Why is art necessary? What is real art? The role and importance of art in human life. Art in the life of modern man

All kinds of arts serve the greatest of the arts - the art of living on earth.

Bertolt Brecht

Now it is impossible to imagine that our life would not be accompanied by art, creativity. Wherever and whenever a person lived, even at the dawn of his development, he tried to comprehend the world around him, which means he sought to understand and figuratively, intelligibly pass on the knowledge gained to the next generations. This is how wall paintings appeared in caves - ancient camps of man. And this was born not only by the desire to protect their descendants from the mistakes already passed by their ancestors, but by the transfer of the beauty and harmony of the world, admiration for the perfect creations of nature.

Mankind did not stagnate, it progressively moved forward and higher, and the art that accompanies man at all stages of this long and painful path also developed. If you turn to the Renaissance, you admire the heights that artists and poets, musicians and architects have reached. The immortal creations of Raphael and Leonardo da Vinci still fascinate with their perfection and deep awareness of the role of man in the world, where he is destined to go through his short, but beautiful, sometimes tragic path.

Art is one of the most important steps in human evolution. Art helps a person to look at the world from different points of view. With each epoch, with each century, it is more and more improved by man. At all times, art has helped a person develop his abilities, improve abstract thinking. For centuries, man has tried to change art more and more, to improve it, to deepen his knowledge. Art is the great mystery of the world, in which the secrets of the history of our life are hidden. Art is our history. Sometimes in it you can find answers to those questions that even the most ancient manuscripts cannot answer.

Today, a person can no longer imagine life without a read novel, without a new movie, without a premiere in the theater, without a fashionable hit and favorite musical group, without art exhibitions ... In art, a person finds new knowledge, and answers to vital questions, and peace of mind from the daily hustle and bustle, and enjoyment. A real work of art is always in tune with the thoughts of readers, viewers, listeners. The novel can tell about a distant historical era, about people, it seems, of a completely different way and style of life, but the feelings that people have been imbued with at all times are understandable to the current reader, consonant with him if the novel is written by a true master. Let Romeo and Juliet live in Verona in ancient times. It is not the time or place of action that determines my perception of the great love and true friendship described by the brilliant Shakespeare.

Russia has not become a distant province of art. Even at the dawn of its appearance, it declared loudly and boldly about its right to stand next to the greatest creators of Europe: "The Tale of Igor's Campaign", icons and paintings by Andrei Rublev and Theophan the Greek, cathedrals of Vladimir, Kiev and Moscow. We are not only proud of the amazing proportions of the Church of the Intercession on Nerl and Moscow's Intercession Cathedral, better known as St. Basil's Cathedral, but we also sacredly honor the names of the creators.

Not only ancient creations attract our attention. We are constantly confronted with works of art in everyday life. Visiting museums and exhibition halls, we want to join that wonderful world, which is available at first only to geniuses, and then to the rest, we learn to understand, see, absorb the beauty that has already become a part of our ordinary life.

Pictures, music, theater, books, films give a person incomparable joy and satisfaction, make him sympathize. Eliminate all this from the life of a civilized person, and he will turn, if not into an animal, then into a robot or a zombie. The wealth of art is inexhaustible. It is impossible to visit all the museums of the world, not to listen to all the symphonies, sonatas, operas, not to review all the masterpieces of architecture, not to re-read all the novels, poems, poems. Yes, and nothing. Know-it-alls actually turn out to be superficial people. From all the variety, a person chooses for the soul what is closest to him, which gives ground to his mind and feelings.

Humanity, a specific kind of spiritual and practical development of the world. Art includes varieties of human activity, united by artistic and figurative forms of reproducing reality, - , , , , , theater, dance, .

In a broader sense, the word "art" refers to any form of human activity, if it is done skillfully, skillfully, skillfully.

What kind of art do you see on these pages?
What other types of art do you know?
Select reproductions for the exhibition, which will feature masterpieces of fine art.
What kinds of art are closer to you? Write down your impressions of your favorite works of art in a creative notebook.

All the diversity of the world around us and the attitude of man towards it, thoughts and , ideas and representations, people - all this is transmitted by a person in artistic images. Art helps a person to choose And . And so it was at all times. Art is a kind of textbook of life.

"Art is an eternal joyful and good symbol of a person's desire for goodness, for joy and perfection," wrote the famous German writer T. Mann.

Each kind of art speaks in its own language about the eternal problems of life, about good and evil, about love and hate, about joy and sorrow, about the world and the human soul, about the height of thoughts and aspirations, about the comic and tragic life.

Various types of art are mutually enriched, often borrowing from each other means of expressing content. It is no coincidence that there is an opinion that architecture is frozen music, that this or that line in the picture is musical, that an epic novel is like a symphony. And when they talk about any kind of artistic activity, including performing skills (creativity), they often use such concepts as composition, rhythm, , plastic, , dynamics, musicality - common in the literal or figurative sense for different arts. But in any work of art there is always a poetic element, what constitutes its main essence, its pathos and gives it an extraordinary power of influence. Without a sublime poetic feeling, without spirituality, any work is dead.

Listen to fragments of musical compositions. Is it old music or modern?

Correlate the nature of the sounding music with the figurative structure of architectural monuments, features (costumes) of different eras and .

What culture - Western, Eastern, Russian - do works of various types of art belong to? Explain why.

(406 words) Art is perhaps one of the most important areas of human existence. It has given us a great many beautiful eternal creations: elegant music, majestic masterpieces of architecture, thoughtful books and much, much more. In my opinion, the influence of art on the history of mankind in general and the human soul in particular is truly enormous. Confirmation of this can be found not only in Russian, but throughout the world literature.

For example, O. Henry in his story "The Pharaoh and the Choral" tells us about the New York beggar Sopi. This degraded, immoral man pursues one single goal - to get into prison so that he can spend the winter in warmth and comfort, doing nothing at the same time. For the sake of realizing his plan, Sopi commits many dubious acts: he steals, riots and debauchery, but the doors of the cherished prison remain closed to him. Already completely desperate, the protagonist suddenly hears the sounds of a chorale coming from the church. Music strikes Soapy to the core, the shameless tramp realizes how low he has fallen. A new beginning is born in his soul, which calls him to take the right path. He is reborn and firmly decides to start life from scratch. The power of art is truly limitless, because only a melody can transform a person beyond recognition.

N.V. Gogol in the story "Portrait" draws before us the fate of the artist Andrei Petrovich Chartkov. A talented but poor young man, by the will of providence, becomes the owner of a huge amount of money. Andrey's first noble impulse is to go headlong into work, to bring his talent to perfection. But plunging into the cycle of secular life, the main character eventually moves away from real art, turning into a servant of the rich. He creates beautiful, perfect in form, but dead and meaningless crafts, losing talent in exchange for fleeting fame. Some time later, a picture of the former comrade Chartkov, who devoted his whole life to art, sacrificed everything for him, is brought to Russia. Having only once looked at the work of a true artist, Andrey realizes the meaninglessness of his life, he understands that in the pursuit of fame he killed his talent. The protagonist tries in vain to revive the creator in himself, but his attempts turn out to be meaningless, the muse left him. In desperation, Chartkov begins to buy up and destroy the most beautiful paintings, and then falls ill and dies. According to Gogol, without true art, human life has no meaning.

Art contains a great power that can not only lift a person to the height of bliss, making him better, but also overthrow him, turning him into dust. It all depends on the personality itself and its readiness to listen to the call of beauty that heals the world. She plays on the strings of the human soul, controlling us, tuning and detuning us like an instrument, which is why the results of creative efforts occupy an important place in the life of each of us.

Introduction 3
1. The essence of art and its place in human life and society 4
2. The emergence of art and its necessity for man 8
3. The role of art in the development of society and human life 13
Conclusion 24
References 25

Introduction

Man comes into contact with art every day. And usually not in museums. From birth and throughout life, people are immersed in art.
The building of a hotel, station, shop, apartment interior, clothing and jewelry can be works of art. But they may not be. Not every painting, statue, song or porcelain service is considered a masterpiece. There is no recipe where it would be precisely stated what and in what proportions must be combined to make a work of art. However, you can develop your ability to feel and appreciate the beautiful, which we often call taste.
What is art? Why does it have such magical power over a person? Why do people travel thousands of kilometers to see with their own eyes the great works of world art: palaces, mosaics, paintings? Why do artists create their creations, even if it seems that no one needs them? Why are they willing to risk their well-being in order to realize their plan?
Art is often called a source of pleasure. From century to century, millions of people enjoy the images of beautiful human bodies on the canvases of Raphael. But the image of Christ, crucified and suffering, is not intended for enjoyment, and yet this plot has been common to thousands of painters for many centuries...
It is often said that art reflects life. Of course, this is largely true: often the accuracy, the recognizability of what the artist depicts, is amazing. But it is unlikely that a simple reflection of life, its copying, would cause such a strong interest in art and admiration for it.
In this essay we will consider the place and role of art in human life.

1. The essence of art and its place in the life of man and society

The word "art" in Russian and many other languages ​​is used in two senses - in a narrow sense (a specific form of practical-spiritual exploration of the world), and in a broad one - as the highest level of skill, ability, regardless of the sphere in which they manifest themselves (military art, skill of a surgeon, shoemaker, etc.) (2, p. 9).
In this essay, we are interested in the analysis of art in the first, narrow sense of the word, although both senses are historically interconnected.
Art as an independent form of social consciousness and as a branch of spiritual production grew out of the production of the material, was originally woven into it as an aesthetic, purely utilitarian moment. A person, emphasized A.M. Gorky, is an artist by nature, and he strives to bring beauty everywhere in one way or another (1, p. 92). The aesthetic activity of a person is constantly manifested in his work, in everyday life, in public life, and not only in art. There is an aesthetic assimilation of the world by a social person.
Art implements a number of social functions.
First, it is its cognitive function. Works of art are a valuable source of information about complex social processes, sometimes about those, the essence and dynamics of which science grasps much more difficult and belatedly (for example, turns and fractures in the public consciousness).
Of course, not everyone in the surrounding world is interested in art, and if they are, then to a different degree, and the very approach of art to the object of its knowledge, the angle of its vision is very specific compared to other forms of social consciousness. Man has always been and remains the general object of knowledge in art. That is why art in general and, in particular, fiction are called human studies, a textbook of life, and so on. This emphasizes another important function of art - educational, that is, its ability to have an indelible impact on the ideological and moral development of a person, his self-improvement, or, conversely, his fall.
And yet, the cognitive and educational functions are not specific to art: these functions are performed by all other forms of social consciousness. The specific function of art, which makes it art in the true sense of the word, is its aesthetic function. Perceiving and comprehending a work of art, we do not just assimilate its content (like the content of physics, biology, mathematics), we pass this content through our heart, our emotions, give sensually concrete images created by the artist an aesthetic assessment as beautiful or ugly, sublime or base, tragic or comic. Art forms in us the very ability to give such aesthetic assessments, to distinguish the truly beautiful and sublime from all kinds of ersatz.
Cognitive, educational and aesthetic in art are merged together. Thanks to the aesthetic moment, we enjoy the content of a work of art, and it is in the process of enjoyment that we are enlightened and educated. In this regard, they sometimes talk about the hedonistic function of art (from the Greek "hedone" - pleasure).
For many centuries, in socio-philosophical and aesthetic literature, the dispute about the relationship between beauty in art and reality has continued. This reveals two main positions. According to one of them (in Russia, N.G. Chernyshevsky proceeded from it in his dissertation "On the Aesthetic Relations of Art to Reality"), the beautiful in life is always and in all respects higher than the beautiful in art (1, p. 94). In this case, art appears as a copy of the typical characters and objects of reality itself and a surrogate for reality. Obviously, an alternative concept is preferable (Hegel, A.I. Herzen, etc.): the beautiful in art is higher than the beautiful in life, because the artist sees more sharply, farther, deeper, feels more powerful and more colorful than his future viewers, readers, listeners, and that is why can ignite, inspire, straighten them with his art. Otherwise, in the function of a surrogate or even a duplicate, society would not need art (4, p. 156).
Each form of social consciousness reflects objective reality in a specific way, inherent to it alone.
A specific result of the theoretical reflection of the world is a scientific concept. It is an abstraction: in the name of knowing the deep essence of an object, we abstract not only from its directly sensually perceived, but also from many logically deduced features, if they are not of paramount importance. Another thing is the result of an aesthetic reflection of reality. As such, there is an artistic, concrete-sensual image, in which a certain degree of abstraction (typing) is combined with the preservation of concrete-sensual, individual, often unique features of the reflected object.
Hegel wrote that "sensual images and signs appear in art not only for the sake of themselves and their direct manifestation, but in order to satisfy the highest spiritual interests in this form, since they have the ability to awaken and affect all the depths of consciousness and evoke their response in spirit" (4, p. 157). Revealing the specifics of artistic thinking in comparison with other forms of social consciousness, this definition, in full accordance with the main paradigm of the Hegelian philosophical system, leads to the conclusion about the artistic image as an expression of an abstract idea in a concrete-sensual form. In reality, the artistic image captures not an abstract idea in itself, but its concrete carrier, endowed with such individual features that make the image lively and impressive, not reducible to the same-order images already known to us. Let us recall, for example, the Artamonovs by M. Gorky and the Forsytes by D. Galsworthy (5).
Thus, unlike the scientific concept, the artistic image reveals the general in the individual. Showing the individual, the artist reveals in it the typical, that is, the most characteristic of the entire type of depicted social or natural phenomena.
The individual in the artistic image is not just interspersed with the general, it "revives" it. It is the individual in a genuine work of art that grows up to the concept of type, image. And the brighter, more accurately small, individual, specific details are noticed, the wider the image, the broader generalization it contains. The image of Pushkin's Miserly Knight is not only a specific image of a greedy old man, but also a denunciation of the very greed and cruelty. In Rodin's sculpture "The Thinker" the viewer sees something more than a specific image recreated by the author.
In connection with the fusion of the rational and concrete-sensual in the image and the emotional impact of art derived from this, the artistic form acquires special significance. In art, as in all spheres of the world around us, the form depends on the content, is subordinate to it, serves it. Nevertheless, this well-known proposition must be emphasized, bearing in mind the thesis of representatives of formalist aesthetics and formalist art about a work of art as a "pure form", a self-sufficient "play of form", etc. At the same time, the scientific understanding of art has always been alien to a nihilistic attitude towards form, and even any belittling of its active role in the system of the artistic image and the work of art as a whole. It is impossible to imagine a work of art in which the content would not be expressed in an artistic form.
In different types of art, the artist has different means of expressing content. In painting, sculpture, graphics - this is color, line, chiaroscuro; in - music - rhythm, harmony; in literature - the word, etc. All these means of representation constitute elements of the artistic form, with the help of which the artist embodies his ideological and artistic conception. The form of art is a very complex formation, all elements of which are naturally interconnected. In Raphael's painting, Shakespeare's drama, Tchaikovsky's symphony, Hemingway's novel, one cannot arbitrarily change the construction of the plot, character, dialogue, composition, one cannot find another solution to harmony, color, rhythm, so as not to violate the integrity of the whole work.

2. The emergence of art and its necessity for man

Art as a special area of ​​human activity, with its own independent tasks, special qualities, served by professional artists, became possible only on the basis of the division of labor. The creation of arts and sciences - all this was possible only with the help of an intensified division of labor, which had as its basis a large division of labor between the masses engaged in simple physical labor and a few privileged ones who manage work, are engaged in trade, state affairs, and later also science and art. . The simplest, completely spontaneous form of this division of labor was precisely slavery” (2, p. 13).
But since artistic activity is a peculiar form of cognition and creative labor, its origins are much more ancient, since people worked and in the process of this labor cognized the world around them long before the division of society into classes. Archaeological discoveries over the past hundred years have discovered numerous works of fine art by primitive man, the prescription of which is estimated at tens of thousands of years. These are rock paintings; figurines made of stone and bone; images and ornamental patterns carved on pieces of deer antlers or on stone slabs. They are found in Europe, and in Asia, and in Africa, these are works that appeared long before a conscious idea of ​​\u200b\u200bartistic creativity could arise. Very many of them, reproducing mainly figures of animals - deer, bison, wild horses, mammoths - are so vital, so expressive and true to nature that they are not only precious historical monuments, but also retain their artistic power to this day (2, p. 14).
The material, objective nature of works of fine art determines especially favorable conditions for a researcher of the origin of fine art in comparison with historians studying the origin of other types of art. If the initial stages of the epic, music, dance have to be judged mainly by indirect data and by analogy with the work of modern tribes that are at the early stages of social development (the analogy is very relative, which can be relied on only with great care), then the childhood of painting, sculpture and graphics rise before our eyes.
It does not coincide with the childhood of human society, that is, the most ancient epochs of its formation. According to modern science, the process of humanization of human ape-like ancestors began even before the first glaciation of the Quaternary era and, therefore, the "age" of mankind is approximately one million years. The first traces of primitive art date back to the Upper Paleolithic, which began about a few tens of millennia BC. e. It was a time of comparative maturity of the primitive communal system: the man of this era in his physical constitution was no different from modern man, he already spoke and knew how to make rather complex tools from stone, bone and horn. He led a collective hunt for a large animal with a spear and darts. Clans united into tribes, matriarchy arose.
More than 900,000 years had to pass, separating the most ancient people from the modern man, before the hand and brain were ripe for artistic creativity.
Meanwhile, the manufacture of primitive stone tools dates back to much more ancient times of the Lower and Middle Paleolithic. Already Sinanthropes (whose remains were found near Beijing) reached a fairly high level in the manufacture of stone tools and knew how to use fire. People of a later, Neanderthal type processed tools more carefully, adapting them to special purposes. Only thanks to such a “school”, which lasted for many millennia, did the necessary flexibility of the hand, fidelity of the eye and the ability to generalize the visible, highlighting the most essential and characteristic features in it, that is, all those qualities that manifested themselves in the wonderful drawings of the Altamira cave, developed. If a person did not exercise and refine his hand, processing such difficult-to-process material as stone for food, he would not be able to learn to draw: without mastering the creation of utilitarian forms, he could not create an artistic form. If many and many generations had not concentrated the ability of thinking on the capture of the beast - the main source of life for primitive man - it would not have occurred to them to depict this beast.
So, firstly, “labor is older than art” and, secondly, art owes its origin to labor. But what caused the transition from the production of exceptionally useful, practically necessary tools to the production of “useless” images along with them? It was this question that was most debated and most confused by bourgeois scholars, who strove at all costs to apply I. Kant's thesis about the "purposelessness", "disinterest", "intrinsic value" of the aesthetic attitude to the world to primitive art.
K. Bucher, K. Gross, E. Gross, Luke, Breuil, W. Gauzenstein and others who wrote about primitive art argued that primitive people were engaged in “art for art’s sake”, that the first and defining stimulus for artistic creativity was the innate human desire to play (2, p. 15).
Theories of “play” in their various varieties were based on the aesthetics of Kant and Schiller, according to which the main sign of aesthetic, artistic experience is precisely the desire for “free play of appearances” - free from any practical goal, from logical and moral evaluation.
“Aesthetic creative impulse,” wrote Schiller, “imperceptibly builds in the midst of the terrible realm of forces and in the midst of the sacred realm of laws a third, cheerful realm of play and appearance, in which it removes the shackles of all relationships from a person and frees him from everything that is called coercion as in the physical and in the moral sense” (2, p. 16).
Schiller applied this basic position of his aesthetics to the question of the origin of art (long before the discovery of genuine monuments of Paleolithic creativity), believing that the “fun kingdom of play” was already being erected at the dawn of human society: “... now the ancient German is looking for more brilliant animal skins , more magnificent horns, more elegant vessels, and the Caledonian seeks out the most beautiful shells for his festivities. But, content with the fact that a surplus of the aesthetic has been introduced into the necessary, the free impulse to play finally breaks completely with the fetters of need, and beauty itself becomes the object of human aspirations. He decorates himself. Free pleasure is credited to his need, and useless soon becomes the best part of his joy. However, this view is refuted by the facts.
It cannot be denied that colors, lines, as well as sounds and smells, also affect the human body - some in an irritating, repulsive way, others, on the contrary, strengthen and contribute to its correct and active functioning. One way or another, this is taken into account by a person in his artistic activity, but in no way lies at its basis. The impulses that forced Paleolithic man to draw and carve figures of animals on the walls of caves, of course, have nothing to do with instinctive impulses: this is a conscious and purposeful creative act of a being who has long since broken the chains of blind instinct and embarked on the path of mastering the forces of nature, and therefore, and understanding of these forces.
Man draws the beast: in this way he synthesizes his observations on him; he more and more confidently reproduces his figure, habits, movements, his various states. He formulates his knowledge in this drawing and reinforces it. At the same time, he learns to generalize: in one image of a deer, features observed in a number of deer are transmitted. This in itself gives a huge impetus to the development of thinking. It is difficult to overestimate the progressive role of artistic creativity in changing the consciousness of man and his relationship to nature. The latter is now not so dark for him, not so encrypted - little by little, still groping, he studies it.
Thus, primitive fine arts are at the same time the germs of science, more precisely, primitive knowledge. It is clear that at that infantile, primitive stage of social development these forms of cognition could not yet be dissected, as they were dismembered in later times; at first they acted together. It was not yet art in the full scope of this concept and was not knowledge in the proper sense of the word, but something in which the primary elements of both were inseparably combined (3, p. 72).
In this regard, it becomes understandable why early art pays so much attention to the beast and relatively little to man. It is aimed primarily at the knowledge of external nature. At the very time when animals have already learned to depict remarkably realistically and vividly, human figures are almost always depicted very primitively, simply clumsily, with the exception of some rare exceptions, such as, for example, the reliefs from Lossel. In Paleolithic art, there is not yet that predominant interest in the world of human relationships, which distinguishes art, which delimited its sphere from the sphere of science. According to the monuments of primitive art (at least fine art), it is difficult to learn anything about the life of the tribal community other than its hunting and related magical rites; the main place is occupied by the very object of hunting - the beast. It was his study that was of the main practical interest, since it was the main source of existence - and the utilitarian-cognitive approach to painting and sculpture was reflected in the fact that they depicted mainly animals, and such breeds, the extraction of which was especially important and at the same time difficult and dangerous, and therefore, required especially careful study. Birds and plants were rarely depicted.
Drawing the figure of an animal, in a certain sense, a person really "mastered" the animal, since he cognized it, and knowledge is the source of domination over nature. The vital necessity of figurative knowledge was the reason for the emergence of art. But our ancestor understood this "mastery" in the literal sense and performed magical rites around the drawing he made to ensure the success of the hunt. He fantastically rethought the true, rational motives of his actions. True, it is very likely that by far not always fine art had a ritual purpose; here, obviously, other motives also participated, which were already mentioned above: the need for the exchange of information, etc. But, in any case, it can hardly be denied that most of the paintings and sculptures also served magical purposes.
People began to engage in art much earlier than they had a concept of art, and much earlier than they could understand for themselves its real meaning, its real usefulness.
Mastering the ability to depict the visible world, people also did not realize the true social significance of this skill. Something similar to the later formation of the sciences, also gradually freed from the captivity of naive fantastic ideas, took place: medieval alchemists sought to find the "philosopher's stone" and spent years of hard work on this. They never found the Philosopher's Stone, but they gained valuable experience in studying the properties of metals, acids, salts, etc., which paved the way for the subsequent development of chemistry.
Speaking about the fact that primitive art was one of the original forms of knowledge, the study of the surrounding world, we should not assume that, consequently, there was nothing in it in the proper sense of the word aesthetic. The aesthetic is not something fundamentally opposed to the useful.
The content of early art is poor, its outlook is closed, its very integrity rests on the underdevelopment of social consciousness. The further progress of art could be carried out only at the cost of the loss of this original integrity, which we already see at the later stages of the primitive communal formation. Compared with the art of the Upper Paleolithic, they mark a certain decline in artistic activity, but this decline is only relative. Schematizing the image, the primitive artist learns to generalize, abstract the concepts of a straight or curved line, circle, etc., acquires the skills of conscious construction, rational distribution of drawing elements on a plane. Without these latently accumulated skills, the transition to those new artistic values ​​that are created in the art of ancient slave-owning societies would have been impossible. We can say that in the period of primitive art, the concepts of rhythm and composition are finally formed. Thus, the artistic creativity of the tribal system clearly shows the need for art in human life.

3. The role of art in the development of society and human life

There has been and is a lot of controversy about the role of art in the development of society and in the life of an individual, art historians put forward a variety of concepts, but the level of mass artistic culture in the Russian Federation has fallen as low as, perhaps, in any civilized country.
We are probably the only state where art and music are actually eliminated from general education. Even the coming humanitarization envisages, without change, the "residual" role of the arts. Unfortunately, the principle of scientific character has long and undividedly dominated in education. Everywhere, in all pedagogical documents, it is only about mastering the scientific method of cognition, the assimilation of scientific knowledge and skills, the formation of a scientific worldview. And so in all documents - from the most traditional to the most innovative. Moreover, even in the analysis of art, not only in secondary school, but also in higher education, a purely scientific approach was established (6, p. 12).
Wrong has taken root; a distorted idea of ​​the absence of a serious connection between artistic development, firstly, with the morality of man and society, and secondly, with the very development of human thinking.
Nevertheless, human thinking is initially two-sided: it is made up of a rational-logical and emotional-imaginative side as equal parts. Human scientific and artistic activity are based on different forms of thinking that caused their development, completely non-identical objects of cognition, and the ensuing demand for fundamentally different forms of transferring experience. These positions, which naturally follow from the formula “art is not science”, may cause doubts and rejections. And they will be based on a completely non-scientific, but a trivial, everyday attitude towards the arts; an understanding of their role only as a sphere of recreation, creative entertainment, aesthetic pleasure, and not a special, equal scientific, indispensable sphere of knowledge.
It is widely believed that emotional-figurative thinking, which historically really flourished earlier, is more primitive than rational, something not quite human, semi-animal. On such a delusion is based today the rejection of this path of cognition as insufficiently developed and “insufficiently scientific” and it is forgotten that it has developed and improved in the same way since the emergence of mankind (6, p. 13).
There is no human thinking, consisting only of rational-logical, theoretical consciousness. This kind of thinking is made up. A holistic person takes part in thinking - with all his "irrational" feelings, sensations, etc. And, developing thinking, you need to form it holistically. In fact, in the development of mankind, two most important systems of cognition of the world have developed. We think in their constant interaction, whether we like it or not. This is how it happened historically.
If we compare these two sides of thinking in a diagram, we get the following:

Forms of thinking Field of activity and result of work Subject of knowledge (what is known) Ways of mastering experience (how is it known) Results of mastering experience
Rational-logical scientific activity. Outcome - concept Real object (subject) Study of the content of Knowledge. Understanding the patterns of natural and social processes
Emotionally figurative artistic activity. The result is an artistic image Attitude to the object (subject) Experience of the content (accommodation) Emotional and value criteria of life, expressed in incentives for actions, desires and aspirations

The table shows that everything in these two rows is different - both the subject of knowledge, and the ways and results of its development. Of course, the spheres of activity here indicated are those where these forms are manifested only most clearly. In all areas of labor activity, they "work" together, including in scientific, industrial and artistic.
Scientific activity (and cognition) develops the sphere of theoretical thinking more actively than any other.
But artistic activity also develops its own sphere of thinking as a priority. The scientific one is rather able to exploit it and use it to help itself (6, p. 14).
When studying a plant: its flowers, fruits or leaves, a Russian or Mexican scientist is interested in completely objective data: its genus and species, shape, weight, chemical composition, development system - that which does not depend on the observer. The more accurate, the more independent of the student the data and conclusions of observation are, the more valuable they are, the more scientific. Artistic observation and its results are fundamentally different. They cannot and should not be objective at all. They are necessarily personal, mine. The result is my personal attitude to this plant, flower, leaf - whether they cause me pleasure, tenderness, sadness, bitterness, surprise. Of course, all of humanity is looking at this object through me, but also my people, my history. They build the paths of my perception. I will perceive a birch twig differently than a Mexican. There is no artistic perception outside of me, it cannot take place. Emotions cannot be impersonal.
That is why it is impossible to pass on to new generations the experience of emotional-figurative thinking through theoretical knowledge (as we have persistently tried until now). This experience is useless only to study. With such a "study", for example, moral feelings, such as feelings of tenderness, hatred, love, turn into moral rules, into social laws that have nothing to do with feelings. Let's be sincere: all the moral laws of society, if they are not experienced by the individual, are not contained in feelings, but only in knowledge, are not only not durable, but are often the object of anti-moral manipulations.
L. N. Tolstoy rightly said that art does not convince anyone, it simply infects with ideas. And the "infected" can no longer live otherwise. Awareness of belonging, assimilation, empathy - this is the power of human thinking. Global technocratization is disastrous. Psychologist Zinchenko wrote very correctly about this: “For technocratic thinking, there are no categories of morality, conscience, human experience and dignity.” Harshly said, but true.
BM Nemensky clarifies why: technocratic thinking is always the primacy of means over meaning (6, p. 16). For the meaning of human life is precisely the human improvement of the relationship between man and the world, the harmonization of these relationships. With the integrity of the two ways of cognition, the scientific one provides the means for harmonization, while the artistic one includes the introduction of these means into the system of actions and determines the formation of human desires as incentives for action. When the emotional and value criteria are distorted, knowledge is directed to anti-human goals.
With oppression, underdevelopment of the emotional-figurative sphere, today's distortion occurs in our society - the primacy of means, confusion of goals. And this is dangerous, because whether we want it or not, whether we understand it or not, it is our feelings that determine the “first movements of the soul”, determine desires. And desires, even contrary to beliefs, form actions.
Two ways of cognition arose precisely because there are two objects, or objects, of cognition. And the object (subject) of cognition for the emotional-figurative sphere of thinking is not the reality of life itself, but our human emotional-personal attitude towards it. In this case (the scientific form) the object is cognized, in the other (artistic) the thread of the emotional-value connection between the object and the subject is cognized - the relation of the subject to the object (object). And here is the root of the whole problem.
And then the thread of understanding the activity of the emotional-figurative sphere of thinking stretches to those types of labor where this form is most manifested, to art. Art is polyfunctional, but its main role in the life of society is precisely this - analysis, formulation, fixation in a figurative form and transfer to the next generations of the experience of emotional and value relations to certain phenomena of people's relationships with each other and with nature. Naturally, as in scientific form, there is a struggle of ideas, tendencies in relation to the phenomena of life. Ideas not only useful, but also harmful to society, live and oppose. And society intuitively selects and consolidates from them what it needs today for flourishing or for decline.
Isn't it time to look for ways of harmonious development, but not among the older generations, which is late, but among the generation entering into life? You just need to realize that we offer more than one developmental flux instead of another. It is necessary to achieve precisely harmony in the development of thinking. But for this it is necessary to accept as an objective reality the two-sidedness of our thinking: the presence of rational-logical and emotional-figurative thinking, the presence of different circles of knowledge corresponding to them - a real object and the relationship of the subject to the object. And if we accept these two sides, then it is easy to accept two ways of mastering experience - studying the content of experience and living, experiencing the content. Here, it is here that the basis of artistic didactics is laid - nothing else is given (6, p. 17).
However, upon careful analysis, one can feel the different roles of the three forms of plastic-artistic thinking in the behavior and communication of people.
Decoration. Only freely born Roman citizens had the right to wear an outfit. Special decrees on costume in Europe were issued already in the 13th century. In most of them, strict rules were defined for which class which suits could be worn. For example, in Cologne in the XV century. judges and doctors had to walk in red, lawyers - in purple, other pundits - in black. For a long time in Europe, only a free man could wear a hat. In Russia, under Elizabeth, people without a rank did not have the right to wear silk, velvet. In medieval Germany, serfs, under pain of death, were forbidden to wear boots: this was the exclusive privilege of the nobles. And in Sudan there is a custom to thread brass wire through the lower lip. This means that the person is married. The same goes for her hairstyle. And today, choosing for himself this or that type of clothing or its cut, a person who refers himself to a certain social group uses them as social symbols that act as a regulator of relations between people. The business of decorating oneself, weapons, clothes, dwellings has been a non-entertainment activity since the formation of human society. Through decoration, a person distinguished himself from the environment of people, designating his place in it (hero, leader, aristocrat, bride, etc.) and introducing himself to a certain community of people (warrior, tribal member, caste member or businessman, hippie, etc.). d.). Despite the more multifaceted play on decor, its root role remains the same today - a sign of communion and isolation; a sign of a message that affirms the place of a given person, a given group of people in the environment of human relations - it is here that the basis for the existence of decoration as an aesthetic phenomenon (6, p. 18).
The fact that the masses of Russians are illiterate in this area leads to many social breakdowns and personal moral breakdowns. Experts rightly point out that society has not yet developed a systematic system for teaching the language of decorative art. Everyone goes through the school of the language of such communication completely independently and spontaneously.
The constructive line of artistic and plastic thinking performs a different social function and responds to a different need. It is possible to trace the role of this line of thinking in that art, where it is revealed more clearly and appears openly as the leading one. The construction of any objects is directly related to human communication, but other than decor. Architecture most fully (as well as design) expresses this line of artistic thinking. She builds houses, villages and cities with their streets, parks, factories, theaters, clubs - and not only for the convenience of everyday life. The Egyptian temple by its design expressed certain human relationships. The Gothic temple, and the medieval city itself, its design, the character of the houses are completely different. Fortress, castle of the feudal lord and noble estate of the XIII century. were a response to various social, economic relations, differently shaped the environment for people to communicate. It is not for nothing that architecture is called the stone chronicle of mankind; we can use it to study the changing nature of human relations.
The influence of architectural forms on our lives is not difficult to feel today. For example, how much the destruction of Moscow courtyards changed in the development of children's games. Until now, there are no organic forms of self-organization of the children's environment in these huge undivided buildings. Yes, and relations between adults and neighbors are built differently, or rather, they are almost not built. By the way, there is something to think about. To what extent does our everyday architecture correctly express the type of human relations we desire? We need an environment for communication, to create strong human bonds. Now neighbors, even on the same floor, may not know each other at all, have no relationship. And architecture contributes to this in every possible way, it does not have an environment for communication. Even at the humanities faculties of Moscow State University, people have nowhere to sit and talk. There are only lecture halls and halls for mass meetings. There is no planned environment where an individual can communicate with an individual, argue, talk, reflect. Although, perhaps, in previous periods of the history of our society, this was not necessary. And outside of architecture and in spite of it, it is extremely difficult to create conditions for communication. So, in addition to a narrow-utilitarian function (protection from cold, rain and providing conditions for work), architecture plays a significant social, “spiritual-utilitarian” role in shaping human relations. It performs the function of a constructive element of artistic thinking: it forms a real environment that determines the character, lifestyle and relationships in society. By this, it, as it were, sets the parameters and sets milestones for a certain aesthetic and moral ideal, creates an environment for its development. The formation of an aesthetic ideal begins with the construction of its foundations and fundamental properties. The constructive sphere fulfills its purpose through all the arts.
The pictorial basis of plastic-artistic thinking is manifested in all the arts, but it becomes the leading line in the fine arts proper and even most sharply in the easel arts - in painting, graphics, sculpture. For the sake of what needs of society did these forms of thinking develop? The possibilities of these forms, in our opinion, are the most subtle and complex. They are largely research and in some ways similar to scientific activities. There is an analysis of all aspects of real life. But the analysis is emotional-figurative, and not the objective laws of nature and society, but the nature of a person's personal, emotional relations with his entire environment - nature and society. It is through the personality of each of us that our human - common - can only manifest itself. A society without individuals is a herd. So, if in science the conclusion is: “I know, I understand”, then here: “I love, I hate”, “I enjoy it, it causes disgust”. This is the emotional value criteria of a person.
The pictorial form of thinking expands the possibilities of figurative systems, filling them with the living blood of reality. This is where thinking takes place in real visible images (and not just an image of reality). It is thinking with real images that makes it possible to analyze all the most complex, subtle aspects of reality, realize them, build an attitude towards them, variably and sensually (often intuitively) compare one’s moral and aesthetic ideals with it and fix this attitude in artistic images. Attach and share with other people.
It is precisely because of this that fine art is a powerful and subtle school of emotional culture and its chronicle. It is this side of artistic thinking that makes it possible for the fine arts to raise and solve the most complex spiritual problems of society.
Elements of artistic thinking, like three hearts, three motors of the artistic process, participate in shaping the character of human society, in their own way influence its forms, methods, and development.
The change in the tasks of art at different stages of the formation of the moral and aesthetic ideal of each time is manifested in the pulsation of these three trends. The rise and fall of each of them is a response to the changing demands of society for art as a tool that helps it not only form the moral and aesthetic ideal of the time, but also establish it in everyday life. From practice through its spiritual, emotional, moral and aesthetic development again to the daily practice of life - this is the way to implement these foundations. And each basis (sphere) has its own, unique and irreplaceable function, generated by the specifics, the nature of its capabilities.
Art appears in its true meaning as one of the most important forms of self-consciousness and self-organization of the human collective, as a manifestation of an irreplaceable form of thinking developed over millions of years of human existence, without which human society could not have taken place at all.

Conclusion

In this work, we examined the role of art in the life of society and every person, and focused on the specifics of one of the forms of manifestation of emotional-figurative thinking - the plastic-artistic sphere of activity.
This is not only a theoretical problem. The existing reluctance to see the reality of these forms of thinking results in the formation of a one-sided intellect. There was a worldwide fetishization of the rational-logical path of cognition.
Professor of the Massachusetts Institute of Technology J. Weizenbaum writes about this danger: “From the point of view of common sense, science has become the only legitimate form of knowledge... forces all other forms of knowledge. Such thoughts were also expressed by our scientists. Suffice it to recall the philosopher E. Ilyenkov. But society does not listen to them at all.
Lost, not developed and not transmitted from the ancestors of the tradition of emotional and value culture. And it is they who constitute the culture of attitude to the world, which underlies all human activity, the basis of human action.

Bibliography

1. Apresyan R. Aesthetics. – M.: Gardariki, 2003.
2. General history of arts. In 9 volumes. T.1. Primitive art. - M., 1967.
3. Loktev A. Theory of Art. – M.: Vlados, 2003.
4. Ilyenkov E. Works. – M.: Logos, 2000.
5. Art. – M.: Avanta+, 2003.
6. Nemensky B.M. Emotionally-figurative cognition in human development / In the book. Modern art: development or crisis. - M .: Knowledge, 1991. S. 12-22.

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Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-1.jpg" alt="> Art in the life of modern man">!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-2.jpg" alt="> What is art? This word has several meanings. Art is a skill , skill,"> Что такое искусство? У этого слова несколько значений. Искусством называют умение, мастерство, знание дела. Самое дело, требующие такого умения, тоже называют. Искусством можно назвать художественную деятельность и то, что является ее результатом - произведение. Искусство – часть духовной культуры человечества, специфический род духовно - практического освоения мира.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-3.jpg" alt="> Art includes: n Literature n Music n"> Искусство включает в себя: n Литература n Музыка n Архитектура n Театр n Киноискусство n Хореография n Цирк n Изобразительное искусство и др.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-4.jpg" alt="> Fine Arts n Sculpture n Photography n Design n Painting n Graphics"> Изобразительное искусство n скульптура n фотоискусство n дизайн n живопись n графика n декоративно-прикладное искусство!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-5.jpg" alt=">Classification: n spatial or plastic arts (fine art, decorative - applied arts, architecture,"> Классификация: n пространственные или пластические виды искусств (изобразительное искусство, декоративно- прикладное искусство, архитектура, фотография) n временные или динамические виды искусств (музыка, литература) n пространственно-временные (синтетические или зрелищные) виды (хореография, литература, театральное искусство, киноискусство)!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-6.jpg" alt="> Sculpture (lat. sculptura, from sculpo - cut, carve) - sculpture, plastic - view"> Скульптура (лат. sculptura, от sculpo - вырезаю, высекаю) - ваяние, пластика - вид изобразительного искусства, произведения которого имеют объёмную форму и выполняются из твёрдых или пластических материалов. Различаются круглая скульптура (статуя, группа, статуэтка, бюст), осматриваемая с разных сторон, и рельеф (изображение располагается на плоскости).!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-7.jpg" alt=">Relief on the wall of the Buddhist temple Venus de Milo">!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-10.jpg" alt=">Arts and crafts n Arts and crafts (from lat."> Декоративно-прикладное искусство n Декоративно-прикладное искусство (от лат. decoro - украшаю) - раздел декоративного искусства создание художественных изделий, имеющих утилитарное назначение. n Произведения декоративно- прикладного искусства рассчитаны на художественный эффект; служат для оформления быта и интерьера!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-11.jpg" alt=">Views">!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-15.jpg" alt="> The origin of art Art originates in primitive society. With the help of it, people"> Происхождение искусства Искусство возникает в первобытном обществе. С помощью него люди стремились решать какие-то практические задачи своей жизни. Несомненно, важную роль в происхождении искусства сыграл труд.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-16.jpg" alt="> According to archaeological data, the origin of primitive art occurs 45-40 thousand years ago years ago,"> Согласно археологическим данным, зарождение первобытного искусства происходит 45 -40 тыс. лет назад, когда формируется вид Homo Sapiens.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-17.jpg" alt="> Functions of art n Unmotivated functions of art 1) human instinct for harmony,"> Функции искусства n Немотивированные функции искусства 1) человеческий инстинкт гармонии, 2) способ ощутить свою связь с внешним миром, 3) способ применить воображение, 4) обращение к неограниченному кругу лиц, 5) ритуальные и символические функции.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-18.jpg" alt=">n Motivated functions of art 1)Means of communication, 2)Art as entertainment, 3) Art for the sake of"> n Мотивированные функции искусства 1)Средство коммуникации, 2)Искусство как развлечение, 3)Искусство ради политических перемен, 4)Искусство для психотерапии, 5)Искусство для социального протеста, 6)Искусство для пропаганды или коммерциализации.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-19.jpg" alt=">Spheres of human life n Social status">!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-20.jpg" alt="> Elite and mass art Elite art (from the French elite -"> Элитарное и массовое искусство Элитарное искусство (от французского elite - лучшее, отборное), искусство, ориентированное, по мысли его создателей, на небольшую группу людей, обладающих особой художественной восприимчивостью, в силу которой они должны оцениваться как лучшая часть общества, его элита. Элитарные тенденции получили распространение в XX веке в русле авангардстски- модернистского искусства.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-21.jpg" alt="> Mass art is designed for the widest range of viewers, public, simple"> Массовое искусство рассчитано на самый широкий круг зрителей, общедоступное, простое по форме, не требующее специальной подготовки для понимания. К массовому искусству относят произведения, распространяемые через средства массовой коммуникации (кино, телевидение), печатную графику, популярную музыку, продукты художественной индустрии, рассчитанные на усредненный вкус широкого потребителя, упрощенные и необладающие высокой художественной ценностью.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-22.jpg" alt="> Political sphere (relations of people connected with power) Power -"> Политическая сфера (отношения людей, связанные с властью) Власть - это способность и возможност оказывать определяющее воздействие на деятельность, поведение людей с помощью каких - либо средств.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-23.jpg" alt="> Art as a means of ideological influence"> Искусство как способ идеологического воздействия Часто искусство понималось как явление подчиненное, служебное: по отношению к политике государства.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-24.jpg" alt="> Official political ideology (30-50s in the USSR )">!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-25.jpg" alt="> Spiritual sphere (the area of ​​ideal, intangible formations that include ideas , the values ​​of religion,"> Духовная сфера (область идеальных, нематериальных образований, включающих в себя идеи, ценности религии, искусства, морали и т. д.) n Искусство и наука n Искусство и техника n Искусство и религия n Искусство и образование!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-26.jpg" alt="> Art and Science"> Искусство и наука Наука, изучающая искусство в целом и связанные с ним явления - искусствоведение. Отрасль философии, занимающаяся изучением искусства - эстетика. Отличия искусства от науки: n наука и техника оказывает большее влияние на вещи, а искусство - на психологию; n наука добивается объективности, авторы же творений искусства вкладывают в них себя, свои чувства; n научный метод строго рационален, в искусстве же всегда есть место интуитивности и непоследовательности; n каждое произведение искусства является единым и законченным, каждый научный труд - лишь звено в цепи предшественников и последователей;!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-27.jpg" alt=">Art and technique photography, stage">!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-28.jpg" alt=">cinema, television">!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-29.jpg" alt="> Connection with religion Religion (from Latin religio - piety,"> Связь с религией Религия (от лат. religio – благочестие,) – это мировоззрение и мироощущение и также соответствующее поведение и специфические действия (культ), основанные на вере в существование Бога или богов, в существование священного, то есть той или иной разновидности сверхъестественного.!}

Src="https://present5.com/presentation/3/37611404_358364064.pdf-img/37611404_358364064.pdf-31.jpg" alt=">Economic sphere (a set of relations between people that arise when creating and moving material blessings)">!}