Unity of the process of creating a fine art painting: ideal and material

The subject of this research is the interaction of the ideal and the material, which ensures unity of the process of creating a fine art painting. The object of this research is the dynamics of this process, which gradually materializes the ideal through poetic transformation of the objective reality. In the course of creating a fine art painting, the author underlines the importance of ontological-phenomenological and socio-gnoseological aspects of human existence, which in many ways determine the technical and technological means of solution of the artistic and creative tasks. Special attention is given to contemplation of the objective world, purposive action of the artistic will, establishment of the artistic image as interrelated stages of objectification of the ideal. The novelty of this article consists in interpretation of the phenomenon of the ideal, reflected in painting via integrated will. The latter is the synthesis of artistic will and subjective will of the painter. The author describes a “shuttle principle” in objectification of the ideal in the works of art within the framework of the history of development of painting, as well as within a single process: 1) from the aesthetic form to the embodiment of universality of the content; 2) from the universal content to aesthetic embodiment. The following conclusions were made: 1) the objectively ideal in a painting is an aesthetically perceived (visually, mentally, and spiritually) boundary of beauty and beautiful depicted via perfect, absolute unity of the artistic form and content, artistically and graphically, adequate to its concept in its material outcome, in reality. It is of rare occurrence in the works of art, something to be sought for; 2) an artistic form should be correlated in the artwork with universality of its content, which results in the fusion of the ideal and the real, and forms their indifference; 3) the universal meanings, ideologically underlying the content of a fine art painting, deepen and broaden the possibilities of artistic matter for objectification of the ideal in aesthetic form.

On Seeing the Birth of the Heart

Religion and the Arts ◽

10.1163/156852908x271150 ◽

2008 ◽

Vol 12 (1) ◽

pp. 384-410

Author(s):

Mary Anderson

Keyword(s):

Human Being ◽

Bearing Witness ◽

Religious Imagination ◽

The Core ◽

Working Through ◽

Works Of Art ◽

Aesthetic Form ◽

Form Representation ◽

The Subject ◽

AbstractThis is an essay in seeing the heart of humanity, as it is re-presented in a Christian icon (Kardiotissa) and a Buddhist cave (Vishvakarma). Working through a poetics of image and word and the dialectic of revelation and concealment intrinsic to representation, this essay concentrates on wording the visible confluence of subjective and objective domains, as they appear in art and express human being. Interiority, its formlessness and its incorporation in form, is seen to reorient the religious by bearing witness to a religiosity at the core of the human, a faith rendered and remembered in aesthetic form. Representation as word, concept, and phenomenon is both the subject and medium of this inquiry, which, by plumbing the possibility of the inter-religious imagination, seeks to unearth the ethics, and thus extend the capacities, of representation itself. Significant notes in eastern and western philosophical aesthetics provide a comparative platform for a process of seeing the icon and the cave as works of art that formally illumine an originary site of the religious and the aesthetic in the birth of the heart.

COMPARATIVE LITERATURE: EAST AND WEST STUDIES

CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES ◽

10.37547/philological-crjps-02-09-03 ◽

2021 ◽

Vol 02 (09) ◽

pp. 8-14

Author(s):

Aziza Komilovna Akhmedova ◽

Keyword(s):

Comparative Literature ◽

Professional Ethics ◽

Research Work ◽

Literary Studies ◽

The Novel ◽

World Science ◽

History Of ◽

The Aesthetic ◽

Aesthetic Ideal ◽

The article analyzes the results of the research on the representation of the aesthetic ideal through the image of the ideal hero in two national literatures. For research purposes, attention was paid to highlighting the category of the ideal hero as an expression of the author's aesthetic views. In Sinclair Lewis’s “Arrowsmith” and Pirimkul Kodirov's “The Three Roots”, the protagonists artistically reflect the authors' views on truth, virtue, and beauty. In these novels, professional ethics is described as a high noble value. The scientific novelty of the research work includes the following: in the evolution of western and eastern poetic thought, in the context of the novel genre, the skill, common and distinctive aspects of the creation of an ideal hero were revealed by synthesis of effective methods in world science with literary criteria in the history of eastern and western literary studies, in the example of Sinclair Lewis and Pirimkul Kodirov.

SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»

The Light of Islam ◽

10.47980/iiau/2021/2/7 ◽

2021 ◽

pp. 36-45

Author(s):

Qosimjon SODIQOV ◽

Govhar RAHMATOVA

Keyword(s):

World Literature ◽

Fine Art ◽

Oral Poetry ◽

Verbal Art ◽

Specific Expression ◽

Artistic Value ◽

Aesthetic Taste ◽

History Of ◽

Extensive Information ◽

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.

Introduction

Reading Sideways ◽

10.5422/fordham/9780823282623.003.0001 ◽

2019 ◽

pp. 1-14

Author(s):

Dana Seitler

Keyword(s):

Aesthetic Experience ◽

Gender And Sexuality ◽

Fin De Siecle ◽

Literary Fiction ◽

Economic Equality ◽

Aesthetic Form ◽

Fin De Siècle ◽

History Of ◽

The Aesthetic ◽

Aesthetic Ideas

This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the century. I track the transverse circulation of aesthetic ideas in fiction expressly concerned with gender and sexuality, and I argue that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. One of the impulses of this study is to produce what we might think of as a counter-history of the aesthetic in the U.S. context at three (at least) significant and overlapping historical moments. The first is the so-called “first wave” of feminism, usually historicized as organized around the vote and the struggle for economic equality. The second is marked by the emergence of the ontologically interdependent homosexual/heterosexual matrix—expressed in Foucault’s famous revelation that, while the sodomite had been a temporary aberration, at the fin de siècle “the homosexual was now a species,” along with Eve Sedgwick’s claim that the period marks an “endemic crisis in homo-heterosexual definition.”...

No More Silent Victims: Agency, Authority and Artistry in the Black Woman’s Story in Revenge (1992)

Inside the invisible ◽

10.3828/liverpool/9781789620856.003.0006 ◽

2019 ◽

pp. 123-144

Author(s):

Celeste-Marie Bernier ◽

Alan Rice ◽

Lubaina Himid ◽

Hannah Durkin

Keyword(s):

The Other ◽

Art Making ◽

Black Artists ◽

History Of ◽

The Subject ◽

“I was trying to write myself, paint myself, and my compatriots, my fellow black artists, if you like, into the history of British painting’, Lubaina Himid writes of the aesthetic, political, ideological and cultural philosophies undergirding her series, Revenge (1992), which is the subject of this chapter. Warring against the iconographic and invisibilising stranglehold exerted by white western male artists in particular, she says, ‘I’m trying to make a comment about how European artists ... have hijacked some of our African and Caribbean imagery, our bodies and all the rest of it’. Staging her own acts and arts of revenge against white western strategies of appropriating and objectifying Blackwomen’s bodies and art-making traditions, she exults in her successes by declaring that ‘I’ve hijacked some stuff back’. ‘The old solutions did not seem to allow for creative imaginings nor did they enable the black woman’s story to take its place amongst the other voices’, she concedes. Himid diagnoses a situation in which ‘old solutions’ or dominant representational modes are responsible for denying as well as distorting ‘the black woman’s story’. Working to do justice not to one but to many Blackwomen’s stories, she cuts to the heart of the matter: ‘Her story is complex and constantly interwoven through the whole, yet is often told simply and by others as that of a silent victim’.

Advances in Media, Entertainment, and the Arts - Projective Processes and Neuroscience in Art and Design ◽

Neuroaesthetics

10.4018/978-1-5225-0510-5.ch006 ◽

2017 ◽

pp. 87-102

Author(s):

Ana Teresa Contier ◽

Laila Torres

Keyword(s):

Perceptual Experience ◽

Aesthetic Experience ◽

Functional Neuroimaging ◽

Imaging Techniques ◽

Neural Architecture ◽

History Of ◽

System Memory ◽

The Subject ◽

The aesthetic experience has been discussed throughout the history of mankind by philosophers and art historians, becoming a universal part of human experience, which leads us to some great interdisciplinary questions. It has been the subject of study by neuroscientists and neuro-psychologists since the 2000s. This recent evolution of neurology studies in the field of art, is due to in vivo brain imaging techniques, especially functional neuroimaging. Furthermore, recent research has provided evidence of cognitive interaction during the perception of an artwork indicating that the perceptual experience of art is not merely a passive one. This article reviews important studies in neuroaesthectics of visual art that point out that the aesthetic experience is related to the distribution in the neural architecture, suggesting the involvement of sensory-motor areas, emotional centers, reward system, memory and language.

Aristotle and the Dramatisation of Legend

The Classical Quarterly ◽

10.1017/s0009838800008016 ◽

1954 ◽

Vol 4 (3-4) ◽

pp. 151-157

Author(s):

H. C. Baldry

Keyword(s):

Lyric Poetry ◽

Fourth Century ◽

Fifth Century ◽

Wide Field ◽

Works Of Art ◽

History Of ◽

The Subject ◽

Scanty Information ◽

The One ◽

Traditional Stories

This article is a survey of familiar ground—those passages of the Poetics of Aristotle which throw light on the treatment of legend by the tragic poets. Although sweeping generalizations are often made on the use of the traditional stories in drama, our evidence on the subject is slight and inconclusive. We have little knowledge of the form in which most of the legends were known to the Attic playwrights, for the few we find in the Iliad and Odyssey appear there in very different versions from those they take on in the plays, and the fragmentary remains of epic and lyric poetry between Homer and the fifth century B.C. present us with a wide field for speculation, but few certain facts; while vase paintings and other works of art supplement only here and there the scanty information gained from literature.The comments of ancient writers on this aspect of tragedy are surprisingly few, and carry us little farther. The Poetics stands out as the one source from which we can draw any substantial account of the matter. Even Aristotle, of course, is not directly concerned with the history of drama, and deals with it only incidentally in isolated passages; and in considering these it must constantly be borne in mind that he is discussing tragedy as he knew it in the late fourth century, for the benefit of fourth-century readers. But even so, his statements are the main foundation on which our view of the dramatists' use of legend must be built.

The Plot of The Faerie Queene

PMLA ◽

10.2307/458019 ◽

1932 ◽

Vol 47 (1) ◽

pp. 81-88 ◽

Cited By ~ 1

Author(s):

Lawrence Blair

Keyword(s):

Historical Fiction ◽

Literary Tradition ◽

Faerie Queene ◽

English Poetry ◽

Moral Virtues ◽

Central Image ◽

History Of ◽

The Subject ◽

The Faerie Queene ◽

Courthope, in his History of English Poetry, asks the question: “Does Spenser's work satisfy the test of Unity which must be applied to every great creation of art?” Answering this question, Courthope thinks that there is undoubtedly poetical unity in the general conception of The Shepherd's Calendar. But of the Faerie Queene, he says the following:There is undoubtedly a noble, indeed a sublime, foundation for the poem in its central design “to fashion a gentleman or noble person in virtuous and gentle discipline.” There is also something eminently poetical in the intention of embodying this image in the ideal knight—a figure consecrated like that of the shepherd, by ancient literary tradition—and in the person of “Arthur before he was king.” Moreover, as the subject was to be treated allegorically, it was open to Spenser to endow his knight with the “twelve private moral virtues, as Aristotle hath devised.” … No poem in existence can compare with the Faery Queen in the richness of its materials. But the question occurs: In what way is all this “variety of matter” fused with the central image of the “brave knight, perfected in all the twelve private moral virtues”? For this, we must always remember, was Spenser's professed and primary motive; he chose to convey his moral in a form of allegorical narrative, because he thought it would be “most plausible and pleasing, being covered with an historical fiction.”

Report of the Discussion on ‘The Problem of teaching Republican History in Schools’, held on Tuesday, 10th January, 1939

The Journal of Roman Studies ◽

10.2307/297146 ◽

1939 ◽

Vol 29 (2) ◽

pp. 231-235

Keyword(s):

Personal Interest ◽

Human History ◽

History Teaching ◽

Vital Reaction ◽

The Past ◽

History Of ◽

The Subject ◽

Professor Norman Baynes, in opening the discussion, said that he proposed to consider the subject in relation only to those at school who were studying the Classics. The teacher must, he thought, abandon two inherited views: that history could be successfully taught sine ira et studio and that it was no function of the teacher to present to students his own interpretation of the past. The ideal of impartiality in history teaching is illusory: God alone could present the history of man ‘as it actually happened’. All teaching or writing of human history is an interpretation of the facts, and that must be a reflection of personality. Interest and vital reaction in the taught can be awakened only through the personal interest and enthusiasm of the teacher. Thus there can never be finality in the presentation of history: every age must recreate its own interpretation of the past.

Journalism or Writing? (On the Syncretism of the Documentary and Fiction in Russian Writers Creative Works)

Вопросы теории и практики журналистики ◽

10.17150/2308-6203.2019.8(2).421-432 ◽

2019 ◽

Vol 8 (2) ◽

pp. 421-432

Author(s):

Olga Skibina

Keyword(s):

Turn Of The Century ◽

Ethical Aspect ◽

Grammatical Structure ◽

Aesthetic Value ◽

Nonfiction Text ◽

The Subject ◽

The Aesthetic ◽

Artistic Image ◽

The Relationship ◽

Selection Of

The article continues the discussion of the “phenomenon of journalism” in the creative heritage of Russian writers of the early twentieth century. The diary as a genre has always been at the center of research interests, but so far the criteria for “diary” have not been defined either by literary critics, or by theorists of journalism. At the turn of the century, diaries were kept by many artists of the word, it was the only genre that allowed expressing thoughts on pressing issues, which made it possible to attribute this genre definitely to journalism. At the same time, there is a tendency in the works of scientists to note the “informational possibilities of this type of ego-document for the study of the humdrum of a particular topos” (E.M. Krivolapovа), thus relating it to documentary prose. The subject of the analysis is the genre of diary prose by Ivan Bunin and Mikhail Prishvin. Written at the same time, the diaries of these writers reflect — each in its own way — one era — the bloody revolutionary present. The article poses the problem of the relationship between documentary and fiction in the diary genre. By comparing the diaries of Bunin and Prishvin, the author proves that a nonfiction text may well have a certain aesthetic value, but not the aesthetic, but rather the ethical aspect becomes dominant in nonfiction. This is manifested in the topical, socially significant problems of the work, and in the author’s striving to reduce the distance between his consciousness and the consciousness of the reader, and in the special lexical and grammatical structure of the phrase (Bunin's Cursed Days). Prishvin's diaries on the selection of vital material suggest that his position is artistic when the artistic image becomes the only true one in the presentation and perception of the world.