What is an artistic image? Artistic image

Created by a talented artist, it leaves a “deep mark” in the heart and mind of the viewer or reader. What has such a strong impact, makes you deeply experience and empathize with what you see, read or hear? This is an artistic image in literature and art, created by the skill and personality of the creator, who was able to amazingly rethink and transform reality, making it consonant and close to our own personal feelings.

Artistic image

In literature and art, this is any phenomenon generalized and creatively recreated by an artist, composer or writer in a subject of art. It is visual and sensual, i.e. understandable and open to perception, and capable of causing deep emotional experiences. These features are inherent in the image because the artist does not simply copy life phenomena, but fills them with a special meaning, colors them with the help of individual techniques, makes them more capacious, integral and voluminous. Naturally, in contrast to scientific artistic creativity It is very subjective, and it attracts one primarily by the personality of the author, the degree of his imagination, fantasy, erudition and sense of humor. A vivid image in literature and art is also created due to complete freedom of creativity, when the boundless expanses of artistic imagination and limitless ways of expressing it, with the help of which he creates his work, open up before the creator.

The originality of the artistic image

The artistic image in art and literature is distinguished by amazing integrity, in contrast to scientific creation. He does not divide the phenomenon into its component parts, but considers everything in the indivisible integrity of internal and external, personal and social. Originality and depth art world are also manifested in the fact that the images in works of art are not only people, but also nature, inanimate objects, cities and countries, individual character traits and personality traits, which are often given the appearance of fantastic creatures or, on the contrary, very mundane, everyday objects. Landscapes and still lifes depicted in the paintings of artists are also images of their work. Aivazovsky, painting the sea at different times of the year and day, created a very capacious artistic image, which in the smallest nuances of color and light conveyed not only beauty seascape, the artist’s worldview, but also awakened the viewer’s imagination, evoking in him purely personal sensations.

Image as a reflection of reality

The artistic image in literature and art can be very sensual and rational, very subjective and personal or factual. But in any case it is a reflection real life(even in fantastic works), since it is common for the creator and the viewer to think in images and perceive the world as a chain of images.

Any artist is a creator. He not only reflects reality and tries to answer existential questions, but also creates new meanings that are important for him and for the time in which he lives. Therefore, the artistic image in literature and art is very capacious and reflects not only the problems of the objective world, but also the subjective experiences and thoughts of the author who created it.

Art and literature, as a reflection of the objective world, grow and develop along with it. Times and eras change, new directions and trends emerge. Cross-cutting artistic images pass through time, transforming and changing, but at the same time new ones arise in response to the demands of the time, historical changes and personal changes, because art and literature are, first of all, a reflection of reality through a constantly changing and time-commensurate system of images.

the method and form of mastering reality in art, a universal category of art. creativity. Among other aesthetic categories category X. o. – of relatively late origin. In ancient and middle ages. aesthetics, which did not distinguish the artistic into a special sphere (the whole world, space - an artistic work of the highest order), art was characterized primarily. canon - a set of technological recommendations that ensure imitation (mimesis) of the arts. the beginning of existence itself. To anthropocentric. The aesthetics of the Renaissance goes back to (but was later fixed in terminology - in classicism) the category of style associated with the idea of the active side of art, the right of the artist to shape the work in accordance with his creativity. initiative and immanent laws of a particular type of art or genre. When, after the deaestheticization of being, the deaestheticization of practicality revealed itself. activity, a natural reaction to utilitarianism gave a specific. understanding of the arts. forms as organization according to the principle of internal purpose, and not external use (beautiful, according to Kant). Finally, in connection with the process of “theorizing” the lawsuit will end. separating it from the dying arts. crafts, pushing architecture and sculpture to the periphery of the art system and pushing into the center more “spiritual” arts in painting, literature, music (“romantic forms”, according to Hegel), the need arose to compare the arts. creativity with the sphere of scientific and conceptual thinking to understand the specifics of both. Category X. o. took shape in Hegel’s aesthetics precisely as an answer to this question: the image “... puts before our gaze, instead of an abstract essence, its concrete reality...” (Soch., vol. 14, M., 1958, p. 194). In his doctrine of forms (symbolic, classical, romantic) and types of art, Hegel outlined various principles for the construction of art. How Various types the relationship "between image and idea" in their historical. and logical sequences. The definition of art, going back to Hegelian aesthetics, as “thinking in images” was subsequently vulgarized into a one-sided intellectualism. and positivist-psychological. concepts of X. o. end 19 – beginning 20th centuries In Hegel, who interpreted the entire evolution of being as a process of self-knowledge, self-thinking, abs. spirit, just when understanding the specifics of art, the emphasis was not on “thinking”, but on “image”. In the vulgarized understanding of X. o. came down to a visual representation of a general idea, to a special cognizance. a technique based on demonstration, showing (instead of scientific proof): an example-image leads from the particulars of one circle to the particulars of another circle (to its “applications”), bypassing abstract generalization. From this point of view, art. the idea (or rather, the multiplicity of ideas) lives separately from the image - in the head of the artist and in the head of the consumer, who finds one of the possible uses for the image. Hegel saw knowledge. side X. o. in his ability to be a bearer of specific art. ideas, positivists - in the explanatory power of his depiction. At the same time aesthetic. pleasure was characterized as a type of intellectual satisfaction, and the entire sphere cannot be depicted. the claim was automatically excluded from consideration, which called into question the universality of the category “X. o.” (for example, Ovsyaniko-Kulikovsky divided art into “figurative” and “emotional”, i.e. without? figurative). As a protest against intellectualism in the beginning. 20th century ugly theories of art arose (B. Christiansen, Wölfflin, Russian formalists, partly L. Vygotsky). If positivism is already intellectualistic. sense, taking the idea, the meaning out of brackets X. o. - in psychology area of “applications” and interpretations, identified the content of the image with its thematic. filling (despite the promising doctrine of internal form, developed by Potebnya in line with the ideas of V. Humboldt), then the formalists and “emotionalists” actually took a further step in the same direction: they identified the content with the “material”, and dissolved the concept of image in the concept form (or design, technique). To answer the question for what purpose the material is processed by form, it was necessary - in a hidden or overt form - to attribute to the work of art an external purpose, in relation to its integral structure: art began to be considered in some cases as hedonistic-individual, in others – as a social “technique of feelings”. Cognizant. utilitarianism was replaced by educational-"emotional" utilitarianism. Modern aesthetics (Soviet and partly foreign) returned to the figurative concept of art. creativity, extending it to the non-depicted. claim and thereby overcoming the original. intuition of “visibility”, “vision” in letters. in the sense of these words, it was included in the concept of "X. o." under the influence of antiquity. aesthetics with her plastic experience. claim-in (Greek ????? - image, image, statue). Russian semantics the word “image” successfully indicates a) the imaginary existence of art. fact, b) its objective existence, the fact that it exists as a certain integral formation, c) its meaningfulness (an “image” of what?, i.e. the image presupposes its own semantic prototype). X. o. as a fact of imaginary existence. Each work of art has its own material and physical. the basis, which is, however, directly bearer of non-arts. meaning, but only an image of this meaning. Potebnya with his characteristic psychologism in the understanding of X. o. comes from the fact that X. o. there is a process (energy), the crossing of creative and co-creative (perceiving) imagination. The image exists in the soul of the creator and in the soul of the perceiver, and is an objectively existing piece of art. an object is only a material means of exciting fantasy. In contrast, objectivist formalism considers the arts. a work as a made thing, which has an existence independent of the intentions of the creator and the impressions of the perceiver. Having studied objectively and analytically. through material senses. the elements of which this thing consists, and their relationships, one can exhaust its design and explain how it is made. The difficulty, however, is that the arts. a work as an image is both a given and a process, it both abides and lasts, it is both an objective fact and an intersubjective procedural connection between the creator and the perceiver. Classical German aesthetics viewed art as a certain middle sphere between the sensual and the spiritual. “In contrast to the direct existence of objects of nature, the sensuous in a work of art is elevated by contemplation into pure visibility, and the work of art is in the middle between direct sensuality and thought belonging to the realm of the ideal” (Hegel W. F., Aesthetics, volume 1, M., 1968, p. 44). The very material of X. o. already to a certain extent dematerialized, ideal (see Ideal), and natural material plays here the role of material for material. For example, White color the marble statue does not act on its own, but as a sign of a certain figurative quality; we should see in the statue not a “white” man, but an image of a man in his abstract physicality. The image is both embodied in the material and, as it were, under-embodied in it, because it is indifferent to the properties of its material basis as such and uses them only as signs of its own. nature. Therefore, the existence of the image, fixed in its material basis, is always realized in perception, addressed to it: until a person is seen in the statue, it remains a piece of stone, until a melody or harmony is heard in a combination of sounds, it does not realize its figurative quality. The image is imposed on consciousness as an object given outside it and at the same time given freely, non-violently, because a certain initiative of the subject is required for a given object to become precisely an image. (The more idealized the material of the image, the less unique and easier to copy its physical basis - the material of the material. Typography and sound recording cope with this task for literature and music almost without loss; copying works of painting and sculpture already encounters serious difficulties, and architectural structure hardly suitable for copying, because the image here is so closely fused with its material basis that the very natural environment of the latter becomes a unique figurative quality.) This appeal of X. o. to the perceiving consciousness is an important condition its historical life, its potential infinity. In X. o. There is always an area of the unspoken, and understanding-interpretation is therefore preceded by understanding-reproduction, a certain free imitation of internal. the artist’s facial expressions, creatively voluntary following her along the “grooves” of the figurative scheme (to this, in the most general outline , the doctrine of internal form as an “algorithm” of the image, developed by the Humboldtian-Potebnian school). Consequently, the image is revealed in each understanding-reproduction, but at the same time remains itself, because all realized and many unrealized interpretations are contained as intended creative work. an act of possibility, in the very structure of X. o. X. o. as individual integrity. Similarity of arts. works for a living organism were outlined by Aristotle, according to whom poetry should “...produce its characteristic pleasure, like a single and integral living being” (“On the Art of Poetry,” M., 1957, p. 118). It is noteworthy that the aesthetic. pleasure (“pleasure”) is considered here as a consequence of the organic nature of the arts. works. The idea of X. o. as an organic whole played a prominent role in later aesthetics. concepts (especially in German romanticism, in Schelling, in Russia - in A. Grigoriev). With this approach, the expediency of X. o. acts as its integrity: every detail lives thanks to its connection with the whole. However, any other integral structure (for example, a machine) determines the function of each of its parts, thereby leading them to a coherent unity. Hegel, as if anticipating criticism of later primitive functionalism, sees the difference. features of living integrity, animated beauty are that unity does not appear here as abstract expediency: “... members of a living organism receive... the appearance of randomness, that is, together with one member it is not given also the certainty of the other" ("Aesthetics", vol. 1, M., 1968, p. 135). Like this, arts. the work is organic and individual, i.e. all its parts are individuals, combining dependence on the whole with self-sufficiency, for the whole does not simply subjugate the parts, but endows each of them with a modification of its completeness. The hand on the portrait, the fragment of the statue produce independent art. impression precisely because of this presence of the whole in them. This is especially clear in the case of lit. characters who have the ability to live outside of their art. context. The "formalists" rightly pointed out that lit. the hero acts as a sign of plot unity. However, this does not prevent him from maintaining his individual independence from the plot and other components of the work. On the inadmissibility of dividing works of art into technically auxiliary and independent ones. moments spoke to many. Russian critics formalism (P. Medvedev, M. Grigoriev). In arts. the work has a constructive framework: modulations, symmetry, repetitions, contrasts, carried out differently at each level. But this framework is, as it were, dissolved and overcome in the dialogically free, ambiguous communication of the parts of the X. o.: in the light of the whole, they themselves become sources of luminosity, throwing reflexes at each other, the inexhaustible play of which gives rise to internal. the life of figurative unity, its animation and actual infinity. In X. o. there is nothing accidental (i.e., extraneous to its integrity), but there is also nothing uniquely necessary; the antithesis of freedom and necessity is “removed” here in the harmony inherent in X. o. even when he reproduces the tragic, cruel, terrible, absurd. And since the image is ultimately fixed in the “dead”, inorganic. material - there is a visible revival of inanimate matter (the exception is the theater, which deals with living “material” and all the time strives, as it were, to go beyond the scope of art and become a vital “action”). The effect of “transforming” inanimate into animate, mechanical into organic - Ch. source of aesthetic the pleasure delivered by art, and the prerequisite for its humanity. Some thinkers believed that the essence of creativity lies in the destruction, the overcoming of material by form (F. Schiller), in the violence of the artist over the material (Ortega y Gaset). L. Vygotsky in the spirit of the influential in the 1920s. Constructivism compares a work of art with a flyer. apparatus heavier than air (see “Psychology of Art”, M., 1968, p. 288): the artist conveys what is moving through what is at rest, what is airy through what is ponderous, what is visible through what is audible, or what is beautiful through what is terrible, what is high through what is low, etc. Meanwhile, the artist’s “violence” over his material consists in freeing this material from mechanical external connections and couplings. The freedom of the artist is consistent with the nature of the material so that the nature of the material becomes free, and the freedom of the artist is involuntary. As has been noted many times, in perfect poetic works the verse reveals in the alternation of vowels such an immutable inner. compulsion, edge makes it similar to natural phenomena. those. in general language phonetic. In the material, the poet releases such an opportunity, forcing him to follow him. According to Aristotle, the realm of claim is not the realm of the factual and not the realm of the natural, but the realm of the possible. Art understands the world in its semantic perspective, re-creating it through the prism of the arts inherent in it. opportunities. It gives specificity. arts reality. Time and space in art, in contrast to empirical. time and space, do not represent cuts from a homogeneous time or space. continuum. Arts time slows down or speeds up depending on its content, each time moment of the work has a special significance depending on its correlation with the “beginning”, “middle” and “end”, so that it is assessed both retrospectively and prospectively. Thus the arts. time is experienced not only as fluid, but also as spatially closed, visible in its completeness. Arts space (in spatial science) is also formed, regrouped (condensed in some parts, sparse in others) by its filling and therefore coordinated within itself. The frame of the picture, the pedestal of the statue do not create, but only emphasize the autonomy of the artistic architectonic. space, being an auxiliary. means of perception. Arts space seems to be fraught with temporal dynamics: its pulsation can only be revealed by moving from a general view to a gradual multiphase consideration in order to then return again to a holistic coverage. In arts. phenomenon, the characteristics of real being (time and space, rest and movement, object and event) form such a mutually justified synthesis that they do not need any motivations or additions from the outside. Arts idea (meaning X. o.). The analogy between X. o. and a living organism has its own limit: X. o. as organic integrity is, first of all, something significant, formed by its meaning. Art, being image-making, necessarily acts as meaning-making, as the constant naming and renaming of everything that a person finds around and within himself. In art, the artist always deals with expressive, intelligible existence and is in a state of dialogue with it; “For a still life to be created, the painter and the apple must collide with each other and correct each other.” But for this, the apple must become a “talking” apple for the painter: many threads must extend from it, weaving it into a holistic world. Every work of art is allegorical, since it speaks about the world as a whole; it does not “investigate” s.-l. one aspect of reality, and specifically represents on its behalf in its universality. In this it is close to philosophy, which also, unlike science, is not of a sectoral nature. But, unlike philosophy, art is not systemic in nature; in particular and specific. in the material it gives a personified Universe, which at the same time is the artist’s personal Universe. It cannot be said that the artist depicts the world and, “in addition,” expresses his attitude towards it. In such a case, one would be an annoying hindrance to the other; we would be interested in either the fidelity of the image (naturalistic concept of art), or the meaning of the individual (psychological approach) or ideological (vulgar sociological approach) “gesture” of the author. Rather, it’s the other way around: the artist (in sounds, movements, object forms) gives expression. being, on which his personality was inscribed and depicted. How the expression will express. being X. o. there is allegory and knowledge through allegory. But as an image of the personal “handwriting” of the artist X. o. there is a tautology, a complete and only possible correspondence with the unique experience of the world that gave birth to this image. As the personified Universe, the image has many meanings, for it is the living focus of many positions, both one and the other, and the third at once. As a personal Universe, the image has a strictly defined evaluative meaning. X. o. – the identity of allegory and tautology, ambiguity and certainty, knowledge and evaluation. The meaning of the image, the arts. An idea is not an abstract proposition, but it has become concrete, embodied in organized feelings. material. On the way from concept to embodiment of art. an idea never goes through the stage of abstraction: as a plan, it is a concrete point of dialogue. the artist's encounter with existence, i.e. prototype (sometimes a visible imprint of this initial image is preserved in the finished work, for example, the prototype of the “cherry orchard” left in the title of Chekhov’s play; sometimes the prototype-plan is dissolved in the completed creation and is only perceptible indirectly). In arts. In a plan, thought loses its abstraction, and reality loses its silent indifference to people. "opinion" about her. From the very beginning, this grain of the image is not only subjective, but subjective-objective and vital-structural, and therefore has the ability to spontaneously develop, to self-clarify (as evidenced by the numerous confessions of people of art). The prototype as a “formative form” draws into its orbit all new layers of material and shapes them through the style it sets. The author's conscious and volitional control is to protect this process from random and opportunistic moments. The author, as it were, compares the work he is creating with a certain standard and removes the unnecessary, fills the voids, and eliminates the gaps. We usually acutely feel the presence of such a “standard” “by contradiction” when we assert that in such and such a place or in such and such a detail the artist did not remain faithful to his plan. But at the same time, as a result of creativity, a truly new thing arises, something that has never happened before, and therefore. There is essentially no “standard” for the work being created. Contrary to Plato’s view, sometimes popular among the artists themselves (“It’s in vain, artist, you imagine that you are the creator of your own creations...” - A.K. Tolstoy), the author does not simply reveal art in the image. idea, but creates it. The prototype-plan is not a formalized reality that builds up material shells on itself, but rather a channel of imagination, a “magic crystal” through which the distance of the future creation is “vaguely” discernible. Only upon completion of the arts. work, the uncertainty of the plan turns into a polysemantic certainty of meaning. Thus, at the stage of artistic conception. the idea appears as a certain concrete impulse that arose from the “collision” of the artist with the world, at the stage of embodiment - as a regulatory principle, at the stage of completion - as a semantic “facial expression” of the microcosm created by the artist, his living face, which at the same time is also a face the artist himself. Various degrees regulative power of the arts. ideas combined with different materials gives various types of X. o. A particularly energetic idea can, as it were, subjugate its own art. realization, to “acquaint” it to such an extent that the objective forms will be barely outlined, as is inherent in certain varieties of symbolism. A meaning that is too abstract or indefinite can only conditionally come into contact with objective forms, without transforming them, as is the case in naturalistic literature. allegories, or mechanically connecting them, as is typical of allegorical-magic. fantasy of ancient mythologies. The meaning is typical. the image is specific, but limited by specificity; a characteristic feature of an object or person here becomes a regulatory principle for constructing an image that fully contains its meaning and exhausts it (the meaning of Oblomov’s image is “Oblomovism”). At the same time, a characteristic feature can subjugate and “signify” all the others to such an extent that the type develops into a fantastic one. grotesque. In general, the diverse types of X. o. depend on the arts. self-awareness of the era and are modified internally. laws of each claim. Lit.: Schiller F., Articles on Aesthetics, trans. [from German], [M.–L.], 1935; Goethe V., Articles and thoughts about art, [M.–L.], 1936; Belinsky V.G., The idea of art, Complete. collection soch., vol. 4, M., 1954; Lessing G.E., Laocoon..., M., 1957; Herder I. G., Izbr. op., [trans. from German], M.–L., 1959, p. 157–90; Schelling F.V., Philosophy of Art, [trans. from German], M., 1966; Ovsyaniko-Kulikovsky D., Language and Art, St. Petersburg, 1895; ?fucking?. ?., From notes on the theory of literature, X., 1905; his, Thought and Language, 3rd ed., X., 1913; by him, From lectures on the theory of literature, 3rd ed., X., 1930; Grigoriev M. S. Form and content of literary art. proizv., M., 1929; Medvedev P.N., Formalism and formalists, [L., 1934]; Dmitrieva N., Image and Word, [M., 1962]; Ingarden R., Studies in Aesthetics, trans. from Polish, M., 1962; Theory of literature. Basic problems in history lighting, book 1, M., 1962; ?Alievsky P.V., Arts. prod., in the same place, book. 3, M., 1965; Zaretsky V., Image as information, "Vopr. Literary", 1963, No. 2; Ilyenkov E., About aesthetics. the nature of fantasy, in: Vopr. aesthetics, vol. 6, M., 1964; Losev?., Artistic canons as a problem of style, ibid.; Word and image. Sat. Art., M., 1964; Intonation and music. image. Sat. Art., M., 1965; Gachev G.D., Content of the artist. forms Epic. Lyrics. Theater, M., 1968; Panofsky E., "Idea". Ein Beitrag zur Begriffsgeschichte der ?lteren Kunsttheorie, Lpz.–V., 1924; his, Meaning in the visual arts, . Garden City (N.Y.), 1957; Richards?. ?., Science and poetry, N. Y., ; Pongs H., Das Bild in der Dichtung, Bd 1–2, Marburg, 1927–39; Jonas O., Das Wesen des musikalischen Kunstwerks, W., 1934; Souriau E., La correspondence des arts, P., ; Staiger E., Grundbegriffe der Poetik, ; his, Die Kunst der Interpretation, ; Heidegger M., Der Ursprung des Kunstwerkes, in his book: Holzwege, , Fr./M., ; Langer S. K., Feeling and form. A theory of art developed from philosophy in a new key, ?. Y., 1953; hers, Problems of art, ?. Y., ; Hamburger K., Die Logik der Dichtung, Stuttg., ; Empson W., Seven types of ambiguity, 3 ed., N. Y., ; Kuhn H., Wesen und Wirken des Kunstwerks, M?nch., ; Sedlmayr H., Kunst und Wahrheit, , 1961; Lewis C. D., The poetic image, L., 1965; Dittmann L., Stil. Symbol. Struktur, M?nch., 1967. I. Rodnyanskaya. Moscow.

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, art cannot convey movement and development in time, but this has its own strength. Hidden in the stillness of the pictorial image enormous strength, which allows us 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. mastered and processed creative imagination, imagination, talent and skill of the artist, a specific object of art is 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, you can imagine next to the buffoon some musical instrument, 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 Principality of Moscow, 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 and staging 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 show, jugglers and trained animals remained. Just like the immortal ditties and epic tales that buffoons composed remained

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:

Characters work of art, heroes, characters and their characters.
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. Readers from different eras discover completely different aspects of the artistic image the writer depicted.

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 their generality

Characterized by uniqueness and originality individual images. They were invented by the imagination of the author himself. Romantics and science fiction writers use individual images. 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", Demon in work of the same name Lermontov.

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

Highest level typical 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 literature of the 19th 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 characteristics of an era and universal human character traits. The list of such eternal images You can include Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe.

From the framework individual characters come out 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 “ Beautiful Lady"at Blok's.

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, an important role is played by speech characteristic heroes. 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:

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

Mega, macro and micro images

Sometimes the text of a literary work 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 could be one phrasal word(Winter. Frost. Morning.) or 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 will add Hamlet, Romeo and Juliet, Iskander, Robinson. 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. The following will help you understand what an artistic image is: vivid examples world literature, like Faust or Hamlet, Don Juan or Don Quixote. 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 of 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 dominant 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 considers a human phenomenon in a multifaceted way ( social behavior, language, psyche), his 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 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 affect our performance and mood, instilling a feeling of elation; in opposite cases, the artistic image of a building can act depressingly.