"The role of art in human life" - an essay. Why is art necessary? What is real art? The role and significance of art in human life Message on the topic of the role of man in art

Art has existed in human life since ancient times. Our ancestors painted animal silhouettes on the walls in caves with charcoal and plant juices. Thanks to the surviving fragments of their work, we now imagine how the ancients got food, got fire, and what their life was like.

Thanks to art, a person is inspired, opens up spiritually, can convey his feelings and thoughts to other people. For example, now modern paintings in the style of "abstractionism" have become fashionable. Many do not understand how some chaotic spots on canvas can cost a lot of money, what is beautiful about them? But if you look closely, you will feel how the picture conveys the mood. Faded spots evoke melancholy, thoughtfulness or aggression, bright spots on the contrary: joy, fun or even passion. It is for these sensations that connoisseurs are ready to pay fabulous money to an artist who managed to "depict a feeling with color." Paintings can also be truly incredible beauty, when looking at them takes your breath away, and you can’t believe that this is not a photograph. Charming landscapes, animals, portraits of people. The ability to draw beautifully is an art.

Not only painting can be called art. There are many more ways to be creative and implement different ideas. People sculpt statues of various shapes from stones and clay, decorate the facades of buildings with stucco, and even learned how to build ice cities. Beautiful slides and illuminated statues often decorate city squares on the eve of the New Year.

Art can be safely called cinema and writing. These two magnificent things are capable of completely tearing the reader or viewer away from reality and immersing them in the wonderful world of anything. It can be fantasy, adventure, wild west times, space, drama, history, science, or even horror. There are a lot of different genres.

Art is found everywhere. In the modern world, a lot of different professions dedicated to creativity. Photographers are almost colleagues of artists, their difference is in the uselessness of canvas and paints, they capture the world with the click of a camera. Pictures also carry their own character, style and mood.

Designers are professionals who model clothes, interiors, landscapes in courtyards, the appearance of cars and interiors, buildings outside, and much more. All this is done in order to make these things pleasant to look at. To make people happy or to evoke some other feelings. For example, the style of clothing can emphasize the character and preferences of a person, highlight the brutality of a man or the fragility of a woman, their life principles and tastes.

If we talk about the direction in art that can convey the mood better than others, then this is music! Melodies make us feel a variety of feelings: melancholy, sadness or happiness and love. Music appeared a very long time ago and there is not a single person who would not love it.

Without art, life would not be what we see it now. We could not understand each other better, convey our spiritual feelings and share parts of ourselves. The world would be completely gray and boring. It's good that we can create!

Option 2

In our modern world, most people believe that art does not affect a person's life. People give the main contribution to the quality of life, convenience and comfort to science, which explains how the world and man are arranged. Scientific discoveries make us forget about the importance of creativity. Despite the fact that science really plays one of the most important roles in human life, one should not forget about the role of art in people's lives.

To understand the need for art, try to imagine what life would be like without it? What would happen if there were no books, music, films or paintings in our world? What kind of lifestyle would people acquire without the opportunity to relax with music, the opportunity to watch their favorite movies, go to the theater, go to some kind of concert or read a book?

Many scientific discoveries have been made thanks to creativity. Without the imagination of people, science will also not develop in any way. People will be like insensitive robots, in the head of which there will be only basic physiological needs. Even in ancient times, without creativity, people would not have been able to develop to the current results.

Remember the emotions that you get while listening to your favorite songs. How much adrenaline was released while watching an action movie or a horror movie, how much in childhood everyone was waiting for a new cartoon series, how parents read a fairy tale before going to bed. Some works of art are able to play on the strings of the soul and cause a storm and a surge of various emotions.

Without art, the imagination and thoughts of people will be faded and meager, filled with only emptiness. Without art, science will not be as interesting, because there will be no more discoveries through creative approaches. Art exists in order to awaken the emotions of a person, motivate him, make him sad or happy, inspire him and give the necessary clues in his life path.

A person cannot be happy if he has no emotions. Every person develops spiritually as they live. In our world there are no people who are indifferent to any kind of creativity. Art was, is and will be relevant in people's lives. Art teaches people morality and puts them on the right path of life, developing in them spiritual, aesthetic and moral feelings.

Essay 3

Mankind is evolving in leaps and bounds. Tall unusual houses are being built, new experimental data are being learned, space and the ocean are being explored, new modern information technologies are being introduced. All this is the realm of science. And of course, it plays a huge role in our development. However, there is something that, along with science, cannot be rejected and develops at a high speed. This is art.

These or those types of art began to appear since the appearance of man as a species. Rock paintings, the processing of animal skin as clothing, and then carving fakes, burning ornaments and much more were the first works of art. Over time, art expanded and captivated an increasing number of people. Then it grew into a separate branch of human knowledge and abilities. Geniuses were born and created masterpieces: great books and paintings, sculptures and architectural monuments. All this developed quite quickly and with great passion. Art began to be taught, and now our country and the whole world owns special courses in many types of creativity, as well as secondary specialized and higher educational institutions for the training of new artists.

The role of art for mankind is great. This sphere of life not only gave birth to the whole evolutionary chain, not only endowed us with amazing paintings, books and music, but also gave each of us an amazing opportunity to enjoy. We get aesthetic pleasure when looking at the products of painting and architecture. We can satisfy the needs for spiritual development by reading literary masterpieces. The functions of art also consist in developing fantasy, talent, and the ability to feel beauty in every person. Thanks to creativity, a person discovers the depth of his soul, reveals the whole inner world and his inherent abilities and talent, and also develops a taste and sense of style.

Of course, all of the above does not apply to basic human needs, such as the maintenance of life and offspring. But just think of what life would be like if there were no art in it! After all, many, many people find solace in it. For all great writers, musicians, actors and artists, art is the passion and delight of their whole life. They create when they are inspired, they create when they are unhappy. Composing poems, working on symphonies, they not only reveal themselves, they reveal the peculiarity of the entire era in which they live, the moods of their contemporaries, the way of life that was established at that time and the events affecting this period of time.

The role of art in human life cannot be underestimated. This field of activity will never lose its relevance. For every artist, this is a passion and a lifetime. For all mankind, art is of great benefit, preserving the monuments of creativity, putting on the path of development and educating the moral, sensual and aesthetic components in the entire population of the planet.

It is impossible to overestimate the importance of art. It is difficult to give a single exact definition, its manifestations are so diverse, it is so complex and accessible at the same time. But one thing is clear: no society exists without art, and a person's life without art is poor and uninteresting.

The role and place of art in the life of society does not remain unchanged. In some eras, society lives by art, for example, Antiquity, the Renaissance. In others, the life of society is determined by religion - the Middle Ages. In our country, due to the uniqueness of its historical development, art has always played a huge role and has been a spokesman for ideas and views that differ from those officially recognized and imposed. Through art, people comprehended their existence, in it they sought and found answers to the most pressing questions of life. They argued with him, imitated his heroes, they lived.

However, in recent years, when it became possible to openly express one's views, and political dictates are becoming history, the public resonance of art has decreased. Art has ceased to be the only platform for the expression of public opinion. Nor was it such a tribune in countries with developed democracies. Given this, some theorists and public figures began to argue that art has played its historical role and that only a hedonistic and narrowly understood aesthetic function remains behind it: to give people rest, entertainment and admiration of the beautiful. The flow of entertainment literature and television series about the "beautiful life" seems to confirm this. But if the nature of art were reduced only to these of its functions, humanity would hardly be able to reach those spiritual, moral, aesthetic heights, acquire the subtlety of feelings, sincerity and responsiveness that are inherent in true humanity.

“Oh, the circle of our ideas would be pitiful if we were left only to our five senses and our brain processed the food obtained by it. Often one powerful artistic image puts into our souls more than many years of life have produced. We are aware that the best and most precious part of our “I” does not belong to us, but to that spiritual milk, to which the powerful hand of creativity brings us closer,” the Russian writer noted. V.M. Garshin.

Sometimes, and not infrequently, what is read or seen in a work of art has a huge impact on a person's behavior and even determines his whole life.

“Eugene Onegin determined a lot in me. If then, all my life, to this last day, I have always been the first to write, the first to stretch out my hand - and hands, not fearing the court - it is only because at the dawn of my days Tatyana lying in a book, by a candle, with a braid disheveled and thrown over her chest, did it in front of my eyes.

And if later, when they left (always - they left), not only didn’t I stretch out my hands after me, but I didn’t turn my head, it was only because then, in the garden, Tatyana froze like a statue.

A lesson in courage. A lesson in pride. Loyalty lesson. Fate lesson. A lesson in loneliness, ”says Marina Tsvetaeva.

“Through art (singing and words) we express our feelings of love, sorrow and joy, to the sounds of music we boldly go to victory, to the same sounds we mourn the fallen heroes. Art decorates temples, it teaches us to pray better, love God more and feel the feelings of others. Art… is the expressor and interpreter of the human soul, the mediator between God and man. Art speaks more clearly, more concretely, more beautifully what everyone would like to say, but cannot. Art is like a guiding star, illuminating the path for those who strive forward towards the light, who want to be better, more perfect, ”said the Russian sculptor of the 19th century Mark Antokolsky .

“Art tells a person what he lives for. It reveals to him the meaning of life, illuminates life goals, helps him to understand his vocation,” the French sculptor defines the purpose of art. Auguste Rodin.

But this lofty purpose, for the sake of which art was created, preserved and developed by man, it fulfills only when it does not turn into simple entertainment.

And since, according to the logic of its historical development, humanity cannot prolong its existence without mutual understanding (and the need for this is growing), without communication between people, without the desire to comprehend life, to understand others and, above all, oneself, without the joy of co-creation and creativity, without admiration and delight in beauty, then the need for art, and therefore art itself, will exist as long as there are people on Earth. And communication with him makes each person mentally thinner, spiritually richer. You just need to understand the nature of art and its high purpose, learn to distinguish it from fakes and respect its creators.

“Bow, people, to the poets and creators of the earth - they were, are and will remain our sky, air, our firmament under our feet, our hope and hope. Without poets, without music, without artists and creators, our land would long ago have become deaf, blind, crumbled and perished.

Take care, pity and love, earthlings, those chosen ones who are given to you by nature not only to decorate your days, to delight your ears, to please the soul, but also to save all living, bright on our earth.

Let these words V.P. Astafieva, what he said at the end of his life, sounding like a testament of a great Russian writer, will become decisive in our attitude towards art and its creators.

Cited Literature

1. Kagan M.S. Human activity // Experience of system analysis. M., 1974.

2. Bakhtin MM. Problems of Dostoevsky's Poetics. M., 1972.

3. Zis A.Ya. On the approaches to the general theory of art. M., 1995.

4. Russian writers about literature. T. 1. L., 1939.

5. History of aesthetics: Monuments of world aesthetic thought. T. 1. M., 1962.

6. Aristotle on art. M., 1956.

7. Vygotsky L.S. Psychology of art. M., 1968.

8. Van Togh W. Letters. M.; L., 1966.

9. Masters of Arts on Art: In 4 vols. Vol. III. M., 1938.

10. Leo Tolstoy about art. M., 1958.

11. About Dostoevsky. Dostoevsky's creativity in Russian thought. 1881–1931 M., 1981.

12. Bakhtin M.M. Problems of Dostoevsky's aesthetics. M., 1972.

13. Tchaikovsky P.I. About program music. M.; L., 1952.

14. Garcia Lorca on art. M., 1981.

15. Rollan R. On the place occupied by music in world history // Musical Journey. M., 1970.

16. Veresaev V.V. Notes for myself. Thoughts, facts, diary entries. Sobr. cit.: In 5 vols. T. 4. M., 1985.

18. Kramskoy N.I. Letters: In 2 vols. T. 2. M., 1956.

19. Feuchtwanger L. Sobr. cit.: In 6 vols. T. 1. M., 1988.

21. Utopia and dystopia. M., 1990.

22. Bradbury R. Selected works: In 3 vols. Vol. III. M., 1952.

23. Garshin V.M. Works. M., 1960.

24. Tsvetaeva M.I. My Pushkin. Chelyabinsk, 1978.

25. Masters of Arts on Art: In 4 vols. Vol. IV. M.; L., 1939.

26. Masters of Arts on Art: In 4 vols. Vol. III. M.; L., 1939.

Seminar Plan

1. Artistic culture, its specificity and constituent elements.

2. Essence and purpose of art.

3. Functions of art.

4. The role of art in human life and society.

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 (subject). 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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Art is the activity of the individual. With the help of it, he learns the world, rests and creates something new. The role and importance of art in human life cannot be underestimated. Without it, it would be almost impossible. This is a kind of foundation for further discoveries.

What is art

This is a creative activity that allows a person to realize his inner world. You can create with the help of sounds, dances, drawings, words, colors, various natural materials and so on. Art is one of the many forms of consciousness of intelligent beings. It arises due to the creativity of specific individuals who touch on topics that are interesting not only to the author, but also to other people. Many people ask: “Does a person need art?” The answer is definitely yes, because it is a way of knowing the world. Science is also one of the types of acquiring knowledge from the surrounding reality. Art can be:

• Craft. Any kind of human activity is considered a creative process. Skill in some area: sewing, beadwork, furniture making and so on is considered an art. After all, a person tries to convey his vision of the world into reality.
• cultural activity. People have always strived for something beautiful. By creating something good, a person emphasizes his love and peacefulness.
• Any expressive form. With the development of society and aesthetic knowledge, art can be called absolutely any activity that expresses some meaning with the help of special means.

This term is quite broad. If it is interpreted on the scale of the entire human society, then this is a special means for cognition or reflections of the surrounding world, spirituality and consciousness of the individual. There is practically no person who could not give him an explanation. Listen to your inner world and determine what art is for you. After all, it is valuable both for a particular author and for all people in general. During the existence of mankind, a lot of works of art have already been created that you can admire and that can inspire you to your own creative ideas.

The history of the emergence of art

According to one theory, for the first time a person began to engage in creativity during a primitive society. Witnesses to this are rock inscriptions. These were the first mass art forms. They were applied mainly for practical use. About 40 thousand years ago, art became an independent way to explore the world. It was represented by various rituals, musical compositions, choreography, wearable decorations, images on rocks, trees and skins of dead animals.

In the primitive world, art performed the function of transmitting information. People could not communicate using language, so they transmitted information through creativity. Therefore, art for the people of those times was an integral part of existence. For drawing images, objects from the surrounding world and various colors from them were used.

Art in the ancient world

It was in ancient civilizations, such as: Egypt, India, Rome, and so on, that the foundations of the creative process were laid. Even then, people began to think about whether art is necessary for a person. Each developed center of civilization had its own unique style, which survived for many centuries and did not change. At this time, the first works of artists had already begun to be created. The ancient Greeks portrayed the human body best of all. They could correctly depict muscles, posture and respect the proportions of the body.

Art in the Middle Ages

People of these times focused their eyes on biblical stories and spiritual truths. In the Middle Ages, they no longer wondered whether a person needed art, because the answer was obvious. A gold background was used in painting or mosaics, and people were depicted with ideal proportions and body shapes. Art of various kinds penetrated into the sphere of architecture, beautiful statues were built. People were not interested in what real art was, they just created their own beautiful works. Some Islamic countries attributed divine power to such creations. The people from India used the art for religious dancing and sculpture. The Chinese preferred bronze sculptures, wood carvings, poetics, calligraphy, music, and pictorial drawings. The style of this people changed every era and bore the names of the ruling dynasties. In the 17th century, it spread in Japan. By this time, people already knew what real art was. After all, it has already seriously influenced the upbringing of a useful person for society. It also served as a good rest and relaxation.

The Renaissance and the Modern World

Mankind has returned to humanism and material values. This influenced the development of art. Human figures have lost their idealized forms. During these eras, artists tried to show the Universe and various ideas of that time. There were already a lot of interpretations of "what is art". Creative people perceived it as a way to convey human individuality. Already by the 19th century, a lot of styles had formed, such as symbolism or fauvism. However, already in the 20th century, many scientific discoveries and developing technologies happened. During this period, creative individuals were looking for new ways to display their inner world and reflect modern beauty.

In the second half of the twentieth century, the direction of modernism joined the art. People tried to find the truth and followed strict standards. During this period, there were a lot of critics of painting who suggested that it was over.

What is art

In the modern world, the creative process has reached an unprecedented development. With the help of the World Wide Web, various kinds of craftsmanship is spreading at great speed. Art is as follows:

• Spectacular art. It includes theatres, operas, circuses, cinema and so on. With the help of visual perception, the authors convey their vision of the world and various events. Directors create films that reflect the existing problems of the world. Many branches of art serve as entertainment for a person, for example, the circus.
• Art. This area includes photography, painting, comics, sculpture and silent films. The authors, with the help of a static picture, convey the nature, the life of a people, the problems of mankind. Silent cinema is a dynamic art form. In the modern world, this phenomenon has already lost its popularity.
• Expressive art. People reflect their views in literature, create beautiful buildings. They also express the inner world in music and choreography. Most of the works raise global problems and vices of mankind. Thanks to this, people improve and move away from evil and self-flagellation.

For creative self-expression, man has invented a lot of materials. Artists use paint, canvases, ink, and so on. Architects - clay, iron, gypsum and more. Thanks to modern methods of storing information, a person can transfer his creations to an electronic version. Already, there are many musicians, artists, directors and writers who use the computer to create works of art.

Modern world and art

The creative sphere of life teaches the individual true beauty, makes him more merciful and kinder. Also, art teaches to look at simple things from a different angle, most often positive. In all creations there is no one specific meaning, each person is looking for something of his own in them. Also, everyone individually chooses the type of activity for themselves. It can be painting, ballet or even classical literature. People, through creativity, learn compassion, sensitivity and emotionality. Everyday life can oppress a person, and art reminds us how beautiful the world around him can be. Many people feed on just positive energy from various author's works.

From an early age, an individual is instilled with a love for creativity. Introducing children to art allows them to learn to understand literature, painting, architecture, music and much more. It develops the personality. However, there are times when a person does not understand why art is needed. Such behavior is one of the stages of personality development, after which people have an involuntary craving for something new unknown. This allows you to broaden your horizons, improve and form individual moral values. The most important thing is that creativity makes a person better.

How art affects personality development

Man is a creature that is formed with the help of surrounding events and other opinions. Art occupies a special place in this process, it affects both a particular individual and society as a whole. Thanks to him, a person develops pleasant feelings, interesting thoughts, moral principles, and the development of modern art helps him in this. Life without this industry is almost unreal. It would be dry, and for individuals with a rich inner world it would appear only in black and white. Literature as art occupies a special place in existence. It is able to fill a person, like a jug with water, with life principles and views. Leo Tolstoy believed that spiritual beauty could save humanity. With the study of the work of various authors, people become internally attractive.

In the visual arts, a person tries to convey his point of view on the world around him, sometimes from his imagination. After all, he cannot recreate what does not exist. Each image conveys a specific thought or feeling of the creator. Man feeds on these works of art. If the message was kind, then the person will radiate positive emotions. Aggressive creativity gives rise to negative feelings in a person. In life, people must have positive thoughts and deeds, otherwise humanity is threatened with extinction. After all, if everyone around him wishes evil, then mass acts of violence and murders can begin.

Introducing children to art

Parents begin to engage in the cultural education of their child almost from birth. Introducing children to art is an important part of raising a positive personality. School age is considered the most favorable for the development of a cultured person. At this stage, in schools, the child develops sympathy for classical works. In the lessons they consider the great artists, writers, musicians and their significant contribution to the culture of mankind. In the future, they will better perceive the work of various authors and not ask about why art is needed. However, when children enter the middle classes, teachers do not pay due attention to creativity. In this case, many parents send them to special art schools. The ability to learn something new, interest in art, the ability to create and be a kind person are brought up in children. After all, artistic creations play a significant role in the development of a mature personality.

Art and literature

The word is an integral part of creativity. Thanks to him, you can very accurately convey information, events, feelings, and so on. capable of conveying to a person a wide range of emotions and outlooks on life. Also, imagination helps to convey pictures of indescribable beauty. Thanks to the word, people can experience joy, feelings, condolences, sadness, and so on. The text in the book is somewhat reminiscent of an alternate reality.

The writers also talk about their assumptions that relate to the future of mankind. There are a lot of popular dystopias that reflect a not at all bright future, for example: "Brave New World" by Aldous Huxley, "1984" by George Orwell. They serve as a warning to a person so that he does not forget to love and tries to appreciate everything that he has. This fact shows why the art of negative literature is needed. After all, such books ridicule the problems of people: insane consumption, love of money, power, and so on. After all, these things do not bring happiness at all, and you need to do only noble deeds and have honor.

What is the art of photographs and paintings for?

Almost every person likes to decorate the walls of his house with the work of artists or photographers. However, not everyone thought why they hang there and how they affect mood. Psychologists believe that the images on the walls can affect a person. The picture primarily affects the subconscious, and it is very important what color it is. Effects of coloration of images:

• Orange color. He is able to create a warm and warm feeling in a person. However, some works can, on the contrary, irritate.
• Red paintings. This is one of the most influencing colors on people. He can feed healthy people with passion and warmth. Patients with psychological disorders may develop aggression.
• Green. This is the color of the entire plant world, which creates a feeling of security and freshness in a person.
• Blue images. They are able to give people peace and some coolness. All light colors have a positive effect on the emotional state of a person.

Experts have found out for a very long time that different colors of paintings and photographs can improve mood, put emotions in order and, in some cases, heal. However, some people may still have a question about why image art is needed. They can be observed in schools, kindergartens, educational institutions and some workplaces. Often these are peaceful landscapes, forests and portraits of some beautiful people.

1. Purpose of art.

The question of what role art plays in human life is as old as the first attempts at its theoretical understanding. True, as Stolovich L.N. , at the very dawn of aesthetic thought, sometimes expressed in mythological form, in fact, there was no question. After all, our distant ancestor was sure that to pierce the image of a buffalo with a real or drawn arrow means to ensure a successful hunt, to perform a warlike dance means to defeat your enemies for sure. The question is, what doubts could there be in the practical effectiveness of art, if it was organically woven into the practical life of people, was inseparable from the craft that created the world of objects and things necessary for the existence of people, was associated with magical rites, thanks to which people sought to influence the environment their reality? Is it any wonder they believe that Orpheus, to whom ancient Greek mythology attributes the invention of music and versification, could bend tree branches, move stones and tame wild animals with his singing.

The world of artistic images, according to ancient thinkers and artists, “imitated” life, became an integral part of the true life of a person. Euripides, for example, wrote:

No, I will not leave, Muses, your altar ...

There is no real life without art...

But how does the amazing world of art affect a person?

Already ancient aesthetics sought to give answers to this question, but they were not unambiguous. Plato, who recognized only such works of art that strengthen the moral foundations of an aristocratic state, emphasized the unity of the aesthetic effectiveness of art and its moral significance.

According to Aristotle, the ability of art to have a moral and aesthetic impact on a person is based on the “imitation” of reality, shaping the very nature of his feelings: “The habit of experiencing grief or joy when perceiving what imitates reality leads to what we begin to experience. the same feelings when confronted with reality.

The history of artistic culture has captured many cases when the perception of art served as a direct impulse to commit certain actions, to change the way of life. After reading chivalric novels, the poor hidalgo Kehana turned into Don Quixote of La Mancha and set off on skinny Rocinante to assert justice in the world. The very image of Don Quixote has since become a household name, has served as an example to follow in real life.

Thus, we see that the origins of art are in reality, but a work of art is a special world that implies a perception that is different from the perception of life reality. If the viewer, mistaking art for reality, tries to establish justice, physically cracking down on the actor playing the villain, shoots at the movie screen or throws himself at the picture with a knife, threatens the novelist, worrying about the fate of the hero of the novel, then all these are obvious symptoms or mental pathology in general, or, at least, the pathology of artistic perception.

Art does not act on any one human ability and strength, whether it be emotion or intellect, but on the person as a whole. It forms, sometimes unconsciously, unconsciously, the very system of human attitudes, the effect of which will manifest itself sooner or later and often unpredictably, and does not simply aim to induce a person to one or another specific act.

The artistic genius of the famous poster by D. Moor “Have you signed up as a volunteer?”, which was so widely promoted during the Second World War, lies in the fact that it is not limited to a momentary pragmatic task, but appeals to the human conscience through all the spiritual abilities of a person. Those. the power of art lies in this, to appeal to the human conscience, to awaken its spiritual abilities. And on this occasion, we can quote the famous words of Pushkin:

I think this is the true purpose of art.

Art never gets old. In the book of academician philosopher I.T. Frolov "Perspectives of Man" contains arguments about why art does not become obsolete. So, in particular, he notes: “The reason for this is the unique originality of works of art, their deeply individualized character, ultimately due to the constant appeal to man. The unique unity of man and the world in a work of art, the “human reality” cognized by it, deeply distinguish art from science not only in terms of the means used, but also in terms of its very object, always correlated with the personality of the artist, his subjective worldview, while science strives to beyond these limits, rushes to the “superhuman”, guided by the principle of objectivity. Therefore, science also strives for a strict unambiguity in the perception of knowledge by a person, it finds the appropriate means for this, its own language, while works of art do not have such unambiguity: their perception, refracting through the subjective world of a person, generates a whole gamut of deeply individual shades and tones that make this perception is unusually diverse, although subordinate to a certain direction, a common theme.

This is precisely the secret of the extraordinary impact of art on a person, his moral world, lifestyle, behavior. Turning to art, a person goes beyond the limits of rational unambiguity. Art reveals the mysterious, not amenable to scientific knowledge. That is why a person needs art as an organic part of what is contained in himself and in the world that he knows and enjoys.

The famous Danish physicist Niels Bohr wrote: "The reason why art can enrich us is its ability to remind us of harmonies that are beyond the reach of systematic analysis." Art often highlights universal, “eternal” problems: what is good and evil, freedom, human dignity. The changing conditions of each era force us to re-solve these issues.

2. The concept of art.

The word "art" is often used in its original, very broad sense. This is any sophistication, any skill, skill in the implementation of any tasks that require some kind of perfection of their results. In a narrower sense of the word, this is creativity "according to the laws of beauty." Works of artistic creativity, as well as works of applied art, are created according to the "laws of beauty". Works of all types of artistic creativity contain in their content a generalizing awareness of life that exists outside of these works, and this is mainly human, social, national-historical life. If the content of works of art contains a generalizing awareness of national historical life, then it means that it is necessary to distinguish between the reflection of some general, essential features of life itself and the consciousness of the artist that generalizes them.

A work of art, like all other types of social consciousness, is always a unity of the object cognized in it and the subject who cognizes this object. The "inner world" cognized and reproduced by the lyrical artist, even if it is his own "inner world", is always the object of his cognition - active cognition, which includes the selection of the essential features of this "inner world" and their comprehension and evaluation.

This means that the essence of lyrical creativity lies in the fact that in it the main features of human experiences are generally recognized - either in their own temporary state and development, or in their focus on the outside world, for example, on a natural phenomenon, as in landscape lyrics.

Epos, pantomime, painting, sculpture have huge differences among themselves, arising from the characteristics of the means and methods of reproducing life in each of them. Nevertheless, they are all fine arts, in all of them the essential features of national-historical life are recognized in their external manifestations.

In a primitive, pre-class society, art as a special kind of social consciousness did not yet exist independently. It was then in an undifferentiated, undifferentiated unity with other aspects of syncretic consciousness and creativity expressing it - with mythology, magic, religion, with legends about past tribal life, with primitive geographical ideas, with moral requirements.

And then art in the proper sense of the word was dismembered from other aspects of social consciousness, stood out among them in its special, specific variety. It has become one of the forms of development of the social consciousness of various peoples. This is how it should be considered in its later modifications.

Thus, art is a special meaningful kind of consciousness of society, it is artistic content, and not scientific or philosophical. L. Tolstoy, for example, defined art as a means of exchanging feelings, contrasting it with science as a means of exchanging thoughts.

Art is often compared to a reflective mirror. This is not accurate. It would be more accurate to say, as Nezhnov, the author of the brochure Art in Our Life, noted: art is a special mirror with a unique and inimitable structure, a mirror that reflects reality through the thoughts and feelings of the artist. Through the artist, this mirror reflects those phenomena of life that attracted the attention of the artist and excited him.

3. Artistic socialization of the individual and the formation of aesthetic taste.

Being born, a person does not possess any social qualities. But from the first minutes of his life he is introduced to human society. Growing up, developing, he is gradually included in various communities of people, starting with the family, peer group and ending with the social class, nation, people. The process of formation of such qualities of an individual, which ensure his inclusion in a certain social integrity, is called socialization. In the process of socialization, an individual masters knowledge, norms, values ​​accepted in one or another community of people, but perceives, absorbs them not passively, but refracting them through his individuality, through his life experience. So he becomes a personality, which is a unique ensemble of social relations.

Socialization is at the same time internalization, i.e. the transition of social relations external to the individual into his inner spiritual world.

There are many means and "mechanisms" of socialization, and among them a special place is occupied by art, which, along with other social institutions and forms, "connects" a person to the interests and needs of society in all its diverse forms. To identify and more clearly present the features of artistic socialization allows its formation with other types of socialization of the individual.

The formation of personality, its functioning as a member of society is impossible without morality. Moral norms that regulate the behavior of the individual, connect it with society. As a result of internalization, acquiring moral consciousness and legal consciousness, a person, as a rule, fulfills moral norms and legal laws on her own.

Art, in which the aesthetic attitude of a person to the world is objectified and concentrated to the greatest extent, is an indispensable factor in the socialization of the individual, connecting it with society with the most intimate ties and influencing the most intimate aspects of human behavior. At the same time, initiation to diverse aesthetic relations through the development of aesthetic and artistic values ​​is carried out without any infringement of the sovereignty of the personality itself, but, on the contrary, through its development and spiritual enrichment, and, which is extremely important, completely freely.

Aesthetic taste is formed mainly in the process of direct communication with works of art, awakening in a person the ability for aesthetic perception and experience, the ability to make choices and sensually-intellectually evaluate the phenomena of reality in accordance with the social and artistic experience of a person, his social feelings and worldview. It manifests itself in the form of individual assessments, but is always organically connected with the aesthetic, philosophical, ethical, political views of a person, and is conditioned by the social relations of people.

Therefore, taste is a historically specific system of emotional and evaluative preferences, which, ultimately, is comprehended and correlated with the social and aesthetic ideals of both certain classes, social groups, and an individual.

Since aesthetic taste develops and improves primarily in dealing with works of art, it is very important that people come across truly high art more often.

Throughout the history of mankind, many priceless masterpieces of various art forms have been created. This spiritual wealth can be mastered by anyone who wants to, who understands its beneficial influence, first develops the habit, and then the need to communicate with art.

Forming and honing a taste for beauty in art, people then strive to bring beauty into all areas of human life, into life itself, into the behavior and attitudes of people, into their environment. Since life is subject to the same law of beauty as art, a person, thanks to communication with art, seeks to create beauty in life himself, becomes the creator of himself.

Thus we strive for the perfection of our body and our movements, for beautiful furniture, clothes, dwellings, likewise for beautiful customs, for beautiful forms of life and communication, for beautiful speech. And this requirement of our aesthetic taste prompts us to fight bad taste.

Bad taste manifests itself in different ways. External prettiness, loudness, luridity he takes for true beauty. People with bad taste are characterized by an attraction to that which has a direct effect on the external senses, which causes not an aesthetic experience, but physical excitement. A person with bad taste does not like serious art, because it requires from him a certain effort, reflection, effort of feelings and will. He is more satisfied with superficially entertaining works, the art of primitive forms without deep content.

Bad taste also manifests itself in the form of a kind of snobbery - a light and at the same time categorical judgment about art. Snobs are characterized by an approach to the phenomena of art from a formal position, a claim to the only true assessment of works of art, and hence a dismissive attitude towards the artistic tastes of others.

4. THE PERSPECTIVE OF ARTISTIC CULTURE IN THE TRANSITION

The core of artistic culture is art.

According to the subject of creation, art can be divided into the following groups: folk art, amateur art and professional artistic activity.

Folk art is the basis of artistic culture. Reflecting the worldview, aesthetic ideals and tastes of people spontaneously formed in the process of historical practice, folk art is distinguished by originality, originality, national character, humanistic orientation, love of freedom, striving for justice and goodness. Collective folk art uses artistic images and creative techniques that have been accumulated for centuries, tested and refined by many generations. Continuity and sustainability of artistic traditions are successfully combined in it with individual skill and innovation in handling and familiar pictorial and expressive means, iconic storylines and the like. Multivariance, accessibility, brightness and improvisation are integral features of folk art.

“In search of a model for the future of Russia, Russian reformers have always turned their eyes to Europe and there were few people who wanted to renew the country on a traditional basis. Nevertheless, we have values ​​that, in view of their national identity and soil, are of particular importance for our reforms. The main thing here is that they do not need to be “imported” from abroad, introduced, planted. They are traditionally their own, but they need to be restored, revived.”

K.N. Kostrikov, Ph.D. in Philosophy, in his work “Historical Perspective of Artistic Culture in the Transitional Period” noted that the isolation of art from the people, which lowers the aesthetic level of the masses of people, affects art itself, does not allow it to fulfill its social mission.

The picture that no one is looking at is meaningless, the music that no one is listening to is meaningless. Artistic culture, in principle, must overcome all these contradictions and lead artistic culture, as well as art, onto the wide road of a real connection with life. Only through its interaction with the broad masses of the people does artistic culture become a powerful lever for transforming reality. And the wider the range of social content expressed by art, the more numerous its audience, the more full-blooded, vital, aesthetically meaningful art itself, artistic culture itself. Here one can rightly see one of the most important specific features of art as a form of human activity.

Any product of labor - be it a tool, a tool, a machine or a means of maintaining life - is created for some special need. Even such products of spiritual production as scientific research may well remain accessible and important for a narrow group of specialists, without losing anything in their social significance. But a work of art can be recognized as such only under the condition of universality, "general interest" of its content. The artist is called upon to express something that is equally important for both the driver and the scientist, which is applicable to their life activity not only to the extent of the peculiarities of their profession, but also to the extent of participation in the life of the people, the ability to be a person, to be a person.

In the transitional period, the development of popular consciousness leads to the fact that a large circle of people who previously in their spiritual development did not come into contact with artistic culture at all, gradually come into contact with it. Today, more than ever, many are hungry for real art, not a substitute for Western mass culture. The time has come to analyze all the "pros" and "cons" of the past century and proceed to enlightenment and the formation of a new full-fledged person, with his understanding of his mission on this planet. Only this enlightenment should be qualitatively and artistically competent, which will form a new person, a person of peace and creation for the good!

To do this, it is necessary to start with the revival of the replication and distribution of domestic classics and works of domestic cinema. It is urgent to establish the functioning of clubs, houses of culture, where ordinary people can engage in amateur creativity in their free time, communicating with each other, instead of visiting dubious cultural and health centers. Domestic literary classics are necessary, like air, for today's newly-minted writers of the transitional period, who, without a deep mastery of national history, will not be able to rise to the level of great literature.

The art of the word in its highest manifestations is always imbued with aspiration to the future. Orientation towards the future is one of the main specific properties of artistic creativity, which distinguishes it from other types of human activity, which are primarily directed towards the present. At the same time, almost every genuine artist is simultaneously marked by the deepest attention to the past.

Movement into the future - a movement real and mental, seeking to understand where we are going - is indeed comparable to the movement "at night on unfamiliar terrain." And the only way to check the direction is to look back, to the past, this check “is happening now”, it has been and is always being done.

Conclusion

The development of the ability of artistic perception, therefore, is at the same time the education of taste, the content of which is wider, since it encompasses not only the phenomena of art, but also the whole of reality in its aesthetic originality. Taste is formed not only in communication with art, but in the course of the entire life of an individual, under the influence of the immediate environment, and, therefore, the quality of aesthetic taste will depend on what art and what environment is.

I would like to conclude my work with the words of the German writer, poet and statesman of the GDR Johannes Becher:

“To live beautifully is not just an empty sound,

Only the one who multiplied beauty in the world

Labor, struggle - he lived his life beautifully,

Truly crowned with beauty!

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