An artistic image can be visual. Artistic image

Artistically call any phenomenon creatively recreated in a work of art. An artistic image is an image created by the author in order to fully reveal the described phenomenon of reality. Unlike literature and cinema, fine art cannot convey movement and development over time, but this has its own strength. In the stillness of a pictorial image there is hidden a tremendous power that makes it possible to see, experience and understand exactly what passes through life without stopping, only fleetingly and fragmentarily touching our consciousness. An artistic image is created on the basis of media: image, sound, linguistic environment, or a combination of several. In x. O. a specific object of art is mastered and processed by the creative fantasy, imagination, talent and skill of the artist - life in all its aesthetic diversity and richness, in its harmonious integrity and dramatic collisions. X. o. represents an inextricable, interpenetrating unity of objective and subjective, logical and sensual, rational and emotional, mediated and direct, abstract and concrete, general and individual, necessary and accidental, internal (natural) and external, whole and part, essence and phenomenon, content and shapes. Thanks to the merger during creative process these opposite sides into a single, holistic, living image of art, the artist has the opportunity to achieve a bright, emotionally rich, poetically insightful and at the same time deeply spiritual, dramatically intense reproduction of human life, his activities and struggles, joys and defeats, searches and hopes. Based on this fusion, embodied with the help of material means specific to each type of art (word, rhythm, sound intonation, drawing, color, light and shadow, linear relationships, plasticity, proportionality, scale, mise-en-scène, facial expressions, film editing, close-up, angle and etc.), images-characters, images-events, images-circumstances, images-conflicts, images-details are created that express certain aesthetic ideas and feelings. It is about the X. o. system. The ability of art to carry out its specific function is connected - to give a person (reader, viewer, listener) deep aesthetic pleasure, to awaken in him an artist capable of creating according to the laws of beauty and bringing beauty into life. Through this single aesthetic function of art, through the system of art. its cognitive significance, powerful ideological, educational, political, moral impact on people are manifested

2)Buffoons are walking across Rus'.

In 1068, buffoons were first mentioned in the chronicles. The image that appears in your head is a brightly painted face, funny disproportionate clothes and the obligatory cap with bells. If you think about it again, you can imagine some musical instrument next to the buffoon, like a balalaika or a gusli; what’s missing is a bear on a chain. However, such a representation is completely justified, because back in the fourteenth century this is exactly how the monk-scribe from Novgorod depicted the buffoons in the margins of his manuscript. True buffoons in Rus' were known and loved in many cities - Suzdal, Vladimir, the Moscow Principality, throughout Kievan Rus. The buffoons danced beautifully, inciting the people, played the bagpipes and harp superbly, banged wooden spoons and tambourines, and blew horns. People called buffoons “cheerful fellows” and composed stories, proverbs and fairy tales about them. However, despite the fact that the people were friendly towards the buffoons, the more noble sections of the population - the princes, clergy and boyars - could not stand the cheerful scoffers. This was due precisely to the fact that the buffoons gladly ridiculed them, translating the most unseemly deeds of the nobility into songs and jokes and exposing to the common people to ridicule. The art of buffoonery developed rapidly and soon buffoons not only danced and sang, but also became actors, acrobats, and jugglers. Buffoons began performing with trained animals, organizing puppet shows. However, the more the buffoons ridiculed the princes and sextons, the more the persecution of this art intensified. Novgorod buffoons began to be oppressed throughout the country, some of them were buried in remote places near Novgorod, others left for Siberia. A buffoon is not just a jester or a clown, he is a person who understood social problems and ridiculed human vices in his songs and jokes. For this, by the way, persecution of buffoons began in the late Middle Ages. The laws of that time prescribed that buffoons should be immediately fatally beaten upon meeting, and they could not pay off the execution. Gradually, all the buffoons in Rus' disappeared, and in their place were wandering jesters from other countries. English buffoons were called vagants, German buffoons were called spielmans, and French buffoons were called jongers. The art of traveling musicians in Rus' has changed greatly, but such inventions as puppet theater, jugglers and trained animals remain. Just like the immortal ditties and epic tales that buffoons composed remained

A means and form of mastering life through art; way of being of a work of art. The artistic image is dialectical: it unites living contemplation, its subjective interpretation and evaluation by the author (as well as the performer, listener, reader, viewer). An artistic image is created on the basis of one of the media: image, sound, linguistic environment, or a combination of several. It is integral to the material substrate of art. For example, the meaning internal structure, the clarity of the musical image is largely determined by the natural matter of music - the acoustic qualities of musical sound. In literature and poetry, an artistic image is created on the basis of a specific linguistic environment; in theatrical art all three means are used. At the same time, the meaning of an artistic image is revealed only in a certain communicative situation, and the final result of such communication depends on the personality, goals and even the momentary mood of the person who encountered it, as well as on the specific culture to which he belongs.

An artistic image is a form of artistic thinking. The image includes: the material of reality, processed by the artist’s creative imagination, his attitude towards what is depicted, the richness of the creator’s personality. Hegel believed that an artistic image “reveals to our gaze not an abstract essence, but its concrete reality.” V. G. Belinsky believed that art is imaginative thinking. For positivists, an artistic image is a visual demonstration of an idea that provides aesthetic pleasure. Theories arose that denied the figurative nature of art. Thus, Russian formalists replaced the concept of image with the concepts of construction and technique. Semiotics has shown that an artistic image is created by a system of signs, it is paradoxical, associative, it is an allegorical, metaphorical thought that reveals one phenomenon through another. The artist, as it were, collides phenomena with each other and strikes sparks that illuminate life with new light. In art, according to Anandavardhana (India, 9th century), figurative thought (dhvani) has three main elements: poetic figure (alamkara-dhvani), meaning (vast-dhvani), mood (rasa-dhvani). These elements are combined. The poet Kalidasa expresses the dhvani mood in this way. This is what King Dushyanta says to the bee circling near the face of his beloved: “You continually touch her fluttering eyes with their moving corners, you gently buzz over her ear, as if telling her a secret, although she waves her hand away, you drink her nectar lips are the center of pleasure. Oh, bee, truly you have reached your goal, and I am wandering in search of truth.” The poet, without directly naming the feeling that possessed Dushyanta, conveys to the reader the mood of love, comparing the lover dreaming of a kiss with a bee flying around the girl.

In the oldest works, the metaphorical nature of artistic thinking appears especially clearly. Thus, the works of Scythian artists in the animal style intricately combine real animal forms: predatory cats with bird claws and beaks, griffins with the body of a fish, a human face and bird wings. Images of mythological creatures are a model of an artistic image: an otter with the head of a man (tribes of Alaska), the goddess Nyu-wa - a snake with the head of a woman ( Ancient China), god Anubis - a man with the head of a jackal ( Ancient Egypt), centaur - a horse with the torso and head of a man (Ancient Greece), a man with the head of a deer (Lapps).

Artistic thought connects real phenomena, creating an unprecedented creature that intricately combines elements of its ancestors. The ancient Egyptian sphinx is a man represented through a lion, and a lion understood through a man. Through the bizarre combination of man and the king of beasts, we learn about nature and ourselves - royal power and dominance over the world. Logical thinking establishes the subordination of phenomena. The image reveals objects of equal value - one through the other. Artistic thought is not imposed on the objects of the world from the outside, but flows organically from their comparison. These features of the artistic image are clearly visible in the miniature of the Roman writer Aelian: “... if you touch a pig, it naturally begins to squeal. A pig has no wool, no milk, nothing but meat. When touched, she immediately guesses the danger that threatens her, knowing what she is good for in people. Tyrants behave in the same way: they are always filled with suspicion and are afraid of everything, because they know that, like a pig, they must give their life to anyone.” Elian's artistic image is metaphorical and constructed like a sphinx (man-lion): according to Elian, the tyrant is a pig-man. A comparison of creatures that are far from each other unexpectedly gives new knowledge: tyranny is disgusting. The structure of an artistic image is not always as clear as in the Sphinx. However, even more difficult cases in art, phenomena are revealed one through another. So, in the novels of L.N. Tolstoy's heroes are revealed through the reflections and shadows that they cast on each other and on the world around them. In War and Peace, the character of Andrei Bolkonsky is revealed through his love for Natasha, through his relationship with his father, through the sky of Austerlitz, through thousands of things and people that, as this mortally wounded hero realizes in agony, are associated with every person.

The artist thinks associatively. For Chekhov’s Trigorin (in the play “The Seagull”), the cloud looks like a piano, and “and the neck of the dam shines broken bottle and the shadow of the mill wheel turns black - and the moonlit night is ready.” Nina’s fate is revealed through the fate of the bird: “The plot for a short story: a young girl has lived on the shore of a lake since childhood... loves the lake like a seagull, and is happy and free like a seagull. But by chance a man came, saw it, and out of nothing to do, killed it, like this seagull.” In an artistic image, through the combination of phenomena far removed from each other, unknown aspects of reality are revealed.

Figurative thought is multi-valued, it is as rich and deep in its meaning and meaning as life itself. One of the aspects of the ambiguity of the image is understatement. For A.P. Chekhov's art of writing is the art of crossing out. E. Hemingway compared a work of art to an iceberg: part of it is visible, the main part is under water. This makes the reader active; the process of perceiving the work turns out to be co-creation, finishing the image. However, this is not arbitrary speculation. The reader receives an impulse to think, he is asked emotional condition and a program for processing information, but he retains free will and scope for creative imagination. The understatement of an artistic image stimulates the thoughts of the perceiver. This also manifests itself in incompleteness. Sometimes the author breaks off the work mid-sentence and leaves the story unfinished, does not untie storylines. The image is multifaceted, it contains an abyss of meaning, revealing itself over time. Each era finds in classic look new sides and gives it his own interpretation. In the 18th century Hamlet was seen as a reasoner in the 19th century. - as a reflective intellectual (“Hamletism”), in the 20th century. - as a fighter “against a sea of ​​troubles” (in his interpretation he noted that he could not express the idea of ​​“Faust” with the help of a formula. To reveal it, it would be necessary to write this work again.

An artistic image is a whole system of thoughts; it corresponds to the complexity, aesthetic richness and versatility of life itself. If an artistic image were completely translatable into the language of logic, science could replace art. If it were completely untranslatable into the language of logic, then literary criticism, art criticism and art criticism would not exist. An artistic image is not translatable into the language of logic because during analysis a “supra-semantic residue” remains, and at the same time we translate it because, by penetrating deeply into the essence of the work, its meaning can be more fully revealed. Critical analysis is a process of endlessly delving into the infinite meaning of an artistic image. This analysis is historically variable: a new era gives a new reading of the work.

Introduction

Artistic image is a universal category artistic creativity: the inherent form of art in reproducing, interpreting and mastering life through the creation of aesthetically affecting objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content (for example, a character in literature, symbolic images). But more in a general sense An artistic image is the way of existence of a work, taken from the point of view of its expressiveness, impressive energy and significance.

Among other aesthetic categories, this one is of relatively late origin, although the beginnings of the theory of the artistic image can be found in Aristotle’s teaching about “mimesis” - about the artist’s free imitation of life in its ability to produce integral, internally arranged objects and the aesthetic pleasure associated with this. While art in its self-awareness (coming from the ancient tradition) came closer to craft, skill, skill and, accordingly, in the host of arts the leading place belonged to the plastic arts, aesthetic thought was content with the concepts of canon, then style and form, through which the transformative attitude of the artist to the material was illuminated. The fact that artistically transformed material captures and carries within itself a certain ideal formation, somewhat similar to thought, began to be realized only with the promotion of more “spiritual” arts - literature and music - to the forefront. Hegelian and post-Hegelian aesthetics (including V.G. Belinsky) widely used the category of artistic image, respectively contrasting the image as a product of artistic thinking with the results of abstract, scientific-conceptual thinking - syllogism, inference, evidence, formula.

The universality of the category of artistic image has since been repeatedly disputed, since the semantic connotation of objectivity and clarity included in the semantics of the term seemed to make it inapplicable to “non-objective”, non-visual arts. And, however, modern aesthetics, mainly domestic, currently widely resorts to the theory of the artistic image as the most promising, helping to reveal the original nature of the facts of art.

Purpose of the work: Analyze the concept of an artistic image and identify the main means of its creation.

Expand the concept of artistic image.

Consider the means of creating an artistic image

Analyze the characteristics of artistic images using the example of the works of W. Shakespeare.

The subject of the study is the psychology of artistic image using the example of Shakespeare's works.

The research method is a theoretical analysis of literature on the topic.

1. Psychology of artistic image

1 The concept of artistic image

In epistemology, the concept of “image” is used in a broad sense: an image is a subjective form of reflection of objective reality in the human mind. At the empirical stage of reflection, human consciousness is characterized by images-impressions, images-conceptions, images of imagination and memory. Only on this basis, through generalization and abstraction, do image-concepts, image-inferences, and judgments arise. They can be visual - illustrative pictures, diagrams, models - and non-visual - abstract.

Along with its broad epistemological meaning, the concept of “image” has a narrower meaning. An image is a specific appearance of an integral object, phenomenon, person, his “face”.

Human consciousness recreates images of objectivity, systematizing the diversity of movement and interconnections of the surrounding world. Human cognition and practice lead the seemingly entropic diversity of phenomena to an orderly or expedient correlation of relationships and thereby form images of the human world, the so-called environment, residential complex, public ceremonies, sports ritual, etc. The synthesis of disparate impressions into holistic images removes uncertainty, designates one or another sphere, names one or another delimited content.

The ideal image of an object that arises in human head, is some system. However, in contrast to Gestalt philosophy, which introduced these terms into science, it must be emphasized that the image of consciousness is substantially secondary, it is a product of thinking that reflects the laws of objective phenomena, is a subjective form of reflection of objectivity, and not a purely spiritual construction within the stream of consciousness.

An artistic image is not only a special form of thought, it is an image of reality that arises through thinking. The main meaning, function and content of the image of art lies in the fact that the image depicts reality, its objective, material world, man and his environment in a specific face, depicts events of social and personal life people, their relationships, their external and spiritual-psychological characteristics.

In aesthetics, for many centuries, there has been a debatable question about whether an artistic image is a cast of direct impressions of reality or whether it is mediated in the process of emergence by the stage of abstract thinking and the associated processes of abstraction from the concrete by analysis, synthesis, inference, conclusion, that is, the processing of sensory data impressions. Researchers of the genesis of art and primitive cultures identify a period of “pre-logical thinking,” but even to the later stages of art of this time the concept of “thinking” is inapplicable. The sensual-emotional, intuitive-figurative nature of ancient mythological art gave K. Marx a reason to say that the early stages of development human culture unconsciously artistic processing of natural material was inherent.

In the process of human labor practice, not only the development of motor skills of the functions of the hand and other parts of the human body occurred, but also, accordingly, the process of development of human sensuality, thinking and speech.

Modern science argues that the language of gestures, signals, signs ancient man was still only a language of sensations and emotions and only later a language of elementary thoughts.

Primitive thinking was distinguished by its first-signal immediacy and elementaryness, as thinking about a given situation, about the place, volume, quantity, and immediate benefit of a specific phenomenon.

Only with the emergence of sound speech and the second signaling system does discursive and logical thinking begin to develop.

Because of this, we can talk about differences in certain phases or stages of development of human thinking. Firstly, the phase of visual, concrete, first-signal thinking, directly reflecting the momentarily experienced situation. Secondly, this is the phase of figurative thinking, going beyond the limits of what is directly experienced thanks to the imagination and elementary ideas, as well as the external image of some specific things, and their further perception and understanding through this image (a form of communication).

Thinking, like other spiritual and mental phenomena, develops in the history of anthropogenesis from lower to higher. The discovery of many facts indicating the prelogical, prelogical nature of primitive thinking gave rise to many interpretation options. Famous explorer ancient culture K. Levy-Bruhl noted that primitive thinking is oriented differently than modern thinking, in particular, it is “prelogical”, in the sense that it “reconciles itself” with contradiction.

In Western aesthetics of the middle of the last century, a widespread conclusion is that the fact of the existence of pre-logical thinking gives grounds for the conclusion that the nature of art is identical to the unconsciously mythologizing consciousness. There is a whole galaxy of theories that seek to identify artistic thinking with the elementary-figurative mythologism of pre-logical forms of the spiritual process. This concerns the ideas of E. Cassirer, who divided the history of culture into two eras: the era of symbolic language, myth and poetry, firstly, and the era of abstract thinking and rational language, secondly, while trying to absolutize mythology as the ideal primordial basis in history artistic thinking.

However, Cassirer only drew attention to mythological thinking as the prehistory of symbolic forms, but after him A.-N. Whitehead, G. Reed, S. Langer tried to absolutize non-conceptual thinking as the essence of poetic consciousness in general.

Domestic psychologists, on the contrary, believe that the consciousness of modern man is a multilateral psychological unity, where the stages of development of the sensory and rational sides are interconnected, interdependent, and interdependent. The degree of development of the sensory aspects of the consciousness of historical man in the process of his existence corresponded to the degree of evolution of the mind.

There are many arguments in favor of the sensory-empirical nature of the artistic image as its main feature.

As an example, let's look at the book by A.K. Voronsky “The Art of Seeing the World.” It appeared in the 20s and was quite popular. The motive for writing this work was a protest against craft, poster, didactic, manifesting, “new” art.

Voronsky’s pathos is focused on the “secret” of art, which he saw in the artist’s ability to capture a direct impression, the “primary” emotion of perceiving an object: “Art only comes into contact with life. As soon as the viewer, the reader’s mind begins to work, all the charm, all the power of aesthetic feeling disappears.”

Voronsky developed his point of view, relying on considerable experience, sensitive understanding and deep knowledge of art. He isolated the act of aesthetic perception from everyday life and everyday life, believing that seeing the world “directly,” that is, without the mediation of preconceived thoughts and ideas, is possible only in happy moments of true inspiration. Freshness and purity of perception are rare, but it is precisely this direct feeling that is the source of the artistic image.

Voronsky called this perception “irrelevant” and contrasted it with phenomena alien to art: interpretation and “interpretation”.

Problem artistic discovery world receives from Voronsky the definition of a “complex creative feeling” when the reality of the primary impression is revealed, regardless of what a person knows about it.

Art “silences reason; it ensures that a person believes in the power of his most primitive, most immediate impressions”6.

Written in the 20s of the 20th century, Voronsky’s work is focused on the search for the secrets of art in naive pure anthropologism, “irrelevant”, not appealing to reason.

Impressions that are immediate, emotional, and intuitive will never lose their significance in art, but are they sufficient for the artistry of art? Are the criteria of art not more complex than the aesthetics of immediate feelings suggests?

Creating an artistic image of art, if we are not talking about a sketch or a preliminary sketch, etc., but about a completed artistic image, is impossible only by capturing a beautiful, immediate, intuitive impression. The image of this impression will be of little significance in art if it is not inspired by thought. The artistic image of art is both the result of impression and the product of thought.

V.S. Soloviev made an attempt to “name” what is beautiful in nature, to give a name to beauty. He said that the beauty in nature is solar, lunar, astral light, changes in light during the day and night, the reflection of light on water, trees, grass and objects, the play of light from lightning, the sun, the moon.

These natural phenomena evoke aesthetic feelings and aesthetic pleasure. And although these feelings are also associated with the concept of things, for example, about a thunderstorm, about the universe, it is still possible to imagine that images of nature in art are images of sensory impressions.

A sensual impression, a thoughtless enjoyment of beauty, including the light of the moon and stars, are possible, and such feelings are capable of again and again discovering something unusual, but the artistic image of art absorbs a wide range of spiritual phenomena, both sensual and intellectual. Consequently, the theory of art has no reason to absolutize certain phenomena.

The figurative sphere of a work of art is formed simultaneously at many different levels of consciousness: feelings, intuition, imagination, logic, fantasy, thought. The visual, verbal or sound representation of a work of art is not a replica of reality, even if it is optimally life-like. Artistic representation clearly reveals its secondary nature, mediated by thinking, due to the participation of thinking in the process of creating artistic reality.

The artistic image is the center of gravity, the synthesis of feeling and thought, intuition and imagination; The figurative sphere of art is characterized by spontaneous self-development, which has several vectors of conditioning: the “pressure” of life itself, the “flight” of fantasy, the logic of thinking, the mutual influence of the intrastructural connections of the work, ideological tendencies and the direction of the artist’s thinking.

The function of thinking is also manifested in maintaining balance and harmonizing all these contradictory factors. The artist’s thinking works on the integrity of the image and the work. An image is the result of impressions, an image is a fruit of the artist’s imagination and fantasy and at the same time a product of his thoughts. Only in the unity and interaction of all these sides does a specific phenomenon of artistry arise.

Based on what has been said, it is clear that the image is relevant and not identical to life. And there can be countless artistic images of the same sphere of objectivity.

Being a product of thinking, an artistic image is also the focus of the ideological expression of content.

An artistic image has meaning as a “representative” of certain aspects of reality, and in this respect it is a more complex and multifaceted concept as a form of thought; in the content of the image it is necessary to distinguish between the various ingredients of meaning. The meaning of a full-length work of art is complex - a “composite” phenomenon, the result of artistic mastery, that is, knowledge, aesthetic experience and reflection on the material of reality. Meaning does not exist in a work as something isolated, described or expressed. It “follows” from the images and the work as a whole. However, the meaning of a work is a product of thinking and, therefore, its special criterion.

Artistic sense works are the final product of the artist’s creative thought. The meaning belongs to the image, therefore the semantic content of the work has a specific character, identical to its images.

If we talk about the informativeness of an artistic image, then this is not only a meaning that states certainty and its meaning, but also an aesthetic, emotional, and intonational meaning. All this is commonly called redundant information.

An artistic image is a multifaceted idealization of an object, material or spiritual, real or imaginary; it is not reducible to semantic unambiguity and is not identical to sign information.

The image includes objective inconsistency of information elements, opposition and alternative meaning, specific to the nature of the image, since it represents the unity of the general and the individual. The signified and the signifier, that is, the sign situation, can only be an element of the image or an image-detail (a type of image).

Since the concept of information has acquired not only technical and semantic meaning, but also a broader philosophical meaning, a work of art should be interpreted as a specific phenomenon of information. This specificity is manifested, in particular, in the fact that the visual-descriptive, figurative-plot content of a work of art as art is informative in itself and as a “container” of ideas.

Thus, the depiction of life and the way it is depicted is full of meaning in itself. And the fact that the artist chose certain images, and the fact that by the power of imagination and fantasy he added expressive elements to them - all this speaks for itself, because it is not only a product of imagination and skill, but also a product of the artist’s thinking.

A work of art has meaning insofar as it reflects reality and insofar as what is reflected is the result of thinking about reality.

Artistic thinking in art has various spheres and the need to express one’s ideas directly, developing a special poetic language such an expression.

2 Means of creating an artistic image

An artistic image, having sensual concreteness, is personified as separate, unique, in contrast to a pre-artistic image, in which personification has a diffuse, artistically undeveloped character and is therefore devoid of uniqueness. Personification in developed artistic and imaginative thinking is of fundamental importance.

However, the artistic-imaginative interaction of production and consumption is of a special nature, since artistic creativity is in a certain sense so is an end in itself, that is, a relatively independent spiritual and practical need. It is no coincidence that the idea that the viewer, listener, and reader are, as it were, accomplices in the artist’s creative process, was often expressed by both theorists and practitioners of art.

In the specifics of subject-object relations, in artistic and figurative perception, at least three significant features can be distinguished.

The first is that an artistic image, born as an artist’s response to certain social needs, as a dialogue with the audience, in the process of education acquires its own life in artistic culture, independent of this dialogue, since it enters into more and more new dialogues, about the possibilities of which the author may not even have been aware of the creative process. Great artistic images continue to live as an objective spiritual value not only in the artistic memory of descendants (for example, as a bearer of spiritual traditions), but also as a real, contemporary force that encourages a person to social activity.

Second essential feature subject-object relations inherent in the artistic image and expressed in its perception lies in the fact that the “bifurcation” into creation and consumption in art is different from that which takes place in the sphere material production. If in the sphere of material production the consumer deals only with the product of production, and not with the process of creating this product, then in artistic creativity, in the act of perceiving artistic images, the influence of the creative process takes an active part. How the result is achieved in products of material production is relatively unimportant for the consumer, while in artistic and figurative perception it is extremely significant and constitutes one of the main points artistic process.

If in the sphere of material production the processes of creation and consumption are relatively independent, as a certain form of human life, then artistic-imaginative production and consumption are absolutely impossible to separate without compromising the understanding of the very specifics of art. Speaking about this, it should be borne in mind that the limitless artistic and figurative potential is revealed only in historical process consumption. It cannot be exhausted only in the act of direct perception of “disposable use”.

There is a third specific feature of the subject-object relations inherent in the perception of an artistic image. Its essence boils down to the following: if in the process of consuming products of material production the perception of the processes of this production is by no means necessary and does not determine the act of consumption, then in art the process of creating artistic images seems to “come to life” in the process of their consumption. This is most obvious in those types of artistic creativity that are associated with performance. It's about about music, theater, that is, those types of art in which politics to a certain extent is a witness creative act. In fact, in different forms this is present in all types of art, in some more, and in others less obvious, and is expressed in the unity of what and how a work of art comprehends. Through this unity, the public perceives not only the skill of the performer, but also the direct power of the artistic and figurative impact in its meaningful meaning.

An artistic image is a generalization that is revealed in a concrete, sensory form and is essential for a number of phenomena. The dialectic of the universal (typical) and the individual (individual) in thinking corresponds to their dialectical interpenetration in reality. In art, this unity is expressed not in its universality, but in its individuality: the general manifests itself in the individual and through the individual. Poetic representation is figurative and does not reveal an abstract essence, not a random existence, but a phenomenon in which the substantial is cognized through its appearance, its individuality. In one of the scenes of Tolstoy's novel Anna Karenina, Karenin wants to divorce his wife and comes to a lawyer. A confidential conversation takes place in a cozy office covered with carpets. Suddenly a moth flies across the room. And although Karenin’s story concerns the dramatic circumstances of his life, the lawyer no longer listens to anything; it is important for him to catch the moth that threatens his carpets. A small detail carries a big meaning: for the most part, people are indifferent to each other, and things have meaning for them. great value than the personality and its fate.

The art of classicism is characterized by generalization - artistic generalization by highlighting and absolutizing a specific feature of the hero. Romanticism is characterized by idealization - generalization through the direct embodiment of ideals, imposing them on real material. Realistic art is characterized by typification - artistic generalization through individualization by selecting essential personality traits. In realistic art, each depicted person is a type, but at the same time a completely definite personality - a “familiar stranger.”

Marxism attaches particular significance to the concept of typification. This problem was first posed by K. Marx and F. Engels in correspondence with F. Lassalle regarding his drama “Franz von Sickingen”.

In the 20th century, old ideas about art and the artistic image disappear, and the content of the concept of “typification” also changes.

There are two interrelated approaches to this manifestation of artistic and figurative consciousness.

Firstly, as close to reality as possible. It must be emphasized that documentaryism, as a desire for a detailed, realistic, reliable reflection of life, has become not just the leading trend in the artistic culture of the 20th century. Modern Art perfected this phenomenon, filled it with previously unknown intellectual and moral content, largely determining the artistic and figurative atmosphere of the era. It should be noted that interest in this type of figurative convention continues today. This is due to the amazing successes of journalism, non-fiction cinema, art photography, and the publication of letters, diaries, and memoirs of participants in various historical events.

Secondly, the maximum strengthening of convention, and in the presence of a very tangible connection with reality. This system conventions of the artistic image involves bringing to the fore the integrative aspects of the creative process, namely: selection, comparison, analysis, which appear in organic connection with the individual characteristics of the phenomenon. As a rule, typification presupposes a minimal aesthetic deformation of reality, which is why in art history this principle has been given the name life-like, recreating the world “in the forms of life itself.”

An ancient Indian parable tells about blind men who wanted to find out what an elephant was like and began to feel it. One of them grabbed the elephant's leg and said: "An elephant is like a pillar"; another felt the giant’s belly and decided that the elephant was a jug; the third touched the tail and realized: “The elephant is the ship’s rope”; the fourth picked up his trunk and declared that the elephant was a snake. Their attempts to understand what an elephant is were unsuccessful, because they did not understand the phenomenon as a whole and its essence, but its constituent parts and random properties. An artist who elevates random features of reality into a typical type acts like a blind man who mistakes an elephant for a rope only because he was unable to grab anything else except the tail. A true artist grasps what is characteristic and essential in phenomena. Art is capable, without breaking away from the concrete sensory nature of phenomena, to make broad generalizations and create a concept of the world.

Typification is one of the main laws of artistic exploration of the world. Largely thanks to the artistic generalization of reality, the identification of what is characteristic and essential in life phenomena, art becomes a powerful means of understanding and transforming the world. artistic image of Shakespeare

An artistic image is a unity of the rational and emotional. Emotionality is the historically early fundamental principle of the artistic image. The ancient Indians believed that art was born when a person could not contain his overwhelming feelings. The legend about the creator of the Ramayana tells how the sage Valmiki walked along a forest path. In the grass he saw two waders gently calling to each other. Suddenly a hunter appeared and pierced one of the birds with an arrow. Overwhelmed by anger, grief and compassion, Valmiki cursed the hunter, and the words that escaped from his heart overflowing with feelings spontaneously formed into a poetic stanza with henceforth the canonical “sloka” meter. It was with this verse that the god Brahma subsequently commanded Valmiki to sing the exploits of Rama. This legend explains the origin of poetry from emotionally rich, excited, richly intonated speech.

To create an enduring work, not only a wide scope of reality is important, but also a mental and emotional temperature sufficient to melt the impressions of existence. One day, while casting the figure of a condottiere in silver, the Italian sculptor Benvenuto Cellini encountered an unexpected obstacle: when the metal was poured into the mold, it turned out that there was not enough metal. The artist turned to his fellow citizens, and they brought silver spoons, forks, knives, and trays to his workshop. Cellini began throwing these utensils into the molten metal. When the work was finished, a beautiful statue appeared before the eyes of the spectators, but the handle of a fork was sticking out of the rider’s ear, and a piece of a spoon was sticking out of the horse’s croup. While the townspeople were carrying utensils, the temperature of the metal poured into the mold dropped... If the mental-emotional temperature is not enough to melt the vital material into a single whole (artistic reality), then “forks” stick out from the work, which the person perceiving art stumbles upon.

The main thing in a worldview is a person’s attitude to the world and therefore it is clear that it is not just a system of views and ideas, but the state of society (class, social group, nation). Worldview as a special horizon of a person’s social reflection of the world relates to social consciousness as the social to the general.

The creative activity of every artist depends on his worldview, that is, his conceptually formulated attitude to various phenomena of reality, including the area of ​​​​relationships between various social groups. But this occurs only in proportion to the degree of participation of consciousness in the creative process as such. At the same time, a significant role here belongs to the unconscious area of ​​the artist’s psyche. Unconscious intuitive processes, of course, play a significant role in the artistic and figurative consciousness of the artist. This connection was emphasized by G. Schelling: “Art... is based on the identity of conscious and unconscious activity.”

The artist's worldview as a mediating link between himself and the social consciousness of a social group contains an ideological element. And inside itself individual consciousness the worldview is, as it were, elevated by certain emotional and psychological levels: attitude, worldview, worldview. Worldview in to a greater extent is an ideological phenomenon, while the worldview has a socio-psychological nature, containing both universal and specific historical aspects. Attitude is included in the area ordinary consciousness and includes the state of mind, likes and dislikes, interests and ideals of a person (including the artist). It plays a special role in creative work, since only in it with its help does the author realize his worldview, projecting it onto the artistic and figurative material of his works.

The nature of certain types of art determines the fact that in some of them the author manages to capture his worldview only through his perception of the world, while in others, the worldview directly enters into the fabric of the artistic works they create. Thus, musical creativity is capable of expressing the worldview of the subject of productive activity only indirectly, through the system of musical images created by him. In literature, the author-artist has the opportunity, with the help of the word, endowed by its very nature with the ability to generalize, to more directly express his ideas and views on various aspects of the depicted phenomena of reality.

Many artists of the past were characterized by a contradiction between their worldview and the nature of their talent. So M.F. In his views, Dostoevsky was a liberal monarchist, who also clearly gravitated towards resolving all the ills of his contemporary society through its spiritual healing with the help of religion and art. But at the same time, the writer turned out to be the owner of the rarest realistic artistic talent. And this allowed him to create unsurpassed examples of the most truthful pictures of the most dramatic contradictions of his era.

But in transitional eras, the very worldview of the majority of even the most talented artists turns out to be internally contradictory. For example, the socio-political views of L.N. Tolstoy intricately combined the ideas of utopian socialism, which included criticism of bourgeois society and theological quests and slogans. In addition, the worldview of a number of major artists, under the influence of changes in the socio-political situation in their countries, can sometimes undergo very complex development. Thus, Dostoevsky’s path of spiritual evolution was very difficult and complex: from the utopian socialism of the 40s to the liberal monarchism of the 60s-80s of the 19th century.

Causes internal inconsistency The artist’s worldview lies in the heterogeneity of its component parts, in their relative autonomy and in the difference in their significance for the creative process. If for a natural scientist, due to the peculiarities of his activity, the natural history components of his worldview are of decisive importance, then for an artist his aesthetic views and beliefs. Moreover, the artist’s talent is directly related to his conviction, that is, to “intellectual emotions” that became the motives for creating enduring artistic images.

Modern artistic and figurative consciousness must be anti-dogmatic, that is, characterized by a decisive rejection of any absolutization of one single principle, attitude, formulation, evaluation. None of the most authoritative opinions and statements should be deified, become the ultimate truth, or turn into artistic standards and stereotypes. The elevation of the dogmatic approach to the “categorical imperative” of artistic creativity inevitably absolutizes class confrontation, which in a specific historical context ultimately results in the justification of violence and exaggerates its semantic role not only in theory, but also in artistic practice. Dogmatization of the creative process also manifests itself when certain techniques and attitudes acquire the character of the only possible artistic truth.

Modern Russian aesthetics also needs to get rid of the epigonism that has been so characteristic of it for many decades. Freeing oneself from the method of endlessly quoting classics on issues of artistic and figurative specificity, from uncritical perception of others, even the most temptingly convincing points of view, judgments and conclusions, and striving to express one’s own, personal views and beliefs, is necessary for any and every modern researcher, if he wants to be a real scientist, and not a functionary in a scientific department, not an official in the service of someone or something. In the creation of works of art, epigonism manifests itself in mechanical adherence to the principles and methods of any art school or direction, without taking into account the changed historical situation. Meanwhile, epigonism has nothing to do with the truly creative development of the classical artistic heritage and traditions.

Thus, world aesthetic thought formulated various shades concept of "artistic image". In the scientific literature one can find such characteristics of this phenomenon as “the secret of art”, “a cell of art”, “a unit of art”, “image-formation”, etc. However, no matter what epithets are awarded to this category, it is necessary to remember that the artistic image is the essence of art, a meaningful form that is inherent in all its types and genres.

An artistic image is a unity of objective and subjective. The image includes the material of reality, processed by the creative imagination of the artist, his attitude towards what is depicted, as well as all the wealth of the personality and the creator.

In the process of creating a work of art, the artist as an individual acts as a subject of artistic creativity. If we talk about artistic and figurative perception, then the artistic image created by the creator acts as an object, and the viewer, listener, reader is the subject of this relationship.

The artist thinks in images, the nature of which is concrete and sensual. This connects the images of art with the forms of life itself, although this relationship cannot be taken literally. Such forms as artistic words, musical sound or an architectural ensemble, does not and cannot exist in life itself.

An important structure-forming component of the artistic image is the worldview of the subject of creativity and his role in artistic practice. Worldview is a system of views on the objective world and man’s place in it, on man’s attitude to the reality around him and to himself, as well as the basic life positions of people, their beliefs, ideals, principles of cognition and activity, and value orientations determined by these views. At the same time, it is most often believed that the worldview of different layers of society is formed as a result of the spread of ideology, in the process of transforming the knowledge of representatives of one or another social layer into beliefs. Worldview should be considered as the result of the interaction of ideology, religion, sciences and social psychology.

A very significant and important feature of modern artistic and figurative consciousness should be dialogism, that is, the focus on continuous dialogue, which has the nature of constructive polemics, creative discussion with representatives of any art schools, traditions, methods. The constructiveness of the dialogue should consist of continuous spiritual mutual enrichment of the disputing parties and be of a creative, truly dialogical nature. The very existence of art is determined by the eternal dialogue between the artist and the recipient (viewer, listener, reader). The contract binding them is indissoluble. The newly born artistic image is a new edition, new form dialogue. The artist repays his debt to the recipient in full when he gives him something new. Today, more than ever, the artist has the opportunity to say something new and in a new way.

All of the listed directions in the development of artistic and imaginative thinking should lead to the affirmation of the principle of pluralism in art, that is, the affirmation of the principle of coexistence and complementarity of multiple and diverse, including contradictory points of view and positions, views and beliefs, directions and schools, movements and teachings .

2. Features of artistic images using the example of the works of W. Shakespeare

2.1 Characteristics of William Shakespeare’s artistic images

The works of William Shakespeare are studied in literature lessons in the 8th and 9th grades of high school. In the 8th grade, students study “Romeo and Juliet”, in the 9th grade - “Hamlet” and Shakespeare’s sonnets.

Shakespeare's tragedies are an example of the "classical resolution of conflicts in the romantic art form" between the Middle Ages and modern times, between the feudal past and the emerging bourgeois world. Shakespeare's characters are "internally consistent, true to themselves and their passions, and in everything that happens to them they behave according to their firm determination."

Shakespeare's heroes are “self-reliant individuals” who set themselves a goal that is “dictated” only by “their own individuality,” and they carry it out “with an unshakable consistency of passion, without side reflections.” At the center of every tragedy stands this kind of character, and around him are less distinguished and energetic ones.

In modern plays, a soft-hearted character quickly falls into despair, but the drama does not lead him to death even in danger, which leaves the audience very satisfied. When virtue and vice confront each other on the stage, she must triumph and he must be punished. In Shakespeare, the hero dies “precisely as a result of decisive loyalty to himself and his goals,” which is called the “tragic denouement.”

Shakespeare's language is metaphorical, and his hero stands above his “sorrow” or “evil passion”, even “ridiculous vulgarity”. Whatever Shakespeare's characters may be, they are men of "the free power of imagination and the spirit of genius...their thinking stands and sets them above what they are in their station and their determined ends." But, looking for “an analogue of internal experience,” this hero “is not always free from excesses, at times clumsy.”

Shakespeare's humor is also remarkable. Although his comic images are “immersed in their vulgarity” and “they have no lack of stupid jokes", they at the same time "show intelligence." Their “genius” could make them “great men.”

An essential point of Shakespearean humanism is the comprehension of man in movement, in development, in formation. This also determines the method of artistic characterization of the hero. The latter is always shown in Shakespeare not in a frozen, motionless state, not in the statuary of a snapshot, but in movement, in the history of the individual. Deep dynamism distinguishes Shakespeare's ideological and artistic concept of man and the method of artistic depiction of man. Usually the hero English playwright different at different phases of dramatic action, in different acts and scenes.

Shakespeare's man is shown in the fullness of his capabilities, in the full creative perspective of his history, his destiny. In Shakespeare, it is important not only to show a person in his inner creative movement, but also showing the direction of movement itself. This direction is the highest and most complete disclosure of all human potentials, all of his internal forces. This direction - in a number of cases, there is a rebirth of a person, his internal spiritual growth, the ascent of a hero to some higher level of his existence (Prince Henry, King Lear, Prospero, etc.). (“King Lear” by Shakespeare is studied by 9th grade students in extracurricular activities).

“There is no one to blame in the world,” proclaims King Lear after the tumultuous upheavals of his life. In Shakespeare, this phrase means a deep awareness of social injustice, the responsibility of the entire social system for the countless suffering of poor Toms. In Shakespeare, this sense of social responsibility, in the context of the hero’s experiences, opens up a broad perspective for the creative growth of the individual, his ultimate moral revival. For him, this thought serves as a platform for affirmation best qualities his hero, to affirm his heroically personal substantiality. With all the rich, multicolored changes and transformations of Shakespeare's personality, the heroic core of this personality is unshakable. The tragic dialectic of personality and fate in Shakespeare leads to the clarity and clarity of his positive idea. In Shakespeare's “King Lear,” the world collapses, but the man himself lives and changes, and with him the whole world. Development, qualitative change in Shakespeare is complete and diverse.

Shakespeare owns a cycle of 154 sonnets, published (without the knowledge or consent of the author) in 1609, but written, apparently, back in the 1590s and was one of the most brilliant examples of Western European lyric poetry of the Renaissance. Managed to become popular among English poets the form under Shakespeare's pen sparkled with new facets, containing a wide range of feelings and thoughts - from intimate experiences to deep philosophical reflections and generalizations.

Researchers have long drawn attention to the close connection between sonnets and Shakespeare's dramaturgy. This connection is manifested not only in the organic fusion of the lyrical element with the tragic, but also in the fact that the ideas of passion that inspire Shakespeare’s tragedies also live in his sonnets. Just as in his tragedies, Shakespeare touches on in his sonnets the fundamental problems of existence that have troubled mankind for centuries; he speaks about happiness and the meaning of life, about the relationship between time and eternity, about the frailty of human beauty and its greatness, about art that can overcome the inexorable passage of time. , about the high mission of the poet.

The eternal inexhaustible theme of love, one of the central ones in the sonnets, is closely intertwined with the theme of friendship. In love and friendship, the poet finds a true source of creative inspiration, regardless of whether they bring him joy and bliss or the pangs of jealousy, sadness, mental anguish.

In the literature of the Renaissance, the theme of friendship, especially male friendship, occupies an important place: it is considered as the highest manifestation of humanity. In such friendship, the dictates of reason are harmoniously combined with spiritual inclination, free from the sensual principle.

Shakespeare's image of the Beloved is emphatically unconventional. If the sonnets of Petrarch and his English followers usually glorified a golden-haired, angelic beauty, proud and inaccessible, then Shakespeare, on the contrary, devotes jealous reproaches to a dark brunette - inconsistent, obeying only the voice of passion.

The leitmotif of grief about the frailty of everything earthly, passing through the entire cycle, the imperfection of the world clearly realized by the poet does not violate the harmony of his worldview. The illusion of afterlife bliss is alien to him - he sees human immortality in glory and offspring, advising his friend to see his youth revived in children.

Conclusion

So, an artistic image is a generalized artistic reflection reality, clothed in the form of a specific individual phenomenon. An artistic image is distinguished by: accessibility for direct perception and direct impact on human feelings.

Every artistic image is not completely concrete; clearly fixed establishing moments are clothed in it with the element of incomplete definiteness, half-manifestation. This is a certain “inadequacy” of the artistic image compared to reality fact of life(art strives to become reality, but breaks against its own boundaries), but also the advantage that ensures its ambiguity in a set of complementary interpretations, the limit of which is set only by the accentuation provided by the artist.

The internal form of an artistic image is personal, it bears an indelible trace of the author’s ideological spirit, its isolating and implementing initiative, thanks to which the image appears as an assessed human reality, cultural value among other values, an expression of historically relative trends and ideals. But as an “organism” formed on the principle of visible revitalization of the material, from the artistic side, the artistic image is an arena of the ultimate action of aesthetically harmonizing laws of existence, where there is no “bad infinity” and unjustified end, where space is visible and time is reversible, where chance is not is absurd, but necessity is not burdensome, where clarity triumphs over inertia. And in this nature artistic value belongs not only to the world of relative socio-cultural values, but also to the world of life values, known in the light of eternal meaning, to the world of ideal life possibilities of our human Universe. Therefore, artistic assumption, in contrast to scientific hypothesis, cannot be discarded as unnecessary and supplanted by another, even if the historical limitations of its creator seem obvious.

In view of the suggestive power of artistic assumption, both creativity and the perception of art are always associated with cognitive and ethical risk, and when evaluating a work of art, it is equally important: submitting to the author’s intention, to recreate the aesthetic object in its organic integrity and self-justification and, without completely submitting to this idea, maintain the freedom of your own point of view, ensured by real life and spiritual experience.

When studying individual works of Shakespeare, the teacher must draw students' attention to the images he created, provide quotes from the texts, and draw conclusions about the influence of such literature on the feelings and actions of readers.

In conclusion, we would like to emphasize once again that Shakespeare’s artistic images have eternal value and will always be relevant, regardless of time and place, because in his works he puts eternal questions, which have always worried and worried all of humanity: how to fight evil, by what means and is it possible to defeat it? Is it worth living at all if life is full of evil and it is impossible to defeat it? What is true in life and what is a lie? How to distinguish true feelings from false ones? Can love be eternal? What's the point anyway? human life?

Our research confirms the relevance of the chosen topic, has a practical orientation and can be recommended to students of pedagogical educational institutions in the subject “Teaching literature at school.”

Bibliography

1. Hegel. Lectures on aesthetics. - Works, vol. XIII. P. 392.

Monrose L.A. Studying the Renaissance: Poetics and Politics of Culture // New Literary Review. - No. 42. - 2000.

Rank O. Aesthetics and psychology of artistic creativity // Other shores. - No. 7. - 2004. P. 25.

Hegel. Lectures on aesthetics. - Works, vol. XIII. P. 393.

Kaganovich S. New approaches to school analysis of poetic text // Teaching literature. - March 2003. P. 11.

Kirilova A.V. Culturology. Toolkit for students of the specialty "Socio-cultural service and tourism" of the correspondence course. - Novosibirsk: NSTU, 2010. - 40 p.

Zharkov A.D. Theory and technology of cultural and leisure activities: Textbook / A.D. Zharkov. - M.: Publishing house MGUKI, 2007. - 480 p.

Tikhonovskaya G.S. Screenwriting and director technologies for creating cultural and leisure programs: Monograph. - M.: Publishing House MGUKI, 2010. - 352 p.

Kutuzov A.V. Culturology: textbook. allowance. Part 1 / A.V. Kutuzov; GOU VPO RPA of the Ministry of Justice of Russia, North-Western (St. Petersburg) branch. - M.; St. Petersburg: GOU VPO RPA of the Ministry of Justice of Russia, 2008. - 56 p.

Stylistics of the Russian language. Kozhina M.N., Duskaeva L.R., Salimovsky V.A. (2008, 464 pp.)

Belyaeva N. Shakespeare. “Hamlet”: problems of hero and genre // Teaching of literature. - March 2002. P. 14.

Ivanova S. On the activity approach to studying Shakespeare’s tragedy “Hamlet” // I’m going to a literature lesson. - August 2001. P. 10.

Kireev R. Around Shakespeare // Teaching literature. - March 2002. P. 7.

Kuzmina N. “I love you, the completeness of the sonnet!...” // I’m going to a literature lesson. - November 2001. P. 19.

Shakespeare Encyclopedia / Ed. S. Wells. - M.: Raduga, 2002. - 528 p.

Tutoring

Need help studying a topic?

Our specialists will advise or provide tutoring services on topics that interest you.
Submit your application indicating the topic right now to find out about the possibility of obtaining a consultation.

The most important category of literature, which determines its essence and specificity, is the artistic image. What is the significance of this concept? It means a phenomenon that the author creatively recreates in his creation. An image in a work of art appears to be the result of the writer’s meaningful conclusions about some process or phenomenon. The peculiarity of this concept is that it not only helps to comprehend reality, but also to create your own fictional world.

Let's try to trace what an artistic image is, its types and means of expression. After all, any writer tries to depict certain phenomena in such a way as to show his vision of life, its trends and patterns.

What is an artistic image

Domestic literary criticism borrowed the word “image” from Kiev church vocabulary. It has a meaning - face, cheek, and its figurative meaning is a picture. But it is important for us to analyze what an artistic image is. By it we mean a specific and sometimes generalized picture of people’s lives, which carries aesthetic value and is created through fiction. An element or part of a literary creation that has an independent life - that’s what an artistic image is.

Such an image is called artistic not because it is identical to real objects and phenomena. The author simply transforms reality with the help of his imagination. The task of an artistic image in literature is not simply to copy reality, but to convey what is most important and essential.

Thus, Dostoevsky put into the mouth of one of his heroes the words that you can rarely recognize a person from a photograph, because the face does not always speak about the most important character traits. From photographs, Napoleon, for example, seems stupid to some. The writer’s task is to show the most important, specific things in the face and character. When creating a literary image, the author uses words to reflect human characters, objects, and phenomena in an individual form. By image, literary scholars mean the following:

1. Characters of a work of art, heroes, characters and their personalities.
2. Depiction of reality in a concrete form, using verbal images and tropes.

Each image created by the writer carries a special emotionality, originality, associativity and capacity.

Changing the forms of an artistic image

As humanity changes, so do changes in the image of reality. There is a difference between what the artistic image was like 200 years ago and what it is like now. In the era of realism, sentimentalism, romanticism, and modernism, authors depicted the world in different ways. Reality and fiction, reality and ideal, general and individual, rational and emotional - all this changed during the development of art. In the era of classicism, writers highlighted the struggle between feelings and duty. Often heroes chose duty and sacrificed personal happiness in the name of public interests. In the era of romanticism, rebel heroes appeared who rejected society or it rejected them.

Realism introduced rational knowledge of the world into literature and taught us to identify cause-and-effect relationships between phenomena and objects. Modernism called on writers to understand the world and man by irrational means: inspiration, intuition, insight. For realists, at the forefront of everything is man and his relationship with the outside world. Romantics are interested in inner world their heroes.

Readers and listeners can also be called co-creators in some way literary images, because their perception is important. Ideally, the reader does not just passively stand aside, but passes the image through his own feelings, thoughts and emotions. From readers different eras completely different sides of the artistic image the writer depicted are revealed.

Four types of literary images

The artistic image in literature is classified on various grounds. All these classifications only complement each other. If we divide images into types according to the number of words or signs that create them, then the following images stand out:

• Small images in the form of details. An example of an image-detail is the famous Plyushkin pile, a structure in the form of a heap. She characterizes her hero very clearly.
• Interiors and landscapes. Sometimes they are part of a person's image. Thus, Gogol constantly changes interiors and landscapes, making them a means of creating characters. Landscape lyrics are very easy for the reader to imagine.
• Character images. Thus, in Lermontov’s works, a person with his feelings and thoughts is at the center of events. Characters are also commonly called literary heroes.
• Complex literary systems. As an example, we can cite the image of Moscow in the lyrics of Tsvetaeva, Russia in the works of Blok, and St. Petersburg in Dostoevsky. An even more complex system is the image of the world.

Classification of images according to generic and style specifics

All literary and artistic creations are usually divided into three types. In this regard, images can be:

• lyrical;
• epic;
• dramatic.

Every writer has his own style of portraying characters. This gives reason to classify images into:

• realistic;
• romantic;
• surreal.

All images are created according to a certain system and laws.

Division of literary images according to the nature of generality

Characterized by uniqueness and originality individual images. They were invented by the imagination of the author himself. Individual images used by romantics and science fiction writers. In Hugo's work "Notre-Dame de Paris" readers can see an unusual Quasimodo. Volan is individual in Bulgakov’s novel “The Master and Margarita”, and Demon in Lermontov’s work of the same name.

The general image, opposite to the individual one, is characteristic. It contains the characters and morals of people of a certain era. These are literary heroes Dostoevsky in "The Brothers Karamazov", "Crime and Punishment", in the plays of Ostrovsky, in "The Forsyte Sagas" by Galsworthy.

The highest level of characteristic characters are typical images. They were the most likely for a particular era. It is the typical heroes that are most often found in realistic fiction. XIX literature century. This is Balzac's Father Goriot and Gobsek, Tolstoy's Platon Karataev and Anna Karenina, Flaubert's Madame Bovary. Sometimes the creation of an artistic image is intended to capture the socio-historical signs of an era, universal character traits. The list of such eternal images includes Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe.

The framework of individual characters goes beyond images-motives. They are constantly repeated in the themes of the works of some author. As an example, we can cite Yesenin’s “village Rus'” or Blok’s “Beautiful Lady”.

Typical images found not only in the literature of individual writers, but also of nations and eras are called topos. Such Russian writers as Gogol, Pushkin, Zoshchenko, Platonov used the topos image of the “little man” in their writings.

A universal human image that is unconsciously passed on from generation to generation is called archetype. It includes mythological characters.

Tools for creating an artistic image

Each writer, to the best of his talent, reveals images using the means available to him. Most often, he does this through the behavior of the heroes in certain situations, through his relationship with the outside world. Of all the means of artistic image, the speech characteristics of the characters play an important role. The author can use monologues, dialogues, internal statements of a person. To the events occurring in the book, the writer can give his own author's description.

Sometimes readers observe an implicit, hidden meaning in works, which is called subtext. Of great importance external characteristics of heroes: height, clothing, figure, facial expressions, gestures, timbre of voice. It’s easier to call it a portrait. The works carry a great semantic and emotional load details, expressing details . To express the meaning of a phenomenon in objective form, authors use symbols. An idea of ​​the habitat of a particular character gives a description of the interior furnishings of the room - interior.

In what order is literary literature characterized?

character image?

Creating an artistic image of a person is one of the most important tasks of any author. Here's how you can characterize this or that character:

1. Indicate the character's place in the system of images of the work.
2. Describe him from the point of view of social type.
3. Describe the hero’s appearance, portrait.
4. Name the features of his worldview and worldview, mental interests, abilities and habits. Describe what he does, his life principles and influence on others.
5. Describe the hero’s sphere of feelings, features of internal experiences.
6. Analyze author's attitude to the character.
7. Reveal the most important character traits of the hero. How the author reveals them, other characters.
8. Analyze the actions of the hero.
9. Name the personality of the character's speech.
10. What is his relationship to nature?

Mega, macro and micro images

Sometimes the text of a literary creation is perceived as a mega-image. He has his own aesthetic value. Literary scholars give it the highest generic and indivisible value.

Macro images are used to depict life in larger or smaller segments, pictures or parts. The composition of the macro-image consists of small homogeneous images.

The microimage has the smallest text size. It can be in the form of a small segment of reality depicted by the artist. This can be one phrase word (Winter. Frost. Morning.) or a sentence, paragraph.

Images-symbols

A characteristic feature of such images is their metaphorical nature. They carry semantic depth. Thus, the hero Danko from Gorky’s work “The Old Woman Izergil” is a symbol of absolute selflessness. He is opposed in the book by another hero - Larra, who is a symbol of selfishness. The writer creates a literary image-symbol for hidden comparison in order to show its figurative meaning. Most often, symbolism is found in lyrical works. It is worth remembering Lermontov's poems "The Cliff", "In the Wild North Stands Lonely...", "Leaf", the poem "Demon", the ballad "Three Palms".

Eternal images

There are images that are unfading; they combine the unity of historical and social elements. Such characters in world literature are called eternal. Prometheus, Oedipus, Cassandra immediately come to mind. Any intelligent person would add Hamlet, Romeo and Juliet, Iskander, Robinson to this list. There are immortal novels, short stories, and lyrics in which new generations of readers discover unprecedented depths.

Artistic images in lyrics

The lyrics provide an unusual look at ordinary things. The poet's keen eye notices the most everyday things that bring happiness. The artistic image in a poem can be the most unexpected. For some it is the sky, day, light. Bunin and Yesenin have birch. The images of a loved one are endowed with special tenderness. Very often there are images-motives, such as: a woman-mother, wife, bride, lover.

An artistic image is a generalized reflection of reality in the form of specific individual phenomena. Such striking examples of world literature as Faust or Hamlet, Don Juan or Don Quixote will help you understand what an artistic image is. These characters convey the most characteristic human traits, their desires, passions and feelings.

Artistic image in art

The artistic image is the most sensual and accessible factor to human perception. In this sense, an image in art, including an artistic image in literature, is nothing more than a visual-figurative reproduction real life. However, here it is necessary to understand that the author’s task is not simply to reproduce, “duplicate” life, his calling is to conjecture, supplement it in accordance with artistic laws.

Artistic creativity from scientific activity distinguished by the author's, deeply subjective character. That is why in every role, in every stanza and in every picture there is an imprint of the artist’s personality. Unlike science, art is unthinkable without fiction and imagination. Despite this, it is often art that is able to reproduce reality much more adequately than academic scientific methods.

An indispensable condition for the development of art is freedom of creativity, in other words, the ability to simulate current life situations and experiment with them, without looking at the accepted framework of prevailing ideas about the world or generally accepted scientific doctrines. In this sense, the genre of science fiction is especially relevant, as it puts into public view models of reality that are very different from the real one. Some science fiction writers of the past, such as Karel Capek (1890-1938) and Jules Verne (1828-1905), managed to predict the emergence of many modern achievements. Finally, when science examines a human phenomenon in many ways (social behavior, language, psyche), its artistic image is an indissoluble integrity. Art shows a person as a holistic variety of different characteristics.

It is safe to say that the main task of an artist is to create an artistic image; examples of the best of them replenish from time to time the treasuries of the cultural heritage of civilization, exerting a huge influence on our consciousness.

Artistic image in architecture

First of all, this is the architectural “face” of any specific building, be it a museum, theater, office building, school, bridge, temple, square, residential building or other kind of institution.

An indispensable condition for the artistic image of any building is impressiveness and emotionality. One of the tasks of architecture in the sense of art is to create an impression, a certain emotional mood. The building can be alienated from the surrounding world and closed, gloomy and harsh; It can also be the other way around - to be optimistic, light, bright and attractive. Architectural features influence our performance and mood, instill a feeling of elation; in opposite cases, the artistic image of a building can act depressingly.