Suchergebnisse

Art is not only a form of self-expression, but it is self-knowledge and
self-acceptance. From this position, the Creator Man's image in art represents research optics in which the transformations occurring in human existence become visible. These transformations are connected by a person's experience of the meaning and values of his own existence in their relationship with the world. Understanding art as an existential experience, and therefore understanding the image of the Creator Man as artistic existence, opens up the possibility of understanding the «human code» contained in artistic creativity.
The Creator Man's image is one of the main projects of art, which has gone through many stages during its implementation. The article consistently examines different historical periods of artistic creativity. Their analysis shows the gradual growth of the individual principle of the artist, which had its own version of the «counterweight» in different eras. On this basis, the author of the study puts forward a hypothesis: when a human artist first realized his exceptional creative capabilities in understanding and transforming reality, his individualized position of a creator (a thesis) always had its antithesis. At the same time, the thesis, which is a constant first established by Renaissance culture, could be modified depending on the dominant social, cultural and artistic meanings and values in a given era, but it never disappeared from art. While different antitheses dominated in different historical periods. The author examines various manifestations of this contradiction using the examples of baroque art, classicism, romanticism, realism and modernism. This allows us to fix the reference points in the development of the Creator Man's image.
Analysis of historical transformations of the Creator Man's individualization in art makes it possible to trace the changes that took place in artistic consciousness, reflecting the image of the world with the anthropos operating in it.

Beauty is that category of aesthetics, the definition of which is still the subject of controversy among philosophers and art researchers. Beauty is both objective and subjective, absolute and relative, it is an imperative of art and it develops historically. Beauty forms a dialectical triad together with two other leading aesthetic categories — the beautiful and the ugly. In this triad, different types of synthesis of the beautiful and the ugly form the basis of historical types of beauty.
Philosophers, artists, art researchers have always had a professional interest in the dialectical connection «beautiful-ugly». However, firstly, the relations between these categories have not been studied previously from the standpoint of their dialectical analysis and synthesis at the same time. Secondly, different types of synthesis of the beautiful and the ugly did not stand out. These two conditions are taken into account in the article. In addition, beauty is considered as an aesthetic meta–category in the context of the dialectical triad «beautiful — ugly — beauty». Together, this made it possible to describe, explain and predict the change of historical types of beauty in the arts in the article.
According to the author's concept, three such objective types are distinguished and they correspond to the mimetic, non-mimetic and post-mimetic stages of the development of spatial arts. So the beautiful dominates the ugly (the art of the Ancient World, Antiquity, the Middle Ages, Renaissance and Modern times); the beautiful borders on the ugly (the art of modernism); the ugly dominates the beautiful (the art of postmodernism). The author also substantiates the assumption that today the next type of beauty has appeared. It arose like the previous ones in the conditions of radical changes in the artistic perception of the system-organizational principles of the Universe.