[Art-lover]

Сообщение от Peter; 1526381"

Art-lover, try to compile their own way. Painting on the ultimate goal (goal) of the expression can be divided into three kinds: material formospisyvayuschuyu (substantive), soul (or rather substantive than bezpredmetnuyu) having an emotional impact, as well as spiritual (both substantive and abstract) Finding the spiritual element in painting is the highest it content is not required in the contemplative experience of having prdmetnyh forms.

Peter, in your question you relate the painting from the theosophical vertical plans (material - the astral - the mental) and related to the last hierarchy of values (matter - soul - spirit). Correspondingly, you define a hierarchy of tasks of painting.

Ingarden also makes provisions for the purposes of painting, his task - descriptive: to figure out why a masterpiece differs from daub or indifferent craft crafts. The highest value paintings he believed in the presence of "image", the harmonic (possibly includes working on the image of disharmony), difficult to organize, is intrinsically linked to the integrity of the aesthetic and artistic qualities. Moreover, this synthetic value of the paintings he viewed as a qualitative determination, ie, not reducible to other values, and therefore falls outside of the hierarchy:
"So, for example, works by Rembrandt will be fine in a different way than the paintings of Raphael or Leonardo da Vinci. And almost impossible to say that the product of one higher than another, that For example, a self-portrait by Rembrandt in the fez beautiful than any portrait of Leonardo da Vinci's Mona Lisa, or his. "

Theory, according to Ingardenu can put the problem of creating a synthetic high integrity, but is unable to solve it. And therefore, could not provide a wizard like what he saw. Achieving this wholeness - akin to a miracle, to express the richness of the content of the masterpiece in conceptual form as possible:

"... this is another major problem: what and how the selection of quality, indifferent in value terms, should serve in any thing, or be created by us, that they have aesthetic value, respective artistically valuable, and that they could lead to the constitution of a work of art. And I must say, great artists of their creative acts, as a rule, successfully resolve this problem, though usually more or less deeply aware of it. But such a practical success by itself does not lead to a theoretical resolution of the issue and its conceptual expression. Therefore, the theory of art, as well as the theory itself aesthetic values behind the creative work of artists and usually appears before us only as a purely scientific problem ". (Ingarden) (emphasis added)

As to the "spiritual component, it can relate to what Ingarden calls a" metaphysical qualities. " Here's an interesting excerpt from the book "On the structure of the picture, clarifying the issue of possible reflection of these qualities in the abstract art:

 ... There are aesthetically valuable moments themselves subject structures.
For example, a structure can be confusing or clear, complex or simple, easy (graceful), or heavy, rhythmic or spasmodic (more generally: unmusical), dynamic or static, etc. Such an aesthetically valuable moments of the structures (in the form of some special values ) are something of quality.
They are also «metaphysical quality» (in my terminology) that arise from subject of situations, especially from all kinds of human affairs. ... It is qualities such as high or low nature of the subject or the subject of the situation, of tragedy, causing terror, obscurity, the demonic nature of that act, the sanctity or conversely, "sin", ecstasy, rapture, or dead silence of eternal rest, etc.

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Quality of the latter kind are not just some special properties of objects (things), but usually it's not the features of different mental states. This is sort of peculiar atmosphere enveloping these or other human or nadchelovecheskie event or situation. These are qualities that seemed to envelop the people and things that are in certain situations or at certain phases of its development - qualities that are in them penetrate and illuminate, giving them some unique charm. It is inherent in them all the charm (which has various shades and degrees of intensity) have a special way mentally lifts, especially when due to various circumstances, we perceive the metaphysical quality as if at some distance, with some weakening of the intensity with which they are perceived by us in the real world . Usually this happens when we are dealing with works of art in which these metaphysical qualities are revealed to us. An inherent fascination leads us into a state of some kind of ecstasy and satisfy our thirst for metaphysical (and irrespective of whether we are in the theory of metaphysics or antimetafizikami, spiritualists or materialists). Materialist or positivist in philosophical theories are equally perceived experiences in the work of art is metaphysical quality as the zealous "metaphysics"-spiritualist. At most, the first will involve some more metaphysical quality, manifested in nature or in art, and secondly - the new. So, the very problem of the existence or nonexistence of such qualities has nothing to do with the disputes concerning metaphysics, or the struggle against it. At the moment it is important and is essential only that the metaphysical qualities, firstly, is an important factor in the aesthetic sense of art and, secondly, that they are peculiar to each type of works of art, whether literary, music, painting, sculpture or architecture.
Thereby we allow another question that might arise in relation to works of art, namely: whether the metaphysical qualities are found only in the scenes with the literary theme, or they are inherent and other kinds of patterns, such as portraits, the "pure" painting depicting one or other subjects, as well as pictures of the "abstract" painting. Sure, the pictures with the literary theme of the possibility of metaphysical qualities more than the "pure" or "abstract" paintings, because for them an open area of human lives, events, conflicts, etc.

But exactly how this kind of quality exist in the physical objects and events that occur in nature, they are inherent and works of art, not only devoid of literary themes, but does not contain a factor of the human psyche (which is, for example, in a portrait) . In other words, a picture of the so-called dead nature or purely abstract paintings.