What is the magical power of art. This magical power of art

Sections: Literature

Topic: The magical power of art.

Epigraphs:

I accept the triumph of high notes,
High feelings of love and inspiration,
Holy faith of timelessness
And light art workmanship.

P. Tikhonov.

The sounds of the violin are all living things,
Sleeping in you will be awakened ...
Everything is in this music
You just catch it.

A. Romanov (gr. "Sunday")

Lesson Objectives:

Equipment:

1. Illustrations of the Church of the Intercession on the Nerl, St. Basil's Cathedral, the statue of Venus de Milo ...
2. Reproductions of paintings by Russian artists: “Portrait of A.P. Struyskaya" by artist F.S. Rokotova
   La Gioconda by Leonardo da Vinci
3. Multimedia

During the classes

I.Organizing time.

II. Introduction to the lesson.

Literature is a kind of art, so I decided to expand the topic of the epigraph lesson for the entire 10th grade literature course and today I want to offer you a conversation about the “magic power of art”.
What does the word "art" mean? Let's make a synonymic and associative series.

(Synonymous, associative series and meanings of the word proposed by students according to the dictionary of S.I. Ozhegov are displayed on the screen
art, creativity, skill, creation, artistic activity; inspiration, music, theater, sculpture, literature, beauty, delight, admiration, imagery, harmony; Art: 1. Creative reflection, reproduction of reality in artistic images. 2. Skill, skill, knowledge of the matter. 3. The very thing that requires such skill, skill.)

Based on what you have written, tell me, what impact should art have on a person?

(Art pleases us with the harmony of beauty, evokes enthusiastic feelings, shakes the soul, awakens inspiration.)

This year we will get acquainted with the works of I.S. Turgenev, I.A. Goncharov, N.A. Nekrasov, M.E. Saltykov-Shchedrin, F.M. Dostoevsky, L.N. Chekhov, whose work has not yet faded interest all over the world. There are cases when foreigners learn Russian in order to read in the original the creations of our masters that struck them. And a student at the University of Bern in Switzerland learned the language when she saw fiery Russian folk dances on stage. Perhaps that is why it is worth talking about the magical power of art. Let's try to test this statement today.

III. Work on the topic of the lesson.

Let's listen to the song "Musician" by A. Romanov, the leader of the "Voskresenye" ​​group, performed by Konstantin Nikolsky. ( Lyrics on each part)

Please note the words, expressions that affect you.
(“... the sounds of the violin will wake you up sleeping in you ...”, “... if you are not too drunk yet ...” “... about the unfortunate and happy, about good and evil, about fierce hatred and holy love ...” what was happening on your land, everything is in this music - you just catch it ... "" the violin got tired "" the silent case "" the melody remained ".)

What images, associations, thoughts do these lines evoke?

(Talented music, a penetrating voice of a violin, comparable to a human one, can awaken dormant feelings, make you think not only about your own fate, but about everything “what is happening on your land”, make you a “co-worker”.
It's scary if the violin gets tired and falls silent, stops "burning people's hearts." The "mute case" will reproachfully resemble "a vessel in which there is emptiness." But the energy of the violin's voice, according to the law of physics, cannot disappear, it is only inaudible due to human noise, the vanity prevents a person from feeling its wonderful touches on the strings of the soul.)

Why are these images disturbing, engraved in memory, remembered?

(A person, the most callous, unemotional, was created harmonious, which means that in his soul the flame of Love must live, glimmer, which, even smoldering, you can try to inflate in order to return to those who lose their face, image and likeness of the Creator.)

Which line of the song says the most important thing? What important questions does the author pose in a person's life?

(“Why did you come into the world…”
Is everyone capable of understanding works of art?
What is the purpose of art and what is the power of its influence on people?
A person is responsible for what is happening around. “Just catch it,” the author calls. Catch - then try to hear the main thing, do not fence yourself off from life. Nearby there are always those who will remind "... of the unfortunate and happy, of good and evil, of fierce hatred and holy love ...". Their name is Masters.)

What is the strength of the violinist's talent and how does it manifest itself?
- What is your attitude to music?
- What can you say about the author of the song?

2. Let us turn to the literary essay by G.I. Ouspensky "Straightened", written in 1885.

(The work was read by students for the lesson)

Who is the hero of the work?

(The hero of the essay is "the rural teacher Tyapushkin, crushed by "tedious school work", "a mass of insignificant ... daily worries and torments", but not devoid of manifestations of the human soul, thirsting for perfection.")

What is Tyapushkin's state of mind? What is his lifestyle like?

(“All this continued ...”, “shocked me ...”, “deliberate talking”, “feeling of some kind of boundless misfortune ...”. “I am sitting in the cold ...”, “I will eat ...”, “Having returned to my corner ...”, “Depressed…” “In the provincial town… I was languishing in soul…” “Deeply twirled…”, “Absolutely nothing affectionate…” “A tattered sheepskin coat, homemade bed, straw pillows…”, “Misfortune drills the brain…”, “Lair "(not a room)," Woe of my life ... ")

What gives him strength, "encourages", "revives"?

(A dream, "something good" Tyapushkin recalls, "how 12 years ago in Paris in the Louvre he saw Venus de Milo".)

What impression did the statue of the goddess make on him and why?

(“What happened to me?”, “What is the secret?” Who came here “without the slightest moral need”,
"like a crumpled glove," he suddenly felt: "... straightened me out.")

How did he see Venus de Milo? Does his idea of ​​female beauty correspond to the beauty of a female goddess?

(…No, it doesn't.)

Why did the impression of the hero not depend on the external inconsistency with his ideal?

(A work of art attracts something else.)

But it so happened that he "again allowed himself to be crumpled up." Does this mean that Tyapushkin "surrendered", that the influence of the work of art turned out to be short-lived? How would you answer this question and how does the author answer?

(Life is difficult, forcing Tyapushkin to solve daily pressing problems, she erased a strong emotional impression from the hero’s memory. But even the memory of a work of art can change a person. This is how the teacher’s attitude changes, he realizes his importance, the need for people: “... a great work of art strengthens me in my then desire to go into the dark mass of the people ... I can and must go there according to my strength ... I will go there and will strive to ensure that a person who is beginning to live - the people will not allow themselves to be humiliated.")

Why is the essay called "Straightened"?

(This is exactly the effect the statue had on the hero. For Tyapushkin, it’s scary “... to lose the happiness of feeling like a man,” and he is sure that a great work of art has a life-giving force that has a purifying effect on the soul and energizes a humiliated being, helping him to improve spiritually and physically .)

3. Let's get acquainted with the small work of V. Veresaev "Competition".

(The teacher reads the story about the competition of two artists (the teacher and his student) until the epilogue, when the people make their decision, determine the winner).

Which of the two paintings would you prefer, the painting of the famous artist Twice Crowned or the painting of the Unicorn? Why?

(Work in groups. Completion of the reading of the story and exchange of opinions between groups.)
.
- Why do you think you chose the picture of the Unicorn? Why did the student beat the teacher in an argument about beauty?

(The teacher suffered, searched for the ideal of female beauty, found it and, using his unsurpassed skill, created an amazing picture. She caused delight in front of an unearthly, extraordinary woman. Next to this beauty, everything around faded, it seemed imperfect, low, insignificant. The unicorn seemed to could not surpass the teacher in the mastery of performance, but his completely earthly "Dawn" was inspired by love. The student surpassed the teacher in terms of the strength of the feelings invested in the work. His painting allowed him to see and remember the beauty around him.)

(The author showed that external beauty captivates, enchants, but inner beauty is higher. The eyes of a man in love see charm and splendor in everything that surrounds him. The beloved is always the most beautiful, the best. And no matter how many years pass, she always remains her, although it changes in appearance.

I recall the words of W. Shakespeare:

Her eyes don't look like stars
You can’t call the mouth corals ...
I don't know how goddesses walk
But the darling walks the earth.

The painting of the Unicorn is illuminated by love. It is this light, similar to the light of a bright star in a dark sky, that really warms the hearts of people (remember the old woman and the old man in the story)

Apparently, among works of art, the writer himself prefers those that bring joy, spiritual emancipation, love and light, “open eyes” to the beauty of the world.)

What can be said about the interaction of the Creator, the artist and the personality, having become acquainted with the story of V. Veresaev?

(The viewer is the object of the artist's influence, it is on him that the energy of the work of art is directed, positive or negative, elevating the soul or enslaving it.)

4. Now I bring to your attention a poem by Nikolai Zabolotsky “Love painting, poets ...” and a portrait of A.P. Jet brush of the Russian artist F.S. Rokotov.

(The texts are reproduced for each desk, on the screen is a portrait of A.P. Struiskaya)

- What is unusual about the female image in the portrait?
- Let's see if your impression coincides with the opinion of the poet N. Zabolotsky.

(Reading a poem by a teacher)

Why is the perception so different, or what does the similarity of your perception and that of the poet indicate?

(Group work on questions followed by class discussion)

a) What features of the language of painting does N. Zabolotsky speak about?
b) How highly did the poet and his lyrical hero appreciate the artist's creation?
c) Is it only possible to speak about the influence of painting on the human soul while reading N. Zabolotsky? What can be said about the poet?
d) What means of expressive language, what methods of creating an image does the poet use to convey his admiration?
e) Is it possible, based on these works, to confirm or refute the statement made in the title of the lesson?

(N.A. Zabolotsky believes that only painting is the only one given the opportunity to capture beautiful moments on the canvas, capture spiritual changes, find feedback in the heart of the viewer, therefore, the skill of the painter is magic, with the help of which it is possible to influence a person. But we also saw skill a poet who is able to convey his feelings: surprise, admiration, charm - from the contemplation of a painting. The influence of any masterpiece on the human soul is undeniable.)

5. In conclusion, I will tell you the tale of the Hunter.

Once upon a time, when people still dressed in animal skins and lived in caves, the Hunter returned to his native hearth. He was very unlucky that day. Not a single bird let him get so close to him that he could get it with an arrow from his bow, not a single deer allowed him to hit himself with a spear. The hunter knew that prey was waiting in the cave. He imagined what abuse the hungry women would bring down on him, remembered the contemptuous glance of the Leader, and he became bitter.

He entered the cave with empty hands, stood near the dying fire and spoke. The hunter began to talk about how in a dense forest he met an unprecedented snow-white beast with a single horn and chased after him, how he wounded this beast. Before his eyes, the beast turned into a beautiful man and began to reproach the Hunter for attacking the God of the Forest himself. The hunter told how he begged for mercy and asked to be killed, but not to be angry with the tribe that sent him to hunt. God forgave the Hunter, but forbade him to kill any of the animals that day.

When the Hunter finished his story and looked with fear at the people of his tribe, he saw neither reproach nor anger in their eyes. People looked at him with admiration, and the Leader got up from his seat, cut off a large piece of honeycomb and handed it to the hunter.

What do you think Hunter got the award for?

(The hunter deserved his reward for a vivid story. He did not lie to people. He told them one of the first tales. And he was fed precisely for the tale. Great magic happened in the cave: people heard the words, and whole pictures of amazing incidents appeared before their eyes, causing fright for the Hunter. Hunter's story was not a request for forgiveness and not a complaint, but poetry.)

IV. Summarizing.

What is the magical power of art?

Ivan Bunin, in an essay to the poet I.S. Nikitin, replied: “I don’t know who is called a good person. True, the one who has a soul is good, there is a hot feeling, unconsciously torn from the depths of the heart. I don't know what is called art, beauty in art, its rules. True, it consists in that a person, no matter what words, in whatever form, speaks to me, but makes me see living people in front of me, feel the breath of living nature, making the best strings of my heart tremble.

And how would you answer?

V. Homework.

Creative work at the choice of students:

A) Written work:

1. Where do I see the magical power of art?
2. A story (essay) about the feelings you once experienced (when watching a performance, a film), impressions (from a picture you saw, a sculpture, an architectural structure, a piece of music you heard).

B) Create your own work of art (story, poetry, paintings, crafts, embroidery, wood carving…)

List of used literature

1. V.G.Marantsman. Literature Textbook for grade 9 of secondary school (p. 6)
   Moscow "Enlightenment" 1992.
2. Literature. Grade 5 Textbook for schools and classes with in-depth study of literature, gymnasiums and lyceums. Compiled by M. B. Ladygin and T. G. Trenina. Moscow Publishing house "Drofa" 1995.

Legend, Russian Charlie Chaplin, master of satire and impersonation - Arkady Raikin, an inimitable comedian, actor and director, passed away 30 years ago. Raikin was the most popular person in the USSR from the early 1960s to the late 1980s. The monologues and miniatures that he performed were instantly memorized by the audience. And until now, the aphorisms published by Raikin are repeated. Various authors wrote for him over the years, sometimes brilliant, sometimes quite ordinary. But Raikin knew how to make the most faded text expressive and funny. At the same time, his manner was rather characterized by the well-known Petersburg restraint. Today, when the so-called colloquial stage has turned into a parade of exemplary vulgarity, the skill and delicate taste of Arkady Raikin's performances are valued almost higher than during the life of the actor. Raikin Sr. was adored and scolded, accepted and banned, tolerated, but quoted by the whole country - both at meetings in party offices and among ordinary people. When 30 years ago - December 17, 1987 - the actor's life was cut short, it seemed that the reality that he laughed mercilessly over was going down in history, and the country was on the verge of great changes. Today, the monologues of the artist, who sincerely believed that art can change lives for the better, sound more relevant than ever.

Raikin's style has become the talk of the town. Easy at first glance and fundamental in essence, he ironically, intelligently and at the same time sharply and harshly ridiculed in his monologues and feuilletons the vices of people, the system and time, denouncing fools and fools, sausage shortages and careerist bosses, lack of nuts, life "by pull" and "the right people."

At the suggestion of Raikin, young Odessans moved to Leningrad and became artists of his theater: Mikhail Zhvanetsky, Roman Kartsev, Viktor Ilchenko and Lyudmila Gvozdikova. Vladimir Polyakov, Mark Azov, Viktor Ardov, Mikhail Zoshchenko, Semyon Altov, Evgeny Schwartz and many others wrote for Raikin.

A holiday man, Raikin never asked for awards, but received them in full at the end of his life. At the age of 57 he became People's, at 69 - a laureate of the Lenin Prize, at 70 - a Hero of Socialist Labor. In Leningrad, meanwhile, he was considered an anti-Soviet.

Five years before his death, when relations with the local authorities completely deteriorated, Raikin, with the permission of his ardent admirer, General Secretary Leonid Brezhnev, moved with the theater to Moscow. Later, the theater was renamed the Satyricon, and after the death of Raikin Sr., his father's work was continued by his son Konstantin.

We met somewhere, 1954

A witty parody of numerous Soviet officials, based on a script by Vladimir Polyakov. The protagonist of the comedy - artist Gennady Maksimov (the first main role of Arkady Raikin) - goes with his wife, a pop artist (Lyudmila Tselikovskaya) to rest in the Crimea. At the last moment, the wife is called to the theater - it is necessary to replace the sick actress - and removed from the train. Maximov is left alone at first, and then completely lags behind the train. In a strange city (the station was filmed in Evpatoria), he meets a variety of people.

Quotes: “I thought, what other deception, it turned out to be optical”, “In such a spirit, in such a context”, “Culture is inside a person, and if it is not there, then no tickets to the Bolshoi Theater or pompous conversations can buy it” , “Does this not gnaw at you at all ... like him, I keep forgetting this word ... conscience?”, “Sometimes people can be defeated with their own weapons: for example, indifference”, “No one saves anyone, there is no chase, there is no football, children up to sixteen years of age entry is allowed - well, what a picture! I wish I had bought two servings of ice cream!”.

In the Greek Hall, 1970

One of the most popular monologues written by Mikhail Zhvanetsky for Arkady Raikin.

Quotes: “Gave these women two days off, they just went crazy. They kill time at random”, “I thought the museum was like a museum. And this is not a museum, but worse than an eatery: There is no hot food, only cheese and coffee”, “... Who is Apollo? .. Am I Apollo? He is an apollo. Well, let yourself Apollo…”, “This is Italian painting of the seventeenth century! “You don’t understand,” I say, “I don’t ask you where I got the painting, I ask, is there a corkscrew?”.

The magical power of art, 1970

A former student helps an elderly teacher re-educate rude neighbors in a communal apartment using their own methods. In the film directed by Naum Birman, based on the script by Viktor Dragunsky, Raikin played himself. The picture includes three short stories: "The Avengers from the 2nd V", "Hello, Pushkin!" and The Magical Power of Art.

Quotes: “The main thing in this world is to remain human, and against any rudeness, sooner or later, there is a reliable crowbar. For example, the same rudeness”, “I’ll change from the principle!”, “Wash? - Not nobles. You will wash in the kitchen ... Well, on May 1, on New Year's - in a bathhouse, if you feel like it, of course ...”, “The bath is good, deep! And we will pickle cucumbers in it for the winter! In !, a snack for a brother…”, “We didn’t say goodbye to you… Oh, what happened to you? Have you changed something in your face? You won’t get sick in any way ...”, “Well, nothing, not counts ...”.

Deficit, 1972

A colorful and vivid parody of grocery and consignment store sellers - during the total shortage of the Soviet Union, trade workers felt like powerful and successful people.

Quotes: “Everything goes to the fact that everything will be everywhere, there will be abundance! But will it be good?”, “You come to me, I got a shortage through the warehouse manager, through the store manager, through the merchandiser, through the back porch!”, “Listen, no one has it - I have it! You tried it - you lost your speech! ”,“ The taste is specific! ”,“ You respect me. I respect you. You and I are respected people."

About education, 1975

Another famous miniature, disassembled into quotes. He talks about parents, their types, morals and psychologists, who have their own point of view on everything.

Quotes: “Every person has his own truth”, “Comrades, fathers and comrades, roughly speaking, mothers!”, “The main thing is to give birth to a child.”

What is the magical power of art? What role does it play in a person's life? Is it true that art reflects the soul of a people? The writer V. Konetsky, the author of the text proposed for analysis, is trying to answer these and other questions. For example, reflecting on the originality of Russian painting, he draws attention to the work of such artists as Savrasov, Levitan, Serov, Korovin, Kustodiev. “These names hide not only the eternal joy of life in art. It is Russian joy that is hidden, with all its tenderness, modesty and depth. And how simple the Russian song is, so simple is the painting,” the author notes. He emphasizes that the work of these artists reflects the attitude of our people, their ability to enjoy the beauty of their native nature, the ability to appreciate its simplicity and unpretentiousness, to find harmony where others do not feel it.

Art for a person is also a kind of lifeline, because it is not only a means of self-expression, but also the force that connects us with the history and culture of our native country, does not allow us to forget its expanses, reminds everyone over and over again how beautiful Russia is. V. Konetsky considers this property of genuine art to be very important, because it helps people to realize their involvement in their history, their people, their Fatherland: “In our age, artists should all the more not forget about one simple function of art - to awaken and illuminate in a fellow tribesman a sense of homeland ."

Works of painting, literature, music also have a very important role that cannot be ignored. Summing up, the writer expresses confidence: “Art is art when it evokes in a person a feeling of happiness, albeit fleeting.”

I agree with the author's point of view: real art will always find a way to touch the strings of our soul, to reach out even to the most hardened heart. It is able to lift a person who has lost hope from his knees and even save his life.

Thus, art resurrected the desire to live in the hero of Leo Tolstoy's epic novel War and Peace. Nikolai Rostov, having lost a large amount of money to Dolokhov in cards, simply did not see a way out of this situation. The card debt must be paid, but the young officer did not have such huge money. In this situation, he had, perhaps, the only option for the development of events - suicide. From the gloomy thoughts of the hero of the novel, the voice of the sister distracted. Natasha was learning a new aria. At that moment, Nikolai, enchanted by the music, enchanted by the beauty of Natasha's voice, forgot about the problems that a minute ago seemed unsolvable to him. He listened to the singing and only worried about whether the girl would hit the top note. Her gentle voice, the charm of a magical melody brought Nikolai back to life: the hero realized that, in addition to adversity and sadness, there is beauty and happiness in the world, and it’s worth living for them. This is what real art does!

It also saved Jonesy, the heroine of O'Henry's story "The Last Leaf". The girl who fell ill with pneumonia completely lost hope of recovery. Watching the ivy fall outside the window, she decides that she will die when the last leaf falls from its branch. An old artist neighbor Berman, having learned about her intentions from a friend of the heroine, decides to deceive fate. At night, during the cold autumn rain and strong wind, he creates his main picture, a real masterpiece: he paints a small leaf of ivy on the brick wall of the house opposite. In the morning Jonesy sees the brave last leaf bravely fighting the storm all night. The girl also decides to pull herself together and believe in life. She recovers thanks to the power of love that the old artist put into his work, which means thanks to art. It is this that gives her the opportunity to live on, believe in herself and be happy.

Thus, art plays an essential role in our lives. It gives you the opportunity to express your feelings and thoughts, unites a variety of people, helps to live.

A work of art can capture the attention of the viewer, reader, listener in two ways. One is determined by the question "what", the other - by the question "how".

“What” is an object that is depicted in a work, a phenomenon, event, theme, material, that is, what is called the content of the work. When it comes to things that interest a person, this naturally gives rise to a desire in him to delve into the meaning of what was said. However, a work rich in content does not necessarily have to be a work of art. Philosophical, scientific, socio-political works can be no less interesting than artistic ones. But it is not their task to create artistic images (although they may sometimes refer to them). If a work of art attracts the interest of a person solely by its content, then in this case its (works) artistic merits fade into the background. Then even an unartistic depiction of what is vital for a person can deeply hurt his feelings. With an undemanding taste, a person can be quite satisfied with this. A keen interest in the events described allows lovers of detective stories or erotic novels to emotionally experience these events in their imagination, regardless of the clumsiness of their description, the stereotyped or wretchedness of the artistic means used in the work.

True, in this case, the artistic images also turn out to be primitive, standard, weakly stimulating the independent thought of the viewer or reader and giving rise to only more or less stereotyped complexes of emotions in him.

Another way related to the question "how" is the form of a work of art, that is, the ways and means of organizing and presenting content. This is where the “magic power of art” lies, which processes, transforms and presents the content of the work in such a way that it is embodied in artistic images. The material or theme of a work cannot in itself be either artistic or non-artistic. The artistic image is made up of the material that constitutes the content of the work of art, but it is formed only thanks to the form in which this material is clothed.

Consider the characteristic features of the artistic image.

The most important feature of the artistic image is that it expresses the emotional and value attitude to the object. Knowledge about the object serves in it only as a background against which the experiences associated with this object emerge.

I. Ehrenburg in the book "People, Years, Life" tells about his conversation with the French painter Matisse. Matisse asked Lydia, his assistant, to bring a sculpture of an elephant. I saw, - Ehrenburg writes, - a Negro sculpture, very expressive - the sculptor carved an angry elephant out of wood. "Do you like it?" Matisse asked. I replied: "Very much." - "And nothing bothers you?" - "No." - "Me too. But then a European, a missionary, came and began to teach the Negro: “Why is the elephant's tusks raised up? An elephant can lift its trunk, and the tusks are teeth, they do not move. "" The Negro obeyed ..." Matisse called again: "Lydia, please bring another elephant." Laughing slyly, he showed me a figurine similar to those sold in department stores in Europe: “The tusks are in place, but the art is over.” The African sculptor, of course, sinned against the truth: he depicted an elephant not as he really is. But if he had made an anatomically accurate sculptural copy of the animal, it is unlikely that the person examining it would be able to survive, experience, “feel” the impression of the sight of an angry elephant. the tusks, the most formidable part of his body, seem ready to fall on the victim.By shifting them from their usual normal position, the sculptor creates an emotional tension in the viewer, which is a sign that the artistic image gives rise to a response in his soul.

It can be seen from the considered example that an artistic image is not just an image as a result of the reflection of external objects that arises in the psyche. Its purpose is not to reflect reality as it is, but to evoke in the human soul experiences associated with its perception. It is not always easy for the viewer to express in words what he is experiencing. When looking at an African figurine, it can be an impression of the power, rage and fury of an elephant, a sense of danger, etc. Different people can perceive and experience the same thing in different ways. Much depends here on the subjective characteristics of the individual, on his character, views, values. But, in any case, a work of art can evoke feelings in a person only when it includes his imagination in the work. An artist cannot make a person experience some feelings simply by naming them. If he simply informs us that such and such feelings and moods should arise in us, or even describes them in detail, then it is unlikely that we will have them. He excites experiences by modeling the causes that gave rise to them by means of artistic language, i.e. by dressing these causes in some kind of artistic form. The artistic image is the model of the cause that gives rise to emotions. If the model of the cause "works", that is, the artistic image is perceived, recreated in the human imagination, then the consequences of this cause appear - "artificially" caused emotions. And then a miracle of art takes place - its magical power enchants a person and takes him to another life, to a world created for him by a poet, sculptor, singer. “Michelangelo and Shakespeare, Goya and Balzac, Rodin and Dostoevsky created models of sensual causes that are almost more amazing than those that life presents us with. That is why they are called great masters.

The artistic image is the "golden key" that starts the mechanism of experience. Recreating by the power of his imagination what is presented in a work of art, the viewer, reader, listener becomes, to a greater or lesser extent, a “co-author” of the artistic image contained in it.

In "subject" (fine) art - painting, sculpture, dramatic performance, film, novel or story, etc. - the artistic image is built on the basis of an image, a description of some phenomena that exist (or are presented as existing) in the real world . The emotions evoked in this artistic way are twofold. On the one hand, they relate to the content of the artistic image and express a person's assessment of those realities (objects, objects, phenomena of reality) that are reflected in the image. On the other hand, they refer to the form in which the content of the image is embodied, and express an assessment of the artistic merits of the work. Emotions of the first kind are "artificially" evoked feelings that reproduce the experiences of real events and phenomena. Emotions of the second kind are called aesthetic. They are associated with the satisfaction of the aesthetic needs of a person - the need for such values ​​as beauty, harmony, proportionality. Aesthetic attitude is “an emotional assessment of how the given content is organized, built, expressed, embodied by the form, and not this content itself”.

The artistic image, in essence, is not so much a reflection of the phenomena of reality as an expression of their human perception, the experiences associated with them, the emotional and value attitude towards them.

But why do people need artificially evoked emotions born in the process of perceiving artistic images? Don't they have enough experiences related to their real life? To some extent, this is true. Monotonous, monotonous life can cause "emotional hunger". And then the person feels the need for some additional sources of emotions. This need pushes them to seek "thrill" in the game, in a deliberate pursuit of risk, in the voluntary creation of dangerous situations.

Art provides people with the possibility of "extra lives" in the imaginary worlds of artistic images.

“Art “transferred” a person to the past and future, “relocated” him to other countries, allowed a person to “reincarnate” into another, become for a while Spartacus and Caesar, Romeo and Macbeth, Christ and Demon, even the White Fang and the Ugly Duckling; it turned an adult into a child and an old man, it allowed everyone to feel and know what he could never comprehend and experience in his real life.

The emotions that works of art evoke in a person do not just make his perception of artistic images deeper and more exciting. As shown by V.M. Allahverdov, emotions are signals that go from the area of ​​the unconscious to the sphere of consciousness. They signal whether the information received reinforces the “model of the world” that has developed in the depths of the subconscious, or, on the contrary, reveals its incompleteness, inaccuracy, and inconsistency. By “moving” into the world of artistic images and experiencing “extra lives” in it, a person gets ample opportunities to verify and refine the “model of the world” that has developed in his head based on his narrow personal experience. Emotional signals break through the "protective belt" of consciousness and induce a person to realize and change their previously unrealized attitudes.

That is why the emotions evoked by art play an important role in people's lives. Emotional experiences of "extra lives" lead to the expansion of the cultural outlook of the individual, the enrichment of his spiritual experience and the improvement of his "model of the world".

It is not uncommon to hear how people, looking at a picture, admire its resemblance to reality (“An apple is just like a real one!”; “He stands in the portrait as if alive!”). The opinion that art - at least "objective" art - consists in the ability to achieve a similarity between the image and the depicted, is widespread. Even in antiquity, this opinion formed the basis of the "theory of imitation" (in Greek - mimesis), according to which art is an imitation of reality. From this point of view, the aesthetic ideal should be the maximum similarity of the artistic image with the object. In an ancient Greek legend, the audience was delighted by an artist who painted a bush with berries so similarly that birds flocked to feast on them. And two and a half thousand years later, Rodin was suspected of having achieved amazing credibility by plastering a naked man with plaster, making a copy of him and passing it off as a sculpture.

But an artistic image, as can be seen from what has been said above, cannot simply be a copy of reality. Of course, a writer or artist who aims to depict any phenomena of reality must do it in such a way that readers and viewers can at least recognize them. But the similarity with the depicted is by no means the main advantage of the artistic image.

Goethe once said that if an artist draws a poodle in a very similar way, then one can rejoice at the appearance of another dog, but not a work of art. And Gorky about one of his portraits, which was distinguished by photographic accuracy, put it this way: “This is not my portrait. This is a portrait of my skin." Photographs, casts of hands and face, wax figures are intended to copy the originals as accurately as possible.

However, accuracy does not make them works of art. Moreover, the emotional and value character of the artistic image, as has already been shown, presupposes a departure from impassive objectivity in the depiction of reality.

Artistic images are mental models of phenomena, and the similarity of a model to the object it reproduces is always relative: any model must be different from its original, otherwise it would be just a second original, not a model. “The artistic exploration of reality does not pretend to be reality itself - this distinguishes art from illusionistic tricks designed to deceive sight and hearing.”

Perceiving a work of art, we sort of “bracket the fact that the artistic image that it carries does not coincide with the original. We accept the image as if it were the embodiment of a real object, "arrange" to ignore its "fake character". This is the artistic convention.

Artistic convention is a consciously accepted assumption, under which the “fake”, art-created cause of experiences becomes capable of causing experiences that are felt “just like real”, although we are aware that they are of artificial origin. “I will shed tears over fiction” - this is how Pushkin expressed the effect of artistic convention.

When a work of art gives rise to some emotions in a person, he not only experiences them, but also understands their artificial origin. The understanding of their artificial origin contributes to the fact that they find relaxation in their thoughts. This allowed L.S. Vygotsky to say: "The emotions of art are intelligent emotions." The connection with understanding and reflection distinguishes artistic emotions from emotions caused by real life circumstances.

V. Nabokov in his lectures on literature says: “In fact, all literature is fiction. Any art is a deception... The world of any major writer is a world of fantasy with its own logic, its own conventions...” . The artist deceives us, and we are willingly deceived. According to the French philosopher and writer J.-P. Sartre, the poet lies in order to tell the truth, that is, to arouse a sincere, truthful experience. The outstanding director A. Tairov said jokingly that the theater is a lie built into a system: “The ticket that the viewer buys is a symbolic agreement on deceit: the theater undertakes to deceive the viewer; the viewer, a real good viewer, undertakes to succumb to deception and be deceived ... But the deception of art - it becomes the truth due to the authenticity of human feelings.

There are various types of artistic convention, including:

"denoting" - separates the work of art from the environment. This task is served by the conditions that determine the area of ​​artistic perception - the stage of the theater, the pedestal of the sculpture, the frame of the picture;

"compensating" - introduces into the context of the artistic image the idea of ​​its elements that are not depicted in the work of art. Since the image does not match the original, its perception always requires conjecture in the imagination of what the artist could not show or deliberately left unsaid.

Such, for example, is the space-time convention in painting. The perception of the picture assumes that the viewer mentally represents the third dimension, which conditionally expresses the perspective on the plane, draws in the mind the tree cut off by the border of the canvas, introduces the passage of time into the static image and, accordingly, temporary changes that are transmitted in the picture with the help of some conditional funds;

"accentuating" - emphasizes, enhances, exaggerates the emotionally significant elements of the artistic image.

Painters often achieve this by exaggerating the size of the object. Modigliani paints women with unnaturally large eyes that extend beyond the face. In Surikov's painting "Menshikov in Berezov" the unbelievably huge figure of Menshikov creates the impression of the scale and power of this figure, who was the "right hand" of Peter;

“complementing” - increasing the set of symbolic means of the artistic language. This kind of conventionality is especially important in “non-objective” art, where an artistic image is created without recourse to the image of any objects. Non-pictorial sign means are sometimes not enough to build an artistic image, and "complementing" conventionality expands their circle.

Thus, in classical ballet, movements and postures, naturally associated with emotional experiences, are supplemented by conditional symbolic means of expressing certain feelings and states. In music of this kind, additional means are, for example, rhythms and tunes that give a national flavor or remind of historical events.

A symbol is a special kind of sign. The use of any sign as a symbol allows us, through the image of a specific, single thing (the external appearance of the symbol), to convey thoughts that are of a general and abstract nature (the deep meaning of the symbol).

Turning to symbols opens up wide possibilities for art. With the help of them, a work of art can be filled with ideological content that goes far beyond the scope of those specific situations and events that are directly depicted in it. Therefore, art as a secondary modeling system widely uses a variety of symbolism. In the languages ​​of art, sign means are used not only in their direct meaning, but also in order to “encode” deep, “secondary” symbolic meanings.

From a semiotic point of view, an artistic image is a text that carries aesthetically designed, emotionally rich information. Through the use of symbolic language, this information is presented at two levels. On the first one, it is expressed directly in the sensually perceived "fabric" of the artistic image - in the form of specific persons, actions, objects displayed by this image. On the second, it must be obtained by penetrating into the symbolic meaning of the artistic image, by mentally interpreting its ideological content. Therefore, the artistic image carries not only emotions, but also thoughts. The emotional impact of an artistic image is determined by the impression that both the information that we receive at the first level, through the perception of the description of specific phenomena directly given to us, and the one that we capture at the second level through the interpretation of the symbolism of the image, makes on us. Of course, understanding the symbolism requires additional intellectual effort. But on the other hand, this greatly enhances the emotional impressions made on us by artistic images.

The symbolic content of artistic images can have a very different character. But it is always present to some extent. Therefore, the artistic image is not limited to what is depicted in it. It always “tells” us not only about this, but also about something else that goes beyond the concrete, visible and audible object that it represents.

In the Russian fairy tale, Baba Yaga is not just an ugly old woman, but a symbolic image of death. The Byzantine dome of the church is not just an architectural form of the roof, but a symbol of the vault of heaven. Gogol's overcoat Akaki Akakievich is not just clothes, but a symbolic image of the futility of a poor man's dreams of a better life.

The symbolism of an artistic image can be based, firstly, on the laws of the human psyche.

Thus, the perception of color by people has an emotional modality associated with the conditions under which that other color is usually observed in practice. Red color - the color of blood, fire, ripe fruits - excites a sense of danger, activity, erotic attraction, the desire for life's blessings. Green - the color of grass, foliage - symbolizes the growth of vitality, protection, reliability, peace of mind. Black is perceived as the absence of bright colors of life, it reminds of darkness, mystery, suffering, death. Dark crimson - a mixture of black and red - evokes a heavy, gloomy mood.

Researchers of color perception, with some differences in the interpretation of individual colors, generally come to similar conclusions about their psychological impact. According to Freeling and Auer, colors are characterized as follows.

Secondly, the artistic image can be built on the symbolism that has historically developed in the culture.

In the course of history, it turned out that the green color became the color of the banner of Islam, and European artists, depicting a greenish haze behind the Saracens opposing the crusaders, symbolically point to the Muslim world lying in the distance. In Chinese painting, green symbolizes spring, and in the Christian tradition, it sometimes acts as a symbol of stupidity and sinfulness (the Swedish mystic Swedenberg says that fools in hell have green eyes; on one of the stained-glass windows of Chartres Cathedral, a green-skinned and green-eyed Satan is depicted).

Another example. We write from left to right, and movement in that direction seems normal. When Surikov depicts the noblewoman Morozova on a sleigh riding from right to left, her movement in this direction symbolizes a protest against accepted social attitudes. However, on the map on the left is the West, on the right is the East. Therefore, in films about the Patriotic War, the enemy usually attacks on the left, and Soviet troops on the right.

Thirdly, when creating an artistic image, the author can give it a symbolic meaning based on his own associations, which sometimes unexpectedly illuminate familiar things from a new perspective.

The description of the contact of electrical wires here turns into a philosophical reflection on the synthesis (not just “interlacing”!) of opposites, on the dead coexistence (as happens in family life without love) and the flash of life at the moment of death. Artistic images born of art often become generally accepted cultural symbols, a kind of standards for evaluating the phenomena of reality. The title of Gogol's book Dead Souls is symbolic. Manilov and Sobakevich, Plyushkin and Korobochka are all "dead souls". Pushkin's Tatyana, Griboyedov's Chatsky, Famusov, Molchalin, Goncharovsky's Oblomov and Oblomovism, Saltykov-Shchedrin's Jududushka Golovlev, Solzhenitsyn's Ivan Denisovich and many other literary heroes became symbols. Without knowing the symbols that entered the culture from the art of the past, it is often difficult to understand the content of modern works of art. Art is permeated through and through with historical and cultural associations, and for those who do not notice them, the symbolism of artistic images is often inaccessible.

The symbolism of an artistic image can be created and captured both at the level of consciousness and subconsciously, “intuitively”. However, in any case, it must be understood. And this means that the perception of an artistic image is not limited to an emotional experience, but also requires understanding, reflection. Moreover, when the intellect is included in the work during the perception of an artistic image, this strengthens and expands the effect of the emotional charge inherent in it. Artistic emotions that a person who understands art experiences are emotions that are organically associated with thinking. Here, in yet another aspect, Vygotsky's thesis is justified: "the emotions of art are intelligent emotions."

It should also be added that in literary works the ideological content is expressed not only in the symbolism of artistic images, but also directly in the mouths of the characters, in the author's comments, sometimes growing to entire chapters with scientific and philosophical reflections (Tolstoy in War and Peace, T. Mann in "Magic Mountain"). This further indicates that artistic perception cannot be reduced solely to the impact on the sphere of emotions. Art requires both creators and consumers of their creativity not only emotional experiences, but also intellectual efforts.

Any sign, since its meaning can be set arbitrarily by a person, is capable of being a carrier of different meanings. This also applies to verbal signs - words. As shown by V.M. Allahverdov, “it is impossible to list all the possible meanings of a word, because the meaning of this word, like any other sign, can be anything. The choice of meaning depends on the consciousness perceiving this word. But “the arbitrariness of the sign-value relationship does not mean unpredictability. The meaning, once given to a given sign, must continue to be steadily given to this sign, if the context of its appearance is preserved. Thus, the context in which it is used helps us to understand what a sign means.

When we aim to communicate knowledge about a subject to another, we try to make the content of our message unambiguous. In science, for this, strict rules are introduced that determine the meaning of the concepts used, and the conditions for their application. The context does not allow going beyond these rules. It is understood that the conclusion is based only on logic, and not on emotions. Any side, not defined definitions, shades of meaning are excluded from consideration. A textbook on geometry or chemistry should present facts, hypotheses and conclusions in such a way that all students who study it perceive its content unambiguously and in full accordance with the author's intention. Otherwise, we have a bad textbook. The situation is different in art. Here, as already mentioned, the main task is not to communicate information about some objects, but to influence the feeling, excite emotions, so the artist is looking for sign means that are effective in this regard. He plays with these means, connecting those elusive, associative shades of their meaning, which remain outside strict logical definitions and which cannot be used in the context of scientific proof. In order for an artistic image to impress, arouse interest, awaken an experience, it is built with the help of non-standard descriptions, unexpected comparisons, vivid metaphors and allegories.

But people are different. They have different life experience, different abilities, tastes, desires, moods. The writer, choosing expressive means to create an artistic image, proceeds from his ideas about the strength and nature of their impact on the reader. He uses and evaluates them in the light of his views in a particular cultural context. This context is connected with the era in which the writer lives with social problems that concern people in this era, with the orientation of interests and the level of education of the public to which the author addresses. And the reader perceives these means in his cultural context. Different readers, based on their context and simply from their individual characteristics, can see the image created by the writer in their own way.

Nowadays, people admire rock carvings of animals made by the hands of nameless stone age artists, but, looking at them, they see and experience something completely different from what our distant ancestors saw and experienced. An unbeliever may admire Rublev's Trinity, but he perceives this icon differently than a believer, and this does not mean that his perception of the icon is wrong.

If the artistic image evokes in the reader exactly those experiences that the author wanted to express, he (the reader) will experience empathy.

This does not mean that the experiences and interpretations of artistic images are completely arbitrary and can be anything. After all, they arise on the basis of the image, flow from it, and their character is determined by this image. However, this conditionality is not unambiguous. The relationship between an artistic image and its interpretations is the same as that between a cause and its effects: one and the same cause can give rise to many consequences, but not any, but only arising from it.

Various interpretations of the images of Don Juan, Hamlet, Chatsky, Oblomov and many other literary heroes are known. In L. Tolstoy's novel "Anna Karenina" the images of the main characters are described with amazing brightness. Tolstoy, like no one else, knows how to present his characters to the reader in such a way that they become, as it were, his close acquaintances. It would seem that the appearance of Anna Arkadyevna and her husband Alexei Alexandrovich, their spiritual world, is revealed to us to the very depths. However, readers may have different attitudes towards them (and in the novel, people treat them differently). Some approve of Karenina's behavior, others consider it immoral. Some people absolutely dislike Karenin, while others see him as an extremely worthy person. Tolstoy himself, judging by the epigraph of the novel (“Vengeance is mine and I will repay”), as if he condemns his heroine and hints that she is suffering fair retribution for her sin. But at the same time, in essence, by the whole subtext of the novel, he evokes compassion for her. Which is higher: the right to love or marital duty? There is no single answer in the novel. One can sympathize with Anna and blame her husband, or vice versa. The choice is up to the reader. And the field of choice is not reduced to only two extreme options - perhaps an innumerable number of intermediate ones.

So, any full-fledged artistic image is polysemantic in the sense that it admits the existence of many different interpretations. They are, as it were, potentially embedded in it and reveal its content when perceived from different points of view and in different cultural contexts. Not empathy, but co-creation - this is what is necessary to understand the meaning of a work of art, and, moreover, understanding associated with personal, subjective, individual perception and experience of the artistic images contained in the work.

Art enriches our lives. And one of its types - literature - meets us at the very beginning of life's journey and remains forever. The book, like caring parents, educates and teaches us. Reading fairy tales in childhood, we learn to distinguish good from evil, truth from lies, virtue from meanness.
Literature teaches to feel, understand, empathize. After all, each book makes us think about what the author wanted to convey with his work. What thought did he put into his creation? Recognizing new heroes, comprehending their feelings and thoughts, we begin

It is better to understand the people around us, and most importantly, in ourselves. Not without reason, many great figures of culture and science, in moments of emotional excitement, took fiction in their hands. They found peace and contentment in her. Books can help, find the right path in life, looking for which we often get confused.
But these are not all the virtues of literature. Thanks to her, we learned a lot of necessary and useful information. So, for example, very few sources were preserved about the campaign of Prince Igor, and the literary work "The Tale of Igor's Campaign" shed light on many unknown facts.
Describing the life and customs of his age, the writer helps us to form a picture of the time.
The book can even influence the course of the real life of the reader. For example, after reading Sholokhov's story "The Fate of a Man", many people whose lives were similar to the fate of the hero of this work perked up and found the strength to live on.
I think this is the great power of the art of literature.