From ancient times, art was a universal way of concretely sensible expression, i.e. expression in a perceptible form, verbally not expressed spiritual experience, above all aesthetic, one of the main, essential components of culture as a consciously productive human spiritual and practical activity.
Art is a special area of culture, formed as a result of creative activity and artistic perception of the surrounding reality. The most important prerequisite for creative activity, in whatever sphere it is not accomplished, is the ability of a person to rise to the awareness of internal springs and mechanisms for the development of a cultural form [3]. Another prerequisite for creativity is the discovery, “digging up” from the basement of culture, from the stamps of primary meanings (archetypes), which once gave rise to one or another vision of the world, thinking. This is the discovery in the horizontal layer of a culture of its vertical dimensions, its life depth, which feeds its roots, which never died off, but only drowned out by various “faults” of culture: dogmas, superstitions, simplifications. Not a single product of human activity forms such a “cultural field” as art around itself.
Art is a way of modeling the sphere of cultural values, which serves to obtain specific cognitive-and-evaluative information, to store it, to transmit it with the help of a number of systems of shaped signs. It helps humanistically, aesthetically and morally to orient all spheres of culture, as it is included in the integral system of forms of social consciousness, which also includes science, religion, law, morality, and politics. All of them realize their functions in a single cultural context arising due to their interconnections. These interconnections and interactions change from epoch to epoch, and in each new epoch their own leading and dominant forms and styles emerge. In the face of culture, life stands in its entirety. Therefore, a separate work, artistically 21 interpreting only certain sides and connections of reality, can be interpreted and understood only in the context of the whole culture. The cultural meaning of art is in its understanding of life of a person and society, in the nature of the social mechanisms of its existence in society, and in the character of its functioning in culture.
Thus, art is the keeper of the integrity of culture, personality, life experience of mankind. This world-historical purpose of art ensures its importance for all stages of the development of the history of world culture.
Art does not replace any of the forms of human activity, but specifically recreates and models them. This specificity is determined by those functions of art that are its unique prerogative, aesthetic and hedonistic functions. Through aesthetic influence and enjoyment, a person in art receives everything: an educational influence, knowledge, transfer of experience, analysis of the state of the world, anticipation of the future, and suggestion.
The unique cultural ability of art associated with its focus on the formation and transformation of man. As a result, art acquires great value and significance for the most effective performance of this function in the general system of culture. The assimilation and appropriation of cultural values directly in the forms of practical activity of the individual in relation to art is expressed in the fact that it has a complex effect on all spheres of public life, equally shaping its personality.
. The basis of art is the artistic and figurative reflection of reality. Art helps to learn the world, forms spirituality, feelings, thoughts, worldview of a person, brings up, expands a person’s horizons, awakens his creative abilities, that is, satisfies his universal needs.
Art expresses its ideas about the surrounding world with the help of concrete artistic images in a sensual form. Typical in life is embodied in works of art, in unique individual character forms.
A work of art is a form of being of art, it is a microcosm in which the macrocosm lives, it is a model of the personality and its surrounding reality, a reflection of nature, the life of the spirit, various ideas of the cosmos, socio-historical development. Thanks to these qualities, it turns out to be the most complex cultural phenomenon. The inner aesthetic layer of the work is focused on the length of human history, in which both the present and the 22 memory of the past and the future. The work is a complete system of artistic images. The latter are a contradictory unity: rational and emotional, objective and subjective, conscious and unconscious, ideal and real, general and individual. These internal contradictions of the artistic phenomenon itself become the driving mechanism of self-development and work (its historical variability: the ability to acquire new semantics in the new era), and all of art (the emergence of new artistic trends, styles).
Art as a phenomenon of culture is divided into a number of species, each of which has a specific language, its own sign system , through which it carries artistic information. In art, a sign is the exposure of a concretely sensual basis of thought. Thus, one of the founders of the science of signs (semiotics), Charles Morris, believed that a sign is associated with an action and is a subject that refers to another subject by means of a predisposition to action. (Morris Ch.U. Fundamentals of the Theory of Signs. - M., 1971).
Reading the sign involves the identification and awareness of the object behind it. The functioning of the sign creates a sign situation in which both the objective meaning and the meaning of the sign are always manifested. Depending on the mode of expression, the meaning and nature of the semantic loading, signs are of different types: iconic, signs, symbols, symbols (Charles Pierce). Iconic signs are figurative, have similarity with the object being replaced, give a concretely sensual idea of it, convey the general outlines of the object (for example, in the architecture palm-shaped, lotus-like, papyrus-like columns, caryatids, atlants supporting the roof or balcony). Signs-indexes are based on causality. Such, for example, in the architecture are the doors - the designation of the possibility of entry into the interior of the building; high windows, grouped into a group of two floors, indicating the presence of a two-light hall inside the building; the dome is a sign of a solid spatial volume inside the building; gate - a sign of the park, garden or courtyard at the house; the staircase is a sign of climbing up and having a floor above. Symbols symbols are conditional, figurative, are not associated with a causal relationship with the designated, but consist of an object in an associative relationship based on an agreement; these are artificially constructed ideographs, which generally convey a whole system of concepts, carry unfolded, conceptually loaded information. To this type of signs include coats of arms, heraldic symbols, trademarks of companies, numismatic on coins, advertising, publishing, poster, philatelic on stamps. If a sign is a thing denoting something different and having only one meaning, then the symbol is more complex, although sometimes it also means something that replaces some other meaning. A symbol is a sign that replaces something else, the recognizable equivalent of a certain person, object, idea, established with the help of features that in public consciousness are associated with this person, object, idea. It is also an expression of abstract ideas with a model, color, line; transfer of abstract or spiritual images with the help of physical objects. Symbols can be of many types: in the form of hieroglyphs, initials, emblems, legends, allegories, slogans. A sign has only one meaning; the character is different variety. An example of a symbolic sign in architecture was the tower, which now crowns the buildings of the city hall and the town hall. Its initial message is the donjon - the main detached tower in a medieval castle. He was a symbol of power and a functional and last stronghold of defense of the fortress during the siege. Now only the first, symbolic meaning of this tower remains.
In the process of the dynamics of culture, various types of art were formed. They all speak of the essence of life, of high aesthetic ideals, of the beautiful. In addition, one kind of art differs from another by its content, ways and means of artistic expression, material, its imaginative influence and vital role. The process of cultural development is uneven, therefore, arts are experiencing periods of rise, flowering, decline, and are also able to expand the boundaries of their sphere and artistic capabilities through the refraction of the basic principles of creativity through the prism of new materials and tools.
Art exists and develops as a system of interrelated species, the diversity of which is due to the diversity of the real world itself, displayed in the process of artistic creation. Species properties of art are manifested in a particular historical epoch and in various artistic cultures in different ways. Meanwhile, the very division of art into types is connected, first of all, with the peculiarities of mastering and perceiving the world, the spiritual wealth of the artist and cultural traditions. The variety of types of art allows you to aesthetically explore and explore the world in all its complexity.
Architecture or architecture originated at the dawn of civilization, in ancient times, when the laws of beauty and not only necessities began to operate in construction. Hegel considered "the beginning of art" architecture . Architecture, like any other art form, creates an image of society. For it is important to fit into the natural or urban landscape. She is an ensemble. Architecture is a creative activity on the organization of spatial forms and the art of building buildings and complexes. This is the most "mundane" art immersed in practice, directly related to industry, with the satisfaction of the immediate human needs. The architecture has two sides - utilitarian and aesthetic; they not only coexist, but organically interpenetrate each other, mutually condition each other, one cannot be separated from the other. This is evidenced by the formula of architecture belonging to the ancient Roman architect Vitruvius: “use - strength - beauty” . Every art reflects reality, but does not always depict it. The architecture does not depict anything, does not reproduce natural forms, but creates them again. In how the architect expresses himself, what design he has and how this design is embodied, the spirit and style of the era are always reflected.
In its development, it is associated with constant initial values and constantly changing human needs, as well as with the development of science and technology. The artistic images of architecture reflect the structure of public life, the level of spiritual development of culture, and its aesthetic ideals. The architectural idea, its expediency is revealed in the organization of the space of the interior, in the grouping of architectural masses, in the proportional relations of the parts and the whole, in a rhythmic structure. The ratio of the interior and the volume of the building characterizes the originality of the artistic language of architecture. Of great importance is the decoration of the exterior of buildings - exterior. Each epoch has its own architectural face, its own style, solves its own problems, uses its own materials. During the periods of artistic growth, architecture harmonically develops and enriches itself in synthesis with other types of art, which embody the ideas embodied in the structure in concrete images.
The oldest architectural structures are megaliths (Greek “megos” –large, “litos” - stone) - buildings made of huge roughly processed stones. There are three types of megalithic architecture : menhirs (Celts. "Stone") - vertical pillars, sometimes up to meters high (France, Brittany), covered with relief images: at the top - the sun and the moon, below - stylized figures of deer, stripes of geometric ornament (Mongolia, Bulgansky aimak), designed in the form of a human figure - "stone women" (Russia, Siberia); dolmens (eng, fr.) - quadrangular structures of large stone slabs set on the edge and covered with slab, serving as tombs, less often dwellings (India, Caucasus, Crimea, Europe); Cromlechs (breton. "Krom" - circle, "leh" - stone) - the most complex structures of antiquity. These are usually menhirs installed on a large platform with concentric circles around the sacrificial stone, sometimes covered in pairs by a slab. This is the first religious buildings, the creation of which was pursued not only utilitarian goals, but took into account the artistic impact. Cromlech near Stonehenge (England, Salisbury) is the temple of the sun, the oldest astronomical "observatory." Vertically standing pairs of menhirs form a gap, through which you can observe the movement of the planets in certain periods of time. 70 meters from the outer ring of menhirs, exactly on the axis of the "altar" - a square plate in the center of the inner ring of pillars - stands a huge stone (Hele), behind which the Sun rises on the summer solstice (June 22) [6].
Architecture as an art form is formed in the cultures of the Two Rivers (Mesopotamia) and Egypt, flourishes and is authored in Ancient Greece and Rome. In the ancient civilizations of Egypt and Dvorichchia architecture was the leading art form. Geometric clarity of forms, lack of articulation, disproportion in the scale of the structure and the person, which suppress the personality of monumentality, are inherent in it. Grand buildings were created in the name of spiritual and spiritual goals, served the cause of social organization under the despotic power of Pharaoh, the king.
In ancient Greece, architecture takes on a democratic look. Religious buildings claim the beauty, measure, harmony, dignity of the Greek people. There are new types of public buildings - theaters, stadiums, schools. The person here acts as a measure of the beauty and scale of the building, does not suppress, but exalts the personality, unlike the buildings of the Ancient East. The architects of ancient Greece create an order system that played a large role in the development of architecture.
In ancient Rome , arched and vaulted structures made of concrete were widely used, which allowed new types of structures to appear: the forum, the amphitheater, the triumphal arch, reflecting the ideas of statehood and military power.
In the middle ages, architecture becomes not only the leading, but also the mass art form, whose images were accessible to the common people. In the Gothic cathedrals, aspiring to heaven, expressed the religious impulse to God, the earthly dream of happiness. Renaissance architecture develops on a new basis the principles and forms of the ancient classics.
In the era of modern times, classicism canonized the compositional techniques of antiquity. With the approval of absolutism, the baroque style develops, which is characterized by a large number of stucco decorations, contrast of forms, pomp, complexity of articulations and spatial relationships. Then the rococo style arose and spread throughout Europe. It is distinguished by asymmetry, complexity of lines, fancy ornamentation. In the second half of the 18th century, the rococo gave way to the empire - a monumental, majestic style, based on the traditions of classicism and the style of the era of the Roman emperors. He expresses military power and the sovereign greatness of power.
In the 19th century, eclecticism was established, combining disparate opposing styles and modern with a fundamental rejection of the order system and other styles in favor of the search for a new architecture. In the 20th century, various trends and trends (constructivism, functionalism) manifest themselves in architecture, associated with the emergence of completely new types of buildings: administrative, industrial, residential high-rise arrays.
Thus, architecture means a historically established set of artistic means and techniques, manifested in the choice of architectural forms, their proportions and decorative ornaments that form the architectural style characteristic of a particular era or national culture. The fact that architecture is an art is theoretically provable, if the “zero level” —the functional structure (the internal language of architecture) —is able to satisfy not only utilitarian needs, but with the help of rhetorical figures (first-types) to find and form an artistic style. The rhetoric of spatial thinking is expressed through the semantics (sense-loading) of the configuration of architectural volumes: the cube is the ideal embodiment of the idea of immutability, stability, balance; parallelepiped, standing vertically - the image of aspiration into the sky; cylinder - rotunda - the same shape in all angles; the symbol of eternity, deity, the likeness of man to God;Forms of composition - the image of the entrance to the space and exit from it; a segment is an image of divisibility of space; hemisphere - the image of the sky; the warrant is a detailed system of architectural artistic means, the style forming form (from the pole support [“zero level”] to a column of various orders - Doric, Ionic, Corinthian). Architectural works - a kind of "chronicles in stone", created for centuries. Architecture works closely with other art forms.
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