. and Efron I.A. v.5, 1911.

7. Berdyaev N.A. Philosophy of freedom. The meaning of creativity. M., 1989.

8. Berdyaev N.A. The meaning of history. M., 1990.

9. Borev Yu.B. Comic. M., 1970.

10. Borev Yu. Aesthetics. "Rusic". Smolensk, in 2 vols., v. 1, 1997.

11. Aesthetics. Dictionary. M., 1989.

12. Boileau. N. Poetic art. M., 1957.

13. Bulgakov S. Orthodoxy. Essays on the teachings of the Orthodox Church. M., 1991.

14. Bychkov V.V. Russian medieval aesthetics. XI - XVII centuries. M., 1995.

15. Hegel G.E.F. Aesthetics. M., 1968. T.1.

16. Hegel G.W.F. Phenomenology of the Spirit. Soch., M., 1958. T.4.

17. Gangnus A. On the ruins of positive aesthetics. New World, 1988, No. 9.

18. Golenishchev-Kutuzov I.N. Baroque and its theorists. // XVIII century in the world literary development. M., 1969.

19. Gurevich A.Ya. Kharitonovich D.E. History of the Middle Ages. M., 1995.

20. John of Damascus. Exact presentation of the Orthodox faith. M., 1992.

21. Dionysius the Areopagite. mystical theology.

22. Dmitrieva N.A. Short story arts. Issue. 1. M., 1987.

23. Dmitrieva N.A. Brief history of arts. Issue 2. M., 1989.

24. Dmitrieva N.A. Brief history of arts. Issue. 3. M., 1993.

25. Duby Georges. Europe in the Middle Ages. Smolensk, 1994.

26. Dubos J.-B. Critical Reflections on Poetry and Painting. M., Art, 1976.

27. Jean-Paul. Preparatory School of Aesthetics. M., 1981.

28. Zolotussky I. The collapse of abstractions. New world. 1989, no. 1.

29. Ivanov K.A. Troubadours, Trouvers and Minnesingers. M., 1997.

30. Ilyenkov E.V. On the aesthetic nature of fantasy. // Art and the communist ideal. M., 1984. S. 231-242.

31. Ilyin I. About darkness and enlightenment. M., 1991.

32. History of aesthetics. Monuments of world aesthetic thought. In 5 t.

33. History of aesthetic thought. In 6 volumes. T.1. M., 1985.

34. Kant I. Criticism of the ability of judgment. S-P., 1995.

35. Kaptereva T. Renaissance Art in Italy. // Encyclopedia for children. T.7. Art. part 1. M., 1997.

36. Karasev V. Paradox about laughter. Questions of Philosophy. 1989, No. 5.

37. Kondrashov V.A. Chichina E.A. Aesthetics. "Phoenix" Rostov-on-Don, 1998.

38. Culture of Byzantium. IV - the first half of the VII century. M., 1984.

39. Culture of Byzantium. Second half of the 7th - 12th centuries M., 1989.

40. Culture of Byzantium. XIII - first half of the XV century. M., 1991.

41. Kogan P. Classicism // New Encyclopedic Dictionary, ed. K.K. Arsenyeva, ed. Joint-stock company "Publishing business of the former Brockhaus-Efron". Volume 21.

42. Kuchinskaya A. and Golenishchev-Kutuzov I.N. Baroque. // History of aesthetic thought in 6 volumes. T.2, M., 1985.

43. Kagan M.S. Space and time in art as a problem of aesthetic science. // Rhythm, space and time in literature and art. L., 1974.

44. Kagan M.S. Morphology of the arts. L., 1974.

46. ​​Lectures on the history of aesthetics. Book. 3. part 1 Leningrad State University, 1976.

47. Lessing G.-E. Laocoön, or on the limits of painting and poetry. M., 1957.

48. Literary manifestos of Western European romantics. Moscow State University, 1980.

49. Likhachev D.S. Laughter as a mindset. // Laugh at Ancient Russia. M., 1984.

50. Losev A.F. History of ancient aesthetics. Sophists. Socrates. Plato. M., 1969.

51. Losev A.F. The problem of the symbol and realistic art. M., 1976.

52. Losev A.F. Aesthetics of the Renaissance. M., 1978.

53. Marx K., Engels F. about art. In 2 tons.

54. Material in the category "beautiful": The history of aesthetics. Monuments of world aesthetic thought. In 5 volumes. T.1. pp. 89-92 (Socrates), 94-100 (Plato), 224-226 (Plotinus), 519-521 (Alberti); v.2. pp. 303-313 (Didero); v.3. Kant.

58. Menendez Pidal R. Selected works. M., 1961.

59. Modernism. Analysis and criticism of the main directions. Digest of articles. M., 1987.

60. Small history of arts. M., 1991.

61. Mamardashvili M. Literary criticism as an act of reading. // Mamardashvili M. As I understand philosophy. M., 1990.

62. Nietzsche F. Human, too human. // Nietzsche F. Op. In 2 vol. T.1.

63. Nietzsche F. The birth of tragedy from the spirit of music // Nietzsche F. Works. in 2 vols. T. 1.

64. Unknown E. Synthesis of arts. Questions of Philosophy, 1989, No. 7.

65. Ovsyannikov M. F. History of aesthetic thought. M., 1978.

66. Ostrovsky G. How the icon was created. //. Ostrovsky G. A story about Russian painting. M., 1989.

67. Palamas Gregory. In defense of the silent saints.

68. Plato. Hippias the Greater. // Plato, op. in 3 volumes. T.1. M., 1968.

69. Plato. And he. There.

70. Plato. Feast. Ibid., v.2.

71. Rua J.J. History of chivalry. M., 1996.

72. Rudnev V.P. Realism //. Dictionary of culture of the XX century. M., "Agraf". 1997.

73. Russian progressive art criticism second half of XIX- the beginning of the twentieth century. M., 1977.

74. Tarkovsky A. About the film image. // Art of Cinema, 1979, No. 3.

75. Tatarkevich V. Antique aesthetics. M., 1977.

76. Trubetskoy E. Speculation in colors. Perm, 1991.

77. Uspensky F. Byzantium. // New Encyclopedic Dictionary, ed. K.K. Arsenyeva, ed. Brockhaus F.A. and Efron I.A. T. 10.

78. Philosophy of Russian religious art. M., 1993.

79. Frank S.L. Spiritual foundations of society. M., 1992.

80. Khoruzhy S.S. After the break. Ways of Russian Philosophy. S-P., 1994.

81. Christostom Dio. 27th Olympic speech // Monuments of late antique oratory and epistolary art. M., 1964.

82. Schlegel F. Aesthetics. Philosophy. Criticism. In 2 vols. T.1. M., 1983.

83. Schopenhauer A. Basic ideas of aesthetics. // Schopenhauer A. Selected works. M., 1992.

84. Aesthetics. Dictionary. M., 1989.

85. Jung K.G. Archetype and symbol. M., 1991.

86. Yakovlev E.G. Problems of artistic creativity. M., 1991.

Every person should have a sense of beauty. Indeed, without this, people will not be able to enjoy the beauty of nature, or admire works of art, or love. Human values ​​are changing under the influence of new trends, in connection with this, the problem of perceiving art and educating aesthetic taste is acute in society.
Anton Pavlovich Chekhov wrote well and much about this problem. In the works “Man in a Case” and “Gooseberry”, the problem of perception of art and education of aesthetic taste is covered more

Detailed. Many writers, poets and philosophers have discussed this topic. Anton Pavlovich Chekhov talked about what kind of life a person deserves in his works.

He expressed his protest against the “ordinary” in every possible way and always believed that each of us was created for bright, fruitful work and happy life. That is why he showed his heroes in opposite colors. Belikov from the story “The Man in the Case” and Chimsha from “Gooseberry” try to protect themselves from the outside world. But Anton Pavlovich is convinced that a person was not created for such a life and convinces readers to avoid such a lifestyle.

Problem

The perception of art rose at all times. Anton Pavlovich Chekhov is one of the first who showed the ordinary as it is, without embellishment and improvements. A true depiction of reality shows us how not to live.
A. M. Gorky in the play “At the Bottom” also touches upon the problem of the perception of art and the education of aesthetic taste. All the heroes of this work are people who have fallen to the bottom of life. Many of them do not want to change their lives for the better, do not appreciate happiness, love, beauty and art.

Heroes are morally and spiritually poor. Let us recall at least Anna's death, most of the inhabitants of the rooming house reacted indifferently to her death, did not sympathize with her even when she was sick. Understanding and sympathy are absent in people who are not able to appreciate beauty and understand art.

But, this does not change the essence of man. Each of us wants to be heard and understood.
The play “At the Bottom” is a great work, because in it Anton Pavlovich teaches us a lesson so skillfully. The importance and urgency of this problem, in my opinion, will not decrease forever, on the contrary. Isn't that why modern cinema and the best theaters are increasingly returning to staging this play?!

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9. Anton Pavlovich Chekhov is one of the writers who created the new drama. The innovations introduced by them were completely unfamiliar to the reader. Anton Pavlovich created many wonderful works, following their assertions. Chekhov said: “He who invents new endings for plays will discover and new era in drama." The first play written by Chekhov and staged was the drama Ivanov. AT […]...
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11. The problem of man and power, the problem of the crime of power against the individual, became relevant in Soviet Russia already in the 1920s. 20th century - in the years when the state clearly and vividly acquires the features of totalitarian state. Russian problem national character in the context of the tragic era has become a cross-cutting theme of Russian literature of the XX century. It is being explored by Andrey Platonov, Mikhail Sholokhov, Mikhail Bulgakov, […]...
12. Every person makes mistakes, whether by accident or intentionally, but in any case, he will have to answer for them. Let us recall the novel by M. Bulgakov “The Master and Margarita”. The procurator of Judea symbolizes cowardice and meanness, subsequently punished. Being afraid of Yeshua, he sentenced him to death and thought that in this way he would get rid of his fears forever. But the government is not […]
13. Books are one of the best inventions of man. Books are a huge part of our life. From childhood to the end of our days, books accompany us everywhere. Children's fairy tales that mothers read to us before going to bed, primers and alphabets that we met at school, encyclopedias, dictionaries and textbooks from which we learned so much information - […]...
14. The problem of education and training is an important problem of all times and peoples. After all, education is the foundation of every person's life. It is on how a person will be brought up, what atmosphere will reign in his family, his future, his character and his life goals. Education is also undoubtedly important in the life of every person, because without education [...] ...
15. -There is no more sacred word "Work!". -And the right to a place in life Only to those whose days are in labor ... -Only glory to the workers. These are lines from V. Bryusov's poem "Labor". The poet wrote a hymn to work for the benefit of society. The problem of the importance of labor in human life has been touched upon by many writers and poets, as it is topical and does not lose its relevance even […]...
16. The problem of man and civilization in I. A. Bunin’s story “The Gentleman from San Francisco” I. A. Bunin is not just a brilliant writer, but also a subtle psychologist who knows how to describe in detail the characters and their environment in his works. Even presenting a simple plot, he artistically conveyed the wealth of thoughts, images and symbols. This is how the story “The Gentleman from San Francisco” is seen. Despite […]
17. How should beauty be taught? How does art influence the formation of the human personality? About this eternal problem the well-known Russian writer and publicist Y. Bondarev speaks in this text. Good and evil, lies and truth, indifference and responsiveness, cowardice and heroism - these are the questions that the author usually interests his readers with. In this passage, he reflects on the influence of [...]
18. In my opinion, Every person should overcome difficulties calmly, decisively and thinking well. This is the most important thing in problem solving. First, if a person is calm and balanced, it will be easier for him to assess the scale of the problems. It is good to think over and put together a small plan to solve these problems. Every barrier in life must be overcome as something unimportant, without giving it a huge [...] ...
19. The purpose of art is to give happiness to people Man has always been surrounded by art. This is genius musical works, and the majestic creations of sculptors and architects, and alluring art canvases, and this is not counting literature, cinema and theater. All this, one way or another, refers to art, which gives not only aesthetic pleasure, but also directly affects the inner feelings of a person. […]...
20. In the area of dramatic art many Russian writers tried themselves, among them were Anton Pavlovich Chekhov and Maxim Gorky. Dramatic works these writers became especially bright in dramaturgy and are the property of the Russian fiction. Why are we considering two writers together? Because their work is similar in many ways. Chekhov and Gorky changed the principles of dramatic [...] ...
21. The originality of the poetic perception of B. L. Pasternak From the beginning of his creative way B. Pasternak was an adherent of the truth. Trying to capture most accurately, in all its complexity, this or that moment of life, he hurried to embody all the confusion of impressions in verse, sometimes not caring that they were understood. The pathos of the young poet is the unbridled, frantic delight of life. Chaos overwhelms him: [...] ...
22. The play "The Seagull" for the first time lifted the curtain over the mysterious world of the theater of literature. Chekhov speaks frankly about problems contemporary theater and literature, studying its influence on the formation of the characters' characters, their fate. Such a shown actress Arkadina. She is already famous, famous, seems happy. But for some reason I don't really believe in her. perfect image. Her son, says of her: “She loves the theatre, [...] ...
23. French writer André Maurois touches upon the issue of children's perception of the world in his story. The author believes that adults living next to the world of children do not try to delve into its essence. Children, on the contrary, are very observant: the child analyzes the actions of his parents, interprets their words in his own way and draws for himself a picture of the world that remains in his imagination for a long time. Morua is confident that […]
24. The writer and poet of Russian origin Vladimir Soloukhin on the pages of his work touches on a topic related to the problem of perception of the world that surrounds us. The author conducts his narrative dedicated to nature native land, first person. In one minute, as he writes, a life picture appears before us with the image of simple greenery, and immediately we see something complex and detailed. […]...
25. Each person is a biosocial being. This means that in addition to biological needs we also have social. such as communication, different kinds relationships. In relationships, people often have problems, because people are not always ready to understand each other. The topic of human relationships is very important in modern society, because more and more often we are witnessing difficulties in relationships, lack of humanity, [...] ...
26. At the end of the nineteenth century, another division of philosophy appears - irrational philosophy. We first get acquainted with it in the novel by Fyodor Mikhailovich Dostoevsky “Crime and Punishment”, namely in the theory of Raskolnikov. This example shows the unity of time and circumstances, and also proves that life and literature cannot influence each other. This can be confirmed by […]
27. “The whole world and the whole drama of a person is inside, and not in external manifestations.” Anton Pavlovich Chekhov differed from other writers in his unusual and keen vision of the real world. He was so deftly able to transfer reality to paper and to identify the existing problems in as much detail and as clearly as possible. Chekhov conveyed all the little things of life, interests and life of his heroes in such a way that [...] ...
28. A deeper understanding of the topic little man we find in Pushkin's poem " Bronze Horseman". Here the problem is solved already in a socio-philosophical key, and the contradiction between the small man and the state becomes the central conflict. Petty St. Petersburg official Yevgeny loses his beloved creature as a result of a flood, goes crazy and eventually dies. It would seem, what does this […]
29. How many tragic pages were written in the Book of Memory of our people in the 20th century! And perhaps the most tragic are the pages of the Great Patriotic War. Four years of suffering, four terrible years that claimed the lives of millions of innocent people. Four years of hunger, cold, betrayal, constant fear of death. Four years of hatred. Hatred for those who encroached on the most sacred - human life, [...] ...
30. The problem of upbringing and education in the comedy "Undergrowth" The comedy "Undergrowth" was written in the 18th century by D. I. Fonvizin. The peculiarity of this work is manifested through the “speaking” names and surnames, as well as through the author’s views on upbringing and education in those days. So, for example, last name main character, who does not differ in intelligence, Prostakova, but her brother, who loves to breed pigs [...] ...
31. Society is a crowd that is dictated by the opinion of the media. For this I think that public opinion called fashion. In their works of art, the authors raise important questions of all times and peoples. Despite the fact that morality as a whole always remains unchanged, society still degrades. Most often, people of art create their creations under the impression of the world around them. If in the nineteenth [...] ...
32. The role of true art in human life is the problem that he discusses Russian writer V.V. Veresaev. At all times, this moral and ethical issue was topical. Topical because "art, according to F. M. Dostoevsky, never left a person, always met his needs and his ideal, always helped him in finding this ideal." The role of art in […]
33. Vasily Semenovich Grossman in his article raises a very important problem - the problem of beauty. It belongs to the category moral problems and is relevant today. It is so important to be able to see and appreciate true beauty. The position of the author is clear to me, he teaches us how to see beauty. We live in constant turmoil, always running […]
34. Great Patriotic War- the most terrible and difficult test. The most important theme of the literature of the war years is the theme of the fraternal unity of peoples in the difficult trials of the war. Russians and Kazakhs, Latvians and Georgians, Lithuanians and Ukrainians, Belarusians and Tatars - soldiers of different nationalities fought shoulder to shoulder for the freedom of the Motherland. Poems by A. A. Akhmatova, K. M. Simonov and S. […]...
35. One of the main problems of Leo Tolstoy's story "After the Ball" is the problem of moral responsibility. The writer's interest is focused on life position person; in the center of the work is an ethical search, an attempt by the protagonist to answer questions about the meaning of life, about good and evil, truth and justice. Moreover, the plot is constructed in such a way that at the beginning of the work the reader gets acquainted with […]
36. What is the role of art in human life? It is this question that is in the center of attention of the author of the text proposed for analysis. E. Amfilohieva suggests thinking about the problem of the purpose of art, which is relevant today. After all, in the era of digital technologies, moral guidelines in society are being eroded, and art, being a means of educating the soul, helps a person to strive for good and [...] ...
37. The theme of art in the work of Leonid Martynov Reflections on the nature of art constitute one of the most important features of the work of Leonid Martynov. The artist has repeatedly noted that the instinct for the transformation of reality lies at the basis of human nature, that it is hidden in the soul of every person. Martynov believed that “every person knows how to write poetry, draw pictures, compose music, in short, to transform [...]...
38. The problem of classifying the arts Now the last question of this topic is the question of the classification of the arts. The fact that art is something integral and opposed to other types of human activity (for example, science or labor activity) does not raise serious objections. Intuitively, we feel that for all the dissimilarity, for example, literature and music, they have something in common that distinguishes [...] ...
39. In the life of every person there are both true and imaginary values. After all, it is very difficult to make the right choice in this area. The formation of values ​​depends on many factors: the surrounding society, upbringing, atmosphere in the family, etc. The problem of determining values ​​is important and its relevance does not decrease every day. After all, in modern society, the definition of the right moral values […]...
40. In what works of Russian poetry is the situation of an ideological and aesthetic clash of two antagonists, one of which is a poet, created, and in what way does it correlate with the artistic version of N.A. Nekrasov? In order to present your own opinion on the proposed topic, remember that the situation of the ideological and aesthetic clash of two antagonists, one of whom is a poet, was repeatedly used in Russian […]...

Composition on the topic: “The problem of perception of art. Difficulties in cultivating aesthetic taste in a person”

Miguel de Cervantes once remarked that "beauty has the power and gift to bring peace to the heart." It seems that the author of Don Quixote was absolutely right in this statement. The human heart is unusually sensitive to all manifestations of beauty - in nature, in painting, in music, in architecture. But how to comprehend all this not with the mind, but with the very soul? V. Soloukhin reflects on this in his text. The main problem posed by the writer is the problem of human comprehension of beauty.

This problem is very relevant for our modern life with its irrepressible rhythm, vanity, everyday worries. Sometimes we simply do not have time to admire a beautiful sunset or night stars, to experience the joy of the first snowfall.

V. Soloukhin in his text reflects on the perception of art by a person. He writes that, having run through art gallery, you can see only the external scenes of the paintings. But in order to discover the artist's soul and completely immerse yourself in this atmosphere, you need time, calmness, contemplation. Only in this case, works of art - paintings, ancient cathedrals and churches - become a part of our soul, helping us to take a fresh look at the world.

This text is very bright, figurative, emotional. The writer uses a variety of media artistic expressiveness: rhetorical questions (“What can be seen, what can be comprehended? Names of paintings? Frames? External plot?”), rows of homogeneous members (“In the end, I felt in myself a rising wave of anxiety, love, longing, unaccountable readiness for any accomplishment"), idiom ("put a tick in the mind").

I fully share the writer's point of view. The perception of beauty by a person is a special process, subtle, spiritualized, requiring special concentration from a person. Only in this case we are able to experience moral enlightenment, purification, catharsis. And then we change, become kinder, more tolerant of others, sometimes we look at our own life in a new way. Once our brilliant poet wrote: “The service of the Muses does not tolerate fuss; The beautiful must be majestic ... ". Here, I think, our comprehension of the world of beauty should be the same - unhurried, peaceful.

S. Lvov reflects on this in his publicistic collection “To be or to seem?”. He talks about an exhibition of masterpieces from the famous Prado Museum in Madrid. And bitterly notes that many came to this exhibition, because it is prestigious and fashionable, for show. However, the author hopes that someday the habit of visiting prestigious exhibitions will turn people into a true interest in art. And it can arise only with a special comprehension of this world, a person's detachment from the vanity.

B.Sh. writes about the perception of music. Okudzhava in the poem "Musician". "The singing of the violin" guides the hero on the path, gives him hope, gives him the highest joy. Okudzhava's brilliant musician is happy because he was able to penetrate into the human soul:

Happy is the one whose path is short, the fingers are evil, the bow is sharp,
A musician who built a bonfire from my soul.
And the soul, that's for sure, if burned,
She is fairer, more merciful and righteous.

Thus, the process of comprehending beauty by us is a mystery, a sacrament, a sacrament. It is always a new discovery of yourself and the world around.