The composition of the exam according to the text of K.G. Paustovsky. How should a prose writer relate to areas of art adjacent to writing?Should he be interested in painting, architecture, music? "There are undeniable truths, but they often lie in vain, not responding in any way to human activity, because of our laziness or ignorance."
How should a prose writer relate to areas of art adjacent to writing? Should he be interested in painting, architecture, music? It is these questions that concern K. Paustovsky, the author of the text proposed for analysis.
Considering this problem, K. Paustovsky discusses how different types of art influence prose. He writes that knowledge of related areas of art "unusually enriches the inner world of the prose writer and gives special expressiveness to his prose." If the writer neglects this knowledge, then his works leave nothing in the reader's memory. They do not recreate life, they do not have imagery. The author's reasoning leads us to the conclusion that a good style is not enough to create high-quality prose. The writer must have knowledge in different types of art. To confirm his opinion, the author switches from his own observations on the topic raised to the opinion of another person. K. Paustovsky talks about an artist who once advised the author to develop his creative vision. “Try for a month or two to look at everything with the thought that you definitely need to paint it,” the artist gave such advice to K. Paustovsky. The author admits that he followed the advice and soon noticed that both people and things began to look much more interesting than before. With this story, the author proves that a writer must study different types of art and be able to combine an artist, an architect, and a musician in himself. Only then will the result of his work be worthy of attention and praise.
These two examples are interconnected and important for understanding the problem, since they show the opinions of two people on the same issue and prove that the areas of art adjacent to writing are very important for a prose writer.
The author believes that the writer should not neglect anything that expands his vision of the world, including being interested in poetry, painting, architecture, sculpture and music. This knowledge is filled with colors, freshness and character of the work of the prose writer. I agree with the author's opinion. The writer must be versed in different types of art so that his work is full of life images and sincere emotions.
There are many examples in the art world that confirm my idea, one of them is Boris Pasternak. The famous poet was well acquainted with other types of art - he was fond of painting, music, and philosophical science. Such a wide range of knowledge certainly influenced his work, which today has thousands of fans.
Thus, the writer must study different types of art so that his works are filled with deep meaning and expressive images.
The artist creates a work of art as a result of aesthetic development and creative rethinking of reality. The thoughts, moods and worldview of the author, embodied in it, are addressed to society and can be understood by other people only in the process of aesthetic perception. Aesthetic perception works of art (or artistic perception) is a special form of creative cognitive activity, characterized by emotional comprehension of a work of art through the comprehension of a specific figurative language of art and the formation of a certain aesthetic attitude, expressed in evaluation.
A work of art is a product of spiritual and practical activity and carries certain information expressed by means of this type of art. In the process of a person's perception of a work of art in his mind, on the basis of this information, a peculiar model of a cognizable object is formed - "secondary" image. At the same time there is aesthetic sense a certain emotional state. A work of art can give a person a sense of satisfaction, pleasure, even if the events depicted in it are tragic or negative characters act in it.
A person's perception, for example, of injustice or evil depicted by an artist, of course, cannot evoke positive emotions, but the very way of artistic expression of people's negative character traits or reality can give rise to a sense of satisfaction and even admiration. This is explained by the fact that when perceiving a work of art, we are able to evaluate not only its content side, but also the very way of organizing this content, the dignity of the art form.
Artistic perception involves different ways of interpreting works of art, their different interpretations. The individual perception of this or that work for all people occurs differently, even the same person, reading, for example, a literary work several times, receives new impressions from an already known one. When there is a historical distance between a work of art and the public that perceives it, which, as a rule, is combined with an aesthetic distance, i.e., a change in the system of aesthetic requirements, criteria for evaluating art, the question arises of the need for a correct interpretation of a work of art. Here we are talking about the attitude of a whole generation to the cultural monument of the past. Its interpretation in this case largely depends on how it is performed, read by a contemporary artist (especially in the performing arts: music, choreography, theater, etc.).
When perceiving works of art, a person, as already noted, performs a certain mental activity. The structure of the work contributes to the direction of this activity, its orderliness, concentration of attention on the most significant and significant aspects of the content and thus has a significant impact on the organization of the perception process.
Any creation of the artist reflects the features and contradictions of real life, social moods and trends characteristic of the contemporary era. The figurative reflection in art of typical events and characters makes a work of art a special means of understanding reality. A work of art is the result of not only the activity of the artist, but also the influence of the social environment, era, people - a product of the historical development of society. The social nature of art finds its expression not only in the social conditionality of the artist's creative process, his worldview, but also in the determining influence of social life on the nature of perception and evaluation of works by the public. Art as a product of social development plays a significant role in shaping a person's ability for active creative development of artistic values. Nevertheless, a work of art as an object of perception is by no means the only factor influencing the ability to master and comprehend art.
Aesthetic perception is formed under the influence of a variety of conditions, which include: individual characteristics of the human psyche, attitude to active communication with art, general cultural level and worldview, emotional and aesthetic experience, national and class characteristics. Let's take a closer look at some of these factors.
Spiritual needs that objectively arise at a given stage of the historical development of society find their expression in public interests, which are manifested in a social attitude. Installation - this is the readiness to perceive phenomena in a certain way, the psychological mood that a person has created as a result of previous, in this case aesthetic, experience. Installation is the basis on which the interpretation, understanding of a work of art takes place. A person's internal attunement to a certain type or genre of art, the specific features inherent in the work with which he is to get acquainted, will greatly contribute to the correctness and fullness of his perception. In turn, perception itself forms a new attitude towards art in a person, changes the previously established attitude, and, thus, there is a mutual influence of attitude and perception.
Another important point that determines the nature of the aesthetic perception of art is cultural level a person who is characterized by the ability to objectively assess reality and art, the ability to explain an artistic phenomenon, the ability to express his understanding of these phenomena in the form of aesthetic judgments, and a broad artistic education. Raising the cultural level of the people is one of the most important conditions for aesthetic education. Constant communication with art develops a person's ability to express certain judgments about it, evaluate, compare works of different eras and peoples, and justify one's opinion. Perceiving artistic values, a person acquires emotional experience, enriches himself, and increases his spiritual culture. Therefore, the perception and the level of preparedness for it have a mutual influence, stimulate and activate each other.
Taking into account the above factors allows in a certain way to influence the process of perception of works of art, to develop in a person the ability to creatively, actively comprehend art. Let us consider what characterizes this stage of perception and how it is achieved.
As a result of the interaction of a person with a work of art, in his mind, as already noted, a “secondary” artistic image is formed, more or less adequate to the one that arose in the artist’s mind when creating this work and which depends on the degree and depth of penetration of the perceiving subject into the creative idea. this artist. An important role here is played by the ability for associative thinking - fantasy, imagination. But a holistic perception of a work as a special object does not arise immediately. In the first phase, there is a kind of "identification" of his genre, the creative manner of the author. Here, perception is still passive to a certain extent, attention is focused on one of the features, some fragment and does not cover the work as a whole. Further, there is a deeper penetration into the structure of the perceived work of art, into the author’s intention expressed in it, comprehension of the system of images, understanding of the main idea that the artist sought to convey to people, as well as those patterns of real life and those contradictions that are reflected in the work. On this basis, perception becomes active, accompanied by an appropriate emotional state. This stage can be called "co-creation".
The process of aesthetic perception is evaluative nature. In other words, awareness of the perceived work of art and the feelings it evokes gives rise to its appreciation. When evaluating a work of art, a person not only realizes, but also expresses in words his attitude to its content and artistic form; here there is a synthesis of emotional and rational moments. Evaluation of a work of art is a comparison of what is depicted and expressed in it with certain criteria, with the aesthetic ideal that has developed in the mind of a person and the social environment to which he belongs.
The social aesthetic ideal finds its manifestation in the individual ideal. Each artistically educated person develops a certain system of norms, assessments and criteria that he uses when expressing an aesthetic judgment. The nature of this judgment is largely determined by individual taste. I. Kant defined taste as the ability to judge beauty. This ability is not innate, but is acquired by a person in the process of practical and spiritual activity, in the process of aesthetic assimilation of reality, communication with the world of art.
Aesthetic judgments individual people regarding the same work of art can be diverse and manifest in the form of ratings - “like” or “dislike”. Expressing their attitude to art in this way, people limit their attitude only to the sphere of sensory perception, without setting themselves the task of understanding the reasons that gave rise to these emotions. Judgments of this kind are one-sided and do not indicate a developed artistic taste. When evaluating a work of art, as well as any phenomenon of reality, it is important not only to determine whether our attitude towards it is positive or negative, but also to understand why this work causes such a reaction.
Unlike the judgments and assessments of the public professional art criticism gives a scientifically based aesthetic judgment. It is based on knowledge of the patterns of development of artistic culture, analyzes the relationship of art with the phenomena of real life, reflected in it the fundamental problems of social development. With its assessment of art, criticism affects people, the public, drawing its attention to the most worthy, interesting, significant works, orients and educates it, forms a developed aesthetic taste. Critical remarks about artists help them choose the right direction of their activity, develop their own individual method, style of work, thereby influencing the development of art.
What proportion of free time do people devote to self-education? Hundredth, thousandth? The human mind becomes stale over the years, becomes less receptive to new knowledge. Why is this happening, where does the former activity disappear? Internal baggage is something that is replenished by us throughout our lives, something we "lay out" from the chest with knowledge and take with us, and something remains there "until better times", sits, is forgotten. But why do people always put off going to a museum, gallery, theater? Art. Has it lost its influence? In the 18th and 19th centuries, it was fashionable in the society of the nobility to speak French. Many say that this is one of the most stupid trends. Wait. But it's wonderful to be on the same wavelength with those who strive for personal development. Is not it so? So, let's consider the problems of art in the arguments confirming their presence.
What is real art?
What is art? Are these canvases, majestically flaunting in the gallery, or the immortal "Four Seasons" by Antonio Vivaldi? For someone, art is a bouquet of wild flowers collected with love, it is a modest master who gives his masterpiece not to an auction, but to the one whose heartbeat awakened a genius, allowed the feeling to become the source of something eternal. People think that everything spiritual is subject to knowledge, they read a myriad of books that can make them experts in a special society, in a society where not understanding the depth of Malevich's square is a real crime, a sign of ignorance.
Recall the famous story of Mozart and Salieri. Salieri, "... he disintegrated music like a corpse", but the guiding star illuminated the path of Mozart. Art is subject only to the heart that lives with a dream, love, hope. Fall in love, then you will surely become part of the art called love. The problem is sincerity. The arguments below are proof of that.
What is the crisis of art? The problem of art. Arguments
It seems to some that art today is no longer what it was in the time of Buonarroti, Leonardo da Vinci. What changed? Time. But the people are the same. And in the Renaissance, the creators were not always understood, not even because the population did not have a high level of literacy, but because the womb of life greedily absorbs feelings, youthful freshness and good beginnings. What about literature? Pushkin. Was his talent worthy of only intrigue, slander and 37 years of life? The problem with art is that it is not appreciated until the creator, who is the embodiment of the gift of heaven, stops breathing. We let fate judge art. Well, here's what we have. The names of composers are alien to hearing, books gather dust on the shelves. By this fact, the problem of art in arguments from literature is most clearly presented.
"How difficult it is to be happy today,
Laugh out loud, out of place;
Do not give in to false feelings
And live without a plan - at random.
To be with the one whose cry is heard for miles,
Enemies try to bypass;
Do not repeat that you are offended by life,
Worthy heart open wide."
Literature is the only kind of art that talks about problems in such a way that you immediately want to fix everything.
The problem of art, arguments from literature... Why do authors so often raise it in their works? Only a creative nature is able to trace the path of the spiritual fall of mankind. Take Hugo's famous novel, Notre Dame Cathedral, as an argument. The story was generated by one word "ANA" GKN (c Greek "rock"). It not only symbolizes the doom of the fate of the heroes, but also the cyclic destruction of the inviolable: “This is exactly what has been done with the wonderful churches of the Middle Ages for two hundred years now ... The priest repaints them, the architect scrapes; then the people come and destroy them.” In the same work, the young playwright Pierre Gringoire appears before us. What a low fall was prepared for him at the very beginning of his journey! Lack of recognition, vagrancy. And death seemed to him a way out, but in the end he turned out to be one of the few who expected a happy ending. He thought a lot, dreamed a lot. A spiritual tragedy led to a public triumph. Its goal is recognition. She turned out to be more realistic than Quasimodo's desire to be with Esmeralda, than Esmeralda's dream of becoming the only one for Phoebus.
Is packaging important in art?
Probably everyone has heard the combination "art form". What is the idea of its meaning? The issue of art itself is ambiguous and requires a special approach. Form is a peculiar state in which an object resides, its material manifestation in the environment. Art - how do we feel it? Art is music and literature, it is architecture and painting. This is what we perceive on a special spiritual level. Music - the sound of keys, strings; literature - a book, the smell of which is comparable only to the aroma of freshly baked bread; architecture - the rough surface of the walls, the centuries-old spirit of the times; painting is wrinkles, folds, veins, all the beautiful non-ideal features of the living. All of these are forms of art. Some of them are visual (material), while others are perceived in a special way, and in order to feel them, it is not at all necessary to touch them. Being sensitive is a talent. And then it will not matter at all what frame the Mona Lisa is in, and from what device Beethoven's Moonlight Sonata sounds. The problem of art form and arguments is complex and needs attention.
The problem of the influence of art on man. Arguments
I wonder what is the essence of the problem? Art... It would seem, what impact, besides positive, can it have?! What if the problem is that it has irretrievably lost control of the human mind and is no longer able to make a strong impression?
Let's consider all possible options. As for the negative impact, let us recall such canvases as "The Scream", "Portrait of Maria Lopukhina" and many others. It is not known why such mystical stories were attached to them, but it is believed that they can have a negative impact on people who look at the canvases. The injuries inflicted on people who offended the painting by E. Munch, the crippled fate of barren girls who looked at the unfortunate beauty with a tragic story, depicted by Borovikovsky shortly before her death. Much more terrible is the fact that nowadays art is soulless. It cannot even awaken a negative emotion. We marvel, admire, but after a minute, or even earlier, we forget what we saw. Indifference and lack of any interest is a real misfortune. We humans are made for something great. Everyone, without exception. The choice is ours: to be the same or not. The problem of art and the arguments are now understood, and from now on everyone will promise himself to live with his heart.
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Miguel de Cervantes once remarked that "beauty has the power and gift to bring peace to the heart." It seems that the author of Don Quixote was absolutely right in this statement. The human heart is unusually sensitive to all manifestations of beauty - in nature, in painting, in music, in architecture. But how to comprehend all this not with the mind, but with the very soul? V. Soloukhin reflects on this in his text. The main problem posed by the writer is the problem of human comprehension of beauty.
This problem is very relevant for our modern life with its irrepressible rhythm, vanity, household chores. Sometimes we simply do not have time to admire a beautiful sunset or night stars, to experience the joy of the first snowfall.
V. Soloukhin in his text reflects on the perception of art by a person. He writes that, having run through the art gallery, one can see only the external plots of the paintings. But in order to discover the artist's soul and completely immerse yourself in this atmosphere, you need time, calmness, contemplation. Only in this case, works of art - paintings, ancient cathedrals and churches - become a part of our soul, helping us to take a fresh look at the world.
This text is very bright, figurative, emotional. The writer uses a variety of means of artistic expression: rhetorical questions ("What can be seen, what can be comprehended? Names of paintings? Frames? External plot?"), rows of homogeneous members ("In the end, I felt a rising wave of anxiety, love, longing, unaccountable readiness for any accomplishment"), phraseology ("put a tick in the mind").
I fully share the writer's point of view. The perception of beauty by a person is a special process, subtle, spiritualized, requiring special concentration from a person. Only in this case we are able to experience moral enlightenment, purification, catharsis. And then we change, become kinder, more tolerant of others, sometimes we look at our own life in a new way. Once our brilliant poet wrote: “The service of the muses does not tolerate fuss; The beautiful must be majestic ... ". Here, I think, our comprehension of the world of beauty should be the same - unhurried, peaceful.
S. Lvov reflects on this in his publicistic collection “To be or to seem?”. He talks about an exhibition of masterpieces from the famous Prado Museum in Madrid. And bitterly notes that many came to this exhibition, because it is prestigious and fashionable, for show. However, the author hopes that someday the habit of visiting prestigious exhibitions will turn people into a true interest in art. And it can arise only with a special comprehension of this world, a person's detachment from the vanity.
B.Sh. writes about the perception of music. Okudzhava in the poem "Musician". "The singing of the violin" guides the hero on the path, gives him hope, gives him the highest joy. Okudzhava's brilliant musician is happy because he was able to penetrate into the human soul:
Happy is the one whose path is short, the fingers are evil, the bow is sharp,
A musician who built a bonfire from my soul.
And the soul, that's for sure, if burned,
She is fairer, more merciful and righteous.
Thus, the process of comprehending beauty by us is a mystery, a sacrament, a sacrament. It is always a new discovery of yourself and the world around.