Psychology of perception of the artistic image

[Laura]

A. Demkin.
Study in iconology: an analysis of the picture, or a penetrating perception of patterns.
http://www.town812.ru/sur.html

Cistema analysis of figurative paintings symbolic content or any other work of art is reflected in the works of art historian Erwin Panofsky (1892-1968), who lived in Germany and emigrated to America before the war. [1] Artists Panofsky defined as someone "who is full of images." Erwin Panofsky has used the name for his approach, the term "iconology", borrowed from the Italian Cesare Ripa, who published in the 1593 work "iconology, or a description of the various allegories." In the modern sense of the term "iconology" was first used by Abraham Warburg (1866-1929) in 1903. [2] The work of Erwin Panofsky relied on the works of Alois Riegl and Warburg [3] (1844-1924). However, Panofsky was the first to formulate a systematic approach to iconology. His methodological principles have been identified in lectures and articles in the years 1928-31, and are fully reflected in the "Hercules at the Crossroads" (1930). In 1939, in "Essays on the iconology" iconology principles gained complete the form, which in 1955 made a small addition to his work "The values ​​in the visual arts." Great influence on the work of Panofsky had a neo-Kantian philosophy of Ernst Cassirer (1874-1945) [4]. His development of the theory of iconology was made Austrian (or more precisely - Czech), art historian Max Dvorak (1874-1921) in his "History of Art as the history of the spirit" [5], where it is particularly noted that the need for understanding the content of the "subjective Mind complicity ownership to the knowledge of the viewer. "

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The task of iconology in the analysis of the picture is an interpretation of artistic themes contained in the product, and the disclosure of explicit and implicit symbolic, dogmatic or mystical meanings in figurative painting forms. Erwin Panofsky wrote about the hidden symbolism of the art imaging, where a naturalistic likeness of the image depicted, may be hiding allegorical story about another object or phenomenon. In the analysis of art Panofsky's emphasis on the gap between the level of "readable" and "being read." It is important that, in his opinion, a symbol not only represents itself as an allegory or a sign of something, but it is a visual expression of ideas. The set of characters in the film formed in the narration, which may differ from the obvious "literal" - lying on the surface of the plot pattern. There and read these characters in the analysis can only be in the unity of the work itself as an inseparable part of the open or encrypted artist representation of something not shown in the picture directly.

Erwin Panofsky proposed to provide three levels of analysis of art:
1.Pre-iconographic or formal (Pre - iconographical) analysis of the painting is divided into:
  a) An analysis of the actual value
  b) an analysis of the expressive value of
2.Ikonografichesky (Iconographical) analysis of the pattern
3.Ikonologichesky (Iconological) analysis of the pattern

In the first, pre-iconographic level, the picture is considered the primary analysis (formal) illustrated story (people, animals, objects) and the world of artistic motifs developed in the work. Interpretation prizvodit based on knowledge of depicted objects and events, how they transfer to different historical conditions. In the product analyzed by sensory signs themselves (actual value) and the connection between the means of expression (gestures, facial expressions, composition, shape, color) - expressive value. To achieve an adequate interpretation at this level must have knowledge of the history of a particular artistic style, that is to understand the means by which at a certain stage of historical development were expressed by relationships between the characters portrayed, events or objects.

At the second level of analysis pictures - iconographic, that is "literal" level values ​​are compared with the knowledge of the plot pattern of the interpreter in the stories and allegories of world mythology to reveal the secondary meaning of art. At this level, the analysis compares the images, narrative and allegory, and combinations thereof, as reflected in the product, with certain themes and subjects of the world's literature.

The third - ikonologicheskom level analysis aims to find pictures hidden inner meaning or essence of the content of the product as a whole.

Ikonologichesky analysis of the picture appears as a sister propaedeutics method of internal medicine - the search for "internal" disease, according to "external" symptoms. A work of art at this point is considered as a manifestation of the basic principles in the specific culture, historical period or stage of development of philosophical thought - the discovery of universal "external" ideas in the private "internal" picture. Artistic motifs, images and allegories are regarded as the symbolic equivalents of reality created by the artist. Analysis and interpretation of the "particulars" of the entire zaisit perception of the "whole" in which these "particular" are included. This approach is akin to the analytic, Kant called Intellectus archetipus - coming from the general synthetic contemplation of the whole as such to the private - the restoration of the original images (Intellectus ectypus) [6]. I must say that Kant was only saying geremetichesky ancient principle that "all small - the large, and all the great - small." Indeed, it is impossible to explore part of the whole, and then draw the characteristics of the whole. Delivered iconology goals in tune with the main task of alchemy - one of the branches of the Hermetic "to reach the center of all things" through the knowledge of primordial matter, including the study of "outdoor" as a manifestation of the "internal".

Solve the problem of interpretation ikonologicheskoy picture - is to know, closer to understanding the essence of the original kernel works, his "prefiguratsii" - primordial, primary image of the artwork created by the artist, and determined the creation of paintings. None of the artists did not write because the pictures and the way it is usually presented in the descriptions of art: "This picture symbolizes the desire ... There is disclosed an image ..." and the like. The picture is a reflection of deep bezsosznatelnyh, unconscious and conscious mental processes on which we will certainly examined in a separate article. To approach an understanding of the hidden motives of the creative artist and appreciate the beauty of their symbolic embodiment of a beautiful product to a greater extent have to seek assistance from the sensuous intuition based on knowledge of psychology and mirovoozreniya system (internal picture of the world), the artist himself.

Methods of traditional art to reach a factual iconology problem usually extremely difficult or impossible at all. However, this result is unlikely to be achieved, and consideration of a simple aggregate of parts and characters, by logical inference, and correlation and comparison with other works of art. The logic of knowledge, traditional knowledge of the unit belong to the second signaling system, in terms of Academician Ivan Pavlov Petrvicha [7], the system of "ego" - the conscious level of perception of self and the outside world, which can be expressed verbally. This "new" signaling system, which is characteristic only for humans, and studies show that for the dolphins. [8]

The area just to try to get the researcher painting with ikonolgicheskogo approach belongs rather to the more ontologically "old" primary signaling system, although, of course, Ivan Petrovich Pavlov, understood by the term a more primitive, typical of both people and animals, an alarm system , the processing of irritation caused by the direct action of "external agents" - objects or phenomena on the senses. It is a system of direct emotive feelings, perceptions and impressions, which is often very difficult to be translated in the sign system of the second signal system, that is hardly verbalized. Man has two signaling systems. Each individual is or may be a relative balance of signaling systems, or the predominance of one of them.

IP Pavlov identified several of these types:
- Artistic type, characteristic of people with a predominance of pervnoy signaling system. Functionally, these people have the predominant influence of "ancient" subcortical brain structures and hemispheric cortical structures, which is responsible for emotion and sensory perception. For such people, is characterized by the type of figurative thinking, sensory perception of the world, and nonverbal intelligence. These people perceive reality as a whole, without breaking up and separating into its constituent parts.
- Type of thinking characteristic of persons with a predominance of the second signal system. Due to functional preeobladaniem cerebral cortex, which is responsible for the second signaling system. These people developed an abstract verbal and logical thinking. The reality they perceive analytically, it is crushed and turned into the scheme, and then collect a complete image of the parts.
- The average, as balanced by the possession of the two signaling systems.

The American psychologist William James (1842 -1910), son of the famous writer and mystic Henry James Sr., a follower of the famous philosopher Emanuel Swedenborg, revived for contemporary alchemical principles in the late XIX century, laid the theoretical basis for neurolinguistic programming, describing the four types of thinking: " Some people have the usual "way of thinking" if it can be called, the visual, while others - auditory, verbal (in the modern theory of neuro-linguistic programming - auditory digital) or motor (kinesthetic), and in most cases, perhaps, mixed in equal proportions ".

Those people who are able to translate the feeling of the first signaling system, or in verbal form the second signal system (Pavlov) or visual combined with auditory motor (by James) in the usual reputation for being good writers and poets. Good as an artist, usually, can hardly move their figurative sense of the word, but could very well bring them to the viewer through the sign system of the first signaling system (visual thinking) - form, color, composition, light, color and ... some derivative of this system, which does not exceed the level of the second signal system, but does not belong to the whole first. This signal allows the system to perceive a greater amount of information than is inherent in the secondary signal system and a much greater speed of processing this information. The development of this system, which can be roughly characterized as intuitive, contributed to the survival of both animals and humans, as it allows to quickly receive and process at the pre-conscious level, critical to the survival or hazard information on the best strategy for procreation. Talking about a man can say that this perception is preserved at the level of "ancient" unconscious mechanisms of processing of primary information.

It should be noted that in the literature with the terminology in the field of signaling systems there is confusion. Some researchers (Shmelev [8], E.Tsvetkov [9] A. Goldberg [10]), this signaling system is called intuitive or unconscious perception of the third signal system, which in our opinion is not entirely correct, because this system is the perception is not a "new" - tertiary, and is just the "old" inherited from the animals - "primary" or even "zero". The American psychologist Arnold Mindell [11], speaking of the unconscious signal calls it "double-» - double signal. The root of the terminology comes from Mindell he describes the mechanism of transfer of "secondary" signals - at the "Double" or "double" (in the terminology of Carlos Castaneda) - the dreaming body. Sigmund Freud called the unconscious manifestations - the "second state" of consciousness.

Speaking about the perception of art and its signaling system could have been talking about nadznakovoy or integrated primary signaling system, addresses the unconscious sphere of human rights. In contrast to previous stages of analysis, interpretation of the content of the pictures on this third stage ikonologicheskom is more synthetic than analytic, and is the primary image reconstruction based on his reflections contained in the visual image. Austrian art historian and philosopher, a student of Max Dvorak, Hans Zeldmayr (1896-1984) wrote: "It is to recognize the works of art of such layers, which themselves are determined by quite different principles and facts, rather than" visual character "." [12] artistic content lies not only in the formal sense, or the visible layer, but also in others. And each of them can have a formative value, contributing to the complete image of the picture.

For an adequate analysis of such hidden "layers" of the image in the picture of the researcher must use the same language as the artist - to put aside the logical conscious perception, "stop thinking" and immerse yourself in a meditative contemplation, in which the signals are not judged postupabyuschie consciousness and the unconscious sphere . When the information received will be processed and will "break" on a conscious level - vzmozhno sudden realization - enlightenment, or insight, the language of the phenomenon discovered by Wolfgang Köhler (1887-1967), one of the founders of Gestalt psychology [13]. It should be noted that the approach geshtatltpsihologii as possible reflects the basic methodology of iconology. The founders of Gestalt psychology (M. Wertheimer (1880-1943), K. Koffka (1886-1941), Lewin (1890-1947), we have assumed that the traditional view about the psyche as the addition of separate elements of associative consciousness to new ideas and concepts not adequate for highly mammal - the human (and, incidentally, and an anthropoid monkey). By the Gestalt psychological basis are not as separate elements with a solid cross-structure of associative links, and some holistic education - gestalts, whose properties are not directly derived from their parts. Gestalt theory is reflected in the theory of hierarchical systems created by British writer of Hungarian origin, Arthur Koestler (1905-1983), [14] which in the 70s of the XX century, introduced the terms and holarhii holons (from the English. whole - the whole, a holistic ) to solve the eternal philosophical debate: what is more real - part of the whole or the whole unit. In his view, any integrity is a multilevel hierarchy of semi-autonomous sub-whole tree-like branching in the sub-whole of the lower order, and so sub-whole at any level of hierarchy, he called holons, each of which has the properties and the integrity and the particular. Holonicheskaya reality - it is infinite within the context of other konteskstov.

How to Gestalt psychology and for iconology is true that many "of the whole" when analyzing the pictures are going to the consciousness of the researcher in a whole symphony, sound different than just a collection of individual notes. Detection of coherent structures - the gestalt is the purpose of the study ikonologicheskogo artwork.

Based on the foregoing, of great importance for the results of analysis and interpretation ikonologicheskoy picture has the personality of the interpreter, his outlook, attitudes and ability to perceive the "secondary", ie unconscious signs and images, incorporated in the creator of a work of art. Moreover, the interpretation of the essence of painting ikonologicheskoy chaschego just do not take into account the theoretical explanation of the artist, if known. The wording of the artist often also need the proper interpretation and finding their true "essence", just like his artwork. Most likely, during the creative process the artist himself is not aware of the "central" meaning, pledged to work. The interference of excess "ego" of the artist in the mystery of the creative process can only disrupt the flow of "unconscious", crystallizing on the canvas visible images. The artist can often be explained only by the obvious rational elements of his work, and can not or do not want to talk about the depth of his nature. We know that artists do not like to discuss their work, and if you and talk about them, too sparingly, or intentionally misrepresenting the cause-effect relationships. In particular, both spoke about their work, and VI Surikov, one of the paintings which we consider below).

However, knowledge of history and context of painting biografcheskogo fully contribute to the proper analysis and interpretation of the picture. They help to establish a cause-effect relationship to explain the specific reasons for the emergence of various forms of imagery in the work, and to some extent to make an adequate interpretation, as it is, for example, Panofsky himself did in his article "Titian 'Allegory of prudence" [1], defining the identity of three persons on the canvas by Titian, "Prudence" (Titian himself, one of his sons and grandson). Moreover, Panofsky notes that based on the history of the creation of the investigated product, there is only one "correct" interpretation of the intent of the artist, and it is possible to decipher.

In our opinion, analysis and interpretation of artistic designs can be multiple: this situation stems from the fact that the integrity of works of art really is manifested only in the artist himself. We call such a state has non-embodied art - "the product of the soul." Transferred to the canvas only part of the "works in the soul" - a measure of talent and skill of the artist. At the same time transferring some of the special features of the "works in the soul" may be lost due to imperfect "transfer machine" - that is, the skill of the artist himself and a number of limitations that applies environment - concrete paint, brushes and canvas, lighting conditions, availability of time for creativity, the absence or presence of various disturbances. Thus, a "work on canvas," which is different from the "works in the soul." The interpretation of this "prizvedeniya on canvas" requires the participation of the creative mind researcher, as the language of the soul can be understood only speaking the same language. Using the intuitive perception, intuition, the researcher can measure the forces and talents, or "accidentally" through insight, restore lost or understated features of "works in the soul." Thus is born "reflection proizvedniya." How much will the various shells, the same number of mirrors of their souls will reflect a "work in the soul" of the artist, using the "work on canvas" as a mediator. Hence the multiplicity of possible interpretations or "reflections work."

This opinion is shared by Ken Wilber [15], based on the position of the ambiguity of contexts and interpretations depending on the specific conditions under which it is made. And the criteria for reliability analysis based only on the subjective perception of the nature of meaning critic of art. However, if you can not select a single correct interpretation, we can definitely point to the wrong, do not forget to consider a single product in conjunction with the author and the conditions of its creation.

If the interpreter works in a clear biographical and historical conditions of painting by the artist, the intuition would be by far the most adequate tool for the interpretation, since it is congruent to an intuitive method of learning and reflection of the world, which the artist uses to create his proizvdeniya. Moreover, the difference between creative artistic intuition is that the artist objectifies itself to a sense of intuition, rather than intuitively perceived. Thus, the artistic intuition is the intuition of a more complex second order with respect to ordinary intuition. [16] The only correct interpretation is one that does not focus on the search for "conscious intentions" of the artist, and one that reflects the "natural" image of the central primary works laid down when it is created and the leader of the artist through all the stages of creation. In this regard, the most faithful We interpret a maximum priblezhenie to reconstruction "work in the soul," for we must realize in this report - an absolute play will never be.

The quality of interpretation and analysis of this pattern depends on the capabilities of "perception" and the researcher can be achieved in different ways: from a sudden inspiration, insight, vosstanvlivayuschego before the inner eye issledvatelya its gestalt - the whole integrity of the artwork is not reducible to any amount, nor the harmony of its parts ; up Empirical studies of different hypotheses with the expectation of "response" of the work - the disclosure of a single central fact of creation.

In opening his soul to the product, making its own logical mechanisms silent so as not to stifle the voice of the artist's barely audible, sounding out of the picture in an incomprehensible language, consciousness, the researcher may suddenly discover that the picture gradually fills all of its internal space. And then he suddenly could feel the presence of not only the primary image of the product, but also reflections of feelings and emotions, which was filled with the artist, when worked. This perception is totally different from the factual explanation or historical and culture in the explanation of the iconography. Zeldmayer very finely observed that "the path to reconstruction opens only when it penetrates into the knowledge of contemplation and dissolves in the ability to survive and to reproduce the contents of the visible works of art." From the typology of IP Pavlov, it follows that the best talent for interpretation could ikonologicheskoy artworks will have people belonging to the "artistic" type, while the traditional and iconographic interpretations will have better people belonging to the type of "thinkers".



Psychological analysis of pattern VI Surikov
"Kind of a monument to Peter I in the Senate Square St. Petersburg."
http://www.town812.ru/sur-1.html

[Laura]

http://www.portal-slovo.ru/art/35852.php

Compliance with forms of art to its content
Language and the secrets of painting
Smirnov, VL
The role of parts

In modern society, a widespread false belief that can not be unambiguous understanding of art that the artwork is subject to varying interpretations that each epoch, and even each person can interpret a work of art in its own way.

One of the major tasks of this publication - to show that the great works of art allow only a single correct interpretation, corresponding to the artist. Here he writes about this German art historian Hans Zedlmayr:

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"in the belief that there is one and only one correct understanding of art, it is important not only for the history of art as a science. It is extremely important for our modern attitude to art in general. For only such an approach can" keep us from sinking in the confusion and chaos (W. Furtwängler). "1

"The whole progress of modern art history in the field of interpretation is based on the fact that there is one and only one correct interpretation. This can be demonstrated with the utmost clarity the example interpretations of individual works" 2.

If the viewer, the reader interprets that generates only one, even if the product is really present in the content side, it does not mean that there is no objective content, the only appropriate to the author.

Consider, for example, a picture of A. Magnasco "Bacchanalia" of Moscow's Pushkin Museum. Pushkin. If you focus only on the image itself bacchanalia, we can conclude that the artist wanted to express their negative attitude to drunkenness, revelry, low passions.

Evidence of this bad behavior pattern of characters, some of them deliberately depicted by the artist without the people. It is a sign of loss of human traits. Among the participants bacchanalia - goat-footed satyrs (characters lower passions), dogs (shameless characters).

Such an interpretation is possible, but superficial, does not meet the intent of the artist entirety. However, if you consider all the details of the picture of unity, reveals the true intent of the artist.

Attention is drawn to the fact that the action takes place against the backdrop of the majestic ruins of Roman buildings. And these ruins, and an orgy in their background together reveal a more profound idea of ​​the artist. Represented not just a pagan festival in honor of the god Bacchus, and the lifestyle of ancient Roman society, steeped in vice and debauchery, and representing a continuous orgy. This way of life and led to the destruction of the Roman Empire, and death.

More generally, the meaning of the picture can be expressed as: decline of morals lead any country to ruin.

At the same time the artist had in mind, and Italy the first third of the XVIII century. In Italy was devastating war of the Spanish Succession, the map of Italy were repeatedly changed, invaders (Spaniards, Austrians) establish excessive taxes, industry and agriculture have declined. Despite this, the aristocracy lived in luxury, spending huge sums on festivities and entertainment. Italy was overrun by hordes of beggars and vagrants, beggars, and hunted robbery.

The need to consider all components of the picture as a whole and Hans Zedlmayr writes:

"While the first consideration in the details themselves, in isolation, they give full play to the so-called individual approach interpreters. Do I see this place one way or another, whether the topic perceive more" lyrical "or" heroic ", more elevated, inspired, or logically more thorough, in reality it's just a matter of taste, and there is no authority that would solve it. however, is quite another thing when the details are discussed in unity with the whole to which they belong, when we perceive the world in which the artist put their individual motives and themes. if to look at these relationships, where one supports the causes are different, then the inner eye of beholder will, finally, more and more open "vision" of the whole, which initially led to an artist. Then and only if all the parts are suddenly the only proper place, proper function of a whole ... "3

Attention to detail is mandatory if you want to understand the conceptual design of the author, enter his world of thoughts, feelings, emotions and moods.

In general, anyone who really enjoys the art, one must know that the good work there is nothing superfluous, every detail thought out by the artist (and writer and poet in their works), put in place, all brooded over many, many times, so that every detail has its value.

The following words of Leo Tolstoy very well explain the significance of each part in a true work of art:

"No small change can not be neglected in the art, because sometimes some half-isolated button can illuminate a certain aspect of the life of the person. Button and be sure to portray. But it is necessary that all the effort and half-isolated Button was directed solely at the inner essence of things and not divert attention from the main and important to the particulars and trifles. "

And though Tolstoy in this case says about works of literature, his judgment applies to painting, and any other form of artistic creation: carefully considering the role and place of every detail in the written work of a writer, and painter, and sculptor, and composer.

Triptych GM Korzheva "Communists" very clearly shows the importance of understanding the design details for the artist. The central part of the triptych devoted to the events of 1905 and is called "Raising the flag." On the horizontal canvas large format (156 x 290 cm) is shown just one person, but composition of the painting is built so that only one detail thanks to the exhaustive opinion of Marxists is to the events of 1905.

Details indicate that the event is shown in the picture is one of the major industrial cities in Russia. This is evidenced by the door, and sewer systems, and crossing tram tracks and cobbled streets of the intersection (or the same part of the area), and finally, the hero of the picture - a worker, a representative of the proletariat.

It explains the details and then what event is depicted in the film. Uronennoe banner, dead bodies, heavily cut the frame of the canvas (body-bearer at the bottom and work, whose legs are visible at the upper edge of the canvas), angrily threatening facial expressions of the protagonist - all point to the fact that the protesters represented a clash with gendarmes who opened fire, demonstrations. Crowds of demonstrators we do not see, but a special compositional device, namely the cut frame shape slain, whose bodies are outside the picture, and going there, beyond the picture rails - expands the picture space and compels our imagination more fully recover the missing.

However, the main idea of ​​raising the banner of the picture is working. It shows the transition point: getting ready to get up off its knees, but still did not get up, ready to hoist the flag, but not yet picked up. And such a state worker expresses the idea of ​​the picture. Kneeling in front of anyone except God in prayer, it means to be humiliated and oppressed. In ancient times the guilty a punishment of children put on their knees. Serfs on his knees, begging for mercy of their masters. Marked depression of the proletariat and the format of the picture. Horizontally stretched canvas gives the impression of the press, crushing the worker and not allowing him to straighten up, get up off its knees. And he is just going to stand up and break down the narrow confines of the living conditions. He is ready for battle: talking about it the evil, hard and merciless eyes, clenched teeth, according to Russian custom, before the fight rolled up sleeves above the elbows. In this way of working collectively represented symbolically the proletariat as a class. Red Flag, which, like the baton from the hands of the deceased advanced fighter took over the business, means that the struggle is depicted not only the economic rights as understood by the political aims of the struggle.

The 1905 revolution was crushed by the government. The Bolsheviks led by Lenin attributed the defeat of the fact that the working class was still not ready to fight and acted without the peasants. This idea is expressed in the transition state picture of the hero: he began to act, but none of its action is not brought to an end.

The second part of a triptych called "The Internationale," and here we see the image the next stage of the struggle: the October Revolution and the Civil War.

Again, very simple, strict and very well thought out composition painting with strictly selected by "talking" parts. Actors have two: the soldier and worker, standing close behind each other and constitute an inseparable unity.

The appearance of a soldier in the film means that the working class joined in the fight against the peasants and the army, which was in Russia of the peasants, constituting nearly the whole population. A dead man depicted in the upper right corner of the painting indicates that the Navy and joined the revolution.

Both paintings are a hero to his full height. Before us is convinced the men realized the ideal of the revolution, has long risen from his knees and razognuvshie "bent back" as sung about in "Dubinushka." Execution of the "Internationale" trumpeter indicates the global sweep of the revolution, wrote M. Svetlov:

To land in Grenada
Farmers pay.

Bearer - working, as the fight is headed by the working class. On the banner is clearly visible word division. And this military divisional flag in the hands of the worker, and standing face to the audience of soldiers, trumpeter with the five-pointed star on the cap means that the struggle is not spontaneous, that the rebellious people organized in military units, and thus direct the events, and they are developing according to plan. Finally, scorching the earth and shells underfoot characters in the movie, type of themselves and their behavior, fallen soldiers around them - all testify to the boundless strength and brutality of the fight to the finish.

The name of the final part of the triptych - "Homer (Working studio)." In this painting the artist has provided us with the Red Army, which immediately after the Civil War (he still wears a military uniform) in a working art studio sculpts the bust of Homer in the ancient pattern.

The military uniforms marching hero logically, conceptually connects the third part of a triptych with the previous two, putting the series hero's picture on a par with the standard-bearer, holding the banner of the division, and especially with the trumpet. The symbolic meaning of his work is in a working studio. It indicates, in the name of which was a fierce struggle, in the name of which had been the victim, namely, for the sake of releasing the creative energy of the masses. So no wonder the studio is a bust of Homer: he embodies the creative spirit of the people of ancient Greece, as it is believed that the blind poet and singer, came from the people, and was wandering storyteller of historical folk tales, and later collected together and formed the "Iliad" and "Odyssey" .

Judging by the fact that this soldier is not in the studio shirt and leather jacket, he and the Red Army was not an ordinary soldier, and appears to the Commissioner, that is, ideological worker, or one of the "engineers of human souls", as later Stalin called the new Soviet creative intelligentsia, designed to build on the instructions of the party of the toiling masses of the new breed of people. And this thought is expressed metaphorically in this picture: back from the fronts of the civil war to peaceful constructive life-Commissioner studiets sculpts from formless clay creative person.

So, GM Korzhev in its most talented triptych in the language of well-conceived and skillfully selected parts glorified communist ideology, but it is, unfortunately, a large, although the only drawback of the triptych. A false idea of ​​reducing the interest viewers, readers of a work of art, and thus weakened his aesthetic and moral impact on society. But no matter how varied the attitude of society to the communist ideology, the triptych Korzheva "Communists" will remain one of the best achievements of Russian painting of the second half of XX century.

I hope disassembled pictures prove conclusively that the product is not in a highly random, meaningless objects, parts, that every detail, from the format of the picture, is the expression of the artist's intention.

Recall that Chekhov said about the inadmissibility of odds and ends: if, he said, in describing the study said that a gun hanging on the wall, it will at some point have to shoot. Otherwise, there is no need of it and mention it.

Here's another example from the literature. Pay attention to expressive detail of Ivan Turgenev's novel "Fathers and Sons". At the beginning of the novel is such an episode.

Two friends, Arkady Kirsanov and Yevgeny Bazarov, after the St. Petersburg State University came in Marino - Kirsanovs estate. At the nearest postal station they were met by the owner of the estate and his father Arkady Kirsanov Nikolai Petrovich, who, after a joyful meeting, presented his son's best friend. As we drove on in Marino, Arkady, leaving the other one in the carriage in which they arrived, he moved into the carriage of his father. And so it went to the Marina, father and son in a carriage, happily excited long-awaited meeting, while Bazarov alone - in the other.

Everything is so natural in this scene, meeting the characters and their grafting, only when thinking of the novel, with its repeated re-reading it becomes clear symbolic meaning of the episode: he is at the very beginning steps to the author determines the end of the novel, its ending. Indeed, developments in the novel is constantly showing us how to consistently disagree friends views on life and how Arkady, spiritually moving away from each other, moving closer to her father, finally becoming an educated landowner, and the remaining single Bazarov, infected, die. In short, the development of events in the novel shows how to Arkady the course of action has been steadily transplanted to "coach" his father, leaving the other. "Shotgun", which appeared at the beginning of the novel, fired.

Thus, all the form elements of art are the expression of thoughts of the author, conceived by the author creates an impact on the viewer, reader or listener.

Notes:

A. Hans Zedlmayr. "The Art and Truth: The Theory and Method of Art History." Published by Andrew heirs. Translated from German by JN Popov. V. Epilogue Bibihin. - St. Petersburg.: Ahioma, 2000 (Classical Art). Pp. 155.

Two. Hans Zedlmayr. "The Art and Truth: The Theory and Method of Art History." Published by Andrew heirs. Translated from German by JN Popov. V. Epilogue Bibihin. - St. Petersburg.: Ahioma, 2000 (Classical Art). Pp. 158.

Three. Hans Zedlmayr. "The Art and Truth: The Theory and Method of Art History." Published by Andrew heirs. Translated from German by N. Popov. V. Epilogue Bibihin. - St. Petersburg.: Ahioma, 2000 (Classical Art). Pp. 156.