Style as an aesthetic metacategory

A significant category in aesthetics and art history is style. In fact, it is more free in the forms of manifestation and a peculiar modification of the canon in its purely aesthetic sense, more precisely, it is sufficiently stable for a certain period of the history of art or for a specific trend, trend, school, or one artist.

There is no consensus in the interpretation of the exact meaning of the category “style” and in its use in describing the history of culture and art. The more important it is to justify this concept. Under the style understand, first of all, the system of objective forms, based on certain patterns, methods, lifestyles and actions. Especially when it comes to the way that plays the main role, which has creative value. In this sense, they talk about the creative styles of a certain epoch (Gothic, Baroque, Modern), the style of culture (in F. Nietzsche, culture is the unity of creative styles in all manifestations), the style of creativity of an individual artist or a whole group, the style of a separate work, about the style of a bright personality, about the style of fashion, that is, the style expresses the highest aspirations of a given culture. Thus, the concept of "style" has many meanings.

The style also appears as a quality of a certain culture, distinguishing it from another, and as a constructive principle of its construction. Acquiring cultural significance, the subject acquires a stylistic expression - evidence of its belonging to a particular cultural and historical epoch. Thus, the subject is a significant image of culture - the unity of being and due, ideal and material. It is in this sense that culture has an aesthetic character, since it is the art of creation, creation and creation. This position has a reverse meaning - the aesthetic principle most fully reveals its specific nature and social functions, acting as an element of an integral system of culture, interacting organically with its other elements.

The style of an object is not just its external form, but its spiritual and material functioning within a given culture, that is, the style reveals the features of the object, subordinating each element to the overall constructive plan.

Style is a direct expression of the mediation and universal interdependence of the elements of the form. It is born exactly and only 28 where there is a strictly regular conjugation of all elements of the form, which is necessary for solving a single task. Analysis of the specific content of this phenomenon allows us to understand the law of building its form, the principle of communication of all its elements, because it is the content that develops through all the “levels” and “cells” of a form, determines its character and determines its stylistic integrity. This means that the style is dictated by a certain content, but it is the quality of the form, the law of its structure. In style with exceptional fury, the relative independence of the form, due to the content, serving it; but at the same time there is something different from the content. Therefore, in the history of art, there are cases when a style born of one content then adapts itself to the needs of completely different content.

The style determines the structure of the work, its belonging to a particular type of culture. It is the internal "code" of the organization and the work as an integrity, which gives each element the property of being a part of the whole and contain the features of this whole. Such an understanding of style makes it possible to explain how a distant and stylistically different tradition can be perceived and assimilated. The culture of each era "remembers" the past in the form adapted to modernity. Artistic interactions are the various influences of some phenomena on others, these are interrelations between elements of art as a developing system, these are different forms of cultural dialogue within the art of a given epoch or modern art with the past. Here there are neither spatial nor temporal barriers. The development of art contributes to the individual dissimilarity (features) of works that reach the genre originality of the stylistic uniqueness of the masterpiece. At the same time, the complexity and works, and the artistic process as a whole.

The style determines the existence of the work as a completed specific social phenomenon, ensures its ontology. He orients the artist in relation to the artistic movement, ensures the development of tradition on a new, unified basis, allows the interaction of different eras, without disturbing the structure of this work. Style saves the work of eclecticism. The meaning, the concept of the work is addressed to the mind, the system of images - to the thought and feeling of man. The process of evaluation and interpretation of the work takes place in time. Style - the scope of operational, instant impact. He informs as a single information shot, without details, about the holistic quality of the work. Through the style of the work, the artist is recognized, the degree of his closeness to the spiritual mood is manifested. In the style of artistic communication is carried out (or interrupted): reality - the creator - the work - the performer - the recipient - reality. At the ends of this chain is reality; the artist perceives it, and the public influences it under the influence of art. In this sense, style is a way to improve reality through culture. It is the style that expresses the character, direction, measure of the aesthetic development of the world by man and acts as the carrier of the essential aspects of aesthetic value and artistic meaning.

The structure of the style of an individual work and artistic culture as a whole is complex and multi-layered. In its various layers, in collapsed form, the style seals both the peculiarities of the author’s personality, the integrity of the artistic design of the work, the typological features of the direction, and the historical tradition of the culture on which the creator relies.

In the process of the development of culture, the number of stylistic communities grew, at the same time there was a complication of the structure of works and the artistic process as a whole, the increase in differences and communities with other cultural phenomena. Thus, style appears as a typological integrity, as the principle of organizing the artistic world, as the generative program of the work, as a source of aesthetic pleasure.

Style serves as one of the connecting elements in the synthesis of art, acquiring the greatest degree of organicity and integrity; in the same style, types and genres of art are in close relationship. The style not only reflects modern life, but is also included as a great link in the historical chain of world art. In the process of the development of culture within the framework of style, there is rivalry between various trends. It leads to a fundamental change in the existing style and the emergence of a new one.

The direction is a system of ideas about the world and man, the stylistic features of culture. It is precisely the direction that makes comparative historical generalizations on the scale of the world artistic development and reveals in the culture of different nations a single sequence of stages of development, a shift and struggle between conceptual and stylistic paradigms. The change of style is determined by profound changes in the social and ideological conceptual system of this culture. Such changes were: the emergence of Christianity (Romanesque and Gothic style); the process of reformation and absolutism 30 (classicism, baroque, romanticism); the approval of bourgeois ideals (realism, naturalism); the transformation of modernism into postmodernism.

The most striking thing is the style unity of the epoch manifested in architecture and applied arts . The commonality of the means and methods of artistic expression, imbued with the worldview of the dominant ideology of society, is called the style in architecture and art. The style of each era was influenced by various factors: ideological and aesthetic views, materials and construction techniques, the level of development of production, household needs, art forms. The unity of the architectural composition implies the unity of style, which is created by a set of features typical of the art of a certain time. Style as the first significant phenomenon develops in ancient civilizations (Egypt, Babylon, India, China) in accordance with the dominant religious, aesthetic and ideological norms. In different historical periods, style is specifically implemented in certain types of art, to a greater or lesser extent, manifesting its typical features in the relationship between content and form in art. The stylistic development of art with each new epoch corresponds to the growing complication that manifests itself in the interaction of local, regional schools and artistic traditions.

Within each style there are their own national peculiarities, and within the national style there is the handwriting of individual artists, which captures the personality characteristics of the author, the integrity of the artistic intent of the work, the historical tradition of culture on which the artist’s work rests. In their work, artists proceed not only from immediate impressions, observations and study of the life around them, but also experience accumulated over the centuries by mankind, based on national traditions, on a new understanding of the phenomena of reality. Consequently, the style is the carrier of artistic tradition, focuses on primary attention to those or other phenomena of artistic culture. Here, the national-religious stylistic features of culture acquire meaningful concretization, based on the life experience of a given people. The national stylistic essence is clearly visible and allows, by style, to distinguish the work of one culture from another. But there are common features that unite the works of an entire group of authors and are typical of art for quite a long historical period. Artistic style in this sense (sometimes called “great style”) is the unity of aesthetic ideals and creative 31 methods, defining the typical features of many works of art in a particular era. The history of art is the history of the change of creative methods and styles, the history of the struggle of artistic trends and schools. Style is a mirror of an era. It peculiarly manifests the main features of the era.

In the culture of the ancient world, the laws of artistic creativity were viewed as a force, not subject to the individuality of the creator, as a canon, which he must follow unquestioningly, and the pursuit of a particular method of artistic idealization forced to develop a clear system of tools and techniques for creative implementation of this ideal in the figurative fabric of art . Therefore, creativity included a style program, and this led to the fact that the history of high, “official” art was expressed in the evolution and change of uniform styles for each era of great styles. By the end of the European Middle Ages, the coexistence of two architectural styles, Romanesque and Gothic, was already apparent within the framework of a single artistic style for the whole culture. The last such unified architectural style of the epoch was Gothic in the period of the European Middle Ages. Up until the Renaissance in the societies of the past, artistic styles were the same for all culture. The significance of the Renaissance in the history of world culture is great, because it was in it that the first time manifested a new pattern of artistic creativity, which ended with the disappearance of the stylistic unity of the epoch with the simultaneous development of different styles. Starting from the Renaissance, the artist’s individuality, which no longer fits into the framework of stylistic phenomena, is becoming increasingly important. From this time on, “big styles” began to form as dominant in the art of a certain epoch, but existing along with other styles supplementing them.

Further, the intensity of the life of the individual increases, and with it the individual artistic style, which acquires the style of the creative period, changes. At the same time, periods have different stylistic coloring, although they still preserve the commonality, fastened by the individual style of the artist.

In the era of the New Age, the absence of a single artistic ideal led to a whole range of artistic concepts, which boil down to three fundamental figurative principles - baroque, classicism and line style. The 17th century turned out to be a turning point in the history of styles: it was during this era that a kind of balance between two creative systems that were opposite in their nature — style and style — was established. In the conditions of intense competition with the out-of-line style, the style form discovered its own previously unsolved richest creative resources. Therefore, the XVII century with full justification can be called the key epoch for the problem of style, because in a certain sense this century alone reveals the imaginative potential of a stylistic form to a greater extent than the entire previous centuries-old artistic evolution [16]. Baroque style, covers a whole historical period of development of artistic culture, born of the crisis of the Renaissance and Renaissance humanism .; artistic direction that existed between Renaissance and classicism.

Baroque occupies a more significant place and most fully expresses this era than classicism. Baroque style - one of the most mysterious styles of art - appeared as a kind of reaction to the Renaissance. Baroque art is magnificent, dynamic, lush, noisy, grand, dynamic, asymmetrical. Revival demonstrated the charm of the external world, justified corporeality, sang of man as a great, titanic in nature, creation. Baroque art is deliberate in its theatricality, it loves visual illusions in painting and architecture. In ideological terms, the Baroque style embodies a complex set of ideas generated by the spiritual culture of the XVII century, of which the following aspects are highlighted: natural-philosophical, psychological, social. In the first aspect, the world is perceived by the Baroque artist as a single cosmic element in the flow of infinite movement. The feeling of constant communion with this element is one of the fundamental principles of the baroque system. The peculiarity of this aspect is the inexhaustible baroque dynamics that involve everything in a single emotional impulse. The second aspect is associated with the spiritual world of man, with the sphere of his feelings and experiences. In other words, baroque is a pathetic art. An active appeal to the viewer of baroque art defined his third — social — aspect expressed in the affirmation and glorification of Catholicism and absolutism. [

Turning from baroque to the general characteristic of classicism, it should be noted a much smaller area of ​​its distribution. As a leading line in the national artistic culture, classicism in the seventeenth century showed itself only in France. In other countries, this stylistic system has found itself only in certain types of art. In the theory of classicism, the idea of ​​the beautiful is put in a different relationship with reality than in the Baroque. According to the views of classicism, reality can become an object of art, being perceived through the prism of a certain ideal in which the higher laws of its organization are based on the beginnings of reason and beauty. Classicists quite consciously in the very title, their style emphasize the secondary nature of their art. They believe that beauty has immutable laws, manifested in the ancient classics.

The art of classicism has civil pathos, statehood, belief in the power of reason, clarity and clarity of moral and aesthetic values. His art is built on the principle of a pyramid - “at the top” there are genres and types that glorify “high being” and “low”, considering ordinary being.

The style of classicism requires clarity, clarity, simplicity, symmetry, thematic consistency. Thus, if the Baroque style is inherent in a contrastingly Multilateral disclosure of the topic, including expressive, emphasizing the expressive transmission of real nature, then classicism completely excludes this last side, discards everything petty, so as not to contradict the sublime meaning of the work. The aesthetic ideal of classicism was admiration for the ancient era, from which it inherited exemplary beauty. In this style, the element of the secondary is stronger than in other artistic concepts of the New Age, that is, the acquisition of artistic truth is not in the first but in the second instance, taking into account the previous experience that is internally close to this system. Classicism is a secular style and, in contrast to Renaissance art, is drier, tougher, more calculating.

In parallel with classicism, art developed a rococo style that grew out of baroque. Rococo has personalized an intimate interior, favoring light amusing pleasures.This is an elegant, sophisticated art of flirting. In the Rococo style, everything material and physical was aestheticized and, therefore, the spiritual meaning was given in the most paradoxical way.

The spiritual narrowness of Rococo did not give him the opportunity to become a universal style. This is too aristocratic style, far from everyday life. That is why the Rococo could not become a style commensurate in its significance with classicism. The rococo style was replaced by more powerful artistic possibilities - sentimentalism.

Исторически сентиментализм возникает в связи с разработкой «средних» жанров классицизма: идиллии, стихотворного дружеского послания, песни, эпистолярных форм. Сентиментализм связывает высокое нравственное начало с естественной, «простой» жизнью, объявив городскую жизнь удалением от «естественного» бытия. Близость к природе объявляется высшим благом. Перелом в художественной культуре, начатый Возрождением, связан с развитием внестилевой линии, которая по своей сути не является завершенной системой. Это целый комплекс художественных концепций, у которого есть одно важное, принципиально объединяющее качество – выход за границы стиля, за рамки столь привычных, а прежде и единственно возможных форм художественного мышления. Внестилевая линия насчитывает целый ряд отличных друг от друга принципов истолкования, воплотившихся в различных направлениях, в локальных художественных школах, в отдельных творческих индивидуальностях. Первой по времени возникновения является каравад жийская концепция, которую отличает акцент на резкой выразительности непреображенной натуры с использованием подчеркнуто антиидеальной тематики – явлений действительности подчас в ее грубых, простых формах. Характерным приемом этой концепции является выбор отдельного мотива, который благодаря особой, «жесткой» фокусировке наделяется повышенной мерой выразительности. Из изобразительных решений более всего распространены взятые крупным планом композиции с небольшим числом действующих лиц.

Главный живописный принцип – светотеневой контраст, воспринимаемый преимущественно как средство выделения изображаемого мотива и сообщения ему особого пластического эффекта. Другую концепцию, еще более связанную с реальностью, представляет тот вариант жанровой картины, который сложился у голландских мастеров. Как правило, это образы и ситуации камерного характера, интимного звучания, спокойного повествования, от чего художники подобного склада получили название «малых голландцев». Их основная тема – повседневность в обычных ее проявлениях, эпизоды быта, происходящие в действительности, переданные с удивительной конкретностью. Ценные стороны этой концепции – охват нового круга жизненных явлений, поэтическое чувство, которым окрашены даже самые простые мотивы, тонкое ощущение самого бытия, незаурядное мастерство в передаче окружающего человека мира вещей. Высшими достижениями внестилевой линии являются концепции Рембрандта и Веласкеса. Это подлинное воплощение действительно крупного, обобщающего образа.

Творчество Рембрандта составляет яркий контраст традиционным формам голландского бытового жанра. Его основная тема – человеческая жизнь в ее решающих моментах, понятая как духовная эволюция личности. Она облекается в формы библейско мифологического сюжета, которые способствуют возведению изображаемых ситуаций на уровень собирательных образов широкого охвата. Создатель другой ведущей концепции в русле рассматриваемой стилистики – Веласкес – акцентирует внимание на более объективированном отражении действительности с позиции красоты реального мира. Его произведения воспринимаются как человеческие типы или события, перенесенные на полотно во всей своей естественности.

Thus, stylistic ambiguity is the desire for a harmonious resolution of the contradiction between the objective and subjective aspects of the artistic development of reality, generated by the process of self-determination and self-affirmation of the individual. A similar process crushed the former unity of style. With other means and other goals, the stylistic unity of culture was undermined by romanticism and decadence. Resurrection titanism of individuality, alien to sentimentalism, found its continuation in romanticism - a new style that was formed in the 19th century. As a reaction to a prosaic way of life with its practicality, impersonal and monotonous everyday bustle, the general pursuit of material goods.

The romantic era is an unprecedented interest in folk culture, an appeal to the stylistic forms of medieval architecture (Romanesque, Gothic), an orientation towards Christian ideas. Reality in romanticism is something mysterious, irrational, opposing a rational, orderly classicism, reason and personal freedom of a person, a sphere of social disappointments. Hence, the “world grief” as a global conceptually meaningful attitude. For the romantic concept of the world and personality, there is a cult of exotic in nature, uniquely individual in man, exceptional in society. Romanticism as an artistic style is characterized by opposing the “imitation of nature” of creative activity, the denial of normativity in the creation of works and the renewal of forms.

Understanding art as a higher reality, romanticism stimulates the associativity of artistic thinking, the interpenetration and interaction of various genres and types of art.

. Works of romantics are filled with feelings of delight and frustration, enthusiasm and despair. These mental fluctuations created a feeling of unknowability of reality, the eternal mystery of the world, recognition of the impossibility of its complete spiritual comprehension. The heterogeneity of the romantic style gave rise to the instability of the entire artistic system. Romanticism was nationally many-sided, complex, internally contradictory, heterogeneous, metaphorical, and uniting with religion and philosophy. In architecture, romanticism is embodied in the construction of quaint castles and palaces, ancient and medieval ruins. The influence of romanticism affected the formation of such architectural styles as eclecticism and modern.

The aesthetics of Romanticism is important both by theoretical discoveries, and by cultural influence, and by the fact that an individual style developed on its basis, which began to be valued higher than its “shop” affiliation. Romanticism had a universal influence on the development of art: having given birth to symbolism, and then acmeism and futurism.

Decadence as a direction cannot be attributed to any particular concept or trend. It affected a significant part of the aesthetic orientations of artists. Decadence is a longing for the spiritual ideals of the past, a rejection of reality, a mood of hopelessness, extreme individualism. It was decadence that prepared the formation of modernism as a style.

The development of the culture of the beginning of the XIX century is characterized by a gradual departure from classicism towards eclecticism and retrospectiveness, an increase in interest in its own national heritage, the desire to develop new forms based on the artistic traditions of a particular culture, an appeal to historical styles. But perceived superficially, Gothic, Renaissance, Baroque, Rococo and other styles, taken separately or mixed with each other, could not form the original basis for a new organic style. At the beginning of the XIX century in France formed the so-called imperial style - Empire, as a variant of late classicism, or "Louis XVI style"

. Caused to life by the ideas of the Enlightenment, classicism was the first artificial (that is, not spontaneous, but as a result of systematic study and cultivation of ancient samples) style, but at the same time the first manifestation of eclecticism. XIX century. in European culture is often called the century of realism. The specific characteristics of realism in this century are well known: it is the pathos of sociality, attention to the historical originality of life (historicism), sympathy for the lower classes and the “little man”, the typification of heroes and circumstances, criticality towards reality. Realism rejects neither conditionality, nor fiction, nor the subjectivism of the author, but establishes a more active feedback between art and life than was prescribed by previous styles. It is distinguished not only by the intensity of the feedback between art and life, but also by the richness of this connection.

The realistic image of reality is volumetric, because it is described in different artistic languages. This style acts at the same time as the opposite of other great styles - classicism, sentimentalism, romanticism - and how their synthesis. Eclecticism as a romantic premodernism, when creating works, suggests any combination of different forms of the past, frees itself from the ancient tradition, expresses itself through the culture of different eras and different nations (“Chinese”, “Egyptian”, “Pompeii” motifs), to different regions of the world and historicism It combines different styles into a new, devoid of integrity stylistic education, allows for the equal importance of different elements, all stylistic forms. At the end of the 19th century, eclecticism was replaced by a new style - modern, referred to as ar nouveau in France, jugendstil in Germany, and secession in Austria. Its roots go back to the “cultural layer” of the middle of the XIX century. Stylistic features, anticipating modernity, can be traced in graphic works, and in painting, and among masters of applied art, and in architecture. Modern aimed to create a modern, universal synthetic style. Fundamentally new was the rejection of the order system of antiquity and other styles in favor of the search for new forms from the culture of the Middle Ages.

It is characterized by an appeal to nature, the desire to restore the organic connection of man with nature. This focus manifests itself in the wide penetration of "plant" motifs, among which preference was given to climbing flowers, marsh plants, and algae. A number of ornamental motifs of modernity, which received wide distribution, were borrowed from the art of the Far East, primarily Japan. The color scheme of modern creates a world of multi-valued characters. It is characterized by semantic ambiguity: the subject, the motive, is that it is both a sign of a different content, universal and eternal. External and internal, visible and invisible are inseparable. Until the end of the 19th century, the artistic epoch and the style direction coincide.

Then this coincidence begins to disappear, the border is blurred due to the acceleration of artistic development, the growth of aesthetic inconsistency, the creation of many theories and concepts. On the eve of the 20th century, European art culture is entering a new historical stage. Against the backdrop of grandiose changes in art, major changes are taking place: ideals are crumbling, 38 serving as landmarks of the great artistic styles of the past, a time comes which is called the “era of modernism”. Modernism opposes itself to the art of the past and stands for the search for novelty, in which any artistic canon that hampers the freedom of search can be and even should be discarded.

The modernist artist does not depict the real world, but creates his own world with the power of imagination and talent, which may have little in common with the real one. In modernism, traditional aesthetic and ethical requirements for art are denied. The main thing - the exotic, which should hit, "shake up" the public. The art of modernism is often associated with the culture of decadence as a whole - cultural decline, dying, decay. In modernism, pessimism, absurdity, destruction, and suffering are cultivated. Detachment from life, aesthetic concentration on the subtle nuances of the artistic language are the main features of modernist art. Representatives of modernism speak of their work as an “anti-art”. This is not a single artistic style, but a whole group of styles. In the era of modernism, the time ended when art existed in great styles that dominated others for a rather long historical period. The absence of a single core artistic style is a characteristic feature of modernism.

Modernism is fundamentally numerous. Styles of modernist art do not live long. They appear, gain popularity and leave the stage. The 20th century is a new epoch, an epoch of modernism and postmodernism, which correspond to their own style, their own artistic thinking, their own genre identity. Modernism as an art system was formed due to decadence (the failure to accept real life, the cult of beauty as the only value, the rejection of social problems) and the avant-garde (extreme nihilism, the ultimate degree of negation of the preceding cultural tradition). It combines many relatively independent artistic trends and trends, different in cultural and historical meaning (abstractionism, futurism, dadaism, cubism, expressionism, fauvism, surrealism, partera, etc.), each of which has a certain aesthetic and style specificity, but along with It has a fundamentally different philosophical and sociocultural community, the basis of which was the ideas of the irrationalism of A. Schopenhauer, F. Nietzsche, the intuition of A. Bergson, the phenomenology of E. Husserl, psychoanalysis of Z. Freud, K. Yun and, existentialism J.-P. Sartre and A. Camus.

The predominance of pessimism, anxiety, painful forebodings, the consciousness of unknowability, the immutability of the world - such is the emotional mood of the works of modernism. Style innovation becomes an end in itself. Hence the trend of changing styles in the work of an individual artist. Postmodernism went on a wave of modernism. The term “postmodernism” itself indicates, if not continuity, then a definite relationship with modernism. He, in fact, brings together many trends, approaches, styles, trends in culture and art. Postmodernism rejects a single style in culture, giving preference to local, original, diverse forms, asserts the equivalence of different cultural models, rehabilitates those of them who were previously given the status of "primitive". The distinction between the center and the periphery, between the creator of cultural works and the audience, between high and low, casual and everyday, is rejected.

In postmodernism, the opposition “high-low” in the culture disappears and the epoch in which all forms and styles exist is becoming possible. The most vivid expression of postmodernism found in the field of art. Here it is implemented in polystylistics, in the active interaction of various artistic styles and systems. Dynamic contact of styles generates a multidimensional space in which the “pure” experience of an isolated sense or aesthetic impulse is possible. In postmodernism, art asserts its avant-garde role. The whole culture is modeled on the avant-garde image, and there is a constant diffusion of elite art and mass culture.

The modern era is characterized by stylistic mosaic. Here, stylistic integrity and originality arises from a work, an object that acquires a stylistic identity with respect to other masterpieces by the same artist, or is an element of the work that involves deliberate “sticking” stylistically dissimilar objects and parts. Despite the speeding up of history, the complexity of the artistic process and the growth of stylistic words, the epochal typological community is not lost. That it is the style of the era. Each epoch gives rise to its own values, which are spiritual pillars, regulators in a person’s life, filling it with a special meaning.

Thus, the epoch is a time point from which a new development begins, a certain period of time. Each cultural and historical epoch corresponds to its creative style, genre originality, way of thinking. Every object, unlike a work of art, has some vital purpose, in other words, a function. But almost every person has a need to surround themselves with beautiful objects. Therefore, the value of things covers two beginnings - the benefit and beauty. Each subject has a technical and aesthetic foundation, always changeable and historically replaced.

Our assessments of the aesthetic qualities of objects are mostly subjective, and most importantly, not substantiated. What can we say about the subject, except beautiful or ugly. To understand what causes the aesthetic qualities of things, you need to expand the general concept of beauty into components. And since beauty is judged by the external form of the object, first of all you need to know what signs of the external form exist at all. Much is made clearer when the basic laws of human perception are comprehended. We will learn how a person approaches an object, how it is used, evaluated, distinguished, compared. Only by studying the mechanism of perception, we understand why it seems to us that this subject is beautiful.

Translated from English, "design" means drawing. Prior to this, the design of things was called "artistic design." Derived concepts derived from the word design: “designer” - artist designer, “design - form”. The purpose of design is to create a world of beautiful forms, things that would reveal the true character of our civilization.

So says the famous Italian architect and designer D. Ponti. Every object, unlike a work of art, has some vital purpose, in other words, a function. But almost every person has a need to surround themselves with beautiful objects. Therefore, the value of things covers two beginnings - the benefit and beauty. Each subject has a technical and aesthetic foundation, always changeable and historically replaced.