Abstract
The paper is dedicated to the art perception of various genres based on the comparative analysis method. The authors emphasize the esthetic heritage of Ivan Ilyin and his spiritual actology – the reliable guidelines for those following in the footsteps of Alexander Pushkin in the Russian art. The research was designed to spec- ify the basic esthetic and art study categories, introduced by Ivan Ilyin and including the basic content of the modern art education; the concepts of the creative artistic act, levels of work of art, artistry and art education being defined. On the basis of the clas- sical works on esthetics by the eminent Russian thinker, the authors analyze the es- sence of artistic perception; different levels of art work being discussed, as well as the artistic act of creating an art object and requirements for art education. The art education problem is getting even more relevant because of the culture degradation, technocratic civilization of triviality, displacement of genuine art by com- mercial shows, etc. However, only due to the genuine art, the productive perception can be developed as the basic quality of creativity in any sphere. The art teachers, art- ists and art critics working together can promote the general spiritual level by teaching people to strive for artistic perfection, rather then senseless entertainment. The research findings can be implemented both in the theoretical spheres of es- thetics and art studies, and in the system of teaching the disciplines of cultural, esthe- tic and art profiles.
Highlights
The paper is dedicated to the art perception of various genres based on the comparative analysis method
Only due to the genuine art, the productive perception can be developed as the basic quality of creativity in any sphere
The art teachers, artists and art critics working together can promote the general spiritual level by teaching people to strive for artistic perfection, rather senseless entertainment
Summary
Восприятие произведения искусства можно уподобить восприятию человека. Сначала мы воспринимаем его с внешней стороны – фигуру, лицо, одежду, движения, голос, интонацию. Д. Эти законы и правила составляют эстетическую грамотность, необходимую для выражения эстетического образа произведения. Эти образы тоже имеют свои законы (образной узнаваемости, органической естественности и др.). Восприятие произведения должно пройти обратный путь: художник движется от предмета к образной и чувственной поверхности; от целого к частям, а зритель идет от чувственной поверхности к образу и предмету; от частей к целому [3, с. Воспринять верно художественное произведение – значит воссоздать в своем душевно-духовном акте творческий акт художника, из этого акта воспроизвести сам художественный предмет и образы, в которые он облачен, и воспринять эстетическую материю произведения как символический фон предмета и образов. Усвоение искусства развивает универсальную способность – продуктивное воображение, сращивает в целостность главные духовные силы, разнообразит и расширяет диапазон чувств, духовно их возвышает и позволяет человеку тоже творчески создавать части целого, а это есть абсолютный момент всякого творчества
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