Artistic image and artistic creation. Artistic image as a form of thinking in art

From the sociocultural necessity of art flow its main features: a special relationship between art and reality and a special method of ideal development, which we find in art and which is called the artistic image. Other spheres of culture - politics, pedagogy - turn to the artistic image in order to “elegantly and unobtrusively” express the content.

Artistic image- this is the structure of artistic consciousness, the method and space of artistic exploration of the world, existence and communication in art. An artistic image exists as an ideal structure in contrast to a work of art, a material reality, the perception of which gives rise to an artistic image.

The problem of understanding an artistic image is that the initial semantics of the concept image captures the epistemological relationship of art to reality, the relationship that makes art a kind of similarity real life, prototype. For the art of the 20th century, which abandoned life-likeness, its figurative nature becomes questionable.

But still, the experience of both art and aesthetics of the twentieth century suggests that the category “artistic image” is necessary, since the artistic image reflects important aspects of artistic consciousness. It is in the category of artistic image that the most important specific features of art are accumulated; the existence of an artistic image denotes the boundaries of art.

If we approach the artistic image functionally, then it appears as: firstly, a category denoting the ideal way inherent in art artistic activity; secondly, it is the structure of consciousness, thanks to which art solves two important problems: mastering the world - in this sense, an artistic image is a way of mastering the world; and the transmission of artistic information. Thus, the artistic image turns out to be a category that outlines the entire territory of art.

In a work of art, two layers can be distinguished: material-sensory (image) and sensual-supersensible (artistic image). A work of art is their unity.

In a work of art, the artistic image exists in a potential, possible, world correlated with perception. For the perceiver, the artistic image is born anew. Perception is artistic to the extent that it affects the artistic image.

The artistic image acts as a specific substrate (substance) of artistic consciousness and artistic information. An artistic image is a specific space of artistic activity and its products. Experiences about heroes occur in this space. An artistic image is a special, specific reality, the world of a work of art. It is complex in its structure and varied in scale. Only in abstraction can an artistic image be perceived as a supra-individual structure; in reality, an artistic image is “tied” to the subject that generated it or perceives it, this is the image of consciousness of the artist or the perceiver. The artistic image is realized through an individual attitude to the world, which leads to a variant multiplicity of the artistic image, which exists at the level of perception. And in the performing arts – and at the level of performance. In this sense, the use of the expression “My Pushkin”, “My Chopin”, etc. is justified. And if you ask the question, where does a genuine Chopin sonata exist (in Chopin’s head, in notes, in performance)? A clear answer to this is hardly possible. When we talk about “variant multiplicity,” we mean “invariant.” An image, if it is artistic, has certain characteristics. Directly given to a person characteristic of an artistic image is integrity. An artistic image is not a summation; it is born in the mind of the artist, and then the perceiver in a leap. In the consciousness of the creator, he lives as a self-propelled reality. (M. Tsvetaeva - “A work of art is born, not created”). Each fragment of an artistic image has the quality of self-motion. Inspiration is mental condition a person in whom images are born. Images appear as a special artistic reality.

If we turn to the specifics of the artistic image, the question arises: is the image an image? Can we talk about the correspondence between what we see in art and the objective world, since the main criterion of imagery is correspondence.

The old, dogmatic understanding of the image proceeds from the interpretation of correspondence and gets into trouble. In mathematics there are two understandings of correspondence: 1) isomorphic - one-to-one, the object is a copy. 2) homomorphic – partial, incomplete correspondence. What kind of reality does art recreate for us? Art is always transformation. The image deals with the reality of value - it is this that is reflected in art. That is, the prototype for art is the spiritual-value relationship between subject and object. They have a very complex structure and its reconstruction is an important task of art. Even the most realistic works They don’t just give us copies, which doesn’t negate the category of compliance.

The object of art is not an object as a “thing-in-itself”, but an object that is significant for the subject, that is, possessing a valuable objectivity. The attitude of the subject is important, internal state. The value of an object can only be revealed in relation to the state of the subject. Therefore, the task of an artistic image is to find a way to connect subject and object in interrelation. The value significance of an object for the subject is its manifest meaning.

An artistic image is an image of the reality of spiritual-value relations, and not of an object in itself. And the specificity of the image is determined by the task - to become a way of realizing this special reality in the consciousness of another person. Each time, images are a recreation, using the language of an art form, of certain spiritual-value relationships. In this sense, we can talk about the specificity of the image in general and about the conditionality of the artistic image by the language with which it is created.

Types of art are divided into two large classes - fine and non-fine, in which the artistic image exists in different ways.

In the first class of arts, artistic languages, value relations are modeled through the recreation of objects and the subjective side is revealed indirectly. Such artistic images live because art uses a language that recreates a sensory structure - the visual arts.

The second class of arts model, with the help of their language, a reality in which the state of the subject is given to us in unity with its semantic, value representation; non-fine arts. Architecture is “frozen music” (Hegel).

An artistic image is a special ideal model of axiological reality. The artistic image performs modeling duties (which relieves it of the obligation of full compliance). An artistic image is a way of representing reality inherent in artistic consciousness and, at the same time, a model of spiritual and value relations. That is why the artistic image acts as a unity:

Objective – Subjective

Subject – Value

Sensual – Supersensible

Emotional – Rational

Experiences – Reflections

Conscious – Unconscious

Corporal - Spiritual (With its ideality, the image absorbs not only the spiritual and mental, but also the physical and mental (psychosomatic), which explains the effectiveness of its impact on a person).

The combination of the spiritual and the physical in art becomes an expression of merging with the world. Psychologists have proven that during perception, identification with an artistic image occurs (its currents pass through us). Tantrism is merging with the world. The unity of the spiritual and the physical spiritualizes and humanizes the physicality (eat food greedily and dance greedily). If we feel hungry in front of a still life, then art has not had a spiritual influence on us.

In what ways is the subjective, axiological (intonation), and supersensible revealed? General rule here: everything that is not depicted is revealed through what is depicted, the subjective - through the objective, the value-based - through the objective, etc. All this is realized in expressiveness. Why does this happen? Two options: first - art concentrates the reality that is related to a given value meaning. This leads to the fact that the artistic image never gives us a complete representation of the object. A. Baumgarten called the artistic image a “condensed Universe.”

Example: Petrov-Vodkin “Boys Playing” - he is not interested in the specifics of nature, individuality (blurs his faces), but in universal values. “Discarded” does not matter here, because it takes away from the essence.

Another important function of art is transformation. The contours of space, color scheme, proportions change human bodies, temporal order (the moment stops). Art gives us the opportunity to existentially connect with time (M. Proust “In Search of Lost Time”).

Every artistic image is a unity of life-like and conventional. Conventionality is a feature of artistic figurative consciousness. But a minimum of life-likeness is necessary, since we are talking about communication. Different types arts have varying degrees of life-likeness and conventionality. Abstract art - an attempt to discover new reality, but retains an element of similarity with the world.

Conditionality – unconditionality (of emotions). Thanks to convention subject plan the unconditionality of the value plan arises. The worldview does not depend on the object: Petrov-Vodkin “Bathing of the Red Horse” (1913) - in this picture, according to the artist himself, his premonition was expressed civil war. Transformation of the world in art is a way of embodying the artist’s worldview.

Another universal mechanism of artistic and figurative consciousness: a feature of the transformation of the world, which can be called the principle of metaphor (the conditional likening of one object to another; B. Pasternak: “... it was like a thrust on a rapier...” - about Lenin). Art reveals other phenomena as properties of some reality. There is an inclusion in the system of properties that are close to a given phenomenon, and, at the same time, opposition to it; a certain value-semantic field immediately arises. Mayakovsky - “Hell of the City”: the soul is a puppy with a piece of rope. The principle of metaphor is the conditional likening of one object to another, and the further away the objects are, the more the metaphor is saturated with meaning.

This principle works not only in direct metaphors, but also in comparisons. Pasternak: thanks to metaphor, art solves enormous problems, which determine the specificity of art. One enters into the other and saturates the other. Thanks to special artistic language(in Voznesensky: I am Goya, then I am the throat, I am the voice, I am hunger) each subsequent metaphor meaningfully fills the other: the poet is the throat, with the help of which certain states of the world are voiced. In addition, internal rhyme and through the system of stress and alliteration of consonances. In the metaphor, the principle of the fan works - the reader unfolds the fan, which already contains everything in its folded form. This operates throughout the entire system of tropes: establishing some similarity both in epithets (an expressive adjective - wooden ruble), and in hyperboles (exaggerated size), synecdoches - truncated metaphors. Eisenstein has the doctor’s pince-nez in the film “Battleship Potemkin”: when the doctor is thrown overboard, the doctor’s pince-nez remains on the mast. Another technique is comparison, which is an extended metaphor. From Zabolotsky: “Straight bald husbands sit like a shot from a gun.” As a result, the modeled object is overgrown with expressive connections and expressive relationships.

An important figurative device is rhythm, which equates semantic segments, each of which carries a specific content. There is a sort of flattening, crumpling of the saturated space. Yu. Tynyanov - the tightness of the verse series. As a result of the formation of a unified system of rich relationships, a certain value energy arises, realized in the acoustic richness of the verse, and a certain meaning and state arises. This principle is universal in relation to all types of art; as a result, we are dealing with a poetically organized reality. The plastic embodiment of the principle of metaphor in Picasso is “Woman is a Flower.” Metaphor creates a colossal concentration of artistic information.

Artistic generalization

Art is not a retelling of reality, but an image of a force or craving through which a person’s imaginative relationship to the world is realized.

Generalization becomes the realization of the features of art: the specific receives more general meaning. The specificity of artistic and figurative generalization: an artistic image connects together the objective and the value. The purpose of art is not a formal logical generalization, but the concentration of meaning. Art gives meaning to these kinds of objects , art gives meaning to the value logic of life. Art tells us about fate, about life in its human fullness. In the same way, human reactions are generalized, therefore, in relation to art, they talk about both attitude and worldview, and this is always a model of attitude.

Generalization occurs due to the transformation of what happens. Abstraction is a distraction in a concept; theory is a system of logical organization of concepts. A concept is a representation of large classes of phenomena. Generalization in science is a move from the individual to the universal; it is thinking in abstractions. Art must retain the specificity of value and it must generalize without being distracted from this specificity, which is why the image is a synthesis of the individual and the general, and individuality retains its separation from other objects. This occurs due to selection, transformation of the object. When we look at individual stages of world art, we find established typological features of methods of artistic generalization.

The three main types of artistic generalization in the history of art are characterized by the difference in the content of the general, the originality of individuality, and the logic of the relationship between the general and the individual. We highlight the following types:

1) Idealization. We find idealization as a type of artistic generalization in antiquity, in the Middle Ages, and in the era of classicism. The essence of idealization is a special generality. Values brought to some purity act as a generalization. The task is to isolate ideal essences before sensory embodiment. This is inherent in those types of artistic consciousness that are oriented towards the ideal. In classicism, low and high genres are strictly separated. High genres is represented, for example, by N. Poussin’s painting “The Kingdom of Flora”: a myth presented as the fundamental existence of entities. The individual here does not play an independent role; the unique characteristics are eliminated from this individual, and the image of the most unique harmony appears. With such a generalization, the momentary, everyday characteristics of reality are omitted. Instead of everyday surroundings, an ideal landscape appears, as if in a dream state. This is the logic of idealization, where the goal is the affirmation of the spiritual essence.

2) Typification. A type of artistic generalization characteristic of realism. The peculiarity of art is the revelation of the fullness of this reality. The logic of movement here is from the specific to the general, a movement that retains the outgoing significance of the specific itself. Hence the peculiarities of typification: to reveal the generalities in the laws of life. A picture is created that is natural for this class of phenomena. Type is the embodiment of the most characteristic features of a given class of phenomena as they exist in reality. Hence the connection between typification and the historicism of the artist’s thinking. Balzac called himself secretary of the society. Marx learned more from Balzac's novels than from the writings of political economists. The typological feature of the character of a Russian nobleman is a dropout from the system, an extra person. The general here requires a special individual, empirically full-blooded, possessing unique features. The combination of the unique, inimitable specific with the general. Here individualization becomes the flip side of typification. When they talk about typification, they immediately talk about individualization. When perceiving typical images, it is necessary to live their life, then the intrinsic value of this particular one arises. Images of unique people appear, which the artist individually writes out. This is how art thinks, typifying reality.

The practice of art of the 20th century mixed everything up, and realism has long ceased to be the last resort. The 20th century mixed all the methods of artistic generalization: you can find typification with a naturalistic bias, where art becomes a literal mirror. Falling into specifics, which even creates a special mythological reality. For example, hyperrealism, which creates a mysterious, strange and gloomy reality.

But in the art of the 20th century there also arises new way artistic generalization. A. Gulyga has the exact name for this method of artistic generalization – typologization. An example is the graphic works of E. Neizvestny. Picasso has a portrait of G. Stein - transfer hidden meaning man, face mask. Seeing this portrait, the model said: I’m not like that; Picasso immediately replied: You will be like that. And she really became like that as she grew old. It is no coincidence that 20th century art is fascinated by African masks. Schematization of the sensory form of an object. "Les Demoiselles d'Avignon" by Picasso.

The essence of typologization: typologization was born in the era of distribution scientific knowledge; this is an artistic generalization aimed at a multi-knowing consciousness. Typology idealizes the general, but, unlike idealization, the artist depicts not what he sees, but what he knows. Typology says more about the general than about the individual. The singular reaches scale and cliché, while maintaining some plastic expressiveness. In the theater you can show the concept of the imperial, the concept of Khlestakovism. The art of a generalized gesture, a clichéd form, where details model not empirical, but supra-empirical reality. Picasso “Fruit” – diagram of an apple, portrait “Woman” – diagram female face. A mythological reality that carries colossal social experience. Picasso “Cat Holding a Bird in Its Teeth” is a painting he painted during the war. But the pinnacle of Picasso's work is Guernica. The portrait of Dora Maar is a typological image, an analytical beginning, working with the image of a person analytically.

The art of the 20th century freely combines all methods of artistic generalization, for example, the novels of M. Kundera, W. Eco, which, for example, can combine realistic description with reflections, where the essay takes precedence. Typology reveals smart option contemporary art.

But any genuine artistic image is organically integral, and the mystery of this organicity has worried us for many times. Born from inner world the artist's image itself becomes an organic whole.

Bibliography:

Belyaev N.I. ... THE IMAGE OF HUMAN IN FINE ARTS: INDIVIDUAL AND TYPICAL

A. Barsh. sketches and sketches

Bychkov V.V. Aesthetics: Textbook. M.: Gardariki, 2002. – 556 p.

Kagan M.S. Aesthetics like philosophical science. St. Petersburg, TK Petropolis LLP, 1997. – P.544.

Article. Psychological features of image perception Journal of Psychology, Vol. 6, No. 3, 1985, pp. J50-153

Article. S.A. Belozertsev, Shadrinsk Artistic performance in educational productions

Internet resource Composition / Artistic image / Objectivity and subjectivity...

www.coposic.ru/hudozhestvennyy- HYPERLINK "http://www.coposic.ru/hudozhestvennyy-obraz/obektivnost-subektivnost"obraz HYPERLINK "http://www.coposic.ru/hudozhestvennyy-obraz/obektivnost-subektivnost"/obektivnost-subektivnost

artistic image - Encyclopedia of painting

painting.artyx.ru/books/item/f00/s00/z0000008/st002.shtml

Kuzin V.S. Drawing. Sketches and sketches

Quick sketch technique

A means and form of mastering life through art; way of being of a work of art. The artistic image is dialectical: it unites living contemplation, its subjective interpretation and evaluation by the author (as well as the performer, listener, reader, viewer). An artistic image is created on the basis of one of the media: image, sound, linguistic environment, or a combination of several. It is integral to the material substrate of art. For example, the meaning internal structure, clarity musical image is largely determined by the natural matter of music - acoustic qualities musical sound. In literature and poetry, an artistic image is created on the basis of a specific linguistic environment; V theater arts all three means are used. At the same time, the meaning of an artistic image is revealed only in a certain communicative situation, and the final result of such communication depends on the personality, goals and even the momentary mood of the person who encountered it, as well as on the specific culture to which he belongs.

An artistic image is a form artistic thinking. The image includes: the material of reality, processed by the artist’s creative imagination, his attitude towards what is depicted, the richness of the creator’s personality. Hegel believed that an artistic image “reveals to our gaze not an abstract essence, but its concrete reality.” V. G. Belinsky believed that art is creative thinking. For positivists, an artistic image is a visual demonstration of an idea that provides aesthetic pleasure. Theories arose that denied the figurative nature of art. Thus, Russian formalists replaced the concept of image with the concepts of construction and technique. Semiotics has shown that an artistic image is created by a system of signs, it is paradoxical, associative, it is an allegorical, metaphorical thought that reveals one phenomenon through another. The artist, as it were, collides phenomena with each other and strikes sparks that illuminate life with new light. In art, according to Anandavardhana (India, 9th century), figurative thought (dhvani) has three main elements: poetic figure (alamkara-dhvani), meaning (vast-dhvani), mood (rasa-dhvani). These elements are combined. The poet Kalidasa expresses the dhvani mood in this way. This is what King Dushyanta says to the bee circling near the face of his beloved: “You continually touch her fluttering eyes with their moving corners, you gently buzz over her ear, as if telling her a secret, although she waves her hand away, you drink her nectar lips are the center of pleasure. Oh, bee, truly you have reached your goal, and I am wandering in search of truth.” The poet, without directly naming the feeling that possessed Dushyanta, conveys to the reader the mood of love, comparing the lover dreaming of a kiss with a bee flying around the girl.

IN ancient works the metaphorical nature of artistic thinking appears especially clearly. Thus, the products of Scythian artists in an animal style intricately combine real animal forms: predatory cats with bird claws and beaks, griffins with the body of a fish, human face and bird wings. Images of mythological creatures are a model of an artistic image: an otter with the head of a man (tribes of Alaska), the goddess Nyu-wa - a snake with the head of a woman ( Ancient China), god Anubis - a man with the head of a jackal ( Ancient Egypt), centaur - a horse with the torso and head of a man ( Ancient Greece), a man with the head of a deer (Lapps).

Artistic thought connects real phenomena, creating an unprecedented creature that intricately combines elements of its ancestors. The ancient Egyptian sphinx is a man represented through a lion, and a lion understood through a man. Through the bizarre combination of man and the king of beasts, we learn about nature and ourselves - royal power and dominance over the world. Logical thinking establishes the subordination of phenomena. The image reveals objects of equal value - one through the other. Artistic thought is not imposed on the objects of the world from the outside, but flows organically from their comparison. These features of the artistic image are clearly visible in the miniature of the Roman writer Aelian: “... if you touch a pig, it naturally begins to squeal. A pig has no wool, no milk, nothing but meat. When touched, she immediately guesses the danger that threatens her, knowing what she is good for in people. Tyrants behave in the same way: they are always filled with suspicion and are afraid of everything, because they know that, like a pig, they must give their life to anyone.” Elian's artistic image is metaphorical and constructed like a sphinx (man-lion): according to Elian, the tyrant is a pig-man. A comparison of creatures that are far from each other unexpectedly gives new knowledge: tyranny is disgusting. The structure of an artistic image is not always as clear as in the Sphinx. However, even in more complex cases in art, phenomena are revealed one through the other. So, in the novels of L.N. Tolstoy's heroes are revealed through the reflections and shadows that they cast on each other and on the world around them. In War and Peace, the character of Andrei Bolkonsky is revealed through his love for Natasha, through his relationship with his father, through the sky of Austerlitz, through thousands of things and people that, as this mortally wounded hero realizes in agony, are associated with every person.

The artist thinks associatively. For Chekhov’s Trigorin (in the play “The Seagull”), a cloud looks like a piano, and “and the dam glitters with the neck of a broken bottle and the shadow of a mill wheel turns black - so Moonlight night ready." Nina’s fate is revealed through the fate of the bird: “The plot for a short story: a young girl has lived on the shore of a lake since childhood... loves the lake like a seagull, and is happy and free like a seagull. But by chance a man came, saw it, and out of nothing to do, killed it, like this seagull.” In an artistic image, through the conjugation of phenomena far removed from each other, unknown aspects of reality are revealed.

Figurative thought is multi-valued, it is as rich and deep in its meaning and meaning as life itself. One of the aspects of the ambiguity of the image is understatement. For A.P. Chekhov's art of writing is the art of crossing out. E. Hemingway compared a work of art to an iceberg: part of it is visible, the main part is under water. This makes the reader active; the process of perceiving the work turns out to be co-creation, finishing the image. However, this is not arbitrary speculation. The reader receives an impulse for thought, he is given an emotional state and a program for processing information, but he retains free will and scope for creative imagination. The understatement of an artistic image stimulates the thoughts of the perceiver. This also manifests itself in incompleteness. Sometimes the author breaks off the work mid-sentence and leaves the story unfinished, does not untie storylines. The image is multifaceted, it contains an abyss of meaning, revealing itself over time. Each era finds new sides to the classic image and gives it its own interpretation. In the 18th century Hamlet was seen as a reasoner in the 19th century. - as a reflective intellectual (“Hamletism”), in the 20th century. - as a fighter “against a sea of troubles” (in his interpretation he noted that he could not express the idea of “Faust” with the help of a formula. To reveal it, it would be necessary to write this work again.

An artistic image is a whole system of thoughts; it corresponds to the complexity, aesthetic richness and versatility of life itself. If an artistic image were completely translatable into the language of logic, science could replace art. If it were completely untranslatable into the language of logic, then literary criticism, art criticism and art criticism would not exist. An artistic image is not translatable into the language of logic because during analysis a “supra-semantic residue” remains, and at the same time we translate it because, by penetrating deeply into the essence of the work, its meaning can be more fully revealed. Critical analysis is a process of endless deepening into the infinite meaning of an artistic image. This analysis has historically varied: new era gives a new reading of the work.

An artistic image is a generalized reflection of reality in the form of specific individual phenomena. The following will help you understand what an artistic image is: vivid examples world literature, like Faust or Hamlet, Don Juan or Don Quixote. These characters convey the most characteristic human traits, their desires, passions and feelings.

Artistic image in art

The artistic image is the most sensual and accessible factor to human perception. In this sense, an image in art, including an artistic image in literature, is nothing more than a visual-figurative reproduction of real life. However, here it is necessary to understand that the author’s task is not simply to reproduce, “duplicate” life, his calling is to conjecture, supplement it in accordance with artistic laws.

Artistic creativity from scientific activity distinguished by the author's, deeply subjective character. That is why in every role, in every stanza and in every picture there is an imprint of the artist’s personality. Unlike science, art is unthinkable without fiction and imagination. Despite this, it is often art that is able to reproduce reality much more adequately than academic scientific methods.

An indispensable condition for the development of art is freedom of creativity, in other words, the ability to simulate current life situations and experiment with them, without looking at the accepted framework of dominant ideas about the world or generally accepted scientific doctrines. In this sense, the genre of science fiction is especially relevant, as it puts into public view models of reality that are very different from the real one. Some science fiction writers of the past, such as Karel Capek (1890-1938) and Jules Verne (1828-1905), managed to predict the emergence of many modern achievements. Finally, when science considers a human phenomenon in a multifaceted way ( social behavior, language, psyche), his artistic image is an indissoluble integrity. Art shows a person as a holistic variety of different characteristics.

It’s safe to say that the main task of an artist is to create an artistic image; examples of the best of them replenish the treasury from time to time cultural heritage civilization, exerting a huge influence on our consciousness.

Artistic image in architecture

First of all, this is the architectural “face” of any specific building, be it a museum, theater, office building, school, bridge, temple, square, residential building or other kind of institution.

An indispensable condition for the artistic image of any building is impressiveness and emotionality. One of the tasks of architecture in the sense of art is to create an impression, a certain emotional mood. The building can be alienated from the surrounding world and closed, gloomy and harsh; It can also be the other way around - to be optimistic, light, bright and attractive. Architectural features affect our performance and mood, instilling a feeling of elation; in opposite cases, the artistic image of a building can act depressingly.

Artistic image

Artistic image- a universal category of artistic creativity, a form of interpretation and exploration of the world from the position of a certain aesthetic ideal by creating aesthetically affecting objects. Any phenomenon creatively recreated in a work of art is also called an artistic image. An artistic image is an image from art that is created by the author of a work of art in order to most fully reveal the described phenomenon of reality. The artistic image is created by the author for the most complete development art world works. First of all, through the artistic image, the reader reveals the picture of the world, plot moves and features of psychologism in the work.

The artistic image is dialectical: it unites living contemplation, its subjective interpretation and evaluation by the author (as well as the performer, listener, reader, viewer).

An artistic image is created on the basis of one of the media: image, sound, linguistic environment, or a combination of several. It is integral to the material substrate of art. For example, the meaning, internal structure, clarity of a musical image is largely determined by the natural matter of music - the acoustic qualities of musical sound. In literature and poetry, an artistic image is created on the basis of a specific linguistic environment; in theatrical art all three means are used.

At the same time, the meaning of an artistic image is revealed only in a certain communicative situation, and the final result of such communication depends on the personality, goals and even the momentary mood of the person encountering it, as well as on the specific culture to which he belongs. Therefore, often after one or two centuries have passed since the creation of a work of art, it is perceived completely differently from how its contemporaries and even the author himself perceived it.

In Aristotle's Poetics, the image-trope appears as an inaccurate exaggerated, diminished or altered, refracted reflection of the original nature. In the aesthetics of romanticism, likeness and resemblance give way to the creative, subjective, transformative principle. In this sense, incomparable, unlike anyone else, which means beautiful. This is the same understanding of the image in avant-garde aesthetics, which prefers hyperbole, shift (the term of B. Livshits). In the aesthetics of surrealism, “reality multiplied by seven is truth.” In modern poetry, the concept of “meta-metaphor” (term by K. Kedrov) has appeared. This is an image of transcendental reality beyond the threshold of light speeds, where science falls silent and art begins to speak. Metametaphor is closely related to the “reverse perspective” of Pavel Florensky and the “universal module” of the artist Pavel Chelishchev. It's about about expanding the limits of human hearing and vision far beyond physical and physiological barriers.

Links

Tamarchenko N. D. Theoretical poetics: concepts and definitions
Nikolaev A. I. Artistic image as a transformed model of the world

Literature: Romanova S.I. Artistic image in the space of semiotic relations. // Bulletin of Moscow State University. Series 7. Philosophy. 2008. No. 6. P.28-38. (www.sromaart.ru)

Wikimedia Foundation.

2010.

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Professional communication in the “Human-Artistic Image” system- The picture of the world among representatives of this field of activity is associated with highlighting the beautiful and introducing beauty, convenience, aesthetic pleasure(for example, planet Earth can be represented as “blue”, “small”, “defenseless” and ... ... Psychology of communication. encyclopedic Dictionary

1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O.. 4. Typification of reality in O. 5. Fiction in O. 6. O. and imagery; system O. 7. Content O. 8. Social... ... Literary encyclopedia

In philosophy, the result of the reflection of an object in the human mind. On feelings. stages of cognition, images are sensations, perceptions and ideas, at the level of thinking, concepts, judgments and inferences. O. is objective in its source... ... General category of arts. creativity, a means and form of mastering life through art. An image is often understood as an element or part of a work that has a kind of self-worth. existence and meaning (for example, in literature, the image of a character, ... ...

Books

Artistic image in scenography. Study guide, Sannikova Lyudmila Ivanovna. The book is teaching aid for students studying the art of theater directing and directing theatrical performances and is designed to help young directors work with...

Created talented artist, leaves a “deep mark” in the heart and mind of the viewer or reader. What has such a strong impact, makes you deeply experience and empathize with what you see, read or hear? This is an artistic image in literature and art, created by the skill and personality of the creator who could amazingly rethink and transform reality, make it consonant and close to our own personal feelings.

Artistic image

In literature and art, this is any phenomenon generalized and creatively recreated by an artist, composer or writer in a subject of art. It is visual and sensual, i.e. understandable and open to perception, and capable of causing deep emotional experiences. These features are inherent in the image because the artist does not simply copy life phenomena, but fills them with a special meaning, colors them with the help of individual techniques, makes them more capacious, integral and voluminous. Naturally, in contrast to scientific artistic creativity It is very subjective, and it attracts one primarily by the personality of the author, the degree of his imagination, fantasy, erudition and sense of humor. A vivid image in literature and art is also created due to complete freedom of creativity, when boundless distances open up before the creator fiction and the limitless ways of expressing it through which he creates his work.

The originality of the artistic image

The artistic image in art and literature is distinguished by amazing integrity, in contrast to scientific creation. He does not divide the phenomenon into its component parts, but considers everything in the indivisible integrity of internal and external, personal and social. The originality and depth of the artistic world are also manifested in the fact that the images in works of art are not only people, but also nature, inanimate objects, cities and countries, individual character traits and personality traits, which are often given the appearance of fantastic creatures or, on the contrary, very mundane ones. , everyday objects. Landscapes and still lifes depicted in the paintings of artists are also images of their work. Aivazovsky, painting the sea in different time year and day, created a very capacious artistic image, which in the smallest nuances of color and light conveyed not only beauty seascape, the artist’s worldview, but also awakened the viewer’s imagination, evoking in him purely personal sensations.

Image as a reflection of reality

The artistic image in literature and art can be very sensual and rational, very subjective and personal or factual. But in any case, it is a reflection of real life (even in fantastic works), since it is common for the creator and the viewer to think in images and perceive the world as a chain of images.

Any artist is a creator. He not only reflects reality and tries to answer existential questions, but also creates new meanings that are important for him and for the time in which he lives. Therefore, the artistic image in literature and art is very capacious and reflects not only the problems of the objective world, but also the subjective experiences and thoughts of the author who created it.

Art and literature, as a reflection of the objective world, grow and develop along with it. Times and eras change, new directions and trends emerge. End-to-end artistic images pass through time, transforming and changing, but at the same time new ones arise in response to the demands of the time, historical changes and personal changes, because art and literature are, first of all, a reflection of reality through a constantly changing and time-commensurate system of images.