ShowForum art artistic creativity. Artistic creativity and mental and health

Die Kunst.

In der Kunst Widerspiegelt Sich Die Welt. Sie Hilft Dem Menschen Sein Schöpferisches Können Zeigen. Die Kunst Bereichert und Formt Den Menschen, Erzieht Die Besten Eigenschaften An, Appelliert An Menschliche Gefühle, Länsst Ihn Miterleben, Mitdenken.

Es Gibt Verschieedene Kunstarten: Kino, Theater, Malerei, Skulptur, Literatur, Architektur, Tanz und Musik. Die Kunst Nimmt Im Leben Der Menschen Einen Wichtigen Platz. Dank Ihr Wird Das Leben Schöner. Durch Die Kunst Lernen Die Menschen Die Natur Und Die Anderen Menschen Bessen Kennen und Verstehen Ihre Gedanken.

Viele Menschen Interessieren Sich Für Kunst. Ich Bin Auch Keine Ausnahme. Malerei Bereitet Mir Besonderes Vergnügen. Mir Gefallen Solche Maler Wie Schischkin, Aiwasowski, Serow.

Die Bilder Von Schischkin "Der Roggen", "Waldische Weite" Nageln Die Schönheit Des Russischen Waldes Fest. Diese Bilder, Wie Sein Ganzes Schaffen, Sind der Bestätigung Der Größe Und Der Anmut Der Russischen Natur Gewidmet.

Bei Aiwasski IST Das Bild "Das Schwarze Meer" Bekannt. DAS IST SEIN BESTES BILD IN 70-80 JAHREN. Das Meer War Sein LieblingSthema. Er Stellte Das Meer in Seinen Verschiedenen Zuständen, in Verschiedener Beleuchtung Dar.

SEROW SCHUFF SEIN ERSTES MEISTERWERK "DAS MÄDCHEN MIT PFIRSICHEN", ALS ER 22 JAHRE ALT WAR. Dieses Mädchen Hat Am Bild Einen Ernten, Fast Erwachsenen Augenblick. IN DIESEM AUGENBLICK ERRENEN SICH HOHE ITEALE. Er War Ein Berühmter Porträtmaler. Außer Porträte Arbeitete Er Auch An Den Landschaften, in Denen Manchmal Die Bauern DargeSellt Wurden.

Art

Art reflects the world. It helps a person show his creative skill. Art enriches and forms a person, brings up the best qualities, appeals to human feelings, allows you to worry, think.

There are various types of art: cinema, theater, painting, sculpture, literature, architecture, dancing and music. Art takes an important place in a person's life. Thanks to him, life becomes more beautiful. Through art, people learn to better recognize nature and other people, as well as understand their thoughts.

Many people are interested in art. And I am also no exception. Painting gives me a special pleasure. I like artists like Shishkin, Aivazovsky, Serov.

Pictures of Shishkin "Rye", "Forest Dali" emphasize the beauty of the Russian forest. These paintings, like all his work, are devoted to the confirmation of the grandeur and the grace of Russian nature.

Aivazovsky has a fairly well-known picture "Black Sea". This is his best picture in the 70s and 190s. The sea was his favorite theme. He portrayed the sea in its various states, various lighting.

Serov created his first masterpiece "Girl with Peaches" when he was 22 years old. This girl has a serious painting, almost adult look. In this glance, high ideals are guessed. He was a famous portrait. In addition to portraits, he also worked on landscapes, in which the peasants were sometimes depicted.

"On the photo"

Susan Sontag

Ethics and aesthetics in one bottle.

"The limitations of the photographic knowledge of the world is such that it can disaster conscience, but in the end will never be ethical or political knowledge. Knowledge, hoped from fixed photos, will always be a kind of sentimentalism, everything is equal to cynical or humanistic. It will be knowledge at discounted prices - the likeness of knowledge, the semblance of wisdom, as well as the act of shooting there is a similarity of assignment, like rape. The very not dream of what is hypothetically understandable from photographs, and is their attractiveness and seductiveness. The omnipresence of photographs has an unpredictable effect on our aesthetic feeling. Duplicate our already cluttered world by its images, the photo allows us to believe that the world is more accessible than in fact. "

"UTC" and other stories from the world of art "

Bruce Chatvin

About porcelain cups and those who devote them to life.

"Utz for hours disappeared in Dresden museums, looking at the figures of the characters of the comedy del Arte from the royal collections. Locked in glass sarcophagas, they seemed to call him into their secret Liliputian world and were prayed for release. His second article was called "Private Collector":

"The thing exhibited in the museum showcase - he wrote, - should feel like an animal in the zoo. By becoming a museum exhibit, the thing dies - from the suffocation and the impossibility of privacy. Meanwhile, as the owner of the home collection can, but rather, it cannot but touch it. Just as a child is touching the subject to give him a name, a passionate collector, whose eye and hand is always in harmony, again and again give things to the life Footing touch of her creator. The main enemy of the collector is the keeper of the museum. Ideally, at least once in fifty years, empty all the museums so that their collections again turned out in private hands ... "- as you can explain, - once asked the mother of the family doctor, - manic wiping Caspar porcelain? PERVERSION, - he answered, - the same as everyone else. "

"Notepad Bento"

John Berger

Philosophy of art first person.

"The bodies of dancers devoted to their art are inherent dualism. And it is noticeable in everything that they would not do. They manage a kind of uncertainty principle; Only instead of moving from the state of the particle into the state of the wave, their body alternates becomes a donant, then for nothing.

They have comprehended their body before deeply, which can be inside it, and can ahead and behind it - alternately, switching to each a few seconds, then every few minutes.

Dualism inherent in each body - and there is something that allows them during the performances to merge. They lean over each other raise, wear, roll out, separated, join, support each other, and at the same time two or three bodies form a single religion, similar to the living cell - Rinter of molecules and carriers of information, not the forest where animals dwell "

"Movie"

Accommodation Delose

Classification of images and movie signs.

"Cinema does not converge with other types of art, the purpose of which is rather used to be unreal in the world, but does an unreal or narration from the world: with the invention of cinema no longer an image becomes the world, but the world is in a way. It can be noted that the phenomenology is stuck in some respects on the dock-seeming stage, which explains its clumsy position: the phenomenology puts the natural perceptation into a privileged position, which is why the movement correlates also with the pose (no longer significant, and simply existential). And, consequently, the cinematic movement is immediately influenced as not observing the faithfulness of the perception conditions and, besides, it is exalted as a new type of narrative capable of "bringing closer" perceived and perceived, peace and perception. At least, such an impression on us made a complex theory in the phenomenological spirit of Albert Laffe. "

"Tintin and Mystery of Literature"

Tom McCarthy

Reasoning about literary fiction, which is very easy to read.

"Open the first ancient novel: the narrative as such, it is prepixed an extremely unreliable statement," clarifying ", from which the author learned about the events that you have to read about. The founders of the modern novel worked in the XVII century, when the science began to demand that only proven facts described, and the theology still told that to lie sinters. Under these conditions, Prosaiki resorted to all sorts of tricks so that their "fruits of imagination" and "romantic fantasies" did not contradict the immutable principles of honesty and actual accuracy. So, Daniel Defo assured that the truth is better to express, "the inspiring of her graveyard, under a mask of any symbol or allegory"; John Banyan argued that she sets out the information "received from individuals whose involvement in these events I am completely sure", and Afra Ben cheekily exclaimed in one of his fantastic "truthful stories": "I'm not going to invent you in fiction or some kind of a bike, compressed from romantic concrete circumstances; All circumstances, with an accuracy of iota, is pure truth. I was self-eyed an eyewitness of almost all major events; And what I did not see, confirmed me the heroes of this intriguing story, the spiritual faces from the Order of St. Francis. "

Camera Tintina, Afrai Ben monks - all this literary techniques designed to create a delicacy flaple around the fiction. Afr Ben, like Tintin, even becomes a character and turns out to be in the center of events that the world is going to tell. This unity in two faces splits reality to different levels. "

"Architecture as recreation"

Sam Jacob

As urban space reflects and creates history.

"In his free, unlimited rewriting of the past, architecture uses history as a springboard to the future. She infinitely recreates herself, consciously laying his own past in his future, re-entering the myth inherent in her in the fabric of the coming. At the same time, the architecture suggests its own new proposals by introducing them in the same borders in which existing languages, materials and typology are located. Recognizing recreation of the repetition of what is already there is helping to soften the shock from novelty, while itself declares itself an inevitable product of historical circumstances. Thus, the architecture of mythologizes his own creation, providing himself with historical arguments and offering the world of the future, and all this - within its essence.

Enterprise architecture to self-reproduction is something more than a joke, understandable only dedicated. In contrast, for example, from participants in historical reconstructions, she never collects things and does not go home, because herself is home (or other space where we could be). Architectural recreation is completely serious and absolutely real. "

"Action is a form"

Keller Easterling

About how Gutenberg became a key figure in the architecture.

"To understand the meaning of the statement" Architecture and there is information ", that is, to make water tangible, the work of thought is needed, similar to the study of the principles of work, but implying overcoming associations related to the word" information ". Information, especially in digital culture, this text or code is that it appears on the screen and is recognized using one of the many languages. The wider such devices are spread, the harder it is to find spatial technologies or networks that do not depend on the digital world. The world becomes the "Internet of Things", where smart buildings, smart machines interact with countless mobile phones and digital devices. Almost every branch of knowledge in the 20th century turned out to be a subordinate computer science, because it was sought to rely on information systems that allow computing and measurements to produce more or less reliable forecasts.

The architecture and architecture can also be seen in the works of Cedric price and Christopher Alexandera. Such a guru of the late 20th century, like Kevin Kelly, on the wave of economic success of the digital industry offered us to imagine cars like "chips with wheels", aircraft - like "flying chips with wings", buildings - like housing chips and large sheep chips and cows. Naturally, they will all be material, but every gram of their real essence will be simply stuffed with knowledge and information. "

"Mushrooms, mutants and others: architecture Era Luzhkov"

Dasha Paramonova

About how the architecture reflects the era.

"Some and, perhaps, the most radical direction of the transformation of an industrial approach in the post-Soviet Russia is becoming the use of this practical method in the construction of religious structures. To serve the spiritual life of citizens, Moscow should be covered by a uniform grid of churches. According to calculations, it is necessary to build a minimum of 200 new temples, but the overall deficit of cult buildings is estimated by representatives of the ROC in 600 objects. Projects developed by Mosproject-2 and Mosproekt-3 can be erected for a period of 1 to 6 months. Two types of temple are offered - single-oiled and five-popular, as well as various variations of the adhesives and finishes. "Therefore, by changing the domes, completions and color solutions, a large number of options may appear," says Alexander Kuzmin. Such a utilitarian approach to construction suggests that religion in the life of Russian is the same natural thing as a garage or cottage, and the church in the district is as needed as a thermal point or a playground. The cooperation of the state and the church begins at the end of the 1980s with recognition of the right to freedom of conscience, and in 2012 this Union initiates a scandalous court case against artistic activists who have "Virgin Mary, Putin Rounty." Religion and power are now not just an allied, but partners. According to representatives of the ROC, construction of typical temples should not only restore historical justice, but also to make society more homogeneous, broadcast the image of the right citizen who needs a walking distance to the Orthodox church. "

"The work of art in the era of its technical reproducibility"

Walter Benjamin

Art with aura and without her.

"The uniqueness of the work of art is identical to his fallency in the continuity of the tradition. At the same time, this tradition itself - the phenomenon is quite lively and extremely mobile. For example, an antique statue of Venus existed for the Greeks for which it was a matter of worship, in another traditional context than for medieval clerics, which were seen in it a terrible idol. That was equally significant for those and for others, so this is its uniqueness, in other words: her aura. The initial way to place the work of art in the traditional context found an expression in a cult; The oldest works of art originated, as it is known to serve the ritual, first the magical, and then religious. The circumstance is the decisive value that this arrow causing an existence of the work of art is never fully exempt from the ritual function of the work. In other words: the unique value of the "genuine" work of art is based on the ritual in which it found its initial and first application. This base can be repeatedly mediated, however, in the most stray forms of serving beauty, it breaks as a secularized ritual. The professional cult of ministry, which arose in the era of the Renaissance and existed for three centuries, clearly discovered, having experienced the first serious shocks after this period, their ritual foundations. Namely, when, with the advent of the first truly revolutionary reproductive agent, the photographs (simultaneously with the occurrence of socialism) art begins to feel the approach of the crisis, which century later becomes completely obvious, it will make the doctrine of L "ART Pour L" ART as a response. Theology of art. "

"Imprinted time"

Andrei Tarkovsky

Poetic essay about time, music and art as a whole.

"Time is the condition for the existence of our" I ". Our nutritional atmosphere, which is destroyed as an unnecessary personality gap with the conditions of its existence. When death comes. And the death of individual time too - as a result of which the life of a human being becomes inaccessible for the feelings of survivors. Dead for others.

Time is necessary to man so that, embodying, he could act as a person. But I do not mean a linear time, meaning the opportunity to do something to do something, make some kind of act. The act is the result, and I am talking about the reason for a fertilizing person in a moral sense.

History is not yet time. And evolution too. This sequence. Time is a condition. The flame in which Salamander of the Human Soul lives. "

"Notes on the" Rose name "fields"

Umberto Eco

Fascinating backstage about postmodern games.

"Postmodernism is a response to modernism: since the past it is impossible to destroy, because its destruction leads to a gentle, it needs to be rethought, ironically, without naught. The postmodern position reminds me of a person in love with a very educated woman. He understands that he can't tell her "I love you insanely," because he understands that she understands (and she understands what he understands) that such phrases are the prerogative of Lial. However, there is a way out. He must say: "According to Lila's expression - I love you insanely." At the same time, he avoids delusted simplicity and directly shows it that it does not have the opportunity to speak simple; Nevertheless, he brings to her attention what was going to bring, - that is, that he loves her, but that his love lives in the era of lost simplicity. If a woman is ready to play the same game, she will understand that the explanation in love remains an explanation in love. None of the interlocutors are not given simplicity, both withstand the onslaught of the past, the onslaught of all over the said, from which you can not get anywhere, both deliberately and willingly enter the game of irony ... and yet they managed to talk about love again. "

"Cinema between hell and paradise"

Alexander Mitta

Tutorial for teapots on how to remove a brilliant film.

"Suspantly is something like an exam, which is withstanding the design elements of the structure in front of the audience. If the dramatic situation is good, it gives rise to Suspantly. If the dramatic peripetia is developed correctly - you will get everything you wanted, plus Suspantly in development. If the event has opened the conflict correctly, Suspantly will grow together with the threat of the hero and unexpected turns of the action.

The director who introduced the term "Suspantly" into the use of the term, - Alfred Hitchcock. He called Suspantly "The most intensive idea of \u200b\u200bthe dramatic situation, which is only possible." Hichkok said that when he started shooting films, being an unknown director, he thought: "How would make all the stars want to take in my films? It is necessary to seduce their history in which there is something mysterious and restless, it is necessary to awaken in them feelings. " This is the story to Suspins.

Hitchcock somehow told the French director Truffo:

When I compose stories, I'm most worried about not the characters, but stairs that creak.

What it is? - asked Truffo.

Stairs who creak and can hit under the hero. I call it "Suspantly".

"Garden, Fourier, Loiola"

Rolan Bart

Literary game in beads.

"When moving from the garden to Fourier, sadism falls, when moving from Loiol to the garden - communication with God. Otherwise, the same letter: the same classification creature, one and the same uncontrolled desire to paint (the body of Christ, the body of the victim, the human soul), one and one obsession with numbers (to calculate sins, torture, passion and even mistakes in The score), the same image practice (the practice of imitation, paintings, session), the same outlines of the system - social, erotic, fuamatic. None of these three authors gives the reader freely sigh; All are pleasure, happiness and communication depending on some inflexible order or, for the sake of even greater aggressiveness, from some combinatorics. So, here they are combined all three: the damned writer, the Great Utopist and the Holy Jesuit. "

"Francois's Creativity and People's Culture of the Middle Ages and Renaissance"

Mikhail Bakhtin

As a folk culture becomes part of large literature.

"All richest folk culture Laugh in the Middle Ages lived and developed outside the official sphere of high ideology and literature. But it precisely because of this an unofficial its existence, the culture of laughter was distinguished by exclusive radicalism, freedom and merciless sobriety. Middle Ages, without allowing laughter to any of the official areas of life and ideology, provided him with exceptional privileges on liberty and impunity outside these areas: on the square, during the holidays, in recreational festive literature. And medieval laughs managed to widely and deeply use these privileges.

And here in the era of the revival of laughter in his most radical, universal, so to speak, and at the same time, in its most fun uniform, only once in history on some fifty-sixty years (in different countries in different times) broke out of Folk depths along with people ("vulgar") languages \u200b\u200binto greater literature and high ideology to play a significant role in creating such works of world literature, like Decameron Bokcchcho, Roman Rabl, Roman Servantes, Drama and Shakespeare Comedy and others. "

"Notes and extracts"

Mikhail Gasparov

Very witty reasoning about literature, philology and criticism.

"Once I happened to say:" Not because Lermontov we like that he is great, but on the contrary, we call it great because we like it. " It seemed to me that this is a banality, but V.V. Skeinova for some reason, it was very indignant. I still think that our "Like - Dislike" is an insufficient basis to declare a writer great or small. I would prefer to believe that the writer is good that I don't like who goes beyond my taste: After all, I do not have the right to consider my taste is good only because it is mine. It would be even better, instead of its egocentric point of view, to reconstruct someone else's, knowingly worthy of respect: what would say about such a modern poet Mandelstam? Pushkin? Ovid? Such hypothetical judgments probably would be more interesting; But usually they are not thinking about it, it is probably the presentiment: they would not say anything good. "

"Art and visual perception"

Rudolph Arnheim

Psychological Painting Painting.

"... the light is represented by an independent phenomenon or quality, inherent in the subjects themselves, and not by the impact transmitted from one subject to another," day "is a bright thing about which often think about the accumulation of white clouds that come from outside and move along Heavenly draft. In the same way, the brightness of objects on Earth is perceived mainly as the property of them themselves, and not as a result of reflection. Without taking into account the special conditions, which will be mentioned below, the illumination of the house, tree, or the books lying on the table are not perceived by us as some kind of a distant source. In the best case, daylight or light of the electric lamp lights things like a match hends firewood. These things are less bright than the sun or the sky, but in principle they do not differ from them. They are just less bright shining.

Accordingly, the darkness is perceived either as a fading of brightness inherent in the subject, or as the effect that turns out when they try to hide light items in the shade of dark. Night is not a negative result of light removal, but

the positive appearance of the dark bedspread that replaces or covers the day. The night, as it seems to children, consists of black clouds, which move so close to each other, that white can not break through them through them. Some artists, such as Rembrandt or Goya, at least in some of their paintings, portrayed the world as a dark space, places highlighted by light. It turned out that they were confirmed by the art of the discovery made by physicists. "

"Selected Works Leonardo da Vinci"

Leonardo da Vinci

As the person thought, who became a symbol of his time.

"The painful mind should be similar to the mirror, which always turns into the color of that object that it has as an object, and is filled with so many images as there are objects, it is opposed to it. So, knowing that you can't be a good painter, if you are not a universal master in imitating your art to all the qualities of the forms produced by nature, and that you do not understand them, if you have not seen them and did not draw them in the soul, you, you Stone around the fields, go so that your judgment appealed to various objects, and consistently consider one item first, then another, making up a collection from various things, selected and selected from less good. And do not do the same as some painters who tired by their imagination, leave work and walk on foot for exercise, while keeping fatigue in the soul; They not only do not want to pay attention to various items, but often, when meeting with friends or relatives, they are welcomed by them, they do not see them and do not hear, and they take them no other than those who are offended. "

"Folklore in the Old Testament"

James George Fraser

From what and how the most famous book in the world was going.

"Russian Cheremsa, (modern name - Marie) people of Finnish origin, tell the history of the creation of the world, reminiscent of some episodes from the legends of the Toraja tribe and the Indian natives. God climbed the body of a man from clay and rose to himself on the sky to bring a soul from there to revive a person, leaving the dog in his place to watch the body in his absence. Meanwhile, the devil came and, scoring the cold wind to the dog, prevented her fur clothing to weaken her vigilance. Then the evil spirit turned the clay body and so riddled him that when God returned back, he came to full despair and, without hoping to ever remove all the dirt from the body, fastening the heart decided to turn the body inside out. For some reason, a person has such a dirty inside. And on the same day, God cursed the dog for her criminal violation of his debt. "

"Morphology of the magic fairy tale"

Vladimir Pripp.

"We undertake an arrest comparison of these (magical) fairy tales. For comparison, we highlight composite parts of the magical fairy tales for special techniques and then compare fairy tales by their components. The result is morphology, i.e. Description of the fairy tale on components and the attitude of parts to each other and to the whole. What methods can accurately describe a fairy tale be achieved? Compare the following cases:

1. The sir gives a remoteness of the eagle. Eagle takes a deal of other kingdom.

2.Dad gives a horse horse. Horse carries Suchenko to another kingdom.

3. Koldun gives Ivan the boat. The boat takes Ivan to another kingdom.

4. Sold gives Ivan Ring. Well done from the rings carry Ivan to another kingdom; etc.

In the cases, there are permanent and variable values. Names change (and with them and attributes) acting persons, their actions, or functions do not change. Hence the conclusion that the fairy tale often attributes the same actions to various characters. This gives us the opportunity to learn a fairy tale on the functions of the acting persons. "

"Photograph how ..."

Alexander Lapin

Fundamental work on the composition in the photo.

"Of course, the overwhelming majority of photographers use the viewfinder frame as a sight to bring the camera to the fact that they are interested. At the same time, neither the background nor the surrounding details are taken into account. IN english language The word shoot has two meanings: shoot and remove. The present work with the camera is completely different, it is the construction of the frame, the organization of it. The photographer seeks to ensure that nothing superfluous falls in the frame.

He deliberately chooses the details of the future picture, seeks meaning in their combination and position, complains of them, seeking expressiveness, seeking to fill the frame of quite definite content. Composition and expressiveness The artist also finds in the reality itself, but the photographer is harder, he cannot synthesize his picture from individual observations and must find it a job. So the photographer thinks thinking, creative, understanding, photography is a certain statement, the meaning of which should be "read" by the viewer. Each statement, the message must be decorated, organized. For example, a set of arbitrary words without grammar and punctuation rules will not contain practically no information. The same applies to the statement of visual - photos. Therefore, the main thing in it must be allocated (accents, exclamation marks), its parts must be associated (syntax), it, the statement, has the beginning and the end, meaningful detail is similar to the appropriate offer and so on. "

Art is an intellectual-aesthetic form of knowledge of social reality: In the artistic work, the truth (author's truth) and beauty are usually combined. In view of the participation in the artistic work of the author's intellect, stimulated by his intuitive sensations, art may even discover the development of reality.

Consider the main stages of the knowledge of the essence of art.

Aristotle, silence of the contours of the theory of mimezis - imitation, revealed the main trait of art - knowledge of life in images. The medieval theologies were assessed by art as a method for the admission of a person to the "divine" with the help of earthly forms. The aesthetic thought of the Renaissance era did the focus on the introductory essence of the art as a "mirror" of life (Leonardo da Vinci). We see the convergence of science and artistic creativity. Later (Didro, 18th century) Art was considered as a form of cognition of truth in the living paintings of reality. The German classical philosophy was looking for sources of artistic creativity in the "Kingdom of Spirit" (Kant - "appropriate activity without a goal", Schiller- "Game", Hegel - "Manifestation of the Spirit" ..., "Direct contemplation of truth" ...). Chernyshevsky materialist understood art as a form of knowledge of life. He argued that the subject of art "Everything is interesting for a person in life." Marx believed that the holistic and comprehensive nature of the artistic consciousness contributes to the individual in the awareness of his "generic entity" than the boundaries of the immediate experience of individuals, forming a holistic human personality.

So, the main social function of art is the "artistic development of the world", which contributes to the creation of reality "according to the laws of beauty" (for example, a presence in the twentieth century of design combining aesthetics and pragmatics). The social function of art is also promoting the formation and self-deformation of the personality "according to the laws of beauty."

In the Middle Ages, seven free arts accounted for trivium - grammar, logic and rhetoric, and quadryvium - arithmetic, music, geometry and astronomy. Among the Western-terrain species of spectacular art, painting and sculpura were dominated for many centuries.

How is art now classified? Aspects of artistic creativity are literature, cinema, theater, dance (choreography), music, painting, sculpture, architecture. The criterion of dismemberment is the mechanism of perception: visual, visual-hearing, auditory forms and genres of art. Often as a criterion is considered language as the main communication means (semiotics distinguishes the languages \u200b\u200bverbal, written, images, gestures, machine ...).

Artistic search, in view of the fact that art expresses human life, complete contradictions is carried out in the continuum of opposition: the truth is a delusion, beautiful - ugly, good - evil. In general, this semantic (value) university (steel) is superimposed by people on the objective world and is a culture field. The components of this field science, morality, art. Science is more oriented on the search for truth, ethics - on good, art is on the beautiful. Of all these types of creativity, art expresses life most holistic - it forms in the inner world of a person's lifestyle, orienting human behavior and activities to achieve goals within valuables and the norms adopted in the society of culture. Therefore, in order to understand the essence of artistic creativity, it is necessary to analyze the concepts of truth, beauty and good, taken together with their shadows: errorship, ugly and evil.

It is known that the truth is the result of an adequate reflection of the reality of a learning subject. Adequate reflection (expression) means creation, in our case by the artist, a new image in the context of reality itself, i.e. In all his connections. However, such an understanding of truth is inherent primarily by the scientific community requiring the objectivity of the research result, i.e. His independence from consciousness. But artistic products always carries the author's sense of life, therefore, the truth in the art "... There is the same thing that ... sensuality. "41 True, this definition has the assumption that feelings cannot be false. Need some correction: for example, artists recognize that any role requires sensual filling with elements of awareness. The latter is necessary for the modern interpretation of the role designated, for example, in Shakespeare's plays. Interpretation takes place on the tracing of modern life as it seems to the actor and director, which requires active awareness and social reality.

In view of the fact that in artistic work the author is as if colorful prisms, refracting the contradictions of the human existence in modern worldThe determination of the truth of the result of the artistic search is best to hold "by Aristotle". He argued that the truth is the conformity of the thought of the subject, and the misconception is the inconsistency of them. There is a legend that the artist is a Picasso Cubist, who was attacked by hooligans, at the request of the police painted their portraits. Nutro in the zoo were identified and arrested donkey, two zebras and snake. It is clear that the artist expressed his ideas about the attackers and, perhaps, drawn images corresponded to the feelings arising, but are they true? What then truth in art? Apparently, we must agree that the truth in art comes down to the truth of the feelings of the artist. Here we enter into the spontaneous soil of relative and therefore the ghost standards of aesthetic estimates, the natural conclusion of all of our reflections is that the space of the truth of the artistic work is expanding and will expand from now on, in incredible - postmodernism claims that more and more people, i.e. "Aesthetic prisms" is included in the processes of artistic creativity.

The next component of artistic creativity is the opposition "Beautiful - ugly". Is there a wonderful and ugly in reality or all this exists only in our imagination? Eternal question! The history of thought says the following. Plato distinguished what is beautiful and what is beautiful, i.e. distinguished the essence and its manifestation. He seen the essence in the divine idea, from which the existence of all beautiful phenomena depends. Otherwise, "seeing the local beauty, he (man) recalls the beauty of the true". The surveyor refutes the "idea of \u200b\u200bbeauty" by considering beauty as an objective property of reality, as a manifestation of its patterns "The most important forms of beautiful, this order (in space), proportionality and certainty ... ".42 Then say that beauty is a pleasure considered as the quality of things. Later, excellent is explained as a sensually contemplated image of the universal implementation of human freedom. I think, a very accurate approach of Marx: "Our needs and pleasures are generated by society; Therefore, we attach to them a public measure, and we do not measure their items that are serviced for their satisfaction. ? " etc. A little about it. Umane by definition is opposite to the beautiful. It is something ugly, lowland, causes a feeling of protest. It is clear that ideas about ugly depend on national, historical, class and taste differences. Cicero argued that the ugly in art belongs to the sphere of funny, because the laughter is called mainly by the fact that it means or reveals that - either ugly not ugly. In the Middle Ages, the ugly was identified with evil. Later (lesing) defended the validity of the ugly in poetry as the means of exciting sensations of "funny and terrible". It turned out that the connection of the wonderful and ugly generates grotesque. In the history of art was the period of "poetization of evil" (the expression of Bodler). Sometimes ugly is considered as one of the negative moments of the beautiful. Belinsky et al. Evaluated ugly as a reflection of deformities in social Life of people. Chernyshevsky opened the connection of the sublime and ugly, when the latter ceases to be disgusting, turning into a terrible one. It seems that the twentieth century with his two world wars was expressed in art in this vein. Today's throwing of artists in space between beautiful and ugly is largely due to the anti-human social experience of the twentieth century, when violence, terror and war began to recognize as natural support of the evolution of mankind. The XXI century began the appearance of large-scale terrorism, which led to the "heroization of terrorists" in a number of works of art.

Of course, the "ugly hero" has the right to his "presentation" in contemporary art. But if it is submitted not "ugly", i.e. Highly worry, then he already creates a mature viewer and the reader is not laughter, as Cicero believed, but an alarm for the younger generation exposed to the age imitation "heroes" of the media44.

Consequently, time dictates the artist professionally, i.e.

Not only talented, but also responsible.

Let's return to the stages of any kind (scientific, socio-cultural, technical and artistic) creativity. They are located, according to a general approval, as follows: Preparation - Incubation (aging) - Illumination (revelation) - Creature (transition to a semiotic system as a social broadcast condition).

Consider this scheme consistently in relation to artistic creativity (art). The specificity of artistic creativity is that in it the activity of the unconscious prevails on the activity of the artist's consciousness. In the psychology of art, this statement sometimes acquires such a sharp form that the unconscious is declared a factor determining the entire process of the formation of an artistic image; And the intervention of the artist's consciousness in the form of an attempt to verbalize the meaning of his work leads, they say, or to the destruction of him as himself, in the process of creation, or to recognizing it after completing the creation of "pseudo-artistic". The motto of supporters of such a position - "Irrational is a permanent goal of art"! 45 However, the development of the theory of the unconscious has led to the conclusion that it is actively in the genesis of the artwork and concerns primarily decisions of the artist, which is believed to choose the forms of image expression (visual, acoustic, verbal). But this cannot be said when it comes to the functional structure of the artistic image because the image is a generalized expression of reality. And the generalization is impossible without a certain activity of consciousness. For example, the acting interpretation of the role is "this is a sensual content of role with elements of consciousness" "(from an interview with Chulpan Hamaya). Non-absolute vision is characteristic of scientific discovery, i.e. There is unity and distinction between the truth and beauty. It is known that "Everything crazy is born in the subconscious." Another Kanti noted that the unconscious is an obstetric mind.

The ugly can become beautiful in art, therefore, "the truth of nature cannot be and never be the truth of art" (O. Balzak). Life, reality enters the structure of the artistic plan or image only as one of its many components. The selection and change of life material occurs on the basis of preceding experience, thoughts, feelings, tastes and aspirations of the artist. therefore artistic image - Not so much in reality, as "life-like". There is a penetration of the hidden caches of Genesis and the soul of man, thereby achieving new individualized knowledge, even deeper than what gives us science with its support to formalizable. This is the power of the "uncountable" knowledge46.

So, the stage of "incubation" of the image (paintings, sculptures, melodies, drama, novel or sonnet) occurs mainly in the subconscious. The activity of the latter (inspiration) is implemented in the form of an intuitive feeling of aesthetically justified forms, movements, paints, sounds, words ...

Stage of insight (revelation) is the most mysterious phase of creativity. Here we have to distinguish inspiration caused by the activity of the unconscious, and the installation on the implementation of an intuitive sensation. It is here that the conditions are necessary: \u200b\u200bthe atmosphere of freedom of creativity; material, including household factors; Fiction; Fashion and incentives, ordering possible levels of social recognition (awards, contests, publication ...). These conditions are formed by the artist, much here depends on the possibilities and activities of the art community, its "Union" with the state, etc. Basically, such conditions are concentrated in infrastructure The appropriate type of art (literature, cinema, theater, music, sculptures and architecture, painting ...)

Here we need to make a kind of excursion in the history of Soviet art. Russia is now experiencing a period of transformation of socialist solutions of life into capitalist. Naturally, these changes touched upon the social foundations of artistic creativity. It is primarily about the degree of freedom of the artist. The famous Formula Freedom is completely not applicable to art. Such a "agreement" understanding of freedom, when the main way to achieve it is declared only the path of knowledge, rejected by the artist, for the restraint of his creative forces is achieved by means of not knowledge, but acts. At the same time, Social Chaos, which emerged during the years of restructuring, and under which they began to understand freedom, led to expectations for reverse results. The long-awaited freedom of spiritual creativity while only new problems of the "cohabitation of the art community" gave rise to. The orientation for the commercialization of spiritual creativity also does not give the expected results. We have to admit that over the past ten years in visual arts, cinema, music, literature, architecture and sculpture, nothing significant has appeared.

Nevertheless, we must turn to the socially determined reasons for the "rebellion" of the artistic intelligentsia during the periods of "stagnation" and "restructuring". The first state reaction of the proletarian authorities in the art was expressed at the disposal of the Sovnarkom "On Starny Monuments" (12.04.1918), based on complete trust in artists and collective will of the audience. However, the subsequent "art device" (M. Deber) led to the centralization of culture management (ie, the price). There were administrative functionaries that do not trust neither artists nor the audience. V.Makovsky wrote about them:

"Between the writer

and reader

stand mediators

in mediator

the most medium

Subsequently, this "average taste" of the official from art has become increasingly reflected in the distrust of power to the intelligentsia. S. Eisenstein argued that "when political power points out what I have to do, I become fruitless. I can not play the role of illustrator »47. Foreignation led to increased censorship. During the cult of the personality of Stalin, the pressure of the state on artists reached Apogi. Of course, the method of socialist realism, dictated by the authorities, gave rise to both artistic masterpieces, however, the total atmosphere remained depressing. This was the main factor in the transformation of most of the artistic intelligentsia in the "partisans of reality", fascinating intuitive paths to the future, notice, "for the better future", as many of them believed. The situation was aggravated by the fact that in view of the entry into the world and the country in the phase information society The art products began to acquire the nature of the digest and show, serving the demand of mass culture. This objective tendency of the decline of art was consciously used to destroy the system - the anti-socialist offensive was ideological and even agreed, synchronized. Recently frequently, the revaluation of the artists of their positions of perestroika is far from chance. Today it is possible to clearly say that the sincere search for the intelligentsia in the field of literature and art was cynically used by the post-democratic wave for looting on the ruins of the Union. The oligarchic layer arose "from nothing" began to defend his interests vigorously, capturing primarily the press, seeking to use it for gaining and political power. Once again, the artistic intelligentsia is necessary, for the sake of ensuring the material conditions of his life and creativity, to go to the "sponsors", "polentates" and other benefactors, pursuing their mercenary interests, absolutely not coinciding with the objectives of artistic creativity. A humiliating historical situation is repeated, forcing the artist to serve the "eligible heroine of the upper ten thousand". The referee lessons should not be repeated - they are talking about the non-commuting discussions about the social status of art now among artists. We give the themes of a number of discussions that have passed during the XXI International Film Festival in 1999: "Russia after the empire" and "national models of cinema in the context of the world film process." The main issues were: Soviet kinonaslety - live money or creative capital? Free market and cinema - disaster, test or panacea?

If new art is understandable not to everyone, it means that it is not universal. Art is not intended for all people at all, but only for a very few category of people who, perhaps, and not more than others, but are clearly not like others.

First of all, there is one thing that it is useful to clarify. What does most people have aesthetic pleasure? What happens in the soul of a person when the work of art, for example, theatrical production, "like" him? The answer is not in doubt: people like drama if she was able to captivate them with the image of human fate. Their hearts are worried about love, hatred, troubles and joy of heroes: viewers are involved in the events, as if they were real, took place in life. And the audience says that the play is "good" when she managed to call the illusion of vitality, the reliability of imaginary heroes. In the lyrics, he will look for human love and sadness, which, as it were, breathe the rows of the poet. In painting, spectators will attract only the canvas depicting men and women with whom he would be interested in living in a sense. The landscape will seem to him "Mile", if it is attractive enough as a place for a walk.

This means that for most people, aesthetic pleasure does not differ in principle from those experiences that accompany their daily life. The difference is only in minor, secondary details: this aesthetic experience is perhaps not so utilitarian, more rich and does not entail any burdensive consequences. But ultimately the subject, the object to which art is directed, and at the same time and other his features, for most people the same are the same as in everyday existence, people and human passions. And they will call art that the totality of funds that this contact is achieved with everything that is interesting in human ex. Such viewers will be able to admit pure artistic forms, irreality, fantasy only to the extent that these forms do not violate their usual perception of human images and fate. As soon as these acts of aesthetic elements begin to prevail and the public will not recognize the Huang and Mary's habitual story for her, she is confused and does not know how to be further with a play, a book or picture. And this is understandable: they are unknown a different attitude to subjects than practical, that is, that that forces us to experience and actively interfere with the world of objects. The work of art that does not encourage such interference leaves them indifferent.

This item needs a complete clarity. Let's just say that we rejoice out or to compare the human destiny, about which the work of art tells us, there is something different from truly artistic pleasure. Moreover, in the work of art, this concern about the human actually is fundamentally incompatible with strictly aesthetic pleasure.

This is essentially about the optical problem. To see the item, you need to adapt our visual apparatus to a known manner. If the visual setting is inadequate to the subject, we will not see it or see it vague. Let the reader imagine that at the moment we look into the garden through the window glass. Our eyes should adapt in such a way that the visual beam passed through the glass, without lingering on it, and stopped on the colors and leaves. Since our subject is the garden and the visual ray as directed to him, we will not see the glass, passing through it. The cleaner glass, the less it is noticeable. But by doing effort, we will be able to distract from the garden and translate the glasses. The garden will disappear from the field of view, and the only thing that remains from it is blurry colored spots that seem to be applied on the glass. Therefore, to see the garden and see window glass - these are two incompatible operations: they exclude each other and require various visual accommodation.

Accordingly, the one who in the work of art is looking for experiences for the fate of Juan and Mary or Tristan and isold and adapts his spiritual perception precisely to this, will not see the artistic work as such. Trystan's grief is Mount only Tristan and, it became possible to worry only to the extent that we take it for reality. But the thing is that artistic creation is only as to the extent that he is not real. Only under one condition, we can enjoy a tyitian portrait of Karl V, depicted on horseback: We should not look at Karlivkak on a valid, living personality - instead we must see only a portrait, an irreal image, fiction. The man shown in the portrait, and the portrait itself - things are completely different: or we are interested in one or others. In the first case, we "live together" with Karlov; In the second "contemplate" artwork as such.

However, most people cannot adapt their vision so that having a garden before their eyes to see the glass, that is, the transparency, which is the work of art: Instead, people pass by - or through - without lingering, preferring with all the passion to grasp human reality which trembles in the work. If they are offered to leave their prey and pay attention to the work of art, they will say that they do not see anything there, because they do not really see so familiar human material to them - after all, there are pure artistic, pure potency in front of them.

Throughout the XIXVEK, artists worked too unclean. They reduced to a minimum of strictly aesthetic elements and sought almost entirely to base their works on the image of human existence. Here it should be noted that mainly the art of the last century was, one way or another, realistic. Realist were Beethoven and Wagner. Shatubin - the same realist as Zola. Romanticism and naturalism, if you look at them from the height of today, come closer to each other, revealing common realistic roots.

Creations of this kind are only partly are works of art, artistic subjects. To enjoy them, it is not necessary to be sensitive to non-obvious and transparent, which implies artistic susceptibility. It is enough to have ordinary human susceptibility and allow the alarms and the joys of the neighbor to find a response in your soul. From here it is clear why the art of the XIXVEK was so popular: it was supplied to the mass diluted in the proportion, in which it became no longer an art, but part of life. Recall that at all times, when there were two different types of art, one for a minority, another for the majority, the latter has always been realistic.

We will not argue now whether pure art is possible. It is very likely that no; But the course of thought that will lead us to such a denial will be quite long and difficult ... Even if pure art is impossible, there is no doubt that a natural trend towards its cleansing is possible. This trend will lead to progressive displacement of the elements of "human, too human", which prevailed in romantic and naturalistic artistic products. And during this process, this moment occurs when the "human" content of the work will become so scarce, which will be done almost inconspicuous. Then we will be the subject that can perceive only those who have a special gift of artistic susceptibility. It will be art for artists, and not for the masses; It will be the art of a caste, not a demos.

That is why new art shares the public into two classes - those who understand, and those who do not understand him, that is, artists and those who are not artists. New art is pure artistic art.

H. Ortega-I-Gasset.Degumanization of art

// x. Ortega-and-Gasset. Aesthetics. Philosophy of culture.

There Many Arts In The World, But The Most Popular Are: Literature, Music, Theater, Cinema and Others. Every Person Has His Or Her Own Favorite Art.

Music Has Always Fascinated People. IT Touches Their Hearts and Makes Them Laugh or Cry. Music Can Be Heard Everywhere. NowAdays There Are A Lot of Musical Genres: Classical Music, Rock Music, Pop Music, Club Music and Others. I CAN LISTEN TO ANY GENRE OF MUSIC. IT Depends on My Mood. WHEN I AM SAD I LISTEN TO CLASSICAL MUSIC. When Listening to Energetic, Fast Music and Hard Beat. HOWEVER, Some People Listen to One Kind of Music Only and The Listen to It No Matter What Mood The Are in.

There Are A Lot Of Wonderful Works of Literature-Famous Writes and Poets Created A Big Variety of PoEms, Stories and Novels That Are read over the world. RUSSIAN POETS AND WRITERS LIKE PUSHKIN, TOLSTOY AND DOSTOEVSKY ARE FAMOUS ALL OVER THE WORLD. Their Works Are Translated Into Many Languages.

Theater Is A Popular Kind of Arts, Too. There Are A Lot of theatres in Russia, But Most of Them Are Situated in Moscow. The Bolshoi Theater And The Maly Theater Are WORLD FAMOUS. If You Like Opera You Should Go To the Bolshoi Theater. The Tickets Are Rather Expensive Though. The Maly Theater Stages Dramas and Plays Based on Classical Novels.

I am a theatre-goer. I Prefer Going to Drama Theatres. I do not like Opera and Ballet. Not Long Ago I Saw Uncle "S Dream by Dostoevsky In The Vakhtangov Theater I Liked The Play A Lot. The Decorations Were Rich and The Famous Actors Played Very Well. There Was A Storm of Applause After The Performance.

Nowadays Theatres Are Becoming Less and Less Popular, and Cinema Has Got Big Popularity Instead. There Are A Lot of Cinemas in Moscow: Modern and Old-Fashioned, Cheap and Expensive. Modern Films Are Full of Audio and Computer Special Effects and People Go to the Cinema to Enjoye Them. The So-Called Home Cinemas Have Appeared Lately. More and More People Buy Modern TV-Sets with Large Flat Screens and Special Sound Equipment and Watch Films at Home.

My Favorite Art Is Painting. I Enjoy Going to Art Galleries to Look At Paintings. I THINK THAT THIS TYPE OF ART WILL EXIST FOREVER. Artists Express Their Feelings and Emotions in their Paintings. There Are A Lot of Art Galleries in Moscow, But The Most Famous One Is Me Tretyakov Gallery. IT HAS Large Collections of Paintings by Russian and Foreign Painters. My Favorite Painting Is Landscape. I Think That Russian Landscapists Are The Best in the World. I Love Going To This Gallery When I Have Free Time. One of My Friends Draws Very Well She Is Going to Enter The University of Arts to Become A Professional ARTIST. But i Think That Amateurs Are The Best Artists.

Unfortunately I Do Not Have Any Talent for This or That Art. I Used to Sing In Childhood, But That I Gave it Up. I Think That Arts Are Not for Me.