The concept of artistic culture. Concept and types of culture: artistic, physical, mass

Culturology

ARTISTIC CULTURE AS A SYSTEM

| G. E. Gun

Annotation. The article provides an analytical overview of the ideas of domestic and foreign scientists about artistic culture as a system. Based on these ideas, the author comes to the conclusion that it is necessary to rely on research in the field of multifactorial prognostic models of culture.

Key words: artistic culture, systematic approach.

Summary. The article gives an analytical overview of representations of artistic culture as a system in the works of Russian and foreign scholars. Based on these ideas, the author concludes that one has to build on the research in the field of multi-factor prediction models of culture.

Keywords: art culture, systemic approach.

The purpose of this article is to review the works of domestic and foreign scientists, from the perspective of their consideration artistic culture cities in the context of a systems approach. The place of artistic culture in culture as a whole is determined by significant differences between material, spiritual and artistic forms of activity. Their differences should not be understood in the sense that one is only material, the other is only spiritual, the third is immaterial and non-spiritual. There is no doubt that the products of spiritual activity must be materialized, otherwise they simply could not exist, as well as the fact that spiritual goals, plans, models are embodied in material activity. The essence of the matter, however, is that in these layers of culture the ratio of material and spiritual principles diametrically opposed: material culture is material in its own way

The fundamental difference between artistic culture and aesthetic culture is that aesthetic culture expresses universality, ubiquity, manifestations of people’s aesthetic activity; artistic activity is specific type its productive activity, therefore artistic culture turns out to be a relatively independent layer of culture, therefore, it can be defined as the total method and product of artistic activity. The concept “total” means that the artistic

BASIC SCIENCE FOR UNIVERSITIES

cultural culture covers all branches of artistic activity (verbal, musical, theatrical, etc.), includes all processes occurring “around” art (creation, storage, perception, etc.), and processes that ensure its success functioning (education of artists, public, critics, etc.).

The functions of artistic culture, like the functions of culture as a whole, are determined by the fact that it lives in space and time. In social space (that is, in the simultaneous life of the people of a country, region, of all humanity), artistic culture is designed to ensure maximum efficiency of both the processes of creativity, the creation of artistic values, and the processes of their perception by the public in accordance with their various spiritual needs.

If we consider historical life artistic culture, that is, its existence in time, we will see that its main 352 functions are to ensure the protection of artistic values, their transmission from generation to generation, since the historical variability of social life does not lead to destruction artistic heritage, but requires its actualization, its inclusion in the spiritual life of each new era. At the same time, artistic culture must ensure the constant renewal of art in accordance with changes occurring in public life, in other areas of culture, and the logic of art’s own development. Thus, artistic culture is called upon to transmit traditional

tions, creative experience, methods of artistic exploration of the world accumulated over centuries and ensure the constant movement of art, its renewal and improvement.

Such an ensemble of functions determines the structure of artistic culture: the first dimension is spiritual and meaningful: we are talking about something specific to each historical, ethnic and social type artistic consciousness (about the picture of the world and the place of figurative representation of human existence in it); we discover the second dimension - zonal or morphological - when we move from a general characteristic of its spiritual content to a characteristic of its features in different types art, for the integrity of the artistic culture of society embraces the diversity of those forms in which creativity appears in verbal arts, visual arts, music, theater, dance, cinema, architecture, etc. It must be borne in mind that all these types of art not only coexist one next to the other, but form a kind of historically self-organized system.

The idea of ​​culture as a stable formation, generated and supported by the implementation of a set of functions necessary for the joint life of people, led to the formation of concepts of social and cultural systems. At the same time, supporters of the concept of a cultural system (L. White, K. Kluckhohn, A. Kroeber and others) considered society as a structural component life together people, and culture - “as the content of this structure.” Also A. Radcliffe-Brown under-

1. L. von Bertalanffy a set of interacting elements, a structure in which the elements somehow act on each other (interact)

2. P. Atkins is a separate part, a fragment of the world, the Universe, which has a special quality (emergence), relative self-sufficiency (thermodynamic isolation)

3. V. A. Anokhin a complex of selectively involved elements that interact to achieve a given goal useful result, which is accepted as the main system-forming factor

4. M. A. Gaides is a group of elements in which the result of their general interaction differs from the results of the action of each of these elements separately

5. A. Hall a set of objects along with connections between objects and between their characteristics

emphasized the advantages of B. Malinovsky’s approach, which proposed “considering each culture a functionally interconnected system” and tried to discover “general laws of functioning human society as a whole." To get an idea of ​​artistic culture as a system, let’s consider the very concept of a system in various studies (see table).

Later, the concept of goal appears in system definitions. Thus, in the “Philosophical Dictionary” a system is defined as “a set of elements that are in relationships and connections with each other in a certain way and form some kind of integral unity.” Recently, in the definition of the concept of a system, along with elements, connections and their properties and goals, they are beginning to include an observer, although for the first time the need to take into account the interaction between the researcher and the system under study was pointed out by one of the founders of cybernetics, W. R. Ashby. M. Masarovich and Y. Takahara in the book “General Theory of Systems” believe that a system is a “form

“little relationship between observed signs and properties.”

This explains the existence of stable sociocultural formations in comparison with previous functionalist constructions, where “cultural and social phenomena were considered as a self-sufficient reality, and a group of people was defined not through the differentiation of functions or roles, but through the norms or institutions that integrate it.”

In this case, not only the number of elements of a cultural system is compared, but also the order of their connection, structure and rules of interaction. Such a system, subject to destructive influences, is able to regain its balance. However, the reasons for cultural similarities and differences are still the subject of scientific debate. Since the city is considered as a system, the “behavior” of this system, which has the ability to accumulate and transmit information, form management processes, and function as a self-organizing phenomenon, is the subject of serious scientific research.

It is this property (restoration of balance, self-organization) that is for T. Parsons the most important feature of a social system, since “the tendency of the interaction process towards self-preservation is the first law of social processes.” The main thing is important here: how a city (and a modern city in particular), being a cultural system, survives in the process of functioning difficult circumstances unwanted interventions, crisis eras, how forces are formed that eliminate the negative results of such interventions, and to what extent the social system retains its ability to self-heal.

At one time, M. B. Glotov, defining the artistic culture of society as a system social institutions, identified as the main structural blocks of its structure: artistic production, artistic communication, artistic cognition, artistic criticism and artistic consumption. If we follow the idea of ​​some sociologists of art that the artistic life of a society “is nothing more than a historically determined way of reproduction and functioning of the artistic culture of society,” then the structure of the artistic life of a society should be isomorphic to the structure of its artistic culture. The main difference between the structures of artistic culture and the artistic life of society is that the elements of the first are social institutions, and the second are social processes.

S. N. Plotnikov in his research came up with the idea of ​​contrasting

sociology of art sociology of artistic culture. According to his concept, there are, as it were, two relatively independent sociologies of art. The object of study of one of them is works of art that are studied by aesthetics and art criticism. The other object of study is artistic culture, understood as one of the types of spiritual culture of society and representing “a set of phenomena, processes and relationships associated with the artistic and creative activities of people, which are based on the ideals of beauty, as well as with storage activities, distribution and consumption (perception) of artistic products.” S. N. Plotnikov studied artistic culture at three levels: general sociological, when it is considered as an element of the social system; specifically sociological, where the social patterns of development and functioning of artistic culture, its external and internal connections, the interaction of artistic production and artistic consumption are studied; empirical-sociological, which involves the analysis of data on the functioning of individual types, forms, types and processes of artistic culture.

However, later in his work “Problems of the sociology of artistic culture” (1980), S. N. Plotnikov makes some changes and additions to his concept:

Firstly, he understands artistic culture as a system of three interacting subsystems: artistic production, artistic needs, the social institution of artistic culture;

Secondly, the subject of the sociology of artistic culture is clarified, from which the analysis of its historical development, and the emphasis is on the study of modern processes of the influence of society on artistic culture and its reverse influence on society.

V. M. Petrov’s approach to the system and subsystems of artistic culture is interesting. The main obstacle to the deployment of any artistic structure he sees in the awareness of the general, in the many different implementations of the same artistic structure or the identification of this structure by the recipient, which ceases to have the proper impact on the emotional side of his consciousness. If such a process should affect (sooner or later) any artistic system, then it should be considered long-term, constantly (on the scale of evolution) operating; its importance, I think, is beyond doubt. In other words, the fabric of a work of art should include a rational description of the processes of creating or perceiving art, which are predominantly emotional in nature.

So, the requirements for reflexive processes imposed by sphere (b) practically coincide with the requirements imposed by sphere (a). It is the coincidence of these two classes of requirements that determines the necessary constant presence of reflexive processes in the system of artistic culture. These reflexive processes can be realized through those two (A and B) paths that were outlined earlier. In relation to the system of artistic culture, these two paths are embodied as follows:

A. In the system of artistic culture, there is a special subsystem that serves to reflect the processes of creation or perception of works of art occurring in this system. This subsystem is embodied, first of all, in such social institutions as art criticism (reflecting directly the creative processes - the creation of works of art), art theory and aesthetics (which deal primarily with the analysis of the structure of these works), sociology and psychology of art (concentrating their main attention on interpretation of the processes of perception of artistic structures).

B. Works periodically appear in art that reflect processes artistic creativity or perception; examples of such phenomena were given above.

The last (B) way of implementing reflexive processes differs from the first (A) way by the immediacy of reflection, which is very significant from the point of view of the social effectiveness of these processes, because the greatest force of influence on both the creators of art and its audience (and through it - again on those creators) has a reflection directly woven into the very fabric of the work of art, constituting its integral part. That is why there has always been a place for this form of self-awareness of artistic creativity in the products of such creativity - the works of artists (writers, composers, etc.) of all eras. And although the specific impulse that led the artist to such a reflection was, of course, individual and unique in each case,

secondly, the social need for the constant emergence of such phenomena was to some extent the source that fed them, stimulating their success both among the audience and among the creators of art.

Consequently, the ideological basis and initial conceptual position of the study was a new understanding of the role of culture in modern city and overcoming institutional barriers in the minds of cultural subjects and urban society, authorities and business in realizing the creative potential of the city dweller and achieving a compromise between the cultural needs of different groups of the population and the general goals of the socio-economic development of the city. The difficulty of finding such a compromise increases with the growth in the number and diversity of social and national subcultures in the city.

Artistic culture of the 20th century. -a concept that conventionally denotes the entire set of arts and artistic and near-and post-artistic 356 activities of the 20th century. The specificity of the artistic culture of the 20th century, in contrast to the artistic culture of previous periods of history, lies in its fundamental transitional nature, expressing the essence of the global transition process in the culture of the 20th century. in general, one of the main parts of which is artistic culture.

The process of global modernization of culture began several centuries ago, but in the 20th century. acquired an avalanche-like, rapidly progressing character. The main point it lies in the universal affirmation (“triumph”) of material

scientific-scientist-technological worldview and, accordingly, a fundamentally new type of consciousness, mentality, thinking. The most noticeable characteristics of the artistic culture of the twentieth century. are multiplicity, chaoticity and rhizomality, which allows researchers to draw a conclusion about its transitional, unstable state.

E. B. Vitel interpreted the crisis of artistic culture of the twentieth century. as a systemic pattern. From the perspective of synergetics, which studies systems precisely in a state of instability, nonequilibrium and chaos (the subject area of ​​synergetics is issues of self-organization of unstable dynamic systems, theory of catastrophes and chaos), the transition period is a necessary state of the system associated with a change in the vector of its development. Transition means a disordered temporary state, when the old parameters of the organization are rejected as irrelevant, and new ones have not yet taken shape. In the artistic culture of the twentieth century. These signs of transition are evident: the denial of artistic tradition, on the one hand, and the absence of anything established and understandable new, on the other. The unbalanced state of the system is necessarily accompanied by chaos. However, it is precisely this unstable period that is characterized by increased creativity, which explains the interest in predicting the future development of artistic culture.

The reason for the transition of the system to the formation of a new order is the exhaustion of the meaning (as the purpose of its existence and the formation of a certain order) of the previous artistic

nal system and what its order is expressed in. In order for chaos to arise, that is, the system has passed into its unstable state, it is necessary that rejection is expressed not just in the rejection of the old idea, but also in the impossibility of its implementation, open protest (theoretical and of a practical nature) and special destructive activities. One of the aspects of the process of system chaotization is the removal of binary oppositions.

In the system of artistic culture, binaries perform a constructive and semantic function. The fact that they exist in different artistic eras gives them the character of constant supra-epochal properties and proves the existence of a metasystem of a level higher than those in which they directly appear. With the help of an extensive network of binaries, one or another artistic system took on a certain structured form. The system’s achievement of a state of becoming (the peak culminating period), or “hard ontology” (V.G. Budanov), was the basis not only for its detailed description, but also for comparison with another system in its becoming, that is, established and peak, form.

By the beginning of the twentieth century. binary oppositions represented a developed subsystem of artistic culture, a kind of network of blood vessels of anthropocentrism. Therefore, it was the destruction of this system by modernism that was marked as an explosion, a leap, the dying of art, etc. In the language of synergetics, the effect of a leap is associated with the restructuring of the system, with a change in the direction of its development and the natural transition of the system from the old order to

new. The process of changing operating modes is connected by a period of the system entering a state of chaos, the duration of which is determined by the duration of the previous period. This gives grounds to consider the artistic culture of the 20th and 21st centuries. as a single ongoing period of chaos.

So, the transition of an artistic system from a state of peace and order to a nonequilibrium, unstable and chaotic state, in which the artistic culture of the twentieth century resides, is a process of elimination (self-liquidation) of meaning old culture, fixed in binary oppositions.

Thus, today artistic culture is a complex systemic formation, the existence of which can be divided into two important aspects:

1. One side is connected with the organizational side of the functioning of artistic culture. In any historical type of culture, there are special social institutions that are responsible for ensuring the conditions for the functioning of artistic culture, for the creation, dissemination and perception of aesthetic values: the system educational institutions, training in which allows you to join artistic traditions, which ensures a certain continuity in relation to aesthetic values; publishing institutions, organizations carrying out concert and exhibition activities, etc.; research organizations of the widest profile, from art historical groups to sociological laboratories, which

who study the patterns of functioning of artistic culture, features of artistic perception, the audience, mass media, which in our modern cultural situation acquire special significance in the dissemination and transmission of artistic values.

2. The second side is associated with creative activity in the field of art and the results of this activity. These are, first of all, the works of art themselves with their special language inherent in each type of art separately, the creative process of their creation, special relationship between the author and the work of art he created, the relationship between the author, the work and the recipient (the one who perceives the work of art). It is thanks to art that it is possible to perceive the world in its integrity, in the inextricable unity of personal experience, the existence of culture and the experience of all humanity.

So, having examined various ideas about culture as a system, we will build our research on the basis of classical and newest works of leading domestic and foreign scientists, namely, on research in the field of multifactor prognostic models of culture: A. Migalantiev, V. Lapin, A. Akhiezer , L. Kogan, N. Yanitsky and others; research aimed at studying the phenomenology of culture: K. Lynch, L. Kogan, N. Grigoriev, A. Ikonnikov, K. Isupov, O. Trushchenko, V. Glazychev and others; on research in the field of the theory of cultural and social systems

stem, as well as on the concepts of sociodynamics of culture: P. Henri, T. Van Dyck, T. Parsons, M. Pesce, P. Serio, M. Foucault, Y. Habermas, A. Pelipenko, I. Yakovenko, G. Shchedrovitsky, V. Levada, E. Yudin and others.

Consideration of issues of structural construction, statics and dynamics of indicators of processes occurring both “outside” and “inside” cultural transformations in modern stage urban “drifts”, as well as determining the vectors of development trends in prognostic approaches - all this can become one of the possible solutions to the identified contradiction and problem of socio-cultural life of modern society.

LIST OF SOURCES AND REFERENCES

1. Orlova E. A. Cultural (social) anthropology. - M., 2004.

2. Gaides M. A. General theory of systems (systems and system analysis) [Electronic resource]. - Access mode: http://health.polbu.ru/gaides_systems/ch07_vii. html

3. Parsons T. System of modern societies. - M.: Aspect-Press, 1997.

4. Glotov M. B. Artistic culture as a system of social institutions: Author's abstract. diss. ...cand. Philosopher Sci. - L., 1974.

5. Vitel E. B. Interpretation of the crisis of artistic culture of the twentieth century. as a systemic pattern // Culturology. -2008.

6. Akhiezer A. S. Sociocultural problems of development of Russia. - M., 1998. - 310 p.

7. Ikonnikov A. Artistic art in the urban landscape. - M.: Avanta+,

One of the most important components of the spiritual culture of humanity is artistic culture, which, together with cognitive, religious, moral, economic, and political culture, is designed to shape the inner world of a person and promote the development of a person as a creator of cultural values. Artistic culture also represents a certain type human activity, specific method realization of human creative potential. Artistic culture can be understood both essentially and functionally in the context of the entire spiritual culture.
Artistic culture is the culture of art production, the culture of its dissemination, propaganda, the culture of its perception, understanding, the culture of enjoying art.
The existence and social functioning of artistic culture is characterized by processes inherent in all types of social production, namely:
- production of artistic values;
- functioning of artistic values.
These processes concern both art institutions and art itself.
No social phenomenon can be understood within the framework of only one specific group of phenomena. The concept of artistic culture expresses a fundamentally new attitude towards art, focusing on its social functioning and connection with the system of organizations that manage the artistic process, distribute and store its products, and train artistic personnel. That is why the concept of “artistic culture” must work within the framework of an understanding of the entire social context in which art functions. A work of art is a product not only of artistic activity, but also of the entire process of the social functioning of art in society. When considering any work of art, one should take into account the forms of its inclusion in society and cultural life.
The sphere of artistic culture is the sphere of artistic values, representing the highest man-made forms of aesthetic values. Aesthetic values ​​are always involved in culture in one way or another, although they can retain their natural autonomy (beauty in nature). In this case, the involvement of aesthetic values ​​in culture is explained by the fact that social practice, the activities of people put this a natural phenomenon into a certain value attitude towards humanity.
In the system of artistic culture there are three subsystems, namely:
artistic production and its subjects (i.e. professional and amateur artists). Artistic production is the creative production of artistic values. For the effective functioning of subjects of artistic production important role play organizational forms of artistic activity (creative unions and amateur groups. This also includes the system of art education (art universities and other educational institutions that train professional personnel for art), as well as various types of encouragement, stimulation of professional and amateur art creators (shows, competitions , prizes, honorary titles, etc.).
Artistic production is both a productive and actively moving principle of artistic culture, the state of which is primarily determined by the level of development of art. At the same time, the potential of artistic culture depends both on people’s attitude towards art and on the nature of their value systems in relation to works of art. An important role is also played by the factor associated with “the temporary possibilities of artistic life, since the influence of art on people occurs in a certain time period.”
artistic consumption and its subjects (viewers, readers, listeners). The sphere of artistic consumption is a huge world of artistic needs, tastes, assessments, ideals, a complex world of individual and personal perception of artistic values, determined by various determinants (social status, education, age, material possibilities for satisfying artistic needs, etc.);
reproduction, duplication and distribution of already made artistic values. In other words, this is the industry of reproducing works of art. These are artistic institutions and means of popularizing artistic values, this is the promotion of artistic culture, aesthetic education, etc. In essence, this subsystem performs “intermediary” functions between artistic production and artistic consumption, between subjects of artistic production and subjects of artistic consumption.

The most important component of the existence and functioning of artistic culture in society is the process of creativity.
American philosopher E. Fromm calls the need for creativity one of the most important human needs. Animals tend to adapt passively to the world, but people try to transform it. The creative act is always a process of liberation and overcoming. There is an experience of power in it. This is why creativity is integral to freedom. Only the free can create, the philosopher notes.
A personality cannot rise above the everyday prose of life without an internal readiness for the sublime, for a romantic impulse. According to Fromm, this requirement is dictated by the presence of creative forces in each individual, among which imagination and emotionality occupy a special place. In the act of creativity, the individual unites himself with the world, breaks the framework of the passivity of his existence, enters the kingdom of freedom, only in which he can feel truly human.
However, the deepest essence of the creative act unfolds in art, in artistic creativity. Art in general is predominantly a creative sphere. Any creative artistic act is a partial transformation of life. In a creative artistic attitude towards the world, another world is revealed. However, the process and result of creativity carry a certain element of tragedy, expressed in the discrepancy between the plan and its implementation. The enormous creative energy of great artists can never be fully realized in their works.
Works of art, as a rule, are considered as the result of a specifically spiritual perception of reality by the artist and, based on this, his self-expression. At the same time, works of art are means of spiritual communication between people. Artistic culture, as part of spiritual culture, is a means of preparing and attracting potential viewers, listeners, and readers to art, which leads (immediately or indirectly) to a change in their inner world. That is why the process of reproducing artistic values ​​is a process that allows us to attract more and more people to communicate through works of art, allows us to support and reproduce masterpieces of world art.
New phenomena of artistic culture are born in the context of a given historical era, national culture, social structure society, etc. Both by their birth and artistic content they represent a complex fusion of the temporary and the enduring, the national and the universal. Truly new artistic phenomena are, in a certain sense, ahead of their era, since they are called upon to “serve” not only the present, but also the future. They outgrow the level of artistic needs of their time and quite often turn out to be incomprehensible to this era. Therefore, one of the directions and manifestations artistic development is the gradual overcoming of contradictions between a work of art and its perception, understanding, and evaluation.
The artistic culture of each era includes phenomena, social and cultural meaning which is different and sometimes the opposite. Some artistic phenomena are cultural relics, residual elements of artistic systems, structures, styles that disappear. At the same time, artistic culture also reveals deep-seated tendencies of social and artistic progress that do not yet have a direct connection with the current tasks of the time.

The concept of “culture” has developed historically (from Latin word cultura - cultivation of land, processing, development, veneration). Already in the works of the Roman public figure, orator Cicero (106 - 43 BC) there is an interpretation of this concept as “processing, improvement of the soul.” Over time, the term begins to be used in the meaning of “upbringing”, “education”, “self-improvement”.

To date, there are more than 500 definitions of culture. Scientists divided them into several groups. The first included descriptive definitions. Secondly, definitions connecting culture with traditions or social heritage society. The third group emphasized the importance and role of man for culture and the rules of culture that organize human behavior.

In everyday life, the concept of “culture” is also used in several meanings.

Culture is the totality of life forms created by man in the course of his activity and life forms specific to him, as well as the very process of their creation and reproduction.

The concept of culture characterizes the human world. Culture does not exist outside of man; it is initially connected with him. A person is a subject of culture: he creates, preserves and distributes the cultural values ​​he creates.

Culture is divided into material and spiritual.

Spiritual culture is represented by phenomena associated with consciousness, with the intellectual, emotional and psychological activity of a person - language, customs and mores, beliefs, knowledge, art, etc.

Material culture– is the embodiment of materialized human and social needs. Material culture includes all material objects and technologies created by human communities, the totality of material goods created by people.

Culture performs important functions in the life of society. These are humanistic, cognitive, regulatory, semiotic, value functions, as well as the function of transmitting social experience.

Culture “absorbs” information, objects, morals, customs of all times and peoples, therefore it allows one to remain continuous communication between generations. Thanks to books, paintings, musical works, we know about the life of our ancestors, we can - based on available information - reconstruct other eras, even those that were hundreds of thousands of years before our appearance! Culture is also human knowledge. Through culture we understand the world: we learn to recognize phenomena and events, identify characteristics, explore similarities and differences. Culture helps us become an educated, intellectual person who does not interrupt his self-improvement.

The regulatory function of science is the function of developing and rooting morality and law in society. Morality and law are the most important concepts of civilized human life. Morality and law make life in human society stable, do not allow minor conflicts to “escalate” into wars, and regulate relations between people. Morality is moral laws, the spiritual support of every person. Morality does not allow killing people, offending them, oppressing them, committing inhumane acts, etc. Law is the legal consolidation of morality: people are punished for crimes - depending on the severity of the crime about them. Law is not only a prohibition, but also freedom at the same time: law not only prohibits, but also protects. Morality and law are closely related to culture, since they went through a long stage of formation before they acquired their modern form.

The semiotic (sign) function of culture is manifested in the creation of a specialized system of signs that allows a person to experience the world of music, painting, and theater. In order to understand art, it is not enough to see the picture or the plot of the work - you need to know the symbolism of the text or canvas, be able to read between the lines, “see” through the colors. After all, art thinks in images! You need to be able to “read” them.

The value function of culture is that culture reflects the qualitative state of society, its moral and intellectual content, and acts as a criterion for moral assessment.

Artistic culture is the totality of all types of artistic activity, including the product and process of this activity. Thanks to artistic culture, a person is able to figuratively reflect and model the world.

The concept of “artistic culture” is broader in scope than the concept of “art”.

Art is a sphere of spiritual and practical activity of people, aimed at artistic comprehension And exploration of the world; This is one of the ways to aesthetically explore the world.

Artistic creativity in general - literature, architecture, sculpture, painting, graphics - are divided into types of art. There are more than 400 types of art. The traditional classification of art distinguishes 3 large groups:

***spatial arts (plastic) are types of artistic creativity in which there is no movement (architecture, sculpture, painting, graphics);

***temporary (literature, music);

***synthetic.

Art covers all areas of artistic creativity.

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Culturology: Textbook for universities Apresyan Ruben Grantovich

11.1. Features of artistic culture

Usually the concept of “artistic culture” is identified with art. And this is no coincidence: art is a central and system-forming element of artistic culture. Art has a huge cultural capacity, creating whole line associated forms of activity - artistic creativity, artistic perception, artistic criticism, etc., forming a “cultural field” around itself.

In the scientific literature there is no consensus on the definition of the elements that make up artistic culture. But despite all the differences in views, all authors include in artistic culture three main elements that ensure its functioning: production, distribution and consumption (perception, assimilation) of artistic values ​​- works of art.

The interaction of these elements of artistic culture is of a specific historical nature, determined by the peculiarities of the development of society and many other reasons. From correlation and interaction constituent elements artistic culture depends on the possibility of forming creative personality; the demand (or lack of demand) of the work created by the creator; compliance of the system of artistic production, distribution, consumption of artistic values ​​with the purpose of art.

Artistic culture develops historically as society develops and the scope of artistic activity expands and, while remaining an open system, absorbs new forms and types of creativity.

Artistic and creative activity, as a result of which works of art are created, appeared in ancient times. All other elements of artistic culture arose gradually at different stages of human development. Their appearance was due to many reasons: the development of society and its needs, the development of art itself, the emergence of new types and forms in it, the need to create conditions for creative activity, collecting and storing works of art, expanding opportunities for the consumption of artistic values, the need to comprehend and study art, etc.

Thus, artistic culture began to represent a set of processes and phenomena of spiritual and practical activity in the creation, distribution, and development of works of art or material objects that have aesthetic value. Each of its constituent elements is associated with art.

Thus, to create works of art - artistic values, the artist’s talent alone is not enough; conditions are also needed under which the talent and ability to create can be realized: this is the professional training of the master, which presupposes a certain organization of special art education; creating conditions under which a person with the ability for artistic creativity could ensure his existence through his activities, i.e., creating a system for acquiring works of art, paying the artist, etc.

Art is created for people - readers, listeners, spectators. This means that it is necessary to publish, reproduce, perform, and exhibit works of art. And this, in turn, leads to the emergence of different forms cultural activities: book printing, publishing, organizing exhibitions, salons, concerts, staging performances etc. At first this activity was quite chaotic, but over time it acquired certain forms. Special exhibition spaces and museums appear, concert halls and theaters, libraries and other cultural and educational institutions. The totality of such institutions forms the foundation of artistic culture. Art museums – These are educational, research institutions where works of art are stored, studied, exhibited and promoted. Libraries – collect, store, study, distribute, and promote books. Since the advent of printing, written culture has become the focus of information accumulated by mankind. That is why libraries are the most important factor of culture, and their condition, according to D. S. Likhachev’s definition, is a symbol of the condition of the nation.

It is quite natural that both the organization and the functioning of all these institutions depend on the political structure of society, the socio-economic relations that have developed and dominate in it. Artistic culture largely depends on the cultural policy of the state, on the personal culture of those in power.

The history of the development of artistic culture is replete with collisions when creators, trying to preserve their creative individuality and create works that correspond to their worldview, come into conflict with the requirements imposed by the state. Customers who have the opportunity to purchase works of art, be it the state or an individual, consider themselves to have the right to determine the artistic value of art, and the artist is often forced to take into account their views and tastes, since he has no other means of selling his works. According to history, there are few patrons of the arts who trust the instinct and talent of the creator and appreciate his work. The use of art as a propaganda tool to establish and strengthen certain ideological views dominant in society leads to a distortion of the humanistic essence of art and a narrowing of its general cultural significance. As a result, humanity loses a lot due to the inability of the artist to fully realize his creative potential and express his vision of the world.

An important element of artistic culture is consumption, perception of artistic values. This is a special type of creative activity, consisting in the perception of a work of art as an artistic value, accompanied by an aesthetic experience. The attitude towards art does not arise spontaneously. It develops depending on the environment in which a person is formed, on education, aesthetic taste, life experience, value orientations.

The first information that a person receives about art is especially important. Depending on what kind of attitude towards art he encounters at the beginning of his life’s journey - respect and love or disdain, the future attitude towards art largely depends: will there be a stable need for it or will there be an interest only in its entertainment function. The first information always creates a certain setting, onto which, like a background, all subsequent ideas are superimposed. This circumstance determines the enormous importance of organizing a system of artistic and aesthetic education, which should become one of the directions of the state’s cultural policy.

Introduction to art forms a respectful attitude towards it, an understanding of its enduring value, an awareness of its characteristics, the uniqueness of each of its types.

In the process of development of art, a need arises for a deep understanding of this unique phenomenon, which leads to the emergence art sciences - art history.

Art history – a set of sciences that study art. It studies the origin of art, its social and aesthetic essence, the patterns of its development, the nature of artistic creativity, the functions of art, its place and role in spiritual and social life.

Art history is a general theory of art as a special form of artistic and creative activity. But along with it there are sciences that study specific types of art: literary criticism, art criticism, musicology, theater studies, film studies etc. Each of these sciences has its own subject of research, has independence, but is included in common system sciences about art as an object.

Both art history in general and the particular sciences of art include three disciplines: art theory, art history And artistic criticism.

The sciences of specific art forms influence each other. Each of them is based on the experience of other arts and various areas of art history.

Thus, exploring the work of F.M. Dostoevsky, the greatest literary and cultural critic M.M. Bakhtin uses categories and concepts of musicology. In his analysis of Dostoevsky’s poetics, he uses the terms “polyphony”, “polyphony”, etc.

And the outstanding film director and film theorist SM. Eisenstein for the study of the poetry of A.S. Pushkina refers to the concept of “film editing”, and to characterize the work of the film director she resorts to the musical concept of “counterpoint”.

It is obvious that, despite all the differences in specific types of art, they have a common nature and each specific art can represent the entire sphere of artistic creativity, since each type of art is not only specific, but also carries the universal characteristics of all art as a whole.

Accordingly, the sciences that study them reveal not only the characteristics of this type of art, but also art in general. The theory of one type of art simultaneously explores more general laws of art. However, they do not replace one another, but complement them, studying not only the “special”, but also the “general” in art.

At the same time, it should be noted that art history as a general theory of art cannot be reduced to the sum of sciences about specific types of art. Its content is much deeper and broader.

Currently, there is an in-depth study of art history as a general theory of art. Despite the fact that the study of art began a very long time ago, some scientists quite reasonably believe that the theory of art has not yet been formed and science is only on the approaches to its creation.

Art criticism occupies a special place in the structure of art history. Criticism(from the Greek kritike - to disassemble, to judge) is a type of literary creativity consisting in the interpretation, explanation and evaluation of works of art. The definition of artistic criticism was given by A.S. Pushkin. “Criticism is the science of discovering the beauties and shortcomings in works of art and literature. It is based: 1) on perfect knowledge of the rules that guide an artist or writer in his works, 2) on a deep study of samples and on active observation of modern remarkable phenomena.”

By examining and evaluating works of art, criticism is an integral part of art history and the field of sciences about specific types of art. At the same time, she herself is part of the artistic process.

Art criticism actively influences both creators and consumers of art. It guides both of them, albeit in different ways, in the artistic process, helping to determine the place of each new work of art in it, trends in the development of art, and value orientations. Relying on theoretical basis philosophy and aesthetics, art criticism has the ability to deeply comprehend not only art, but also life itself and the processes occurring in it.

The role of artistic criticism in different societies and in different historical periods is not the same. In our country, where art turned out to be almost the only form of social consciousness in which, at least to some extent, independent thought and unofficial views that differed from established and imposed views could be manifested, art criticism became a public platform.

In the middle of the 19th century, literary criticism became the main exponent of the democratic ideas of society. In articles V.G. Belinsky, A.I. Herzen, N.G. Chernyshevsky, N.A. Dobrolyubova, D.I. Pisareva not only was the work of A.S. deeply analyzed. Pushkina, N.V. Gogol, N.A. Ostrovsky, IA. Goncharov and other writers, but also comprehended social processes. Through a look at literature literary critics assessed and examined life itself and proposed possible, from their point of view, ways to resolve social conflicts.

The same was literary and artistic criticism in Soviet time. Its best representatives, such as I.A. Dedkov, V.Ya. Lakshin and some others became exponents of the progressive ideas of their time.

Now, when you can write about everything and evaluate works of art from different points of view, when the voices of critics posing problems public importance, almost inaudible, they started talking about the absence of artistic criticism and even its uselessness. We cannot agree with this.

Literary and artistic criticism exists. There are bright thoughtful critics, evaluating art impartially, giving an objective analysis of the literary and artistic process. In conditions when the flow of low-quality works is growing, when the Internet is choking on the writings of graphomaniacs and all this together reduces the artistic and moral level of culture and accustoms people to such art, the task of art criticism is to preserve the criteria for evaluating works of art, formed and tested throughout the history of world artistic culture , and thereby stop the process of devaluation of art, and regain public resonance.

The process of artistic creativity takes place in society, and it is influenced, and in many ways determines it, by those views, views, ideas that have developed in a given society. It is impossible to live in society and be free from society. But society, and especially the state, is trying to guide creativity and influence the creative process. In many countries, this task is performed by ministries or cultural committees that exist under the government. They determine cultural policy, make state orders and thereby direct the creativity of artists in the direction necessary for a given state. They also organize systems of special educational institutions that train artists, musicians, and performers.

Often, artists themselves form associations for the purpose of creative communication and solving some important problems for a given art: popularizing creativity, organizing exhibitions, orders, publishing works, etc. As a rule, association occurs on the basis of common creative principles.

Thus, in the 19th century in Russia, composers were part of a creative community "The Mighty Bunch" artists formed "Association of Traveling Exhibitions" which continued its activities into the 20th century. The artists created "Russian Theater Society" in order to promote the development of theatrical business.

After the revolution of 1917, there were many different creative associations of writers, artists, etc. in our country.

In the 30s they were all liquidated and created creative unions, uniting artists by type of art: unions of writers, composers, artists, etc. Their goal was the organizational and ideological leadership of art.

With the collapse of the USSR, creative unions lost their ideological content, but also lost state support. Now they carry out the task of organizational and creative unity of artists, which is especially important for artists, writers, composers, etc., whose work is individual in nature.

As we see, the structure of artistic culture is complex and includes many heterogeneous elements. But they all exist in close relationship with each other and together form a certain integrity.

So, artistic culture includes: the production of artistic values; the artistic values ​​themselves are works of art; their distribution, reproduction, reproduction; consumption; art history and sciences about specific types of art; art criticism; art education; institutions and organizations that ensure the existence and storage of artistic values ​​- museums, exhibition halls, art galleries, theaters, cinemas, libraries, etc.; creative associations and organizations.