A work of art is an artistic image. Artistic image

ARTISTIC IMAGE- an aesthetic category that characterizes a special way and form of mastering and transforming reality, inherent only in art. In a narrow and more specific sense, the concept of "artistic image" refers to an element, part of artwork(character or object of the image), in a broader and more general way - a way of being and reproducing a special, artistic, reality, "the realm of visibility" (F. Schiller). Artistic image in a broad sense, it acts as a “cell”, “original principle” of art, which has absorbed and crystallizes in itself all the main components and features artistic creativity generally.

The term "artistic image" in its modern interpretation and meaning was defined in Hegel's aesthetics: "Art depicts a truly universal, or idea, in the form of sensual existence, an image" ("Aesthetics", vol. 4. M., 1973, p. 412). However, etymologically, it goes back to the dictionary of ancient aesthetics, where there were words-concepts (for example, eidos) that distinguish the external “appearance, appearance” of an object and the out-of-body “essence, idea” shining in it, as well as more specific, unambiguous definitions from the field of plastic arts - "statue", "image", etc. Revealing the concept mimesis , Plato and Aristotle considered the issue of the figurative nature of art in the plane of the relationship between real objects, phenomena and their ideal "copies", "casts", and Plotinus focused on substantiating the concept of "internal eidos", an image-meaning that is involved in the essence of objects. New European, primarily German classical aesthetics brings to the fore not the mimetic aspect, but the productive, expressive and creative aspect associated with the creative activity of the artist. The concept of an artistic image is fixed as a kind of unique way and result of the interaction and resolution of contradictions between the spiritual and sensual, ideal and real principles.

Over time, the formula of art as "thinking in images" became synonymous with realistic method, focusing on cognitive function and social purpose of artistic creativity. The very ability to create images, to show, not to prove, is considered a condition and the main sign of the talent and usefulness of the artist's work. “Whoever is not gifted with creative imagination, capable of turning ideas into images, thinking, reasoning and feeling images, neither the mind, nor the feeling, nor the strength of convictions and beliefs, nor the wealth of reasonably historical and modern content will help him become a poet” ( Belinsky V.G. Full coll. soch., vol. 6. M., 1956, p. 591-92). In con. 19 - beg. 20th century various “anti-figurative” conceptions of art arise, questioning or generally rejecting the category of the artistic image as an alleged apology for a “copyist” attitude to reality, a carrier of “fictitious” truth and bare “rationalism” (symbolism, imagism, futurism, LEF, etc.) . However, in foreign and Russian aesthetics, this concept retains, up to the present day, the status of a universal aesthetic category. Many components of the process of artistic assimilation of reality are connected with it even purely lexically (“in-imagination”, “from-image”, “transformation”, “pro-image”, “without-image”, etc.).

The semantics of the Russian word "image" (in contrast to the English "image") successfully indicates: a) imaginary being artistic fact, b) its objective existence, the fact that it exists as a kind of integral formation, c) its meaningfulness (“image” of what?) – the image presupposes its semantic prototype (I. Rodnyanskaya). The content and specificity of the artistic image can be represented by the following characteristics.

The image of art is reflection primary, empirical reality. However, regardless of the degree of similarity (“similarity”) depicted with the displayed artistic image is not a “copy” of the “prototype” (character, event, phenomenon) that served him. It is conditional, “illusory”, no longer belongs to empirical reality, but to the inner, “imaginary” world of the created work.

The image is not just a reflection of reality, but its artistic generalization, it is a created, “man-made”, product of idealization or typification of actual facts, events or characters (see Fig. Typical ). “Imaginary being” and “possible reality” turn out to be no less, but, on the contrary, often more real than the real objects, phenomena, events that served as the initial “material”. The degree and completeness of semantic richness, generalization of the artistic image, coupled with the skill of translating the creative idea, make it possible to distinguish (even within the framework of one work) individual, characteristic and typical images. In the system of the artistic whole, there is a hierarchy of semantic level - the individual, as its semantic "load" deepens, goes into the category of characteristic, and the characteristic - into the typical, up to the creation of images of universal significance and value (for example, Hamlet in this respect is incomparable with Rosencrantz , Don Quixote - with Sancho Panza, and Khlestakov - with Tyapkin or Lyapkin).

The artistic image is an act and the result of creative transformation, the transformation of reality, when the sensuous in a work of art is elevated by contemplation into pure visibility, so that it appears, as it were, “in the middle between direct sensibility and thought belonging to the realm of the ideal” ( Hegel. Aesthetics, vol. 1. M., 1968, p. 44). This is not a thought and not a feeling, taken separately and on their own, but a “felt thought” (A.S. Pushkin), “immediate thinking” (V.G. Belinsky), containing both the moment of understanding and the moment of evaluation, and moment of activity. Since the image of art is initially and fundamentally not speculative, not “theoretical”, it can be defined as an artistic idea, manifested in the form of an artistic representation, and, therefore, as the embodiment of aesthetic experience, in the process of which human sensuality educates itself on its own creations. Image-creation acts in art as sense-creation, naming and renaming everything and everything that a person finds around and inside himself. The images of art are endowed with an independent and self-sufficient life and therefore are often perceived as real objects and subjects, moreover, they become models for empathy and imitation.

The variety of types of artistic images is due to their species, internal laws development and used "material" of each of the arts. Verbal, musical, plastic, architectural, etc. images differ from each other, for example, by the measure of the ratio in them of sensual and ideal (rational) moments. In the "portrait" image, sensual concreteness prevails (or at least comes to the fore), in symbolically the ideal (thinking) principle dominates, and in the typical (realistic) image, the desire for their harmonious combination is obvious. Specific differences, the originality of images of art are objectively expressed (and in many respects turn out to be given) by the nature of the “material” and “language”, through which they are created, embodied. In hand talented artist"material" not only "comes to life", but reveals a truly magical pictorial and expressive power in the transfer of the most subtle and deepest thoughts and feelings. How and from what “litter” (A.A. Akhmatova) of words, sounds, colors, volumes arise poems, melodies, pictures, architectural ensembles- this is the secret of art, which cannot be completely unraveled.

Literature:

1. Aristotle. On the art of poetry. M., 1957;

2. Lessing G. Laocoön, or On the Limits of Painting and Poetry. M., 1957;

3. Hegel G.W.F. Aesthetics, vol. 1, 4. M., 1968;

4. Goethe I.V. About art. M., 1975;

5. Belinsky V.G. Art idea. - Full. coll. soch., vol. 4. M., 1954;

6. Losev A.F. Dialectics art form. M., 1927;

7. Dmitrieva N. Image and word. M., 1962;

8. Intonation and musical image. Digest of articles. M., 1965;

9. Gachev G.D. Life of artistic consciousness. Essays on the history of the image. M., 1972;

10. He is. Image in Russian artistic culture. M., 1981;

11. Bakhtin M.M. Questions of literature and aesthetics. M., 1975;

12. Timofeev L.I. About imagery. - He same. Fundamentals of Literary Theory, 5th ed. M., 1975;

13. Semiotics and artistic creativity. M., 1977;

14. Shklovsky V. Art as a technique. - From the history of Soviet aesthetic thought. 1917–1932 M., 1980;

15. Tomashevsky B.V. Theory of Literature. Poetics. M., 1996;

16. Akopova A.A. Aesthetic ideal and the nature of the image. Yerevan, 1994;

17. Grekhnev V.A. verbal image and literary work. N. Novgorod, 1997.

ARTISTIC IMAGE - one of the most important terms of aesthetics and art history, which serves to indicate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, a feature of which is the expression of an abstract idea in a specific sensual form. Such a definition makes it possible to single out the specifics of artistic and figurative thinking in comparison with other main forms of mental activity.

Genuine artwork is always different great depth thought, the significance of the problems posed. In the artistic image, as the most important means of reflecting reality, the criteria for the truthfulness and realism of art are concentrated. Connecting real world and the world of art, the artistic image, on the one hand, gives us the reproduction of real thoughts, feelings, experiences, and on the other hand, it does this with the help of conventional means. Truthfulness and conventionality exist together in the image. Therefore bright artistic imagery not only the works of the great realist artists differ, but also those that are entirely built on fiction ( folk tale, fantasy story and etc.). Imagery collapses and disappears when the artist slavishly copies the facts of reality, or when he completely evades the depiction of facts and thereby breaks the connection with reality, concentrating on the reproduction of his various subjective states.

Thus, as a result of the reflection of reality in art, the artistic image is a product of the artist's thought, but the thought or idea contained in the image always has a concrete sensory expression. Images are called both separate expressive devices, metaphors, comparisons, and integral structures (characters, characters, the work as a whole, etc.). But beyond this, there is also a figurative system of directions, styles, manners, etc. (images medieval art, Renaissance, Baroque). An artistic image can be part of a work of art, but it can also be equal to it and even surpass it.

It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derived from a work of art. If a work of art is a unity of material, form, content, i.e., everything that an artist works with to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed result. creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original idea and sometimes the material, i.e. practice creative process makes its own corrections to the very core of the artistic image. The art of the master here is organically merged with the worldview, the aesthetic ideal, which are the basis of the artistic image.

The main stages, or levels, of the formation of an artistic image are:

Image-intention

Piece of art

Image-perception.

Each of them testifies to a certain qualitative state in the development of artistic thought. So, the further course of the creative process largely depends on the idea. It is here that the artist’s “illumination” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-design plays an equally important and necessary role in the creative process of both the artist and the scientist.

The next stage is connected with the concretization of the image-concept in the material. Conventionally, it is called an image-work. This is as important a level of the creative process as the idea. Here the regularities associated with the nature of the material begin to operate, and only here the work receives a real existence.

The last stage at which their own laws operate is the stage of perception of a work of art. Here imagery is nothing but the ability to recreate, to see in the material (in color, sound, word) ideological content works of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time have a huge educational impact on him.

Artistic image- a generalized reflection of reality in the form of a specific individual phenomenon.

For example, in such vivid artistic images of world literature as Don Quixote, Don Juan, Hamlet, Gobsek, Faust, etc., the typical features of a person, his feelings, passions, desires are conveyed in a generalized form.

The artistic image is visual, i.e. accessible to , and sensual, i.e. directly affecting human feelings. Therefore, we can say that the image acts as a visual-figurative recreation real life. At the same time, it must be borne in mind that the author of an artistic image - a writer, poet, artist or artist - is not just trying to repeat, "double" life. He complements it, conjectures according to artistic laws.

Unlike scientific activity artistic creativity deeply subjectively and is copyrighted. Therefore, in every picture, in every verse, in every role, the personality of the creator is imprinted. In a particularly significant role imagination, fantasy, fiction, which is unacceptable in science. However, in some cases, the means of art can reproduce reality much more adequately than with the help of strict scientific methods. For example, human feelings - love, hatred, affection - cannot be fixed in strict scientific concepts and masterpieces classical literature or music successfully cope with this task.

In art big role plays creative freedom- the ability to set artistic experiments and model life situations, without limiting itself to the accepted framework of the prevailing scientific theories or ordinary ideas about the world. In this regard, the science fiction genre is especially indicative, offering the most unexpected models of reality. Some science fiction writers of the past, such as Jules Verne (1828-1905) and Karel Capek (1890-1938), were able to predict many of the achievements of our time.

Finally, if considering different parties(his psyche, language, social behavior), then the artistic image is an indissoluble integrity. A person in art is presented as a whole in all the diversity of its characteristics.

The brightest artistic images replenish the treasury cultural heritage humanity, influencing the consciousness of mankind.

An artistic image is an image of art, i.e. specially created in the process of special creative activity according to specific laws by the subject of art - the artist - a phenomenon. In classical aesthetics, a complete definition of the artistic image and the figurative nature of art has developed. In general, an artistic image is understood as an organic spiritual and eideic integrity that expresses, presents a certain reality in the mode of greater and lesser isomorphism (likeness of form) and is realized (having existence) in its entirety only in the process of perception of a specific work of art by a specific recipient. It is then that the unique artistic world is fully revealed and actually functions, folded by the artist in the act of creating a work of art into its objective (pictorial, musical, poetic, etc.) reality and unfolding already in some other concreteness (another hypostasis) in inner world subject of perception. The image is a complex process of artistic development of the world. It presupposes the presence of an objective or subjective reality, which gave impetus to the process of artistic display. It is transformed in the act of creating a work of art into a certain reality of the work itself. Then, in the act of producing this art, another process of transformation of features, form, even the essence of the original reality (the prototype) and the reality of the work of art (the “secondary” image) takes place. The final (already third) image appears, often very far from the first two, but retaining nevertheless, something (this is the essence of isomorphism and the very principle of display), inherent in them and uniting them in a single system of figurative expression, or artistic display. A work of art begins with the artist, or rather, with a certain idea (this is a vague spiritual and emotional sketch), which occurs before starting work. As he creates, the work is concretized, in the process of creating the work, the spiritual and spiritual forces of the artist work, and on the other hand, the technical system of his skills in handling (processing) with specific material, from which and on the basis of which the work is created. Often nothing remains of the original figurative-semantic sketch. It serves as the first stimulus for a sufficient spontaneous creative process. A work of art that has arisen is also, and with great reason, called an image, which, in turn, has a number of figurative levels, or sub-images - images of a more local nature. Inside this folded image-work, we also find a number of smaller images determined by the pictorial and expressive structure of this type of art. The higher the level of isomorphism, the closer the image of the figurative-expressive level to the external form of the depicted fragment of reality, the more “literary” it is, i.e. lends itself to verbal description and evokes the corresponding "picture" representations in the recipient. Images through isomorphism can be verbalized, but not verbalized. For example, in connection with some painting by Kandinsky, we cannot talk about a certain compositional image, but we are talking about color transfer, balance and dissonance of color masses. Perception. IN spiritual world the subject of perception, an ideal reality arises, which, through this work, attaches the subject to universal existential values. The final stage of the perception of a work of art is experienced and realized as a kind of breakthrough of the subject of perception to some levels of reality unknown to him, accompanied by a feeling of the fullness of being, extraordinary lightness, exaltation, spiritual joy.

Another variant:

Hud image: a place in the arts, functions and ontology. A thin image is a way to technically express that endless semantic horizon that the cat launches the claim. Initially, the image was understood as an icon. The 1st meaning of the image fixed the reflective epistemological attitude to art (prototype, likeness, correspondence to reality, but not reality itself). In the Estonian language of the 20th century, there were 2 extremes: 1) absolutization of the meaning of the concept of image. Since the art is to think in images, it means to think in lifelike similarities, which means that the real art is life-like. But there are types of claims that do not work with life-like images of reality. (What, for example, does music copy in life?). In architecture, in abstract painting, there is no clear subject denotation. 2) The image is not the category with which to convey the features of the claim. Rejection of the category of the image, tk. the lawsuit is not a copy of reality. Art is not a reflection, but a transformation of reality. ? Important aspects of the hood of consciousness, art, the cat are accumulated in a bad way, indicate the boundaries of the art. ? Scheme of the claim: the world, the cat is directed to the development of thin? bad tv? work? bad perception. A hood image is an ideal way of hood activity, a structure of consciousness, by means of a cat art solves the following tasks: 1) Hood mastering the world 2) Broadcasting the result of this mastering. That. An image is a way of conveying bad information, an ideal structure for bad communication. The image is inherent in the art of its specific perfect shape . Those. with o.s. the image is a mechanism, a way (internal form of consciousness), and with others, it is not a synonym for a work of art, it is an ideal structure, the cat lives only in the mind. A mat layer of an image (of a body, a play, a novel, a symphony) exists in a potential form. The objective reality of the claim is thin texts, the work "is not equal" to the text. ? a bad image is a specific substratum, a substance of bad consciousness and bad information. Outside of this substance it is impossible to fix the state of artistry. This is the fabric of thin consciousness. An image is a specific space of being of ideal thin information, experiences and its products, a space of communication. ? the image is a specific reality, it appears as a kind of world for a person, as a unifying world of the artist. The image is such an organic structure of consciousness, the cat appears instantly ("Not yet. Already there"). ? 2 possible relations of this specific reality of the image to the consciousness of the creator: 1) Self-movement of the image. 2) The imperious submission of the artist to this reality, i.e. S becomes an instrument of self-creating activity of the image, as if someone is dictating the text. The image behaves like S, as a self-positing structure. ? The specificity of the thin image. The old dogmatic understanding of the image presupposes an isomorphic correspondence, a one-to-one correspondence with reality. But the image simultaneously truncates, transforms, turns, complements reality. But this does not remove the correspondence relation. We are talking about a homomorphic partial correspondence between the image and reality. ! The image deals with the value reality, the claim reflects the spiritual value relationship between S and O. It is these relationships that are the goal of the claim, and not O. The goal of the claim: objectivity filled with a certain significance + attitudes towards this O-that (the state of S-ta). The value of O-that m.b. disclosed only through the state of S-ta. That. the task of the image is to find a way to combine in interpenetration the value objectivity of O-ta and the internal state of S-ta. Value is the manifest meaning of the specificity of the image - to become a way of actualizing the spiritual value relations of a person. ? thin images are divided into 2 classes. 1) Modeling value relations through recreating the feelings of the structure of O-that, and the sub side is revealed indirectly. And all this is called an image. The images here have a clear objective x-r (architecture theater, cinema, painting). 2) Modeling the reality of subjective semantic relations. The state of S-that cannot be depicted. And this is called non-image art (music, ballet). Is the subject here in pure subjectivity and in relation to something outside of itself? hence 2 forms of presentation of reality. 1st form: epic form, the value meaning is revealed by O-tom itself, and S-t is the receiver of this spirit of information. 2nd form - lyrical: O - a mirror of S-ta. O-you just talk about something to S-tu, hook him int. state.? Conclusion. Hud image is a special ideal model of a person's attitude to the world in a concentrated form.

Art takes important place in the theory of aesthetics. She studies its role in life, patterns of development and features. Aesthetics considers art as a form of aesthetic exploration of the world. Art is a means of reflecting life and thinking in the form of artistic images. The source of artistic images is reality. The artist, reflecting the world, thinks figuratively and emotionally, and by influencing the feelings and minds of people with his works, he seeks to evoke similar emotions and thoughts in them.

The specificity of art is that it has an impact on a person due to its aesthetic merits, due to the influence of the system of artistic images. The artistic image is associated not only with the figurativeness of sensual-concrete thinking, but also with abstract concepts; it contains the depth and originality of meaningful artistry.

In the essence of the artistic image, certain levels can be distinguished. The abstract level of artistic thinking is ideal when awareness occurs artistic idea and creating an image is an intelligent operation. The next level is mental, when the role of unconscious mechanisms of artistic creativity is significant. This is the level of artistic feelings and emotions, due to which the images of the work are experienced in the process of perception. The artistic image is associated with an aesthetic attitude towards it, with feelings, with assessments, with needs. Finally, the third level of existence of an artistic image is material, i.e. in what material "shell" the image is presented: in color, in sound, in a word, in their combinations.

When studying an artistic image, all the named levels should be taken into account: ideal, mental, material.

In art, the accuracy of the image of nature does not in itself create a work, it arises only when the image becomes an artistic image in which this or that object or phenomenon is illuminated by the thought and feeling of the creator.

The artistic image is the result of a certain creative orientation of the author and is associated with the nature of his talent. Art at its core has an image of sensually perceived reality, but the degree of artistic generalization of it is different. In order to correctly understand the nature of the artistic image, one should also take into account such highlights as the individuality of the artist's vision and his aesthetic ideal.

These two moments are interconnected and at the same time relatively independent. The aesthetic ideal acts as a guide for the author, it directs his vision, it is determined by the uniqueness of a particular historical time. And at the same time, each creator sees the world in his own way, and the individuality of the author's artistic vision enriches the aesthetic vision as a whole, expanding the range of perception of the world. The individuality of the artist's vision may be barely noticeable or, on the contrary, pronounced, but in any case it is obligatory in a talented work of art.