What is the magical power of art? What role does it play in a person's life? Is it true that art reflects the soul of a people? The writer V.Konetsky, the author of the proposed text for analysis, is trying to answer these and other questions. For example, reflecting on the originality of Russian painting, he draws attention to the work of such artists as Savrasov, Levitan, Serov, Korovin, Kustodiev. “These names hide not only the eternal joy of life in art. It is Russian joy that is hidden, with all its tenderness, modesty and depth. And how simple the Russian song is, so simple is the painting,” the author notes. He emphasizes that the work of these artists reflects the attitude of our people, their ability to enjoy the beauty native nature, the ability to appreciate its simplicity and unpretentiousness, to find harmony where others do not feel it.
Art for a person is also a kind of lifeline, because it is not only a means of self-expression, but also the power that connects us with history and culture home country, does not allow to forget its expanses, over and over again reminds everyone how beautiful Russia is. V. Konetsky considers this property of genuine art to be very important, because it helps people to realize their involvement in their history, their people, their Fatherland: “In our age, artists should all the more not forget about one simple function of art - to awaken and illuminate in a fellow tribesman a sense of homeland ."
Works of painting, literature, music also have a very important role that cannot be ignored. Summing up, the writer expresses confidence: “Art is art when it evokes in a person a feeling of happiness, albeit fleeting.”
I agree with the author's point of view: real art will always find a way to touch the strings of our soul, to reach out even to the most hardened heart. It is able to lift a person who has lost hope from his knees and even save his life.
Thus, art resurrected the desire to live in the hero of Leo Tolstoy's epic novel War and Peace. Nikolai Rostov, losing to Dolokhov in cards a large amount I just didn't see a way out of the current situation. Card debt must be paid, but such huge money the young officer did not. In this situation, he had, perhaps, the only option for the development of events - suicide. From the gloomy thoughts of the hero of the novel, the voice of the sister distracted. Natasha was learning a new aria. At that moment, Nikolai, enchanted by the music, enchanted by the beauty of Natasha's voice, forgot about the problems that a minute ago seemed unsolvable to him. He listened to the singing and only worried about whether the girl would hit the top note. Her gentle voice, the charm of a magical melody brought Nikolai back to life: the hero realized that, in addition to adversity and sadness, there is beauty and happiness in the world, and it’s worth living for them. This is what real art does!
It also saved Sue, the heroine of O'Henry's story "The Last Leaf". The girl who fell ill with pneumonia completely lost hope of recovery. Watching the ivy fall outside the window, she decides that she will die when she flies off its branch. last page OK. An old artist neighbor Berman, having learned about her intentions from a friend of the heroine, decides to deceive fate. At night, during the cold autumn rain and strong wind, he creates his main picture, a real masterpiece: he draws a small leaf of ivy on the brick wall of the house opposite. In the morning, Sue sees the brave last leaf bravely fighting the storm all night. The girl also decides to pull herself together and believe in life. She recovers thanks to the power of love that the old artist put into his work, which means thanks to art. It is this that gives her the opportunity to live on, believe in herself and be happy.
Thus, art plays an essential role in our lives. It gives you the opportunity to express your feelings and thoughts, unites a variety of people, helps to live.
Effective preparation for the exam (all subjects) -
I was somehow struck by a simple thought: humanity polishes and accumulates its moral experience for thousands of years, and a person must master it in order to become at the level of culture of his time, in some 15-20. And in order to enter into a variety of communication with people, he must master this experience, or at least its basics, even earlier - at five to seven years old! No matter what variety of life and activities the family provides the child with, no matter how developed the children’s ties with people and the world around them, this world will still be narrow and this experience will be poor without correlating it with the moral experience of mankind, with all the wealth that has accumulated it is for its centuries of history. But how can you compare your personal experience with what has already been, what is and should be, what will be? For this, in my opinion, art is necessary, which equips a person with something that cannot be comprehended by a simple experience of life. It is like the Promethean fire that generations of people pass on to each other with the hope of bringing it to the heart and mind of everyone who was lucky enough to be born a man. Convey so that everyone becomes a person.
B.P. (author's initials): I don't think the role of art should be exaggerated. A person is made by circumstances, the nature of his activity, the conditions of his life. Art among these conditions also has a place, but, firstly, not the main thing, and secondly, not independent: it itself, as you know, is heterogeneous and is subordinated to the interests of different classes and strata of society. So that beautiful words about Promethean fire, I think, even figuratively do not correspond to reality. Of course, art teaches a lot, gives knowledge about the world, about man, about the relationship between people, but to remake people, to make a newborn a man, is beyond his power.
L.A .: This is our old dispute, in which a seventeen-year-old son once contributed. Usually to the question: "Why does a person need to learn to read at the age of three?" - we answered like this: already before school, the child learns a lot from books. He has access to maps and reference books, the circle of his interests expands, his fantasy, imagination develops. Reading becomes his need and satisfaction. He becomes flawlessly literate without mastering grammar. Finally, it saves time for adults: he stops pestering: "Read, read!" Yes, and for his many questions why he is looking for answers in books. And Alyosha said something that we, unfortunately, did not think of ourselves, but which is an unusually important result of early reading. Here is his thought (of course, I am not conveying literally, but I vouch for the meaning): our fiction, especially children's literature, is extremely moral in its essence. Having learned to read early and reading much more than adults would read to him, the child, imperceptibly for himself, will certainly acquire a moral standard, a role model - even before he encounters some of the shadow sides of life, before they begin to strongly influence him. different conditions, including the unfavorable ones. Then he meets these conditions, as if morally protected, having already gradually mastered the basic ideas about relations between people: about good and evil, about courage and cowardice, about stinginess and generosity, about much, much more.
B.P.: It turns out that the influence of literature can be stronger than the influence of reality? Even if they are opposite in direction? Something is unbelievable. It would then be too easy to educate people: to read fairy tales and "educational" stories from morning to evening - and everything is in order: a highly moral person is provided.
L.A.: There is no need to be ironic about these fairy tales and stories. Their influence on the formation of the personality of the child is very great.
In the library where I worked, and among our guests, in my life I met only four teenagers who did not read and did not like fairy tales. Whether it was a coincidence, I don't know, but they were all alike in their categoricalness, rationality, lack of lively curiosity and even a sense of humor. All this to varying but noticeable degrees. Two of them were very developed, but it was difficult to talk to them, difficult to get along with. It is difficult to describe the impression of them; maybe I'm exaggerating something or saying something inaccurate, but I remember very clearly: I felt sorry for everyone, because they were deprived of some kind of inner goodwill necessary to establish contacts with people. One of them made a painful impression of a strange, even sick person, although he was absolutely healthy and answered my question: "How do you study?" - condescendingly answered: "On the" five ", of course." - "Why do you read fiction?" I asked as I wrote down the selected books. He twisted his lips: "Not all. I don't like Green, for example. What a fantasy it is - all this fiction. Fiction is a scientific prediction, what will actually happen, and that Green is a beautiful lie, that's all." He looked at me with cold, ironic eyes, confident in his own rightness. I had nothing to say to him: what words could I get through to him, if Green's brightest humanity and kindness could not do this? How will this "thinker" understand people, how to live with them?
Is the dislike for fairy tales to blame here? I think yes. Why was this greatest invention of mankind created - fairy tales? Probably, first of all, in order to convey to new generations already in childhood, the most tender, most receptive age, the basic moral concepts and feelings developed by centuries of experience, to convey not in the form of naked morality, a sermon, but in a transparently clear in meaning, charming and a fairy tale, funny in form, with the help of which children are presented with knowledge about a complex and contradictory reality.
Everyone in our family loves fairy tales. We read them several times, especially favorite ones, both aloud and to ourselves, and play fairytale heroes and watch fairy tales on TV. What a pleasure it is to see how even the smallest ones empathize, sympathize with the heroes or are indignant, indignant at the machinations of their enemies - they learn to understand what's what.
We watch and read, of course, not only fairy tales. We read a lot of children's and adult books aloud, either stretching the pleasure over several evenings, or not stopping for three or four hours in a row, reading everything from beginning to end.
So, for example, we read "Spring Changelings" by V. Tendryakov, "Do not shoot at white swans" by B. Vasiliev - they could not be torn apart, absolutely impossible! Everyone usually listens, even the older ones, although the content for them may have been known for a long time.
I somehow could not stand it (it became the most curious) and asked:
- You've already read, why are you listening?
- You know, mom, when you read to yourself, it turns out so quickly that you don’t have time to imagine in detail. Everything merges, as when driving at high speed. And you read aloud slowly, and everything suddenly acquires colors and sounds, comes to life in the imagination - you have time to consider and think.
- Pedestrian something, it turns out, it's better to be? I laughed, surprised and delighted by the unexpected discovery of my son.
We don't have any "conversations about" after reading. I absolutely cannot ask questions to children for any educational and didactic purpose - I'm afraid to destroy the integrity of impressions and feelings. The only thing I dare to do is some remarks in the course of what we read, sometimes it's just hard to resist them.
B.P.: There was a time when I was skeptical about fairy tales, fiction, to films, performances - he considered them entertainment, relaxation, in general, not a very serious matter. It even happens, and now, not without annoyance, I give up some business and go - at the invitation of the guys or my mother - to watch something on TV. And then I say, "Thank you." Indeed, it is very necessary - to sit next to the kids, snuggle up to each other, if it's scary; wipe away tears with one handkerchief, if bitter; jump and laugh, hugging each other, if joyfully and well.
L.A .: This kind of empathy is one of the most reliable ways to guide children in complex world human feelings: what to rejoice, when to be indignant, whom to pity, whom to admire - after all, this is what they learn from us when we read together, watch together, listen to something together. At the same time, you check your own views and feelings - are they outdated? Haven't they rusted? So we adults need it too.
And I really need one more. I myself understood this for real when I began to read the books of Nosov, Dragunsky, Aleksin, Dubov to the children ... They are considered books for children. It was a discovery for me that these books are primarily for us parents! And for everyone who has anything to do with children. Now I can’t imagine how I would understand my guys if I didn’t know Janusz Korczak’s book When I Become Little Again, or Richie Dostyan’s story Anxiety, dedicated to people who have forgotten their childhood, or Dubov’s The Fugitive, or " Seryozha" Panova, or amazing books about the childhood of L. Tolstoy, Garin-Mikhailovsky, Aksakov? Writers seem to be trying to reach out to our adult consciousness and heart: look, listen, understand, appreciate, love Childhood! And they help us understand children, and children understand adults. That's why I read what my children read, I can put everything aside and read the book that my son reads for the third time in a row.
Now about the TV. It can become a real disaster if it replaces everything: books, classes, walks, family holidays, meetings with friends, games, conversations - in short, replaces life itself. And he can also be an assistant and friend, if used for its intended purpose: as an informant, as a way to meet interesting people, as a magician who, saving our time, gives us the best works art directly to your home. You just need to know that this wizard has one drawback: since he is obliged to satisfy millions of customers with a wide variety of tastes and needs (and there is only one screen!), He works without a break in four faces at once (that is, four programs) for everyone at once: figure out for yourself who needs what. And it remains only to determine what exactly we need. That's what programs are for. We note in advance what we would like to see: three or four programs a week, and sometimes one or two, sometimes - not a single one. And that's it. And no problem.
I think that we ourselves, adults, create problems here again, when we arrange, for example, "watching" everything in a row.
After all, this means: long sitting, an excess of impressions, overwork, and for children in the first place. And yet, in my opinion, this is not the worst option. Worse than not turning off the TV all day. Whether they watch it or not, it doesn't matter: it is turned on, and the announcer can smile and say as much as he likes - to anyone, and the artist can cry and appeal to the feelings and reason ... of an empty chair.
It always makes me sad to see a child, with a dull look, twisting the tuning knob and looking indifferently at everything that flickers on the screen. This is ridiculous, inhuman! What if it's just a box, a screen - after all, on the screen is what people did for people, trying to say, convey, convey something to them. When a child cries, experiencing the misfortune of a wooden doll, this is normal. And if a child indifferently glances at the face of a living person distorted by pain, something human is being killed in a person.
BP: Maybe it's too much - murder? The child understands that this is an artist, which in fact ...
LA: I'll have to remember one sad episode. Our good friend, by the way, is smart and seems to be kind person, decided to console the girls who were crying bitterly because Gerasim had to drown Mumu.
- Why? Why did he do it, mommy? - the three-year-old daughter whispered to me in despair, bursting into tears and being afraid to look at the screen. And suddenly a calm, smiling voice:
- Well, what are you, an eccentric, because he is not actually drowning her, these are artists. Filmed, and then pulled out. Probably somewhere alive is still running around ...
- Yes? - the girl was surprised and stared at the screen with curiosity. I just choked with indignation - there were no words, but there was a disgusting feeling that meanness had been committed in front of you, but you did not resist it. Yes, it was so, in essence, although it seems that our friend did not understand what he did so special. After all, he wished well, and besides, he said, in essence, the truth ...
And it was a lie, not the truth! A lie, because in fact Mumu was drowned, because injustice and cruelty exist in real life, they must be hated. Of course, it is better to learn this in real life. Not only to worry, looking at the screen, but to fight real injustice when you meet it. True, but in order to fight against lies, injustice, meanness, abomination, one must learn to see them, to distinguish them under any guise. This is precisely what art teaches, teaches us to reach for the lofty, bright, no matter how strange and unusual forms it takes, teaches us to resist everything inhuman, no matter what masks it may dress up. You just need to understand its language and distinguish genuine art from the imaginary, but this is what one must learn from childhood on the best examples of world and our, Soviet culture.
I sadly admit that we missed a lot here: our guys almost do not know the history of painting, music, not to mention sculpture and architecture. They rarely went to the theatre, we rarely even go to the cinema with them. It is unlikely that they will name many famous composers, artists, architects, or remember their works. And it happened not because we did not want to give this knowledge to children - we simply did not have enough for this, to my great regret. But I have one consoling thought, by which I want to justify myself a little. It consists in this. What is more important: to learn by ear who owns this or that melody, or to feel this melody with your heart, to respond to it with your whole being? What is better: to know all the paintings of Raphael without fail, or to freeze in awe even before a simple reproduction of the "Sistine Madonna", seeing it for the first time? It's probably good to have both. Of course, without knowing when, who and why created the work, you will not comprehend its depth, you will not truly feel it. And yet, not everything depends on knowledge, far from everything! When I see children who, with bored faces, sing in a choir or somehow dispassionately perform complex pieces on the piano, I feel embarrassed: why is this? Why skill, if the soul is silent? After all, music is when a person speaks to a person without words about the most complex and most personal things. And there are no worries. No, let it be the other way around: not to be an expert, but to be able to feel.
Sometimes we like to listen with the kids to the silence of the night, we can stop and look at the unique charming game of the sunset, or at a real miracle - a frost-covered garden, or freeze in a dark room at the piano, listening to a very simple melody played by Anochka so soulfully and tenderly ... In my opinion, all this is also an introduction to art.
B.P .: And yet I stand on the fact that a person himself must act, try, create, and not just assimilate what someone else has done. Even in the arts. It seems to me important that in our home concerts, performances, the guys themselves make the scenery, compose poems, even plays and songs. Isn't that also an introduction to art?
Our family holidays
L.A .: We have holidays, it sometimes seems to me, even too often, because all the national holidays that we love very much and always celebrate in the family are also joined by intra-family celebrations. Sometimes, tired of the regular pies and pies that need to be baked every time for fifteen or twenty people, I sing jokingly: "Unfortunately, birthdays are ten times a year." There is, however, the eleventh, although he is rather the first. This is the birthday of our family - not the day of our wedding, but the day of our meeting, because the main thing is to meet and not pass by. And by this day we buy apples and cakes and divide each one in half, as once, many years ago, on the first day of our meeting. This is now one of our traditions. We do not have very many of them, but they are dear to us and live for a long time.
How are our family celebrations going? Sometimes the guys prepare invitation cards, more often we manage with verbal invitations: "Welcome to our holiday." Long before evening, the house is filled with noise and bustle. From above, from the attic, screeching and bursts of laughter are heard - there is a fitting of costumes and the last rehearsal, sometimes, however, it is also the first; artists do not always have the patience for several rehearsals, they prefer impromptu. It turns out a surprise not only for the public, but also for yourself. Downstairs, in the kitchen, there is a column of smoke (sometimes literally) - here they are busy preparing food that is no longer spiritual, but quite material. And therefore, as a rule, there is no time for laughter here, otherwise something will burn, run away, scald. I can barely stand on my feet from the heat, bustle, noise and worries.
It seems that everything is ready, you can already set the table and invite guests. The girls will do it, and for now I’ll rest and answer the question that we are sometimes asked: “And why do you bother with pies, dough, don’t you feel sorry for the time? We would buy a cake or something ready, and no hassle” . What to say to that? That's right: no hassle, but much less joy! How much pleasure for everyone from the smell of dough alone. And everyone can touch it, rumple it in the palms - how tender, pliable, warm, as if alive! And you can mold it yourself whatever you want, and decorate it as you like, and make a real one. cheerful gingerbread man, and carefully take it out of the oven, and take it as a gift to grandmothers, and proudly say: "I did it myself!" How to live without it?
And now the concert is ready, the artists are already in costumes, the audience is seated on chairs in front of the "curtain" separating the "stage" from the "auditorium".
All the performances are prepared by the guys themselves, they make up the program of the evening, choose the entertainer, the boys prepare the lighting and, of course, the sound effects. The "curtain" is parted not just like that, but with the help of an ingenious device. But love for impromptu brings, and without preparation it turns out:
- Hurry, hurry - you already need it!
- I can't - I forgot.
- Well, you go.
- No you!
- Quiet ... quiet! - A flushed "entertainer" is pushed onto the stage and:
- We continue our concert ...
The program includes: poems and songs (including own composition), plays (only my own composition), music (piano), more music (balalaika), acrobatic numbers, dances, pantomimes, clowning, magic tricks ... Some numbers combine almost all genres at once.
Often the "public" takes part in performances, "artists" become spectators. Laughter, applause - it's all real. And most importantly - the real excitement before the performance, and the effort to do as best as possible, and the joy for the other when everything turned out well - this is the main thing.
After such a stormy start, the feast turns out to be stormy and cheerful. Everyone clinks glasses, and in turn say toasts or congratulations to the hero of the occasion, and drink from large glasses - as much as you want! - lemonade. Yes, children are together with adults at the table, and instead of colorful wine bottles on the table are lemonade, grape juice or self-made fruit drink. We even New Year we meet. And we don't get bored. The main thing is to clink glasses, and look into each other's eyes, and say the most good words in the world…
B.P.: They do not believe us when we say that we have unopened bottles of wine for months and even years, brought by one of the guests who first came to our house. And not because we have a dry law or someone's ban. It's just that we don't need it, it's bottled happiness, it's useless, that's all. Just like cigarettes, by the way. And our teenage guys have a certain attitude towards these attributes of imaginary masculinity: neither curiosity, nor cravings, but rather conscious disgust.
L.A.: In my opinion, this is just normal. After all, a person does not infect himself with tuberculosis, cancer or anything like that. Something else is abnormal: to know that poison is a disease, and yet forcefully shove it into oneself, shove it in, until it clings to all the livers inside and makes a rotten person out of a person.
B.P.: And here we have our own traditions. After all, as it usually happens on birthdays: all the gifts, all the attention - to the newborn, and the mother, the main hero of the occasion, has only troubles on this day. We decided that this was unfair, and our birthday boy presents his mother with a gift on his birthday. This has been the custom with us for a long time, ever since the first son was able to give something he made himself.
Our holiday ends on the porch, sometimes with fireworks and sparklers. We see off the guests and shout in unison from the threshold:
- Goodbye!
A work of art can capture the attention of the viewer, reader, listener in two ways. One is determined by the question "what", the other - by the question "how".
“What” is an object that is depicted in a work, a phenomenon, event, theme, material, that is, what is called the content of the work. When we are talking about things that interest a person, this naturally gives rise to a desire in him to delve into the meaning of what was said. However, a work rich in content does not necessarily have to be a work of art. Philosophical, scientific, socio-political works can be no less interesting than artistic ones. But it is not their task to create artistic images (although they may sometimes refer to them). If a work of art attracts the interest of a person solely by its content, then in this case its (works) artistic merits fade into the background. Then even an unartistic depiction of what is vital for a person can deeply hurt his feelings. With an undemanding taste, a person can be quite satisfied with this. An acute interest in the events described allows lovers of detective stories or erotic novels to emotionally experience these events in their imagination, regardless of the clumsiness of their description, the stereotyped or wretchedness of the artistic means used in the work.
True, in this case, the artistic images also turn out to be primitive, standard, weakly stimulating the independent thought of the viewer or reader and giving rise to only more or less stereotyped complexes of emotions in him.
Another way related to the question "how" is the form of a work of art, that is, the ways and means of organizing and presenting content. This is where the “magic power of art” lies, which processes, transforms and presents the content of the work in such a way that it is embodied in artistic images. The material or theme of a work cannot in itself be either artistic or non-artistic. The artistic image is made up of the material that constitutes the content of the work of art, but it is formed only thanks to the form in which this material is clothed.
Consider characteristics artistic image.
The most important feature of the artistic image is that it expresses the emotional and value attitude to the object. Knowledge about the object serves in it only as a background against which the experiences associated with this object emerge.
I. Ehrenburg in the book "People, Years, Life" tells about his conversation with French painter Matisse. Matisse asked Lydia, his assistant, to bring a sculpture of an elephant. I saw, - Ehrenburg writes, - a Negro sculpture, very expressive - the sculptor carved an angry elephant out of wood. "Do you like it?" Matisse asked. I replied: "Very much." - "And nothing bothers you?" - "No." - "Me too. But then a European, a missionary, came and began to teach the Negro: “Why is the elephant's tusks raised up? An elephant can lift its trunk, and the tusks are teeth, they do not move. "" The Negro obeyed ..." Matisse called again: "Lydia, please bring another elephant." Laughing slyly, he showed me a figurine similar to those sold in department stores in Europe: “The tusks are in place, but the art is over.” The African sculptor, of course, sinned against the truth: he depicted an elephant not as he really is. But if he had made an anatomically accurate sculptural copy of the animal, it is unlikely that the person examining it would be able to survive, experience, “feel” the impression of the sight of an angry elephant. the tusks, the most formidable part of his body, seem ready to fall on the victim.By shifting them from their usual normal position, the sculptor creates an emotional tension in the viewer, which is a sign that the artistic image gives rise to a response in his soul.
It can be seen from the considered example that an artistic image is not just an image as a result of the reflection of external objects that arises in the psyche. Its purpose is not to reflect reality as it is, but to evoke human soul experiences associated with its perception. It is not always easy for the viewer to express in words what he is experiencing. When looking at an African figurine, it can be an impression of the power, rage and fury of an elephant, a sense of danger, etc. Different people the same thing can be perceived and experienced differently. Much depends here on the subjective characteristics of the individual, on his character, views, values. But, in any case, a work of art can evoke feelings in a person only when it includes his imagination in the work. An artist cannot make a person experience some feelings simply by naming them. If he simply informs us that such and such feelings and moods should arise in us, or even describes them in detail, then it is unlikely that we will have them. He excites experiences, modeling by means artistic language the causes that gave rise to them, i.e., clothing these causes in some art form. The artistic image is the model of the cause that gives rise to emotions. If the model of the cause "works", that is, the artistic image is perceived, recreated in the human imagination, then the consequences of this cause appear - "artificially" caused emotions. And then a miracle of art takes place - its magical power enchants a person and takes him to another life, to a world created for him by a poet, sculptor, singer. “Michelangelo and Shakespeare, Goya and Balzac, Rodin and Dostoevsky created models of sensual causes that are almost more amazing than those that life presents us with. That is why they are called great masters.
The artistic image is the "golden key" that starts the mechanism of experience. Recreating with the power of his imagination what is presented in a work of art, the viewer, reader, listener becomes, to a greater or lesser extent, a “co-author” of the artistic image contained in it.
In "subject" (fine) art - painting, sculpture, dramatic performance, film, novel or story, etc. - the artistic image is built on the basis of an image, a description of some phenomena that exist (or are presented as existing) in real world. The emotions evoked in this artistic way are twofold. On the one hand, they relate to the content of the artistic image and express a person's assessment of those realities (objects, objects, phenomena of reality) that are reflected in the image. On the other hand, they refer to the form in which the content of the image is embodied, and express an assessment of the artistic merits of the work. Emotions of the first kind are "artificially" evoked feelings that reproduce experiences real events and phenomena. Emotions of the second kind are called aesthetic. They are associated with the satisfaction of the aesthetic needs of a person - the need for such values as beauty, harmony, proportionality. Aesthetic attitude is “an emotional assessment of how the given content is organized, built, expressed, embodied by the form, and not this content itself”.
The artistic image in its essence is not so much a reflection of the phenomena of reality as an expression of their human perception, the experiences associated with them, the emotional and value attitude towards them.
But why do people need artificially evoked emotions born in the process of perceiving artistic images? Are they not enough experiences associated with their real life? To some extent, this is true. Monotonous, monotonous life can cause "emotional hunger". And then the person feels the need for some additional sources of emotions. This need drives them to seek " thrill» in the game, in the intentional pursuit of risk, in the voluntary creation of dangerous situations.
Art provides people with the possibility of "extra lives" in the imaginary worlds of artistic images.
“Art “transferred” a person to the past and future, “relocated” him to other countries, allowed a person to “reincarnate” into another, become for a while Spartacus and Caesar, Romeo and Macbeth, Christ and Demon, even the White Fang and ugly duckling; it turned an adult into a child and an old man, it allowed everyone to feel and know what he could never comprehend and experience in his real life.
The emotions that works of art evoke in a person do not just make his perception of artistic images deeper and more exciting. As shown by V.M. Allahverdov, emotions are signals that go from the area of the unconscious to the sphere of consciousness. They signal whether the information received reinforces the “model of the world” that has developed in the depths of the subconscious, or, on the contrary, reveals its incompleteness, inaccuracy, and inconsistency. By “moving” into the world of artistic images and experiencing “extra lives” in it, a person gets ample opportunities to verify and refine the “model of the world” that has developed in his head on the basis of his narrow personal experience. Emotional signals break through the "protective belt" of consciousness and induce a person to realize and change their previously unrealized attitudes.
That's why the emotions evoked by art play important role in people's lives. Emotional experiences of "extra lives" lead to the expansion of the cultural outlook of the individual, the enrichment of his spiritual experience and the improvement of his "model of the world".
It is not uncommon to hear how people, looking at a picture, admire its resemblance to reality (“An apple is just like a real one!”; “He stands in the portrait as if alive!”). The opinion that art - at least "objective" art - consists in the ability to achieve a similarity between the image and the depicted, is widespread. Even in antiquity, this opinion formed the basis of the "theory of imitation" (in Greek - mimesis), according to which art is an imitation of reality. From this point of view, the aesthetic ideal should be the maximum similarity of the artistic image with the object. In an ancient Greek legend, the audience was delighted by an artist who painted a bush with berries so similarly that birds flocked to feast on them. And two and a half thousand years later, Rodin was suspected of having achieved amazing credibility by plastering a naked man with plaster, making a copy of him and passing it off as a sculpture.
But an artistic image, as can be seen from what has been said above, cannot simply be a copy of reality. Of course, a writer or artist who aims to depict any phenomena of reality must do it in such a way that readers and viewers can at least recognize them. But the similarity with the depicted is by no means the main advantage of the artistic image.
Goethe once said that if an artist draws a poodle in a very similar way, then one can rejoice at the appearance of another dog, but not a work of art. And Gorky about one of his portraits, which differed photographic accuracy, put it this way: “This is not my portrait. This is a portrait of my skin. "Photographs, casts of hands and face, wax figures designed to copy the originals as accurately as possible.
However, accuracy does not make them works of art. Moreover, the emotional and value character of the artistic image, as has already been shown, implies a retreat from impassive objectivity in the depiction of reality.
Artistic images are mental models of phenomena, and the similarity of a model to the object it reproduces is always relative: any model must be different from its original, otherwise it would be just a second original, and not a model. "The artistic exploration of reality does not pretend to be reality itself - this distinguishes art from illusionistic tricks designed to deceive sight and hearing."
Perceiving a work of art, we sort of “bracket the fact that the artistic image that it carries does not coincide with the original. We accept the image as if it were the embodiment of a real object, "arrange" to ignore its "fake character". This is the artistic convention.
Artistic convention is a consciously accepted assumption, under which the “fake”, art-created cause of experiences becomes capable of causing experiences that feel “just like real”, although we are aware at the same time that they are of artificial origin. “I will shed tears over fiction” - this is how Pushkin expressed the effect artistic convention.
When piece of art gives rise to some emotions in a person, he not only experiences them, but also understands their artificial origin. The understanding of their artificial origin contributes to the fact that they find relaxation in their thoughts. This allowed L.S. Vygotsky to say: "The emotions of art are intelligent emotions." The connection with understanding and reflection distinguishes artistic emotions from emotions caused by real life circumstances.
V. Nabokov in his lectures on literature says: “In fact, all literature is fiction. Any art is a deception... The world of any major writer is a world of fantasy with its own logic, its own conventions...” . The artist deceives us, and we are willingly deceived. By expression French philosopher and writer J.-P. Sartre, the poet lies in order to tell the truth, that is, to arouse a sincere, truthful experience. The outstanding director A. Tairov said jokingly that the theater is a lie built into a system: “The ticket that the viewer buys is a symbolic agreement on deceit: the theater undertakes to deceive the viewer; spectator, real good viewer, undertakes to succumb to deception and be deceived ... But the deception of art - it becomes true due to the authenticity of human feelings.
Exist various kinds artistic conventions, including:
"denoting" - separates a work of art from environment. This task is served by the conditions that determine the area of artistic perception - the stage of the theater, the pedestal of the sculpture, the frame of the picture;
"compensating" - introduces into the context of the artistic image the idea of its elements that are not depicted in the work of art. Since the image does not match the original, its perception always requires conjecture in the imagination of what the artist could not show or deliberately left unsaid.
Such, for example, is the space-time convention in painting. The perception of the picture assumes that the viewer mentally represents the third dimension, which conditionally expresses the perspective on the plane, draws in the mind the tree cut off by the border of the canvas, introduces the passage of time into the static image and, accordingly, temporary changes that are transmitted in the picture with the help of some conditional funds;
"accentuating" - emphasizes, enhances, exaggerates the emotionally significant elements of the artistic image.
Painters often achieve this by exaggerating the size of the object. Modigliani paints women with unnaturally large eyes that extend beyond the face. In Surikov's painting "Menshikov in Berezov" the unbelievably huge figure of Menshikov creates the impression of the scale and power of this figure, who was the "right hand" of Peter;
“complementing” - increasing the set of symbolic means of the artistic language. This kind of conventionality is especially important in "non-objective" art, where an artistic image is created without recourse to the image of any objects. Non-pictorial sign means are sometimes not enough to build an artistic image, and "complementing" conventionality expands their circle.
Yes, in classical ballet movements and postures, naturally associated with emotional experiences, are supplemented by conditional symbolic means of expressing certain feelings and states. In music of this kind, additional means are, for example, rhythms and tunes that give a national flavor or remind of historical events.
The symbol represents special kind sign. The use of any sign as a symbol allows us, through the image of a specific, single thing ( appearance symbol) to convey thoughts that are general and abstract in nature (the deep meaning of the symbol).
Turning to symbols opens up wide possibilities for art. With the help of them, a work of art can be filled with ideological content that goes far beyond those specific situations and the events that are directly depicted in it. Therefore, art as a secondary modeling system widely uses a variety of symbolism. In the languages of art, sign means are used not only in their direct meaning, but also in order to “encode” deep, “secondary” symbolic meanings.
From a semiotic point of view, an artistic image is a text that carries aesthetically designed, emotionally rich information. Through the use of symbolic language, this information is presented at two levels. On the first one, it is expressed directly in the sensually perceived "fabric" of the artistic image - in the guise specific persons, actions, items displayed in this way. On the second, it must be obtained by penetrating into symbolic meaning artistic image, by mental interpretation of its ideological content. Therefore, the artistic image carries not only emotions, but also thoughts. The emotional impact of an artistic image is determined by the impression that both the information that we receive at the first level, through the perception of the description of specific phenomena directly given to us, and the one that we capture at the second level through the interpretation of the symbolism of the image, have on us. Of course, understanding the symbolism requires additional intellectual effort. But on the other hand, this greatly enhances the emotional impressions made on us by artistic images.
The symbolic content of artistic images can have the most different character. But it is always present to some extent. Therefore, the artistic image is not limited to what is depicted in it. It always “tells” us not only about this, but also about something else that goes beyond the concrete, visible and audible object that it represents.
In the Russian fairy tale, Baba Yaga is not just an ugly old woman, but symbolic image of death. The Byzantine dome of the church is not just an architectural form of the roof, but a symbol of the vault of heaven. Gogol's overcoat Akaki Akakievich is not just clothes, but a symbolic image of the futility of a poor man's dreams of a better life.
The symbolism of an artistic image can be based, firstly, on the laws of the human psyche.
Thus, the perception of color by people has an emotional modality associated with the conditions under which that other color is usually observed in practice. Red color - the color of blood, fire, ripe fruits - excites a sense of danger, activity, erotic attraction, the desire for life's blessings. Green - the color of grass, foliage - symbolizes growth vitality, protection, reliability, peace of mind. Black is perceived as the absence bright colors life, it reminds of darkness, mystery, suffering, death. Dark crimson - a mixture of black and red - evokes a heavy, gloomy mood.
Researchers of color perception, with some differences in the interpretation of individual colors, generally come to similar conclusions about their psychological impact. According to Freeling and Auer, colors are characterized as follows.
Secondly, the artistic image can be built on the symbolism that has historically developed in the culture.
In the course of history, it turned out that green color became the color of the banner of Islam, and European artists, depicting a greenish haze behind the Saracens opposing the crusaders, symbolically point to the Muslim world lying in the distance. AT Chinese painting green symbolizes spring, and in Christian tradition he sometimes acts as a symbol of stupidity and sinfulness (the Swedish mystic Swedenberg says that fools in hell have green eyes; one of the stained-glass windows of Chartres Cathedral depicts a green-skinned and green-eyed Satan).
Another example. We write from left to right, and movement in that direction seems normal. When Surikov depicts the noblewoman Morozova on a sleigh riding from right to left, her movement in this direction symbolizes a protest against accepted social attitudes. However, on the map on the left is the West, on the right is the East. Therefore, in films about Patriotic war usually the enemy attacks from the left, and Soviet troops- on right.
Thirdly, when creating an artistic image, the author can give it a symbolic meaning based on his own associations, which sometimes unexpectedly illuminate familiar things from a new perspective.
The description of the contact of electrical wires here turns into a philosophical reflection on the synthesis (not just “interlacing”!) of opposites, on the dead coexistence (as happens in family life without love) and the flash of life at the moment of death. Artistic images born of art often become generally accepted cultural symbols, a kind of standards for assessing the phenomena of reality. The title of Gogol's book Dead Souls is symbolic. Manilov and Sobakevich, Plyushkin and Korobochka - all this " dead Souls". The symbols of steel Pushkinskaya Tatiana, Griboyedov's Chatsky, Famusov, Molchalin, Goncharov's Oblomov and Oblomovism, Judas Golovlev at Saltykov-Shchedrin, Solzhenitsyn's Ivan Denisovich and many other literary heroes. Without knowledge of the symbols that entered the culture from the art of the past, it is often difficult to understand the content contemporary works art. Art is permeated through and through with historical and cultural associations, and for those who do not notice them, the symbolism of artistic images is often inaccessible.
The symbolism of an artistic image can be created and captured both at the level of consciousness and subconsciously, “intuitively”. However, in any case, it must be understood. And this means that the perception of an artistic image is not limited to an emotional experience, but also requires understanding, reflection. Moreover, when the intellect is included in the work during the perception of an artistic image, this strengthens and expands the effect of the emotional charge inherent in it. Artistic emotions that a person who understands art experiences are emotions that are organically associated with thinking. Here, in yet another aspect, Vygotsky's thesis is justified: "the emotions of art are intelligent emotions."
It should also be added that in literary works ideological content is expressed not only in the symbolism of artistic images, but also directly in the mouths of the characters, in the author's comments, sometimes growing to entire chapters with scientific and philosophical reflections(Tolstoy in War and Peace, T. Mann in Magic Mountain). This further indicates that artistic perception cannot be reduced solely to the impact on the sphere of emotions. Art requires both creators and consumers of their creativity not only emotional experiences, but also intellectual efforts.
Any sign, since its meaning can be set arbitrarily by a person, is capable of being a carrier different values. This also applies to verbal signs - words. As shown by V.M. Allahverdov, “it is impossible to list all the possible meanings of a word, because the meaning of this word, like any other sign, can be anything. The choice of meaning depends on the consciousness perceiving this word. But “the arbitrariness of the sign-value relationship does not mean unpredictability. The meaning, once given to a given sign, must continue to be steadily given to this sign, if the context of its appearance is preserved. Thus, the context in which it is used helps us to understand what a sign means.
When we aim to communicate knowledge about a subject to another, we try to make the content of our message unambiguous. In science, for this, strict rules are introduced that determine the meaning of the concepts used, and the conditions for their application. The context does not allow going beyond these rules. It is understood that the conclusion is based only on logic, and not on emotions. Any side, not defined definitions, shades of meaning are excluded from consideration. A textbook on geometry or chemistry should present facts, hypotheses and conclusions in such a way that all students who study it unambiguously and in full accordance with the author's intention perceive its content. Otherwise, we have a bad textbook. The situation is different in art. Here, as already mentioned, main task is not the communication of information about some objects, but the impact on the feeling, the excitation of emotions, so the artist is looking for iconic means that are effective in this regard. He plays with these means, connecting those elusive, associative shades of their meaning, which remain outside strict logical definitions and which cannot be referred to in the context. scientific evidence. In order for an artistic image to impress, arouse interest, awaken an experience, it is built with the help of non-standard descriptions, unexpected comparisons, vivid metaphors and allegories.
But people are different. They have different life experience, different abilities, tastes, desires, moods. Writer picking up means of expression to create an artistic image, proceeds from his ideas about the strength and nature of their impact on the reader. He uses and evaluates them in the light of his views in a particular cultural context. This context is associated with the era in which the writer lives social problems that excite people in this era, with the orientation of interests and the level of education of the public to which the author addresses. And the reader perceives these means in his cultural context. Different readers, based on their context and just their individual features, can see the image created by the writer in their own way.
Nowadays people admire rock paintings animals made by the hands of nameless artists of the Stone Age, but, looking at them, they see and experience something completely different from what our distant ancestors saw and experienced. An unbeliever may admire Rublev's Trinity, but he perceives this icon differently than a believer, and this does not mean that his perception of the icon is wrong.
If the artistic image evokes in the reader exactly those experiences that the author wanted to express, he (the reader) will experience empathy.
This does not mean that the experiences and interpretations of artistic images are completely arbitrary and can be anything. After all, they arise on the basis of the image, flow from it, and their character is determined by this image. However, this conditionality is not unambiguous. The relationship between an artistic image and its interpretations is the same as that between a cause and its effects: one and the same cause can give rise to many consequences, but not any, but only arising from it.
Various interpretations of the images of Don Juan, Hamlet, Chatsky, Oblomov and many others are known. literary heroes. In L. Tolstoy's novel "Anna Karenina" the images of the main characters are described with amazing brightness. Tolstoy, like no one else, knows how to present his characters to the reader in such a way that they become, as it were, his close acquaintances. It would seem that the appearance of Anna Arkadyevna and her husband Alexei Alexandrovich, their spiritual world, is revealed to us to the very depths. However, readers may have different attitudes towards them (and in the novel, people treat them differently). Some approve of Karenina's behavior, others consider it immoral. Some people absolutely dislike Karenin, while others see him as extremely worthy person. Tolstoy himself, judging by the epigraph of the novel (“Vengeance is mine and I will repay”), as if he condemns his heroine and hints that she is suffering fair retribution for her sin. But at the same time, in essence, by the whole subtext of the novel, he evokes compassion for her. Which is higher: the right to love or marital duty? There is no single answer in the novel. One can sympathize with Anna and blame her husband, or vice versa. The choice is up to the reader. And the field of choice is not reduced to only two extreme options - perhaps an innumerable number of intermediate ones.
So, any full-fledged artistic image is polysemantic in the sense that it admits the existence of many different interpretations. They are, as it were, potentially embedded in it and reveal its content when perceived with different points vision and in different cultural contexts. Not empathy, but co-creation - this is what is necessary to understand the meaning of a work of art, and, moreover, understanding associated with personal, subjective, individual perception and experience of the artistic images contained in the work.
Competitive work
Nikulina Irina Dmitrievna
6th class students
MOU - Gymnasium No. 1
Direction: "Art is a mediator of what cannot be expressed"
Essay topic: Magic power art"
Writing genre: essay.
Teacher Gladkova N.V.
Klin
2017-2018 academic year year
How to measure the impact of the power of art?
Without Corot and Beethoven it would be empty
Without Shakespeare and Pushkin - unbearable,
boring, sad, depressing.
How would people think?
Where would you hurry
the sigh of childhood is gone,
where the trees are "...large".
And themselves would
we couldn't see.
The day would have gone smoothly.
ordinary, ordinary...
And no one would flinch
didn't worry
nothing to argue about
didn’t get involved…. Y. Kipriyanov.
Indeed, works of art have amazing strength. A lot of good lives in a person, and literature, music, painting can help us to reveal this good...
A. Koltsov wrote about the feelings that music awakened in him:
How many sounds, how many songs Was born again in me. How many wonderful images
Resurrected in the sky!
The emotions experienced by the poet made him happy: “I love to live on earth!”
A similar thing happened with the heroes of the story of L. N. Tolstoy. Main character works "Albert" - musician. When he enters a room, he makes an unpleasant impression on those present. Uncombed hair, a dirty shirt, a twisted tie - Albert seems strange, pathetic. But now he starts playing the violin:
“The sounds of the theme flowed freely, gracefully after the first, with some unexpectedly clear and soothing light, suddenly illuminating the inner world of each listener.” With its performance, the “unfortunate creature” awakened in the restaurant visitors a feeling of “quiet contemplation of the past, a passionate recollection of something happy ...”, and it seemed that “some beautiful stream of long-familiar poetry, expressed for the first time, was pouring into everyone’s soul.” And Albert himself in the eyes of others grew higher and higher.
Real art is able not only to convey people's thoughts and feelings, but to make them better and purer.
And in art there is a great mystery, which A. Einstein once noticed: “The most beautiful thing that we can experience in life is mystery. It is the source of all true art or science."
For many years, the face of the Mona Lisa by Leonardo da Vinci has carried a mystery. The portrait depicts a young woman, not very beautiful. But when you look at her hands, folded in peace, at the radiant kind eyes, to a gentle half-smile - you feel amazing warmth. It seems to me, evil person, with an empty heart, can not feel such feelings. Gioconda reminds me of the Madonna from the icon: the same light, purity. Little Tom from R. Bradbury's story felt it. The story "Smile" tells of a terrible future. This is how our world can become if art and culture leave it: people in the distant 2061 destroy everything out of hatred for civilization: they burn books, smash the last car. A person hates that “that his life has broken him. That's the way it's made." And now there is a queue - to the Mona Lisa ..
It was said that once Leonardo's masterpiece was brought to Moscow, and people stood in line all night to look at the smiling Madonna, to admire the skill of the great artist. And in this world, people do not want to feel the beauty of the Gioconda, but spit on it ... Their hearts have hardened, good feelings have turned to stone.
But in the crowd, a man with a soul expresses the hope that someone will appear whose “soul lies in the beautiful.” And this man is the boy Tom.
When the child saw the Mona Lisa, he exclaimed:
How beautiful she is!
“The woman in the picture smiled mysteriously sadly, and Tom, responding to her glance, felt his heart pounding, and music sounded in his ears.”
And then the portrait was given to be torn to pieces. The boy tries to save the canvas, but takes away only one fragment - the Smile. “He closed his eyes, and again in the darkness of the night in front of him – Smile. Affectionate, kind" Tom believes that real art can save humanity. And a smile for him is a symbol of all that is beautiful.
We need to preserve our culture so that we can "see ourselves" and remain human.
Beauty must save the world, and we must save beauty.
The stronger and purer a person is,
Especially in the world of beauty.
And this beauty is bottomless
And it will grow without limit.
(410 words) What is art? This is what stirs in the soul. It can touch even the most callous and petrified hearts. Creativity brings beauty into people's lives and makes it possible to get in touch with it through music, painting, architecture, literature ... The great power of art directs us to goodness and light, instilling in our consciousness hope and a sense of significance in this world. Sometimes only through it we can express all the joy or pain, despair or happiness. To substantiate my assertions, I will give examples from books.
In the story of A.P. Chekhov's "Rothschild's Violin" » main character lost his wife and barely survived himself. This event knocked him out of the rut of everyday life. At some point, he realized how meaningless his entire existence, filled with everyday life, hoarding and routine. Under the power of these emotions, he plays the violin, pouring out all his soul and all his sorrows through the sounds of music. Then a Jew named Rothschild heard his melody, and she did not leave him aside. He went to the call of creativity. Never before in his entire life did Yakov Matveyevich feel pity for anyone, and even for a person who had previously only aroused contempt in him. And he, once greedy and selfish, gave his instrument to Rothschild, along with all his music - an incredible work of art. This violin and Jacob's music gave Rothschild fame, recognition and a chance to new life. Thus, the power of creativity helped people discover in themselves positive sides, find mutual understanding, and even helped some of them change their fate.
In the work of I.S. Turgenev "Singers" we can also find interesting example. The author dedicated the story to the Russian people and their attitude to art, because he himself knew what folk art and Russian soul. In this piece, he shows us how powerful the power of music can be, and how deeply a song can touch people's hearts. During the performance of Yakov, whose cracked voice was filled with deep sensuality, people cried while listening to his song. The author, trying to convey all his emotions and feelings from what he heard and saw, said that for a very long time he could not close his eyes that night, because the beautiful song of Yakov was constantly overflowing in his ears. This means that the power of art can influence the feelings of people and control them, purifying and elevating the soul.
Art is for everyone. For the rude and callous, for the kind and sensitive, for the poor and the rich. Whoever a person is, no matter what personality he is, great power creativity will always induce him to wonderful deeds, will sow a sense of beauty in his soul, embody real miracles. The purifying and uplifting energy of art gives us the opportunity to live correctly - according to the laws of goodness and beauty.
