ВОСПРИЯТИЕ И ОЦЕНКА ХУДОЖЕСТВЕННОГО ПРОИЗВЕДЕНИЯ В СВЕТЕ ДИНАМИКИ ЭСТЕТИЧЕСКОГО СОЗНАНИЯ
Journal Title: Гуманітарний часопис - Year 2015, Vol 1, Issue 2
Abstract
Shitov S.I. PERCEPTION AND EVALUATION OF ARTWORK IN THE SHADOW OF AESTHETIC CONSCIOUSNESS DYNAMIC. The problem of perception and evaluation of artworks is not new and its roots go deep into the millennium. If we try to summarize the factors influenced on our evaluation of artworks so it can be divided into several groups. 1). External circumstances related to the history of artworks, the fate of the author (what it is tragic, such as Van Gogh, than more attention is focused on his work). 2). The second group of factors related to the specific understanding of the essence of work creation, when it is appraised not as a result of the creative potentials of the author, but rather as a manifestation of the activity of some external mystical forces which are using the material basis of a painting or a sculpture as a means for its messages of a specific audience and around humanity execution. At the same time the creator of the work is most often not realize his intermediary mission between the earthly and the otherworldly. The proponents of this approach seek to assess not only the substantive quality of the work, as signs, "signaling" the fact of the influence of some supernatural forces on man and the world in general. 3). A variation of the above items is related to the process of artistic creation as a means "breakthrough" in the ultimate reality and liberation from the "shackles" of earthly existence (Jackson Pollock, Abstract Expressionism, United States). Of course, the artist’s attention is focused on his or her own feelings and experiences, rather than on an assessment of his work from the audience. 4). And finally, the next group of factors is the most usual, well-established and clear in the system of relationships of creator and the audience, the most widely covered in detail and aesthetic tradition. The idea is that the character, the strength and duration of exposure to the work of art (affecting its value) depend on the availability of the following parameters: - Certain composition (structure); - "Contact points" with the universal themes of sound; - A harmonious combination of form and content of the work; - Technical state of the art; - A variety of principles, which are the embodiment of visual pleasure or sense of perfection ("golden section", "smooth sine wave Hogarth" and others.) This wide range of approaches (and that is not all!) severely troubles the identification of the general laws of aesthetic perception of artworks. Disorientation in this plan sharply increased since the beginning of the twentieth century, when Western art was divided on the one hand, on the modernistic (and including avant-garde), and on the other hand- on the art which was incorporated into the structure of the so-called "mass culture". The postmodern époque didn’t resolve the situation. The attempt of "put" in a diverse range the different artistic phenomena and declare it equivalent in terms of spiritual significance, rather masks the gaping contradictions in the relationship between man and the world of art, that finds "point of contact" between them. With all the variety of disorienting development trends of modern art and positions related to their perception, no doubt, and one thing is clear: the world is undergoing major changes, giving rise, in turn, the restructuring of social and individual consciousness. By virtue of a "chain" reaction is happening cannot but cause transformation and aesthetic consciousness with all its structural elements: an aesthetic sense, taste, estimates and ideals. What kind of "displacement", affecting the aesthetic consciousness, is it? First of all, it refers to the acceleration of historical development, which cannot be reflected on the characteristics of aesthetic perception and evaluation of artistic phenomena. Catastrophic events that modern époque are so rich, entail the growing irrationalism in the perception of reality. One of the manifestations of this phenomenon in art - the weakening of the science fiction and "exit" to the forefront of the genre "fantasy." Horror genre began to occupy an increasingly important place in modern art and literature. It is becoming the increasingly common phenomenon of "aestheticization" of ugly, when the topic of spiritual and physical degradation man demonstration of his essence becomes the central lowlands in the product. Compensatory function of art has always manifested itself, but that now it becomes a truly comprehensive, global. The man under the pressure of external events seeks to refuge in a fictional fantasy world as a whole, without a "residue." Contemporary art gives him that opportunity. In summary, it should be noted that while assessing the merits of a work of art, its inherent objective aesthetic qualities (technical perfection, the theme, plot, reflected the value orientations, etc.) are evaluated and must be always evaluated as the most important. However, for the first time, perhaps, in the history of art and the artist's subjective experiences of the viewer (or reader) acquire such importance in the evaluation of the work. For the first time, it was in the twentieth century the balance of objective and subjective aspects of the work has become increasingly violated in favor of personal experience, the physiological characteristics of perception ("splitting" of objects in Cubism), subjective attitudes, for the sake of which the masters of art begins to deform themselves aesthetic objects, to destroy the established traditions that are the cornerstone of it.
Authors and Affiliations
Сергій Шитов
Keywords
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