What is an artistic image called in literary criticism? Artistic image

In the evenings, the floors of Atlantis gaped in the darkness with countless fiery eyes, and a great many servants worked in the cook, scullery and wine cellars. Oksan, who walked outside the walls, was scary, but they didn’t think about him, firmly believing in the power over him of the commander, a red-haired man of monstrous size and bulk, always as if sleepy, looking like a huge idol in his uniform with wide gold stripes and very rarely appearing at people from their mysterious chambers; on the forecastle the siren constantly wailed with hellish gloom and shrieked with furious anger, but few of the diners heard the siren - it was drowned out by the sounds of a beautiful string orchestra, exquisitely and tirelessly playing in a two-story hall, festively flooded with lights, crowded with low-cut ladies and men in tailcoats and tuxedos, slender footmen and respectful head waiters, among whom one, the one who took orders only for wine, even walked around with a chain around his neck, like a lord mayor. The tuxedo and starched underwear made the gentleman from San Francisco look very young. Dry, short, awkwardly cut, but tightly sewn, he sat in the golden-pearl radiance of this palace behind a bottle of wine, behind glasses and goblets of the finest glass, behind a curly bouquet of hyacinths. There was something Mongolian in his yellowish face with a trimmed silver mustache, his large teeth glittered with gold fillings, and his strong bald head was old ivory. His wife was dressed richly, but according to her years, a large, broad and calm woman; complex, but light and transparent, with innocent frankness - a daughter, tall, thin, with magnificent hair, charmingly dressed, with aromatic breath from violet cakes and with the most delicate pink pimples near her lips and between her shoulder blades, slightly powdered... The dinner lasted more than an hour, and after lunch they opened at ballroom dances, during which men - including, of course, the gentleman from San Francisco - with their legs in the air, their faces crimson red, smoked Havana cigars and got drunk on liqueurs in a bar where blacks in red camisoles served, with squirrels looking like flaky hard-boiled eggs. The ocean roared behind the wall like black mountains, the blizzard whistled strongly in the heavy rigging, the whole steamer trembled, overcoming both it and these mountains, as if with a plow, breaking apart their unsteady masses, now and then boiling and fluttering high with foamy tails, in the siren suffocated by the fog moaned in mortal melancholy, the watchmen on their watchtower were freezing from the cold and went crazy from the unbearable strain of attention, the gloomy and sultry depths of the underworld, its last, ninth circle was like the underwater womb of the steamer - the one where the gigantic furnaces cackled dully, devouring with their hot the mouths of piles of coal, with a roar thrown into them by people drenched in acrid, dirty sweat and naked to the waist, crimson from the flames; and here, in the bar, they carelessly threw their feet on the arms of the chairs, sipped cognac and liqueurs, swam in waves of spicy smoke, dance hall everything was shining and shedding light, warmth and joy, the couples were spinning in waltzes, bending in tango - and the music persistently, in sweet, shameless sadness, begged for everything, everything for the same...

(I.A. Bunin “Mr. from San Francisco”)

1. 
   What term in literary criticism is used to describe an artistic image that contains a generalized polysemantic meaning (ocean, steamship Atlantis)?
2. 
   To which of epic genres belongs to the work of I.A. Bunin's "Mr. from San Francisco"?
3. 
   What is the term for the remedy? allegorical expressiveness, to which the author refers, describing the giant steamship Atlantis and its passengers: “... the floors... gaped with countless fiery eyes”; “swimmed in waves of spicy smoke”?
4. 
   Describing the appearance of the Atlantis commander, A. Bunin depicts him as “a red-haired man of monstrous size and bulk, always seemingly sleepy, looking like a huge idol in his uniform with wide gold stripes and very rarely appearing in public from his mysterious chambers.” What is this technique of characterizing a hero called in literary criticism?
5. 
   Specify the term used to call the image inner life character, analysis of the hero’s personality traits.
6. 
   What technique associated with endowing inanimate objects with the properties of living beings is contained in the following words: “... in mortal anguish, a siren suffocated by fog moaned...”?
7. 
   Indicate the name of the artistic figurative definition (“There was something Mongolian in his yellowish face with trimmed silver his mustache and gold fillings glittered large teeth, old ivory - strong bald head".)

1. 
   How does it manifest itself? author's attitude to the gentleman from San Francisco and the passengers of Atlantis?
2. 
   Which of the Russian writers of the 20th century addressed the theme of the “well-fed” and how is this theme refracted in the fate of the gentleman from San Francisco?

The story "Clean Monday"

Bunin's heroes are uncompromising in their quest for absolute love. “We were both rich, healthy, young and so good-looking that in restaurants and at concerts people looked at us,” says the hero “ Clean Monday" It would seem that they have everything for absolute happiness. What else is needed? The hero of “Clean Monday” is an “ordinary” person, for all his physical attractiveness and emotional fullness. Not that – a heroine. In her strange actions one can feel the significance of her character, the rarity of her “chosen” nature. Her mind is torn. She is not averse to plunging into the “today’s” life of that elite Moscow, but internally she is alien to all this. She is intensely looking for something whole, heroic, selfless and finds her ideal in serving God. The present seems pitiful and untenable to her. On “Clean Monday” she settled with the “peace” - alluring love and loved ones - and went to the “great tonsure”, to the monastery.
!We complete tasks in the Unified State Exam format!

On the ground floor in Egorov's tavern Okhotny Ryad it was full of shaggy, thickly dressed cab drivers cutting up stacks of pancakes, filled to excess with butter and sour cream; it was steamy, like in a bathhouse. In the upper rooms, also very warm, with low ceilings, the Old Testament merchants washed down fiery pancakes with grainy caviar with frozen champagne. We went into the second room, where in the corner, in front of the black board of the icon of the Mother of God of Three Hands, a lamp was burning, we sat down at a long table on a black leather sofa... The fluff on her upper lip was frosted, the amber of her cheeks turned slightly pink, the blackness of the paradise completely merged with pupil, - I could not take my enthusiastic eyes off her face. And she said, taking a handkerchief from her fragrant muff:

Fine! There are wild men below, and here are pancakes with champagne and the Mother of God of Three Hands. Three hands! After all, this is India! You are a gentleman, you cannot understand this whole Moscow the way I do.

I can, I can! - I answered. - And let's order lunch strong!

How do you mean “strong”?

This means strong. How come you don't know? “Gyurgi’s speech...”

How good! Gyurgi!

Yes, Prince Yuri Dolgoruky. “Gyurga’s speech to Svyatoslav, Prince of Seversky: “Come to me, brother, in Moscow” and then arrange a dinner.”

How good. And now only this Rus' remains in some northern monasteries. Yes, even in church hymns. Recently I went to the Conception Monastery - you can’t imagine how wonderfully the stichera are sung there! And in Chudovoy it’s even better. I last year I kept going there on Strastnaya. Oh, how good it was! There are puddles everywhere, the air is already soft, my soul is somehow tender, sad, and all the time there is this feeling of the homeland, its antiquity... All the doors in the cathedral are open, all day long ordinary people come and go, all day long the service... Oh, I’ll leave I’m going somewhere to a monastery, to some very remote one, in Vologda, Vyatka!<...>

And I was already absent-mindedly listening to what she said next. And she spoke to quiet light In eyes:

I love Russian chronicles, I love Russian legends so much that I keep re-reading what I especially like until I know it by heart. “There was a city in the Russian land called Murom, and in it a noble prince ruled autocrat, named Pavel. And the devil introduced a flying serpent to his wife for fornication. And this serpent appeared to her in human nature, extremely beautiful...”

I jokingly made scary eyes:

Oh, what a horror!

She continued without listening:

This is how God tested her. “When the time came for a blessed death, this prince and princess begged God to repose before them on one day. And they agreed to be buried in a single coffin. And they ordered to carve two grave beds in a single stone. And they clothed themselves, at the same time, in monastic robes...”

And again my absent-mindedness gave way to surprise and even anxiety: what’s wrong with her today?

(I.A. Bunin “Clean Monday”)

1. 
   The conflict associated with the relationship between the hero and heroine determines the plot action of “Clean Monday” by I.A. Bunina. Define this conflict.
2. 
   What genre does “Clean Monday” by I.A. belong to? Bunin?
3. 
   Indicate the term used in literary criticism to describe the setting of an action, interior decoration premises (“We went into the second room, where in the corner, in front of the black board of the icon of the Mother of God of the Three-Handed, a lamp was burning, we sat down at a long table on a black leather sofa...”).
4. 
   Name artistic medium, based on an image of a person’s appearance, his face, clothes, etc. (“The fluff on her upper lip was frosted, the amber of her cheeks turned slightly pink, the blackness of the paradise completely merged with the pupil...”).
5. 
   Describing the tavern where the heroes arrived, I.A. Bunin uses figurative expression, built on the comparison of two objects, concepts or states that have common feature(“it was steamy, like in a bathhouse”). What is the name of this artistic technique?
6. 
   Name the form artistic speech- exchange of remarks between characters, which is used by I.A. Bunin.
7. 
   Describing the heroine’s contradictory feelings, I.A. Bunin contrasts objects and phenomena: “There are wild men below, and here are pancakes with champagne and the Mother of God of Three Hands...”. What is the name of this artistic technique?

1. 
   What is the difference spiritual world hero and heroine and how did she determine their future fate?
2. 
   What are the similarities between “Clean Monday” by I.A. Bunin with other works of Russian classics of the 19th-20th centuries. about love? (When comparing, indicate works and authors.)

Zinaida Nikolaevna Gippius

(1869-1945)

Z.N. Gippius is a poet and prose writer, critic, author of many collections of poems, stories, dramas, and articles. D.S.'s wife Merezhkovsky.

Not accepting the 1917 revolution, she emigrated to France. Born in Belev. She lived in Tula for some time. Living in a foreign land, she was tormented by the memory of Russia: “Lord, let me see! I pray at night. Let me see my Russia again! However, she was not destined to see her or return to Russia. The poetess's work represents characteristic phenomenon Russian decadence. At the beginning of the twentieth century, she was a recognized authority in literature.

Know!

She will not die - know this!

She will not die, -Russia.

They will sprout - believe me!

Its fields are golden.

And we will not die - believe me!

What do we need our salvation for?

Russia will be saved - know this!

And her Sunday is approaching.

1918

Yaroslav Vasilievich Smelyakov

(1913-1072)

Y.V.Smelyakov is a poet. Fate connected the classic of Russian poetry with the Tula region. After his release from captivity in 1945-1947, Smelyakov, a camp inmate, lived in Novomoskovsk. Worked in a bathhouse. He spoke to the miners. He collaborated with a local newspaper and directed its literary association.

This period of his life was surprisingly fruitful. The following poems were written: “Someone came up with this happily,” “Here I remembered you again, Mom,” “Locomotive Cemetery,” the poem “The Miner’s Lamp,” the play “Friends of Mikhail Yugov.” A memorial plaque was installed on the building of the newspaper editorial office, where the poet worked as an executive secretary. Novomoskovsk residents are proud of the wonderful Russian poet, who was given shelter and work during a difficult period of his life.

We spent the night in schools more than once.

We spent the night in schools more than once,

Weapons placed in our heads,

Among the white walls, tattered and bare,

On hastily swept floors.

And we dreamed that in schools we might dream:

Bird cherry, buzzing of May bees,

The eyes and braids of the first student,

Chalk and ink, globe and football.

We got up right at dawn,

Having taken off our tunics, we washed ourselves by the river.

And they walked forward, calm as children,

All-knowing, like old people.

We moved forward - retribution and retribution,

Left in the classroom near the wall

Pages of Pravda, a crumpled grenade,

Multiplied soldier's bloody bandage -

Visual aids of war.
Igor Talkov

(1956-1991)
Igor Talkov is a poet, singer, composer. Born on November 4, 1956 in the city of Shchekino Tula region. In 1975, he created the first musical group in his life, and his VIA took over first Shchekino and then Tula dance floors. Talkov becomes a Tula celebrity.

Igor considered himself a patriot because he was not indifferent to what was happening to Russia. Talkov loved Russia and wanted its revival.

September 6, 1991 in St. Petersburg in the sports - concert hall“Jubilee” Igor Talkov was killed.

In his work he knew how to combine the incongruous: soft, lyrical songs about love sounded against the backdrop of harsh political, screaming compositions. But this is the essence of his soul. Talkov did not compose on purpose, he wrote only when something deeply worried him.

***

Someday, when evil gets tired

To rape you, barely alive, and on your withered brow

The Lord will shed a tear of rain,

You will straighten your broken figure,

As before, you will feel like a mission

And you will blossom to the envy of all your enemies,

Unhappy Great Russia.
Pavel Adamovich Lagun
P.A. Lagun lives in the city of Donskoy, Tula region. A philologist by training; Graduated from Tula State Pedagogical Institute named after. L.N. Tolstoy. Member of the Union of Writers of Russia. Author poetry collections“The Winged Horse”, “Loneliness”, “Rotation of the Earth”, “The Philosopher’s Stone”, as well as prose works, novels “One Millionth Life”, “Procrustean Bed”; stories “Astral Body”, “Debt Pit”, “Division”. Author of a number of articles and publications in the central press.

Poems by P. Laguna were published in the magazines “Young Guard”, “Smena”, almanacs “Istoki”, “Oka”, and the newspaper “Literary Russia”.

Based on the novel “One Millionth Life,” a full-length feature film was shot in Poland in 1995. This novel became the laureate of a literary competition announced in 1996 by the Russian Committee of Former Concentration Camp Prisoners.

***

No one will return it back

You love, hope, faith.

No one will ever knock

To your open doors.
Only the wind is a rusty loop

It creaks with an unbearable whistle;

Yes, autumn is a dirty broom

Rakes up piles of yellow leaves.
And like leaves in the wind

Souls are untied particles...

An old friend will not return,

And only the rain knocks on the door.

Vladimir Ivanovich Filatov

(1949-1996)

V. Filatov was born in 1949 in the city of Donskoy. At the age of two, he became seriously ill and stopped walking in the fourth grade. I studied at home.

He began writing poetry at the age of 12 and was fond of reading. historical novels and playing chess, painting on wood, photography. His favorite poets were V. Vysotsky, B. Okudzhava, B. Pasternak, M. Tsvetaeva.

Vladimir felt it more strongly than those around him, and more clearly, because next to him, shackled by illness and disability, everyone felt warm. Everyone needed his supportive words, his remarkable knowledge, his spiritual complicity, his ability to see light and kindness in everything called the world around him.

For everyone, he was that candle that was lit not for light, but for warmth. And like a lit candle, it slowly melted away. V. Filatov passed away on July 17, 1996.

It’s like the wire of the soul has been exposed -

I don't recommend touching it.

It didn’t work out, alas, it didn’t work out

My unforgettable happiness.

They fell apart like cubes at once

All attempts to find and add up.

And fate bares its teeth, “infection”

Doesn't let me either die or live.

It's easier to bear grief alone:

Less moaning, resentment and tears.

So I didn’t sleep last night

And he took the grievances to the dustbin.

It became easier to meet eyes,

But don't touch the soul - it hurts.

There's only one thing left to do: say goodbye

And pray to Christ for salvation.

Literary image. Word and image

A literary image is artistic reflection with the help of words of human characters, events, objects, phenomena in a specific, individually sensory form.

The term “image” in literary criticism is understood as 1) a character in a work of art (hero, character, character), and as 2) a reflection of reality in an individual form (verbal image or trope).

The images created by the writer are distinguished by their emotionality, associativity, originality, and capacity.

Artistic image. Image and sign

When referring to the ways (means) by which literature and other forms of art that have figurativeness carry out their mission, philosophers and scientists have long used the term “image” ( other-gr. eidos – appearance, appearance). As part of philosophy and psychology, images are specific representations, i.e., the reflection by human consciousness of individual objects (phenomena, facts, events) in their sensory perceptible form. They oppose the abstract concepts, which record the general, repeating properties of reality, ignoring its unique individual features. There are, in other words, sensory-figurative and conceptual-logical forms of mastering the world.

Further distinguishable figurative representations(as a phenomenon of consciousness) and images themselves as the sensory (visual and auditory) embodiment of ideas. A.A. Potebnya in his work “Thought and Language” considered the image as reproduced representation - as a certain sensory perceived reality 1 . It is this meaning of the word “image” that is vital for the theory of art, which distinguishes between scientific-illustrative, factual (informing about facts that actually took place) and artistic images 2 . The latter (and this is their specificity) are created with the explicit participation of the imagination: they do not simply reproduce isolated facts, but condense and concentrate aspects of life that are significant for the author in the name of its evaluative comprehension. The artist’s imagination is, therefore, not only a psychological stimulus for his creativity, but also a certain reality present in the work. In the latter there is a fictitious objectivity that does not fully correspond to itself in reality.

Nowadays, the words “sign” and “sign” have taken root in literary studies. They have noticeably replaced the usual vocabulary (“image”, “imagery”). The sign is the central concept of semiotics, the science of sign systems. Structuralism, which became established in the humanities in the 1960s, and post-structuralism, which replaced it, is oriented toward semiotics.

A sign is a material object that acts as a representative and substitute for another, “pre-found” object (or property and relationship). Signs constitute systems that serve to receive, store and enrich information, that is, they have primarily a cognitive purpose.

The creators and supporters of semiotics consider it as a kind of center of scientific knowledge. One of the founders of this discipline, the American scientist C. Morris (1900 - 1978) wrote: “The relationship of semiotics to the sciences is twofold: on the one hand, it is a science among other sciences, and on the other hand, it is an instrument of the sciences”: a means of unification different areas scientific knowledge and giving it “greater simplicity, rigor, clarity, the path to liberation from the “web of words” that the man of science has woven” 3 .

Domestic scientists (Yu.M. Lotman and his associates) placed the concept of a sign at the center of cultural studies; the idea of ​​culture as a primarily semiotic phenomenon was substantiated. “Any reality,” wrote Yu.M. Lotman and B.A. Uspensky, referring to the French structuralist philosopher M. Foucault, - involved in the sphere of culture, begins to function as a symbolic<...>The very attitude towards sign And iconicity constitutes one of the main characteristics of culture" 4 .

Speaking about the sign process in the composition of human life ( semiotics), experts identify three aspects of sign systems: 1) syntactics(relationship of signs to each other); 2) semantics(the relationship of a sign to what it denotes: the signifier to the signified); 3) pragmatics(the relationship of signs to those who operate with them and perceive them).

Signs are classified in a certain way. They are combined into three large groups: 1) indexical sign (sign- index) indicates an object, but does not characterize it; it is based on the metonymic principle of contiguity (smoke as evidence of a fire, a skull as a warning of danger to life); 2) sign- symbol is conditional, here the signifier has neither similarity nor connection with the signified, such as words of natural language (except onomatopoeic) or components of mathematical formulas; 3) iconic signs reproduce certain qualities of the signified or its holistic appearance and, as a rule, are visual. In the series of iconic signs they differ, firstly, diagrams- schematic recreations of objectivity that is not entirely specific (graphic designation of industrial development or the evolution of fertility) and, secondly, images that adequately recreate the sensory properties of the designated single object (photographs, reports, as well as capturing the fruits of observation and fiction in works of art) 5 .

Thus, the concept of “sign” did not abolish traditional ideas about image and figurativeness, but placed these ideas in a new, very broad semantic context. The concept of a sign, vital in the science of language, is also significant for literary studies: firstly, in the field of studying the verbal fabric of works, and secondly, when referring to the forms of behavior of characters.

In images-tropes, one object is equated to another by association, the unknown is explained by the known, and the so-called “figurative” meaning is manifested.

There are different types of images and different ways their classifications. If we consider everything fantasized by a writer in a work of art as an image, then according to its objectivity we can build a series from the image-detail in such varieties as the image of paths, the image of landscape, the image of a thing, the image of a portrait, through the image of a plot, then the image of a character. , and to holistic images of fate and the world, the image of being.

According to their semantic generality, images can be divided into individual, characteristic and type images. Separately, we can distinguish the image-motive, image-topos and image-archetype, as well as the concept of chronotope. These are images that go beyond the boundaries of a single work; they can be repeated.

An image-motif is repeated in several works by one author or by many authors. (The image of a snowstorm and wind by Blok, rain and a garden by Pasternak.

Topos image (common place) - an image characteristic of an entire culture certain period, for the whole nation. (topos of the road, winter in Russian literature).

Archetype image - the most stable images that appear in literature different nations along the entire path of development.

Chronotope is a term proposed by D. Bakhtin. This is “a significant interconnection of temporal and spatial relations, artistically mastered in literature”, otherwise called “time-space”.

In poetry, there is also the concept of a “lyrical hero” - a collective image behind the lyrical verses of a particular poet.

The meaning of ARTISTIC IMAGE in the Dictionary of Literary Terms

ARTISTIC IMAGE

A generalized artistic reflection of reality in a specific form, a painting human life(or a fragment of such a painting), created with the help of the artist’s creative imagination and in the light of his aesthetic ideal. Oh. helps not only to reproduce this or that phenomenon of reality, but also to express its essence. Dual in nature: on the one hand, it is a product of extremely individualized artistic description, on the other hand, it has the functionality of a symbol and carries a generalizing principle. Oh. is created with the help of typification, generalization, fiction (convention) and has independent aesthetic meaning.

Dictionary of literary terms. 2012

See also interpretations, synonyms, meanings of the word and what an ARTISTIC IMAGE is in Russian in dictionaries, encyclopedias and reference books:

• IMAGE. in the Literary Encyclopedia:
  1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. . 4. Typification of reality...
• IMAGE in the Dictionary of Analytical Psychology:
  (Image; Bild) - the context in which the symbol is embedded, both personal and collective. “When I talk about an image, I mean when ...
• IMAGE
  GOODS - a specific idea formed by the consumer, buyer about the actually existing or future...
• IMAGE in the Dictionary of Economic Terms:
  LIFE is a general concept that characterizes the social and economic side of people’s lives in terms of the volume and structure of consumption of goods and...
• IMAGE in the Dictionary Index of Theosophical Concepts to the Secret Doctrine, Theosophical Dictionary:
  Occultism does not allow any images other than the image of a living reflection of the divine man (symbol of Humanity) on earth. Kabbalah teaches that this...
• IMAGE in the Bible Encyclopedia of Nikephoros:
  (Genesis 1:26,27). The book of Genesis says that the Lord created man in His own image and likeness and about the Lord Jesus Christ...
• IMAGE in the Big Encyclopedic Dictionary:
  
• IMAGE
  in philosophy, the result and perfect shape reflection of an object in human consciousness, arising in the conditions of socio-historical practice, on the basis and in ...
• ART in the Encyclopedic Dictionary:
  , -th, -oe; -ven, -ve nna. 1. see art. 2. full f. Relating to art, to activities in the field of art. ...
• IMAGE in the Encyclopedic Dictionary:
  1, -a, me. -ы, -ов, m. 1. In philosophy: the result and ideal form of reflection of objects and phenomena of the material world in ...
• IMAGE
  LIFESTYLE, philosophical-sociol. a concept that covers the totality of typical activities of an individual, social group, society as a whole in unity with the conditions...
• IMAGE in the Big Russian Encyclopedic Dictionary:
  IMAGE, in psychology, a subjective picture of the world, including the subject himself, other people, spaces. environment and time sequence of events. O. artistic - ...
• ART
  artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic, artistic feminine, artistically, artistically, artistically, artistically, artistically, artistically, artistically, artistically, artistically, …
• IMAGE in the Complete Accented Paradigm according to Zaliznyak:
  o"braz, o"braz, o"braz, o"braz, o"braz, o"braz, o"braz, o"braz, o"braz, o"braz, o"braz, ...
• IMAGE in the Complete Accented Paradigm according to Zaliznyak:
  about "image, image", about "image, image" in, about "image, image", about "image, image", about "image, image", about "image", ...
• IMAGE in the Dictionary of epithets:
  Artistic generalization; phenomena, types, characters in painting, literature, music, on stage, etc. Abstract, allegorical, archaic, colorless, pale, great, ...
• ART in the Popular Explanatory Encyclopedic Dictionary of the Russian Language:
  -aya, -oe; artistic, -enna 1) full f. Depicting reality in images. Artistic creativity. Fiction. Feature Film. Piece of art. IN …
• IMAGE in the Popular Explanatory Encyclopedic Dictionary of the Russian Language.
• IMAGE in the Dictionary for solving and composing scanwords.
• IMAGE in the Thesaurus of Russian Business Vocabulary:
  
• IMAGE in the Russian Language Thesaurus:
  Syn: appearance, image, appearance; reflection, display, representation; symbol, type; way, …
• ART
  cm. …
• IMAGE in Abramov's Dictionary of Synonyms:
  icon, face Folding image. See view, image, icon, method, style || mainly, in another way, fundamentally, in no way, according to the image, ...
• ART
  highly artistic, picturesque, beautiful, imaginative, poetic, ...
• IMAGE in the Russian Synonyms dictionary:
  brand, appearance, appearance, pupil, idea, image, icon, image, image, film image, face, manner, manner, direction, appearance, appearance, guise, guise, icon, display, ...
• ART
  adj. 1) Correlative in meaning. with noun: art associated with it. 2) a) Related to activities in the field of art. b) ...
• IMAGE in the New Explanatory Dictionary of the Russian Language by Efremova:
  1. m. 1) a) Appearance, appearance of someone, something. b) Similarity to someone, something. c) outdated Image. 2) a) Lively, visual...
• IMAGE in Lopatin’s Dictionary of the Russian Language:
  
• ART in the Spelling Dictionary:
  artistic; cr. f. -ven and -venen, ...
• IMAGE in the Spelling Dictionary:
  `image 2, -a, plural. -`a, -`ov...
• IMAGE in the Spelling Dictionary:
  `image 1, -a, plural. -s, -ov (what appears to be...
• ART
  related to art, to activities in the field of art Art school. H. theater director. Gymnastics. Amateur artistic activity. Artistic construction (design). ...
• IMAGE in Ozhegov’s Dictionary of the Russian Language:
  1st type, appearance Create something. in one’s own image and likeness (i.e., similar to oneself; bookish). Lose o. human (that...
• IMAGE in Modern explanatory dictionary, TSB:
  1) in psychology - a subjective picture of the world, including the subject himself, other people, the spatial environment and the temporal sequence of events. 2) An artistic image ...
• ART
  artistic, artistic; artistic and (rarely) artistic, artistic, artistic. 1. only full. forms. Adj., by meaning related to art, activities...
• IMAGE in Ushakov’s Explanatory Dictionary of the Russian Language:
  image, plural images, m. 1. Appearance, appearance, likeness (book). Zakhar did not try to change not only the image given to him by God, but...
• IMAGE in Ushakov’s Explanatory Dictionary of the Russian Language:
  image, plural image, m. The same as ...
• ART
  artistic adj. 1) Correlative in meaning. with noun: art associated with it. 2) a) Related to activities in the field of art. ...
• IMAGE in Ephraim's Explanatory Dictionary:
  image 1. m. 1) a) Appearance, appearance of someone, something. b) Similarity to someone, something. c) outdated Image. 2) a) Living, ...
• ART
  adj. 1. ratio with noun art related to it 2. Related to activities in the field of art. Ott. Characteristic of people of art,...
• IMAGE in the New Dictionary of the Russian Language by Efremova:
  I m. 1. Appearance, appearance of someone, something. Ott. The likeness of someone or something. Ott. outdated Image. 2. A lively, visual representation of...
• ART
  adj. 1. ratio with noun art related to it 2. Related to activities in the field of art. Ott. Peculiar to people...
• IMAGE in the Large Modern Explanatory Dictionary of the Russian Language:
  I m. 1. Appearance, appearance, appearance, appearance. 2. A living, visual representation of someone or something. Ott. What...
• TALLINN ART MUSEUM in big Soviet encyclopedia, TSB:
  art museum, Art Museum of the Estonian SSR (since 1970), the largest art museum Estonia. The predecessor of T. x. m. there was a Tallinn branch of the Estonian...
• MOSCOW ART ACADEMIC THEATER in the Great Soviet Encyclopedia, TSB:
  Art academic theater them. M. Gorky (Moscow Art Theater), a Soviet theater that made a great contribution to the development of the national Russian and world theater. Founders...
• ARTISTIC METHOD in the Great Soviet Encyclopedia, TSB:
  artistic, a system of principles that govern the process of creating works of literature and art. Category M. x. was introduced in aesthetic thought at the end …
• ARTISTIC CONFLICT in the Great Soviet Encyclopedia, TSB:
  artistic, artistic collision, confrontation, contradiction between the active forces depicted in the work - character and circumstances, several characters or different sides...
• ART in the Newest Philosophical Dictionary:
  a term used in two meanings: 1) skill, skill, dexterity, dexterity, developed by knowledge of the matter; 2) creative activity aimed at creating artistic...

In epistemological terms artistic image- a type of image in general, which is understood as the result of the human consciousness mastering the surrounding reality. /…/

Artistic image- a category of aesthetics that characterizes the result of an author’s (artist’s) comprehension of a phenomenon or process in ways characteristic of a particular type of art, objectified in the form of a work as a whole or its individual fragments or parts (for example, a literary work-image may include a system of images characters; sculptural composition, being a holistic image, often consists of a gallery of plastic images). /…/

The origins of the image theory are in antiquity (the doctrine of mimesis). But a detailed justification is a concept. Close to modern, given in German classical aesthetics, especially in Hegel. The philosopher saw in art a sensual (i.e., perceived by the senses) embodiment of an idea... /.../ An artistic image, according to Hegel, is the result of the “purification” of a phenomenon from everything random that obscures the essence, the result of its “idealization.” /…/

By definition, an artistic image is a manifestation of creative freedom. Like a concept, an artistic image performs a cognitive function, representing the unity of individual and general qualities subject, but the knowledge contained in it is largely subjective, colored author's position, his vision of the depicted phenomenon; it takes on sensually perceived forms and expressively affects the feelings and minds of readers, listeners, and spectators. /…/

What is the specific features artistic image?

Artistic consciousness, combining rational (discursive) and intuitive approaches, grasps the indivisibility, integrity, completeness of the real existence of the phenomena of reality and reflects it in a sensory-visual form. The artistic image, to paraphrase Schelling, is a way of expressing the infinite through the finite. Any image is perceived and assessed as a certain integrity, even if it was created from one or two parts... /.../ As an object aesthetic perception and judgment, the image is complete, even if the principle of the author’s poetics is deliberate fragmentation, sketchiness, and reticence. In these cases, the semantic load on an individual part is enormous.

An artistic image always carries a generalization, that is, it has typical meaning (gr. typos - imprint, imprint). If in reality the relationship between the general and the individual can be different (in particular, the individual can obscure the general), then the images of art are bright, concentrated embodiments of the general, essential in the individual.

Artistic generalization in creative practice takes different shapes, colored by the author's emotions and assessments. For example, an image may have representative character, when some features of a real object stand out, “sharpen”, or be symbol. /…/

The “familiar stranger” type a literary character becomes as a result creative typing, i.e., selecting certain aspects of life phenomena and emphasizing them, exaggerating them in artistic depiction. It is precisely to reveal certain properties that seem essential to the writer that conjecture, fiction, and fantasy are needed. /…/

Artistic image expressive, i.e. expresses the author’s ideological and emotional attitude to the subject. It is addressed not only to the mind, but also to the feelings of readers, listeners, and spectators. /…/

Artistic image self-sufficient, it is a form of expression of content in art. /…/ The generalization that an artistic image carries within itself is usually not “formulated” anywhere by the author.

Being the embodiment of the general, essential in individual, an artistic image can generate different interpretations, including those that the author did not think about. This feature of it follows from the nature of art as a form of reflection of the world through the prism of individual consciousness. /…/

The imagery of art creates objective preconditions for disputes about the meaning of the work, for its various interpretations, both close to the author’s concept and polemical in relation to it. Characteristic is the reluctance of many writers to define the idea of ​​their work, to “translate” it into the language of concepts. /…/

The artistic image is a complex phenomenon. It integrates the individual and the general as a whole. Essential (characteristic, typical), as well as the means of their implementation.

The image exists objectively, as an author’s construction embodied in the appropriate material, as a “thing in itself.” However, becoming an element of the consciousness of “others”. The image acquires a subjective existence and generates an aesthetic field that goes beyond the author's intention.