Aesthetic perception. Aesthetic perception is: definition, features and essence

As a mental process, perception is based on living contemplation, it is a reflection of objects and phenomena in the aggregate of their properties and parts with the direct effects of them on the human senses. Unlike sensations, not only senses organs are involved in the design of the image. Sensual data - colors, lines, points, etc., are comprehended by all knowledge of the subject, comprehended according to the fact that the need to make the creation of the image, what goals it puts in the process of perception.

So, for ordinary, everyday perception, the main thing is not so much the "kind of", "sound" things, how many practical meaning. And in aesthetic perception, the need for perfection dictates the need to take the subject in all its integrity and uniqueness, in all the diversity and the originality of its properties, requires very differentiated impressions. It is of particular importance to the color, sound, shape, only it will provide the wealth of vision, comprehending the degree of development of the subject.

For aesthetic perception, the ability to differentiate shades, changes in the same property are important. After all, sometimes beauty varies from the very insignificant ("slightly") changes in the appearance of an object that can not even verbally definition. For the usual orientation, it is enough to perceive the usual phenomena simply schematically: snow - white, fog - gray, etc. Developed sensitivity allows, for example, the artist see the snow and pink, and blue, and gold, and gray, and the fog is not only gray , but also bugs.

To determine the moral value of the act (whether he bears good or evil) there is enough awareness of his general meaning. Fix the aesthetic perfection Action is more difficult: it is necessary, in addition, special attention to the form of behavior is required to catch the structure and intonation of statements, changes in facial expressions, facial expression, in all external actions.

On a fine visual, hearing and the like sensitivity, the ability to perceive the holistic characteristics of the subject - harmony and disharmony of parts and properties, measure and specific manifestations of them (symmetry, proportions, rhythm, harmonic color fare and opposite to them). Without this ability, it is impossible to determine the degree of perfection of the subject and create reference images of perfection necessary for the evaluation of perceived.

This explains why I. S. Turgenev, L. N. Tolstoy and many other writers and artists specially trained their "distinguishes" abilities. Such training contributes to the development of very important when perceiving quality - observation.

Research A. A. Bodalev and a number of other authors have been proven that any perception, being a reflection of external influences, together it is mediated by the life experience of perceive. Moreover, indirectness in the perception of aesthetic. This is due to the direction of the aesthetic need for the form of the subject.

Perfection is always a holistic characteristic of the subject, the maximum unity of its form and content. Therefore, reflecting the shape directly, the person must necessarily relate it to a known content - otherwise the holistic image is not formed. A simple feeling of color, lines, sounds, etc. - is the relation in which the connection of the form with the content has not yet been allocated. And in aesthetic perception, the elements of the form are always expressing something. So, the color is perceived as the color of a particular subject; If a person has the content of this subject, it is not even known, he associates it with typical in experience, for example: blue color, on what we would not be perceived it, binds to the image of the sky; Black - with night, bad weather. And since there are many such associations, these elements of the form act as generalized signs. In humans, according to the expression of K. Marx, "feelings became theorists." For this formal perception of individual formal elements, technical aesthetics, as well as art, especially decorative, architecture, music are calculated.

Consequently, on the quality of aesthetic perception, to a large extent determining it, the memory and the ability to associate, compare the images perceived with the preserved memory, with knowledge, is affected. It is this that provides a person identification of the subject already on individual properties and the creation of an object image, more rich in content than a combination of felt properties, and more rich than the overall representation.
In the image there is some restructuring of the content of the subject at the expense of personal experience, the "filling" of the subject of a new life through the representations and imagination perceive. Due to this interpretation of the subject, the content of the image to a certain subjective extent. The ability of imagination and associative ability are of particular importance in perceiving works of art, since artistic funds are specifically designed for the "co-authorship" of the public.

The high level of imagination in perception gives the latter quality, which is usually expressed by the words "spiritualized", "poetic", "artistic" vision of the world. (A person with such perception sees not just oak, but "Giant"; sees how morning the sun, climbing, "tightens a foggy blanket from the river", etc.).

Thus, aesthetic perception is different not only by a sign of generalization, but also a clearly pronounced creative element, transformation and addition of sensual data by connecting them with human experience. It is due to the compound, the alloy in the aesthetic image of an objective and subjective, real and imagined impression of different years from the same phenomena, extremely variatives are diverse, which may not be excluded, however, their objectivity, reliability.

Much in the content of the image is more or less equally in different people (different classes), since it is based on a common complex of directly sensible properties of the subject. Specific differences in the subject matter of perceptions are due to differences in people - in the vital experience and experience of aesthetic perception, to the degree of awareness of the process of perception, in the level and nature of knowledge about the subject, in the ability to creatively apply them in the process of perception, to the degree of development of the ability to the associative vision of the world and etc. This is connected with the sphere of interest, worldview, individual identity features, even the state and mood at this time.

As background, that is, conducive to composite elements of the ability to aesthetic perception, which were considered, acting such properties of the individual, as curiosity, torture, excerpt, patience, etc. They contribute to the formation of the ability to see, hear, observe.

As you can see, the ability to aesthetic perception allows a person who does not break down from the specific characteristics of the subject, to relate them to the most complete content of it and create the most complete, holistic image of the subject.

The aesthetic attitude towards the world implies the ability to identify the ratio of perceived specifically sensory phenomena to human needs perfectly, in other words - the assessment of them as beautiful or ugly, sublime or comic, etc. without the presence of aesthetic estimate, indicated B. M. Heat, loses Meaning the development of other aesthetic abilities The assessment continues to perceive and orient the subject to what the most effective or least desirable areas of activity are. To disclose what abilities provide an assessment process, it is necessary to imagine its mechanism.

In any form of a person's relationship with the world, the assessment is made by comparing the disabled item with the appropriate need. This comparison may be directly (the practical value of things, for example, is comprehended in the process of its consumption, applications; the moral value of the act can be determined by its social consequences, etc.). But, over time, the assessment becomes and mediated, because in consciousness there are generalized ideas about the existing positively valuable phenomena - norms and on non-existing yet, but desirable, more valuable, are ideals.

Representations and views of the proper, about the need for society, class constitute the main content of each form of public consciousness. It is in them that the needs and interests of society, class, due to the material conditions of their existence, are expressed. With these regulatory views and compares the estimated phenomenon.

Since aesthetic estimate is based on sensual contemplation, it often generates an illusion that the aesthetic values \u200b\u200bare opened by the perception itself. I looked at the man's caricature - and immediately laughs, appreciating it as a comic. It seems that no comparison with any regulations he did. A more thorough analysis still convinces: "see" the comic of the phenomenon can, if he sees that the one shown is contrary to normal, what should be.

Aesthetic standards are images in which, unlike cognitive, single and general representations, summarized the characteristic features of the necessary people of perfection. The aesthetic image "Clean Sky" Almost all people have more or less permanent content, folding out of a number of features: air transparency, silence, "ringing" of blueness, infinity of the space, which are associated with the desired peace, peace, freedom.

The selection of perfection necessary to modern person is produced first in the practice itself, in the process of mastering the phenomena of a particular type. Samples appear, reflected in the consciousness in the form of an unintended image of a satisfying subject. So, the ancient Greek art of the period of high classics and to this day in a certain sense preserves, as noted by K. Marx and F. Engels, "the value of the norm and an inaccessible sample" in the consciousness of the athlete, the exercise of the exercise can become a model to which you need to strive.

But gradually the analysis of many impressions, samples leads to awareness, the dissection of individuals and properties that most satisfy the person in the subjects of various kinds. Separate aesthetic criteria are created for various spheres of life. These generalized criteria exist in consciousness predominantly in the form of objects of objects, in which such properties are most developed and for which they are most characteristic, typical. So, the standard (symbol) of flatness and cleanliness of the surface - glass, mirror; Eightness criterion - fluff; The image of the "rocket" today embodies the criterion of the speed and power of the movement.

Separate criteria can be creatively synthesized into complex reference images - stereotypes. For example, the image of the "red maiden" includes positive signs, which in the minds of the people there are not so many theoretically decorated, as in the form of associations: cheeks, like fuel apples; slim like birch; "Flowing like a winch", etc.

Of course, communication, exchange of experience between people, the process of upbringing is forced to comprehend the criteria of beauty and express them in a verbal-conceptual form. It has long been formulated, for example, general principles or laws of constructing a perfect holistic form - symmetry, equilibrium, proportion, rhythm, a certain order, harmonicity and some others. But even these generalized criteria in the experience of a person are filled with a specific figurative content, different in various spheres of life (in nature, behavior, etc.).

The whole totality, the system of aesthetic criteria, standards is the content of the aesthetic taste of the individual. As a political position, as a conscience in morality, the taste is the subjective aesthetic position of the individual, developed in the process of mastering and assimilation of the aesthetic consciousness of society and comprehended its own relationship with the world.

Of all this, it is clear that in the formation of aesthetic taste, the ability of representation, reproductive and creative imagination is played, the ability to think, aware of their own and someone else's experience. Therefore, the tastes of people differ in measure of meaningfulness, the ratio of shaped and theoretical knowledge, latter, depth and such qualities. They are distinguished by the degree of truth: in varying degrees express the aesthetic need of society.

The functioning of taste is to comply with the need for perfection, due to which the degree of aesthetic value of this subject for humans is directly comprehended. Depending on what is perceived and as it is meaningful, the corresponding standards are selected consciously for comparison, the corresponding associations are included. (Different criteria people apply to the same musical work; for one - song, and for another - romance).

This process depends on the experience of appraisal activities. If the phenomenon in general, we know or have clear properties already encountered in our experience, then estimation essentially coincides in time with the process of perception, actually instantly, for many estimates are transferred from past experience or internatively. D. Reynolde, an English artist and theoretics of the art of the XVIII century, noted that numerous vital observations accumulate spontaneously. There are so many that in each particular case, giving aesthetic assessment, we cannot recreate all the material in memory, where does our feeling begins, but the mediating of the assessment of the norms that have arisen in practice (let many of them have not yet been drawn up by thought) allows for "need Still to realize them, at least the main. Without aware of the evaluation criteria, it would be impossible to aesthetic education.

Thus, the leading property in the estimated ability is figurative thinking, operating with images of perception and aesthetic representations, samples.

Unfortunately, psychologists until recently did not pay due attention to the study of the nature and role of figurative thinking. The underestimation of the ability of figurative thinking adversely affects the practice of aesthetic education. For most teachers, for example, primary classes consider this ability to lower in comparison with abstract-conceptual theoretical thinking. Meanwhile, for operating images requires the same abstraction abilities, generalizations as for conceptual thinking.

In addition to the mental process, the image becomes a sensual carrier of a generalized value that converts the most sensual content; "It is subject to a certain retouching: those traits that are associated with its meaning, the rest, for him, are insignificant, random, side, retreat to the background, are stocking, they go to no." So, giving a person a rating "flies through life like a moth," we operate not form, coloring and the like properties of the moth, but only one common feature - the ease of change of objects. In other words, an aesthetic estimate is, in fact, with conclusion at the figurative level: to the conclusion of imperfection, the public inappropriateness of this form of behavior, we did not come by theoretical reasoning, evidence, and directly (in contemplation) the discovery of the similarity of human actions with the reference of the carefree "floria" .

Thus, the richer, the reserve of aesthetic ideas and knowledge in humans, the more developed the ability to associate images of perception with them and with phenomena, previously estimated, especially from other spheres of reality, the faster, more precisely, a truer person will appreciate the beauty of perceived.

Thanks to these diverse associations there is an emotional response to the subject, an emotional assessment of it. It is summarized, various experiences are synthesized, associated with individual perceived properties, and with the whole. Looking at the autumn landscape, a person sees a totality of certain forms and color relationships. Depending on their nature, they can be associated with ideas about life, its brightness, wealth, and those causing positive feelings or with ideas about fading, old age, death, which gives, of course, a different aesthetic feeling.

In aesthetic sense, therefore, the result of the evaluation process is expressed - determining the nature of the object of the object to aesthetic need.

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Introduction

Conclusion

Bibliography

Introduction

The most important type of spiritual production is art. Like science, it is the creation of professionals - artists, poets, musicians, i.e. specialists in the field of aesthetic development of the world. This method of spiritual development of reality relies on a peculiar phenomenon of social reality, fixed philosophy in the Aesthetic category.

Another interesting aspect of the topic in question is the problem of the relationship of universal structures in the art and its national characteristics. In comparison with other types of spiritual production (science, religion), the national moment in art is more weight. For it is stronger dependent on the national language, character, ethnographic features, etc.

The subject of consideration is philosophy.

The purpose of the work to reveal the foundations of art as a cultural sphere.

To explore the topic, it is necessary to consider the following questions:

Aesthetic perception of the world and its role in culture;

Art as aesthetic activity;

Art functions;

Class and national in art;

Social content of art.

1. Aesthetic perception of the world and its role in culture

aesthetic culture art spiritual

Aesthetic is not an exceptional prerogative of art. It constitutes one of the general characteristics of the very social being and, as it were, "dismissed" throughout social reality. Aesthetic, i.e. causing the relevant feelings, maybe anything: natural landscapes, landscapes, any items of material and spiritual culture, the people and all sorts of manifestations of their activity - labor, sports, creative, game, etc. That is, aesthetic represents how A certain face of the practical activity of a person who creates specific feelings and thoughts.

The objective basis of the appearance of aesthetic is obviously some fundamental laws of being, manifested in relations, harmony, symmetry, integrity, expediency, etc. The specifically sensual, the visual form of these relations in the objective world gives rise to a kind of resonance in the soul of a person who and He himself has a particle of this world and, therefore, is also involved in the overall harmony of the universe. Configuring your subject and mental peace in unison with the action of these universal relations between being, a person and is experiencing specific experiences that we call aesthetic. It should be noted that in aesthetics there is another look at the nature of aesthetic, which denying its objectivity and withdrawing all forms of aesthetic exclusively from human consciousness.

Aesthetic experiences, due to the versatility of the relatives underlying relations, are able to arise in any form of human activity. However, in most of them (work, science, sports, game), the aesthetic side is a subordinate, secondary. And only in art, the aesthetic start is self-sustaining, acquires the main and independent meaning.

Art as "net" aesthetic activity is nothing more than the urban part of the practical activity of people. Art grows from "practice" in a long historical process of developing peace by man. As a specialized activity, it appears only in antiquity. And in this era, the aesthetic content of the activity is far from immediately becoming separate from the utilitarian or cognitive. In the reporting period of history, what is commonly called primitive art, the art in his own sense of the word was not. Frame drawings, sculptural figures, ritual dances had a firstly religious magic value, and not aesthetic. These were attempted practical impact on the world through material images, symbols, rehearsals of joint actions, etc. Direct impact on the success of a primitive person in the fight against the outside world, they need to think, they did not provide, but their indirect influence on it is undoubtedly.

Objectively significant, almost useful asset of the undispical exercise of the primitiveness in "painting", "song", "dance" was the joyful sense of community, unity, an indisputable strength of the kind.

The primitive "works of art" were not subject to peaceful contemplation, but elements of serious action to ensure successful work, hunting or harvest, and even war, etc. Emotional arousal born by these actions, the rise of the spirit, ecstasy was the most practical force that helped a primitive person to achieve its goals. And from here, just one step before understanding that such an excitement of emotions, the "delight of the soul" has independent value and can be organized artificially. It was found that both the activities of the creation of symbols, images, rituals are able to bring a sense of satisfaction with whatever a practical result.

At the same time, only in the class society, this activity was able to acquire a completely independent nature, to turn into a genus of professional classes, because only at this stage the society is able to maintain persons liberated from the need for constant physical labor to produce means of existence. That is why the art in his own sense of the word (as professional aesthetic activities) appears at historical standards quite late.

Art, like other types of spiritual production, creates its own special, ideal world, which, as it were, duplicates the objectively real world of man. Moreover, the first possesses the same integrity as the second. The elements of nature, public establishments, mental passions, the logic of thinking - everything is subjected to aesthetic processing and forms a parallel to the world world of artistic fiction, which sometimes happens to convincing the reality itself.

Art is one of the forms of public consciousness, the specificity of the practical spiritual development of the world. Reflecting the world around, art helps people to know it, serves as a powerful means of political, moral and artistic education.

The art includes a group of varieties of human activity - painting, music, theater, fiction.

In a wider sense of art, the form of practical activity carried out skillfully, masterfully, skillfully in technological, and often in aesthetic sense.

The most important feature of art is that it is unlike science reflects reality not in concepts, but in a specific, sensually susceptible form - in the form of typical artistic images.

The chief distinctive feature of the artistic sign of artistic creativity is not to create beauty for the sake of the excitement of aesthetic pleasure, but in the figurative development of reality, i.e. In the development of specific spiritual content and in specific spiritual functioning, which introduces this content to culture.

Art manifested itself at the dawn of human society. It arose in the process of labor, practical activity of people. At first, art directly intertwined with their labor activity.

Your connection with material manufacturing activities, although more mediated, it has kept it to this day. Truthful art has always been a faithful assistant to people in labor and life. It helped them to fight the forces of nature, delivered joy, inspired to labor and tact exploits.

Determining the meaning of art, as a special forms of human activity, the theorists went by two ways: Some absolute certain functions of art, seeing his appointment in the knowledge of the real world, or in the expression of the artist's inner world, or in purely gaming activity; Other scientists argued precisely multidimensionality, difference, polyfunctionality of art, not lifting until the explanation of its integrity.

Art in class society is class character. "Clean art", "art for art" - no and can not be. Availability and intelligence, huge persuasiveness and power of emotional art make it a powerful tool of class struggle. Therefore, classes use it as a conductor of their political, moral and other ideas.

Art is part of the superstructure, and it serves as a basis, on the basis of which it develops.

Art based on the dialectical and materialistic methodology and principles of systemic research, looking for ways to overcome various one-sided interpretations of nature.

In art, the overall structure of real human activity is captured, which causes its versatility and at the same time integrity.

The conjugation of the cognitive, estimated, creative and iconic-communicative function, allows the art to recreate the human life in its integrity, serve its imaginary supplement, continuation, and sometimes replacing. This is achieved due to the fact that the carrier of the artistic information is an artistic image in which the holistic spiritual content is expressed in a specific sensory form.

Therefore, art is drawn to the experience, in the world of artistic images, a person should live like how he lives really, but the consciousness of the illness of this "world" and aesthetically enjoying how skillfully it is created from the material of the world real.

Art provides a person with an additional life experience, although imaginary, but a specially organized and infinitely spread the framework of the real everyday experience of the individual. It becomes a powerful way to specially directed formation of each member of society. It allows a person to implement his unused opportunities, develop mentally, emotionally and intellectually, to acquire to accumulate humanity collective experience, age-old wisdom, universal interest, aspirations and ideals. Therefore, art performs a specially organized function, and is able to influence the course of the development of culture, a kind of "self-consciousness", which it becomes.

The structure of art, as any complex dynamic system, is distinguished by flexibility, mobility, variational ability, which allows it to enter into a variety of specific modifications: various types of art (literature, music, painting, architecture, theater, cinema, etc.); different genera (for example, epic and lyrical); genres (poem and novel); Different historical types (gothic, baroque, classicism, romanticism).

In each real artistic phenomenon, a special modification of the general and sustained features of the artistic and figurative development of the world is found, in which the one or another side of its structure acquires a dominant value, and, accordingly, the relationship between its parties, for example, is in its own way, for example, the ratio of cognitive and creative abilities.

No matter how conjured in the creative method, the main facets of the artistic structure, it always, first of all, characterizes the content side of creativity, the refraction of the life reality through the prism of the artist's world-view, and then the method of embodying this content in the form.

2. Functions of art and its social content

The perfect world of art is a kind of test polygon for numerous human aspirations, desires, passions, etc. Experiment with living people morally unacceptably unacceptable, but with artistic images, symbols - how much soul. Only artistic means allow you to anatinate any everyday situation, a deed, the motive without prejudice to a person. You can play any variants of human behavior, to exacerbate conflicts to the limit, bring all thought of man to the logical end. "And what will happen if ...." - Here is the original point of all comedies, tragedies, drams, utopia and anti-nightopy. The fictional artistic world is sometimes "as a friend and calling, and leads," but can serve as a formidable caution of humanity about numerous social hazards. Art thus acts as a tool of self-knowledge of society, including "at the limit" of its capabilities, in extreme conditions. It is believed that it is in such situations that a person knows best.

The ideal artistic world produces a system of aesthetic values, beauty standards, stimulating a person to strive for excellence, optima in any field of activity.

The most profound and successful images grow to the level of universal symbols, in which the entire gamma of human characters, temperaments, behavioral methods are embodied. Art acts as a kind of visual learning tool, an indispensable method of human socialization.

The aesthetic world is genuine memory of mankind. It is carefully and reliably during the millennium, the unique features of many of the most diverse lifestyles are preserved.

In other words, art performs many practical useful functions - intelligence (samples and errors), cognitive, educational, axiological, memorial, etc. But still the main function of art is aesthetic. Its essence is that art is designed to deliver aesthetic satisfaction and pleasure to man. After all, in the end, we go to the cinema or the theater is not the same, so that our life has been taught there or demonstrated instructive examples for imitation. From works of art, first of all, we want to enjoy. And not just pleasure, but the pleasure is aesthetic. It does not reduce the favorable arrangement of the Spirit from contemplation of the beautiful. The nature of aesthetic pleasure lies in an excited, tightened state of the spirit, experiencing a mute delight from the impeccable execution of the work of "art crafts".

At the same time, the artistic taste of any person is, of course, the case of upbringing and habit. But the objective basis is universal. For example, even if a person never taught a musical literacy, it usually distinguishes the "correct" singing from the fake. How it succeeds, science, as they say, is unknown, but it is quite obvious that our organs of feelings themselves are configured to the electoral perception of certain ratios of harmony, symmetry, proportionality, etc. So, when in organized by art, the sounds, paints, movements, words appear this relationship, our spirit involuntarily comes to some excitement, tries to combine its condition with this "Rhythm of the Universe". This is the essence of aesthetic experience. And if we, inspired by contact with a true work of art, carry these emotions to everyday life, try to achieve at least approximately the same perfection in our usual activities, art can consider its main task (aesthetic function) performed.

Art, in contrast to other types of spiritual production, appeals more not to size, but to feelings. It though reproduces significant and sometimes the hidden parties of reality, but trying to do it in a sensually visual form. This, in fact, gives him an extraordinary power of impact on a person. From here, the features of art as a method of mastering the world are stem. These are usually referred to:

· Artistic images, symbols as the main means of reproducing aesthetic reality;

· "Inverted" method of generalization - general in art is not abstract, but extremely specifically (any literary hero is a pronounced individuality, but at the same time general type, character);

· Recognition of fantasies, fiction and the simultaneous requirement of "vital truth" from the products of this fantasy;

· The leading role of the form of art with respect to the content and others.

A very peculiar character has a way to develop art. After all, his progressive orientation is far from self-evident. The direct overlap of any scheme of historical progress on the history of the arts develops only bewilderment: did modern music "progressive" classical, modern painting overshadowed the painting of the Renaissance, and the literature surpassed the geniuses of the last century ... Such comparisons for some reason are mostly in favor of the past.

But, of course, the formulation of the problem of aesthetic progress in this form is not correct. The nature of the artistic genius, we put, at all times can be considered the same. But the aesthetic maturity of society is different. Adults admire the naive delegation of children, but they themselves can no longer be. In accordance with its historical "age" in different epochs, art cultivates different directions of human life.

For example, the art of antique sculptors is generally recognized. But can you remember any particular living person of countless Afrod, Apollo, Athens and other celestials. Make this nonspecialist in art historian studies is very difficult. And not because they are portraitically similar, the physiognomy of the Olympians are just different. But they are stunningly similar in their "lightness." Art has not yet realized how the intellectual power of mankind follows and admits mainly the physical perfection of a person, the beauty of his body, the grace of poses, the dynamics of movement, etc. Now they are imprinted in our memory numerous naked tors, hands-legs, elegant body bends and ... all. It is impossible to admire the perfection of ancient sculpture today. Otherwise, you will find badly brought up. But with respect for the ancient masterpieces, no one hurries to fill out their squares and interiors with copies. The era is not that. And aesthetic requirements, respectively, others.

Nowada, humanity has been recognized as its main advantage and pride. The power and limitless possibilities of human mind are dominant, the center and aesthetic development of the world. Therefore, modern art has become based on its intellectual, symbolic, abstract. And today it can not be today. When we look at the most interested "workers and the collective farmer", we read primarily the idea of \u200b\u200bthe author of the composition (faith of the fly), grab the idea of \u200b\u200bthe celebration of a new life, and then perceive the harmony of the combination of specific artistic images, details. That is, the perception of modern art is completely different than before.

Over the centuries, the complexity of art, its genre and species differentiation, the depth of aesthetic comprehension of the world is constantly growing. At the same time, of course, the aesthetic values \u200b\u200bof the past epochs are not discarded, and largely retain their appeal. No matter how much a child has toys, he will still dare to the one that he has no. So the modern mature, complex aesthetic culture with envy looks at the fact that she is not enough for her, - on simplicity, charming naivety and the immediacy of his distant historical youth.

The possibility of the appearance of art as a sphere of professional activity is related to the emergence of class differentiation of society. This connection is maintained in the future, overlapping a certain imprint on the development of art. However, it should not be interpreted straightforwardly, as the presence of different types of art: proletarian and bourgeois, landlord and peasant, etc. More precisely, art is always to the upper, dominant layers of society. Being dependent on them in the material plan, it is involuntarily configured to the wave of interests of the privileged layers of society and serves these interests, issuing them for universal, universal. And what is interesting: in a long historical plan, this illusion turns into reality.

The problem of classiness in art is ultimately reduced to unavailability for the wide masses of the people, firstly, consumption, and secondly, production, the creation of works of high art. In the modern world, this problem (at least in its first part) is mainly solved purely technically: the development of media and communication that makes at least consumption of art achievements available to almost everyone would be desire. However, the problem of "cutoff" of art from the people turns another edge. There is quite a sharp opposition, on the one hand, the art of elitar, "high", requiring special aesthetic preparation for their perception, and on the other hand, the art of a massive, publicly available, aesthetically unpretentious.

To see in this new differentiation of someone's evil goats or the chinnings of a class enemy, of course, meaningless. This is just a way to master humanity in the innovation of culture. In our, let's say, the country in the last century simple literacy was already a great achievement against the background of the overwhelming majority of illiterate. Now it seems to be literate all. Yes, I'll trouble: a new type of literacy appeared - computer. Today, probably, the ratio of computer competent and computer illiterate approximately the same thing that was in the last century between competent and illiterate. But there is hope that historical progress will do and in this case its business is regular. And in art, obviously, the situation is similar.

Another interesting aspect of the topic in question is the problem of the relationship of universal structures in the art and its national characteristics. In comparison with other types of spiritual production (science, religion), the national moment in art is more weight. For it is stronger dependent on the national language, nature, ethnographic features, etc. The poem translated into another language turns into essence, in a different work; Characteristic dance, torn away from local conditions and traditions, looks often ridiculous; Oriental melodies often seem to be an Western resident, etc. At the same time, it is impossible not to see the reverse examples: Shakespeare, because what is called, and in Africa Shakespeare, and the genius of Lion Tolstoy or Fedor Dostoevsky was consonant to the whole world.

It is easy to see that, no matter how significant the national features of art are, its internationalization, supported by the powerful technical base of modern means of communication, is now a prevailing trend. However, the national features of the art of various nations do not disappear completely, and they cannot disappear. Any people like fire is afraid of diversity losses, even an archaic. Modern civilization brings with me the strongest craving for unification of all and all. But it also gives rise to countertencing: everyone wants to be civilized, but they do not want to be the same. As in fashion: everyone wants to look fashionable, but God forbid to go to the same, albeit trendy jackets and dress. So cultivate different peoples in our culture national specifics (and in the art of the possibilities of a lot). This, probably, there is quite solid historical, and even bioshristory meaning. All lively vibrant variety, not the same.

Being one of the types of reality, art cannot not follow the general direction of the historical development of society. However, from history, it is known that the era of the heyday of material and spiritual cultures often does not coincide. The reason for this is not only the specificity of the material and spiritual production, but also a kind of "principle of conservation" of human energy: if the human activity in the material sphere is struck in any way, limited, went into a dead end, then it involuntarily moves, shifts into the sphere of the Spirit, causing For life new sciences, utopia, ideology, etc. Art also exhibits great activity in pre-crisis, turning historical epochs when they are exposed, their main contradictions become obvious and, accordingly, the search activity of the spirit, the preintegrating the tragedy of the inevitable resolution of these contradictions and trying to find any acceptable exit.

One of the most visible illustrations of this thesis is the history of the XIX - early XX centuries., Fixed the birth of such a kind of aesthetic phenomenon as modernism. Everything, without exception, the species and genres of art experienced the strongest influence of the "Modern style" style, for several decades literally crushing age-old aesthetic stereotypes.

Art was dehumanized because the same tendency was gaining strength in other areas of public life, unfolding to the middle of the century in their entirety.

The XX century, probably, will go down in history as the era of combating totalitarianism and authoritarianism, very inhuman political regimes. But even in the developed democracy of the very relaxed part of the world, the technocracy style of life and thinking is in itself a far from a manifested threat of humanity. Similar examples can be set. But their essence is obvious: the dehumanization of all social life is one of the distinguishing features of the history of our century. Art saw this tendency first, before other forms of spirit - science, religion, morality. It also became one of its first victims.

The dehumanization of society in general and totalitarianism of political life in particular, in the middle of our century a completely unique phenomenon - totalitarian art. His uniqueness lies in the fact that its purpose as totalitarian art does not give rise to itself, the logic of its self-development, and receives from the outside - from the political sphere. In this case, art loses its aesthetic nature, becoming a means of implementing political goals alien to him, a tool in the hands of the state.

Where there is a similar symbiosis of politics and art, a certain single style is inevitably born, which can be called total realism. Its basic principles are familiar to each of us: "Art reflects life", "Art belongs to the people", etc. Alto themselves, in a diverse arch of the aesthetic canons, these principles, of course, are not bad. But those who are alien aesthetics of political goals are often transformed into poison for art.

Conclusion

Art is an integral part of human life. It intertwines through the entire history, leaving in it forever his imprint, its mark.

The aesthetic perception of the world plays a huge role in culture, brings up the moral component of a person, his ability to appreciate and understand the beautiful.

Art, like any other type of spiritual production, can not be subordinate to alien goals. It, among other things, should work and "on itself". Only then it is capable of being a real educator. Right, it is worth thinking about the statement of Kornea Chukovsky: "Every public utility is more useful if it is committed with the personal feeling of her uselessness .... We must recognize all these sets of ideas: art for art, patriotism for patriotism, love for love, science for science - the necessary illusions of modern culture, to destroy which is not that it should not, but it is impossible to destroy! "

Art for art is, of course, illusion, but the illusion is productive! In the end, the call to love their neighbor as itself is also nothing more than illusion, but can the current culture from him to refuse.

Modern Russian art is slowly selected from its totalitarian shell. Unfortunately, it falls out of fire to the floor, "which is the fault of the crisis state of our society and the desire of political forces to use art for their own purposes. Art is activated in pre-crisis epochs. In the distance, the years of the crisis and social catastrophes themselves is bad. Before him, it's just no one. The society is engaged in salvation of the material basics of its existence. But art will certainly survive: his social role is too large and responsible. And it remains only to hope that the subsequent development of art will naturally and organically. Only under this condition he has a future.

Bibliography

1. Afasivev M.N. Western concept of artistic creativity. M., 1990.

2. Butkevich O.V. Beauty. L., 1979.

3. Waidle V. Dying Art // Self-awareness of the European Culture of the 20th Century. M., 1991.

4. Gadameam H.G. The relevance of the beautiful. M., 1991.

5. Zaks L.A. Artistic consciousness. Sverdlovsk, 1990.

6. Kagan M.S. Historical typology of artistic culture. Samara, 1996.

7. Kagan M.S. Philosophical value theory. St. Petersburg., 1997.

8. Kagan M.S. Aesthetics as a philosophical science. St. Petersburg., 1997.

9. Konev V.A. Social being of art. Saratov, 1975.

10. Kruchinskaya A. Perfect. Myth and reality. M., 1977.

11. Kuchuradi I. Evaluation, values \u200b\u200band literature // Questions of philosophy. 2000. № 10.

12.Lechcier V.L. Introduction to the phenomenology of artistic experience. Samara, 2000.

13. Lishaev S.A. Aesthetics of another. Samara, 2000.

14. Losev A.F., Shestakov V.P. The history of aesthetic categories. M., 1965.

15. Mankovskaya N. Aesthetics of postmodernism. St. Petersburg., 2000.

16. Ortega-I-Gasset X. Degumanization of art // Self-awareness of the European Culture of the 20th century. M., 1991.

17. Rossman V. Mesum under the Blade of Beauty // Questions of Philosophy. 1999. № 12.

18. Samokhvalov V.I. Beauty against entropy. M., 1990.

19. Soloviev V.S. Beauty as transforming power // Solovyov VS Art philosophy and literary criticism. M., 1991.

20. Heidegger M. Art and Space // Self-awareness of the European Culture of the 20th Century. M., 1991.

21. Heidegger M. Island of Art Creation // Heidegger M. Work and Reflections of different years. M., 1993. P. 47-132.

22. Yakovlev E.G. Aesthetic as perfect. M., 1995.

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The problem of aesthetic perception from the second half of the XIX century. She became one of the central aesthetics. In her decision, not without reason, he saw the key to the solution of other aesthetic problems, including those relating to the subject of aesthetics. In the spirit of natural-scientific enthusiasm of the time, it was especially actively developed by representatives of psychological (Lipps, Fehner, Folkhelte, Vorneger, Freudists, Vygotsky, Arnheim, etc.) and a phenomenological (Ingardian, Gartman, Merlov-Ponti, and others resting on it. ) Directions in aesthetics. Later, from the late 60s. XX century, a lot of attention was paid to the aesthetic perception. receptive aesthetics, The main representatives of which were German literary critics Hans Robert Yauss (1921-1997; chief work - "aesthetic experience and literary hermenentics", 1977) and Wolfgang Isior (1926-2007; Chief Labor - "Act of Reading: Theory of Aesthetic Impact", 1976). They followed the phenomenologists postponed the main emphasis in aesthetic relation, in understanding the artistic essence of the work on the recipient, i.e. On the peculiarities of the act of artistic perception (mainly on the material of the literature) and concluded that the principal meaningfulness of the artistic work, as in principle, is substantially dependent on the subject of perception.

A lot of significant, interesting and often contradictory judgments (in particular, concepts are expressed about the process of aesthetic perception. fouloving, empathy, sublimation etc.), which is understandable. This process is not only in the essential reasons, but even at a psychological level, it is practically no more or less solid analysis, for it is associated with the subtlest matters of the spiritual life of the person who go beyond the limits of modern scientific knowledge and are not amenable to adequate verbalization. Here are only cautious assumptions based on the combination of knowledge of psychology, philosophy, aesthetics with attempts to understand the personal aesthetic experience, intuitive inspections of the most researcher and regular peeks in the field of mysticism and theology, where seeking thought faces similar problems.

Without going into details, in the most common plan, you can specify four Enough phases (or steps) of the process of aesthetic perception. At the same time, I immediately want to emphasize that they do not depend on what is an aesthetic object - a natural subject, spiritual education or a work of art.

• 1. The initial phase, which precedes the actual process of perception, can be conditionally designated as aesthetic installation. It characterizes the conscious and extractive mood of the subject for aesthetic perception. As a rule, this is a special volitional act of a person who has specially coming into the art museum, to the theater, to a conservatory attending a monument of architecture, who left the beauty of a natural landscape or starting to read poetry, fiction, etc. The recipient pre-knows that these objects have aesthetic qualities, and he wishes to specify them for itself, i.e. To become the owner of their aesthetic value, or, as a normal aesthetic subject reflects, "enjoy the beauty of the object", survive some pleasant states initiated by him, etc. A person with a fairly high level of aesthetic culture, aesthetic sensitivity, aesthetic installation often occurs and spontaneously without special mood at an unexpected meeting with an aesthetically significant object, as a rule, natural or works of art. Then it practically coincides with the second phase of perception, or with the beginning of the process of direct aesthetic perception.
• 2. This phase can be indicated as primary emotion, And it is characterized by a complex of not yet well-defined emotional and mental processes of a common positive tone. The primary experience begins (some emotional flash) that we specifically sensual entered into contact with something neatarity and essentially significant for us, exciting joyful expectationfurther development of contact in the spiritual direction.
• 3. At the next one central Phase occurs aesthetic subject in the process of its active development. We read a literary work, listen to the musical, look at theatrical performance or movie, bring in a picturesque picture, inspect the architectural monument or natural landscape, etc. This phase for each type of aesthetic object has its own characteristics (for works of art, we will look at them in more detail when talking about artistic education and symbol), But the essence of it remains the same. The active process of contacting the subject and the object is underway, the initial stage of active aesthetic perception by the subject of the object, as a result of which the subject is almost completely rejected against the total side, not related to the process of aesthetic perception. It seems to be turned off for a while (which can be physically measured by seconds, minutes or hours, but the subject does not notice this; physical time loses its relevance to him) from everyday life. Without losing the feeling of its presence and its belonging to it, as well as its participation in the aesthetic act, he is real e-lives A completely different life.

Each particular act of aesthetic perception is a whole and holistic, special and unique life for the subject of perception, which flows in its space-time continuum, which does not correlate and not commensurate with the physical continuum in which it is actually located. Physically, the act of perception can occur for a few seconds (although it is usually required for it much more time), but if it is a complete aesthetic act with all its phases, then the subject of perception is experiencing it as a full, saturated, purely spiritual life flowing in some kind measurement that does not depend on physical time, space and other factors. To some extent, and psychologists and psychologists have repeatedly written about it, this phase can be shared by a dream, when as a moment before the awakening can survive a long period of some other life, filled with many events, feeling at the same time then the peripheral consciousness that all this comes with him in a dream.

This phase can be indicated as eidetic-psychic or spiritual and Eidetic. Here is subject sees and hears Aesthetic subject, all sorts of figurative processes are intensively developing in its soul, directly initiated by a specific object of perception and aroused its response and spiritual activities, due to the level of its aesthetic culture, associative synesthetic experience, the state of his soul at the time of perception, the situation of perception, Other subjective moments. Dynamic concretization of the aesthetic object is underway when the recipient is actually experiencing states, situations, peripetics, figurative patterns directly related to this object, generated by them; He experiences the beauty or elevation of the landscape, follows the development of the musical theme, compets the heroes of the literary or theatrical drama, etc. Many aesthetics and art historians wrote about all these things, based, as a rule, to their personal aesthetic experience.

This is the most affordable for a fairly wide circle of recipients of aesthetic perception. Many on it stop, because there are already quite high aesthetic pleasure, The acting act of perception was found through almost the entire act, and they are believed to be strengthened in this aesthetics, art historians and critics, which actually reduces the entire aesthetic act and the process of perception of the work of art. However, it is not. Every person with a fairly highly developed and more trained (it is necessary or desirable precisely the special training of perception) aesthetic feeling knows that behind this phase it is still higher, which can be called aesthetic contemplation, Using the term "contemplation" in that in-depth sense, which invests in it usually mystics, speaking of vita Contemplativa.

Here I would like to emphasize once again that this one, the third phase is central The main and completely full of aesthetic experience. Only the quality of artistic terms of the work lead a recipient with a developed or highly developed aesthetic taste for this phase. In fact, all the high art was mostly focused on it, and for her, people strive in museums, concert halls, theaters, etc. This phase has a lot of its sublevels, on some of which are aesthetic joys of the people of middle aesthetic susceptibility, middle aesthetic preparation, and recipients with the most exquisite taste are aisure. It is the last in contact with masterpieces that can reach the next, fourth phase of aesthetic perception, but it happens to them infrequently. Usually they are quite satisfied by the main, third phase.

A substantial meaningful component of the third phase of aesthetic perception is receptive hermeneutics - To understand the work of art at the time of his perception. You need to distinguish between two types of art hermeneutics - professional hermeneutics, which are engaged in art historians, literary critics, artistic critics, and recipe Which is inherent in almost any process of aesthetic perception - it is its third phase. This is the intellectual component of the third phase.

The spiritual and eidetic stage of aesthetic perception from the very beginning is accompanied by a peculiar intensive hermeneutic process in the consciousness of the recipient - with comprehension, intellectual interpretation perceived work. Recipient voluntarily or even involuntarily seeks to understand, comprehend, interpret, what he sees it, perceives, what means seen in the work of art, what it depicts and expresses what It causes a storm of feelings, emotions and these most reflections. These what, how, whyfor what an endless turn and often independently of his will arise in the consciousness of the recipient, and he often completely spontaneously responds to these questions (more precisely, the answers are formed by themselves somewhere in the depths of the psyche, excited by the process of aesthetic perception, and occur in consciousness), i.e. . Does, it is often not suspected of himself, it is hermeneutics of a perceived work.

It is clear that this hermeneutic process is a substantial and organic part of the perception of the overwhelming majority of works of art, especially literary center-based species and "subject", i.e. Isomorphic, painting. Perhaps only the perception of nethematatic music and abstract painting costs the prepared recipient without this hermeneutic process.

One brief illustration of what was said.

The film "Illusionist" (1984) of the famous Dutch director Yos Stelling - strong in the art plan, creative person, well-felt some kind of deep metaphysics (or archetype) of the Dutch, ascending to Bruegel, Boshu and other major artists of the Golden Age of the Netherlands Painting. A characteristic feature of his stylistics is an emphasis of pure film fiction, absurdity, the abnormality of human being, life, behavior as the main dominant. His heroes, as a rule, not from the world of this: single, closed in themselves, yurody and hermits of the XX century. At the same time, Stelling is a true poet of cinema. It works mainly by purely cinematic means: color, light, frame, angle, plastic camera movement, cinematic musicality and plasticity.

When watching the film "Illusionist", the receptive hermeneutics starts working from the first frames and continues long at the end of viewing. The film has a pronounced priest-symbolic character. The life of the female family is shown: the father is a strange old man in a wheelchair, the mother on which all the economy is holding, it seems to be only with a small "greeting", and three healthy son-benthole, besides almost blind - wearing glasses with thick lenses, only Through them and see the outside world, but they are often deprived of them (the conscious game of the director with the removal-loss-pit-loss-noddedness is lasting throughout the film) and they are immersed in some only an affordable hand (abstraction of being). The film is simply designed for receptive hermeneutics. It is superbly performed by purely cinematic artistic agents, but clearly to rational decryption (extremely sealed) of something hidden behind them, and at the same time completely deprived of the verbal series. Heroes do not speak at all, they communicate with facial expressions, gesturing or inseparable flow among themselves. Meanwhile, the plot of the film is simple and quite understandable: one of the sons seeks to become an illusionist, to create tricks following the example of a real illusionist, somehow you visited the village of them, and he succeeds.

The film is built so that almost every moment of his moment (by the way, all the footage are beautifully built composite, everything is nevertheless in some phasommatic scenery: the dwelling of the family against the background of wonderful landscapes, accompanied by bright, beautiful music - musical score is simply gorgeous and significantly in contrast enhances The absurdity of what is happening) automatically includes our henmeneutic mechanism, requires interpretation, explanation, decoding. It immediately pops up a lot of almost rationally read characters. One of these symbols of this saturated absurd moments and as a whole is an absurd ribbon - the world is difficult to distrect illusions in which all heroes live. This is evidenced by not only the strange architecture of their homes-object, and its interiors with the abundance of some wonderful things, and their actions (absurd performance), and some kind of non-vertical homemade vetotoles, and other absurd crafts, similar to the art objects of modern actual art, but also beautiful landscapes, amazing beauty sky, a thin musical palette, special, anonymously clearly verified focusing of the camera in the figures of heroes, their idiotic masks, on their glasses, ridiculous, jester robes, their actions, on separate subjects and t .P. An even deeper symbol is the idiocy of human being in general (idiotic and all others, allegedly normal secondary character characters), its absurd; The world is a hidden mental hospital or the theater of naive monsters and cruel (in our understanding, because they themselves do not understand this, naturally!) Clowns. Absurd as a norm of life. The real murder committed in the theatrical environment is a game, illusionist focus, etc. etc.

These are general, so to speak, the global moments of interpretation, and in the process of viewing instantly occur, intertwined with others and with non-verbal emotional and mental acts of perception, many local meanings and symbolic flickering of consciousness, which add up to the general emotional and eidetic symphony of the perception of this interesting in Artistic terms of the film. It is clear that such films, as in general, all real works of developing arts, you need to look at many times. It has to be done with the great works of painting and plastics, and cinema, theatrical performances, operas, symphonies, etc. For a full aesthetic perception, you just need to watch and listen repeatedly. Obviously, in this case, the recipe henmerement will always somehow change and, undoubtedly, to deepen, constituting a significant and very significant component of the third phase of aesthetic perception for the recipient.

4. Next, fourth, the highest phase is both hard to reach. Even subtle connoisseurs of art rarely reaches, exacerbated their taste of the highest level of susceptibility. She happens to be ideal Aesthetic experience, although quite achievable under certain conditions. And the recipient, once reached her, forever struck by his spiritual prospects, constantly strives for her, but inadvertently, alas, rises to her.

On this, already clean spiritual The recipient phase is dedicated from the specific-eidetic pattern of the third phase, from specific emotional and mental experiences, from a particular aesthetic object - from any intentional specifics and wakes up in the highest state of indescribable enjoyment which since the times

Aristotle called aesthetic catharsis (See below) and which is actually not amenable to verbal description. It is here that the subject of perception and enters into essential contact with the union or even with its root cause, it reaches the limitless completeness of being, it feels involved in eternity. I am experiencing, apparently, something similar in specific dives in aesthetic experience, Ingaden tried to describe this condition as part of his phenomenological methodology as a "discovery", "identification" of such a "high-quality ensemble", on the existence of which we did not even assume, could not imagine it . Aesthetic contemplation to some extent one can apparently compare with the act of meditation of some spiritual practices, but in our case the subject of perception never loses the feeling of its real I, with which some positive metamorphoses occur, initiated by the aesthetic object contained in the aesthetic qualities in it. .

Something very close to the two final phases of aesthetic perception managed to express in the sophisticated artistic images Herman Hesse in a symbolic story about the aesthetic perception of "Iris". Probably, it is precisely the experiences of the spiritual and eidetic phase formed the basis of the description of the process of viewing Anselm's boy in the Flower of Iris: "And Anselm loved him so much that, while looking inside, I saw in thin yellow stamens, then the golden fence of the royal gardens, then Alley in two rows of beautiful Trees from sleep, never begged by the wind, between which light, penetrated by alive, glass-gentle veins road - the mysterious way in the subsoil. The revealed arch was huge, the trail was lost among the golden trees in the infinite depths of unthinkable the abyss, the lilac dome was condensed over it, and the magical and light shadow squeezed in the quiet expectation of a miracle. "

And something approaching the aesthetic contemplation describes the already adult anselma of his strange girlfriend Iris: "So it happens every time ... When I sniff a flower. Each time my heart seems to be that with the aroma, the memory is connected about something beautiful and precious, once belonging to me, and then lost. And with music the same, and sometimes with verses: Suddenly, for a moment, something will flash, as if you suddenly saw the lost homeland in the depths of the valley, and immediately disappears away and forgetting.

Cute Anselm, in my opinion, this is the purpose and meaning of our stay on earth: to think and seek and listen to the long-range disappeared sounds, as our true homeland lies behind them. "

And all these extremely aesthetic images are oriented from Hesse for approval of the global symbolism of the earth's life, to whom the first fathers of the Christian church came from the other side of Christianity. "Any phenomenon on Earth has a symbol, and every character is an open gate, through which the soul, if she is ready for this, can penetrate into the bowels of the world, where you and I, day and night become one. Every person came across there, then on the life of the open gates, every one someday the thought comes that there is a symbol and that the symbol is inhabited by the spirit and eternal life. " Arriving in the religious sphere at the dawn of Christian culture, this understanding at its sunset is specified in a purely aesthetic sphere. Meanwhile, the religious thinker P. Florensky wrote almost the same thing and at the same time almost the same words. Much, if not all, converges in our culture and is very often closed on the aesthetic sphere, emphasizing her unique place in a person's life.

Everything maintenance The phases of aesthetic perception are accompanied by aesthetic pleasure The intensity of which is constantly increasing and reaches indescribable, explosive force in the third phase - aesthetic pleasure, After that, the subject mentally escaped by the concentrated experience of experience, but spiritually enriched and happy, returns from his aesthetic pilgrimage to everyday reality with the conviction that there is something that is much higher than it in the value attitude, and understanding that without it (everyday reality) Human life, alas, is impossible. Aesthetic pleasure concomitant to the process of aesthetic perception and testifying that it took place, has a different degree of intensity depending on the aesthetic object, the state of aesthetic subject at the time of perception, from the perception phase. Naturally, the level of this pleasure is not amenable to any measurement and is estimated purely subjectively. One can only state that from the second stage to the fourth, this intensity is constantly increasing and that in the second and especially third steps it is fairly stable and, as it were, only metaphorically can be used here, and on the last stage reaches peak value in the last stage. aesthetic pleasure. Therefore, the terms for this state makes sense to use different ones, based on their deep, intuitive sense: for the second and third steps, it is correct to talk about aesthetic pleasure And for the completion stage - aesthetic contemplation - about aesthetic delight As not only quantitatively, but also a qualitatively different stage of the state of perception.

Once again, it is emphasized, aesthetic pleasure and its highest phase of aesthetic pleasure, necessarily accompanying aesthetic perception, are not the main goal of this perception and aesthetic act as a whole, although they often actually stimulate to begin this process. The memory of them usually serves as a pulse for a new aesthetic installation, an entrusted person to the art museum, to a conservatory or just for a walk through picturesque places. The main goal of the aesthetic act is its final stage - aesthetic contemplation About which many recipients do not even know, but adultly strive for him, feeling its strong magnetism throughout the entire process of aesthetic perception, even if it is limited only to the spiritual and eidetic phase. Other purpose of aesthetic act (perception) can be designated and as actualization of aesthetic value, The vital person to fully implement himself in the world as a free and full personality.

To achieve the fourth phase of aesthetic perception, it is necessary for the presence of a similar three factors of aesthetic experience.

• 1. Availability highly artistic work, Almost art masterpiece. At the same time, it is obvious that the objective criteria for the definition of the masterpiece seems to be no, but they are nevertheless there is, although weakly succumb to verbalization. Masterpiece ontologically meaning. It is impossible to list all its characteristics, but it can

immediately see and find out a person with a developed aesthetic taste. This, of course, helps and long-term, as a rule, the historical life of the masterpiece, in the course of which he, however, claims himself in his ontological status, more precisely - represented self in contact with several generations of spiritually and aesthetically developed recipients; gradually show expressed in it only by his artistic means is some objective value, Individual and unique Eidos Being. Thus, he carries out real The increment of being, which was managed to understand only aesthetics and the philosophy of the art of the XX century.

Aesthetics and philosophers tried to name this intuitive feature of the masterpiece in different ways. Russian thinker XX century Ivan Alexandrovich Ilyin (1882-1954) In the main aesthetic work "The foundations of art: about the perfect in art" (1937) identified it as an "artistic subject", understanding a certain individual subjective spiritual spirituality under it, optimally expressing the objective spiritual essence of the subject, nature, human , God 1. Intuitively to this often, many artists, poets, musicians, as evidenced by their diaries, letters, other texts are trying in painful search. Alexey Losev tried to express the true essence of the art form (ideal, i.e. masterpiece) through antipomy image and prime, having in mind expression The primitiveness in the image that implies that this item itself is a derivative of this image, exists (opens) only in it and based on it. Kandinsky wrote about self-expression in the work of art through the artist objectively by the existing spiritual, etc. etc.

The history of aesthetic thought shows how difficult it is to verbalize the essence of the authentic process of an artistic expression, in which the artistic masterpiece arises - such objective quantum Special existence, which is relevant for highly developed aesthetic subjects of many generations and even different ethnic groups, i.e. It can lead them to the fourth phase of aesthetic perception, to open them something essential in the Union of the University, which is organically involving them and themselves. The masterpiece is such a specific, eidetic and energy quantum of being, which expresses one of the countless aspects of its essence, i.e. It contains a potential opportunity for adequate (about it below) aesthetic subject through specifically the sensual perception of this masterpiece to achieve the completeness of being, the meditative and contemplation state of the highest level.

And today we are known for us a relatively small circle of generally accepted masterpieces of world art, including the first third or even half of the XX century. At the same time, it is practically impossible to say however, this or that masterpiece is also impossible, although people who have a high artistic taste can almost accurately list these masterpieces. However, here the coinciding to several names of the ranks will not work. A subjective factor will actively intervene. Nevertheless, at a level of a certain generally recognized in the artistic and aesthetic community of professionals and connoisseurs of art of an intuitive convention, such a number, in any case for classical art, including the beginning of the XX century, we have.

• 2. The presence of a highly developed aesthetic subject, i.e. The subject capable of achieving the fourth phase in the process of aesthetic perception.
• 3. Availability of installation on aesthetic perception and possibility of its implementation, i.e. The favorable situation of perception, when aesthetic subject is tuned only to this perception, it does not distract some everyday care, extraneous ideas, somatic or spiritual pains, crunching cereals eaten in the cinema or theater, the chatter of visitors or the wise of excursions in the museum, etc.

Theoretically, this is enough to achieve the fourth phase of aesthetic perception, but almost everything is much more complicated. Especially with the first and third factors. The second seems to be more or less objective. It is what it is. But the generally accepted, objectively gown masterpiece far from any recipient corresponding to the second and third factors can lead to the state of the fourth phase of aesthetic perception - to the aesthetic contemplation. He must be masterpiece And for him personally, his masterpiece.

To explain this thoughts, it is best to contact examples from personal experience. So i'm good know That Durer is a masterpiece artist. However, with any of his works (with the exception of some self-portraits, and even then to the third phase), I do not have a full-fledged aesthetic perception. I do not even reach the third phase, although I know that I am dealing with masterpieces. The same with the "Sicstinian Madonna" Rafael from the Dresden Gallery. Excellent work, but I get stuck in her perception somewhere in the third phase. No catharsis, aesthetic contemplation, with her most printed, long and often perception (only in 1975, I lived in Dresden for three weeks and almost every day I was in the gallery, and in subsequent years I regularly visited this unique storage of world art masterpieces) I Not felt. But this is a generally recognized masterpiece! It's just not my work, not "my masterpiece."

For a full aesthetic perception, the masterpiece should be still my Correlated with some not comprehended by me at the rational internal components of my spiritual and spiritual world. And each of the highly developed aesthetic attitudes in a row of world masterpieces have their own masterpieces. Only with their contemplation into rare happy moments of life, he can achieve the heights of aesthetic perception. However, essentially different. Sometimes obvious non-heeders, but simply the good-quality works of a high artistic level can lead one or another recipient in the presence of the second and third factors, naturally, to the fourth phase of aesthetic perception. In aesthetic perception, a lot depends on the subject of perception and the specific situation of perception. Sometimes, the mediocre attitude in an artistic attitude in some situation of perceptions can have a strong impact on aesthetically highly developed person, even lead it to the fourth phase of aesthetic perception, to the artistic catharsis.

• Many of them in the phenomenological key are considered in detail (for literature, architecture, painting, music) in the above works of Ingaard and Gartman.
• Ingard R. Studies on aesthetics. P. 152, 153.
• Hesse G. Sovhed. cit. In 4 tons. T. 1. SPB., 1994. P. 113.
• Hesse G. Sovhed. cit. In 4 tons. T. 1. SPB., 1994. P. 120.
• Ibid. P. 116.
• For more information about the understanding of the Florensky symbol, see chapter 4.

Aesthetic perception gives a holistic sensual image of a reflected object. The content itself of the aesthetic perception is ultimately determined by the subject of perception, i.e. the aesthetic phenomena of reality and art. But the structure of aesthetic subject, the installation, which characterizes this perception as aesthetic has an important role in this process.

In the process of aesthetic perception, reality appears before the subject in all its properties and manifestations. The beauty of nature, the heroic deed or a tragic event in aesthetic perception is revealed in their objective qualities. And works of art in this perception are not only as a special form, but also as a certain content. Here, perception comes from a holistic sensual image, from the external life of the work of art to the analysis of its content, to thinking, to the disclosure of this content through a complex chain of associations.

Aesthetic perception is defined as an objective-associative, i.e. as perception, containing objective information on the aesthetic sides of the object and, at the same time, characterizing the subject as active, creative nature, in which the perceived object contributes to the deepening of the aesthetic identity wealth. This perception is in-depth, since, despite its sensually-shaped nature, it helps a person to penetrate the essential aspects of the perceived object.

The laws of artistic perception disclose the essential and necessary ties of the artistic reception. The process of artistic perception proceeds in the depths of the person's consciousness, is creatively active (the recipient acts as a "co-author", the creator, the performer of the work for himself); Includes the interpretation and assessment of the work in the light of the personally refracted experience of culture; Interpretations and assessments of the work depends on the possibilities of its active meeting with different receptional epochs and reception groups, and the borders of the "disclosure" of "Were" estimates and interpretations are due to the program of artistic perception laid in the work; delivers aesthetic pleasure that stimulates the creative activity of this perception; The intensity of aesthetic pleasure depends on the orderliness and complexity of the structure of the artistic work.

Installation in aesthetic perception is always associated with positive emotions, since in this process, a person always experiences joy, pleasure, pleasure, regardless of whether he perceives tragic or excellent phenomena. This is due to the fact that the objective phenomena of reality and works of art can act as aesthetic objects only when they are associated with the process of approving perfect, beautiful. Therefore, tragic, lowlands, disgusting, ugly phenomena of reality can acquire aesthetic meaning only through their denial and, therefore, through approval of truly aesthetic values.

The depth of aesthetic perception is also enhanced by the fact that it is usually direct in nature, there are no such elements of the installation in its structure, which would distract a person from the figurative sensual understanding of the objective aesthetic properties of perceived objects.

In aesthetic perception, the world is presented in front of a person in all its real beauty, in all its real aesthetic parties and processes, in all its directness. And the immediacy of aesthetic perception seemed to be merged with the immediacy of the very reality, there is no epideological shades between them, which would interfere with the figurative knowledge and understanding perceived. But this does not mean that in the aesthetic perception of spontaneously, "automatically" the aesthetic parties are revealed - to understand the aesthetic essence of nature and a person, a high culture of aesthetic perception is needed.

The peculiarity of understanding the problem of aesthetic perception at the present stage is the active inclusion of such disciplines such as psychology, sociology and artistic. In terms of its content, this problem includes a number of aspects, such as an analysis of the object of aesthetic perception, the definition of its role in this process, the study of its impact on the recipient. Many philosophical and psychological concepts, in which these issues are considered, proceed from the recognition of the condition of perception of the aesthetics of the object itself, as a result of which questions arise, which object can be called aesthetic, what exactly is its aesthetics and what qualities of this object is caused by the aesthetic perception subject Emotions, feelings, experiences. As a special property that elames the aesthetic object from others, aesthetics most often calls beauty. But the identification of an aesthetic object with an excellent object is clearly clarifies in the problem of aesthetic perception, since various content was invested in the concept of excellent historical periods - so, and the antiquity was perfectly identified with a blessing (calocation); In the aesthetics of realism, social characteristic of the excellent performance was performed and the like. At the same time, aesthetics exists a tendency to reduce the objective of the object - its color, size, surface structure. The search for objective beauty laws led to attempts to detect its connection with a number, proportion ("Golden section"). However, the identification of physical characteristics did not lead to the formation of a universal concept of beauty, since the selection of these qualities was made on the basis of their compliance with a certain aesthetic ideal, which has a certain social and historical concreteness.

The perception of aesthetically significant object is analyzed in experimental aestheticswho pretended at the turn of the XIX - XX centuries. Based on psychophysics. This aesthetics considers the process of aesthetic perception as deterministic not by social factors, but the psychophysiological qualities of the recipient. In experimental techniques developed by this direction, the aesthetic reaction of the recipient to an external stimulus is analyzed, which is the aesthetically significant object. The aesthetic qualities of the latter are recognized objectively existing and reduced to the formal organization of the object.

So, already the first experimental studies conducted T. Fehner Based on measuring a large number of simple items, aimed at confirming the approval about the aesthetic significance of the "Golden section". The German psychologist called his method "aesthetics from below", unlike the philosophical "aesthetics from above." The consequence of these experiments has become a number of laws (principles) of aesthetic pleasure, such as "the principle of aesthetic threshold", from which it follows that we have liked a prerequisite for the thing that the impression reproducible is, otherwise, the action of the object on Aesthetic feeling may be so weak that the threshold of consciousness does not become aware of. Another principle is the "law of aesthetic assistance or strengthening", according to which for aesthetic feeling it is necessary for the joint action of individual aesthetic impressions (the combination of sounds and rhythm in the melody provides incomparably greater aesthetic pleasure, rather than what would arise from a simple addition of impressions from the perception of sound and Rhythm separately). The aesthetic feeling, according to Fehner, needs a well-known change of impressions, as well as that these impressions are not replaced in a motley confusion, but were associated with the general principles. The most original and important principle - "Aesthetic Associations". Moreover, simultaneously with the introduction of this principle, the fechner introduces one important distinction: when perceiving a thing that excites aesthetic pleasure, both two different factors act at the same time - external and internal. To the external, he refers those properties of things that make up its objective factor of aesthetic impression (shape, line, color, etc.); To the internal - all accumulated by us from personal experience, that we attach to the perception of this object. The latter merges, assimilated directly with the impressions of the sickness in the outside. It is these ideas that form an associative factor of aesthetic pleasure. Fechner pointed out that primary impressions act as peculiar carriers of aesthetic value and, only because of the accompanying associations, it is also created that subjective meaning and the specific expression that is embodied in the image of perception. Consequently, an associative factor, referring to the internal content of aesthetic perception, performs a peculiar integrating function, connecting the importance and expression, combines different levels of psyche. At the same time, the memory in aesthetic experience expresses not only "rational" knowledge about the aesthetic object, but also capable of reproducing the relevant experiences, which give the subject to the subject to predicate, anticipate a certain aesthetic content in the object of perception. Thus, the principle of associations, due to both the emotional painting of things, and its aesthetic meaning, determines the content of aesthetic pleasure. Fehner especially emphasizes the importance of this principle, arguing that he "is a half of his aesthetics."

Starting from Fehner, aesthetics widely unfolded experimental study of aesthetic relations. The circle of elements capable of acting by primary aesthetic form atoms, everything expanded, not only the combinations of these elements were already studied, but also combinations of geometric shapes, colors, sounds. In Russia, this aesthetic-positivist direction is associated with the names of I. DOGEL, V. Veliamovich, L. Obolensky, V. Savich, and others. The system of Reviews F. On the nature of the aesthetic impression also received in the future detailed interpretation, it was developed by K. Valentine , Gelmholz.

Attempts to psychological analysis of aesthetic pleasure were also repeatedly taken. The most significant of them belongs to the theory of enforcement T. Lipps.

German psychologist, philosopher, aesthetic Theodore Lipps made the system of German psychology of the late XX century, in which he saw the basis of all sciences - philosophy, logic, aesthetics, ethics. In the center of his concept of psychology of art is a concept justificationHe gave the most complete and deep theoretical substantiation.

According to this theory, perceiving any object, the subject performs a special mental act, projecting its emotional state on this subject, on the basis of which an aesthetic impression arises. Lips rejects fechner attempt explain the immanent of aesthetic image and impressions by an associative factor, arguing instead of the continuity of the connection of the sensory perception of the external form with the internal content that it transmits. The psychologist believed that the object was beautiful if the vitality was displayed in it, considering at the same time the acquisition as a generality process, manifested not only in aesthetic pleasure. That is why it is distinguished by a simple, or practical, daily acquaintance from aesthetic. The first accompanies all our perceptions and feelings (so, we cannot look at the face of another person or at his movement does not imagine and without knowing the inner states, the expression of which they seem to us). In this form of acquittles, all moral sympathies or antipathy towards other people are largely based. Therefore, Lipps calls it a sympathetic, which, however, in his opinion, is incomplete and imperfect, because it can come into many external circumstances and obstacles that limit its manifestation. The aesthetic acquisition is manifested quite and without a residue. Only art has the opportunity to implement such a complete acquisition, for everything that portrays art is a kind of reality for us, which we empathize at the same time and as an "aesthetic reality", thanks to which the impression of everyday reality disappears. At the same time, art in their manifestations reflects typical and significant features, elevated to universal. Thanks to this, Lipps says, "At the same time, I feel both my personal life sublime and raised, and for this it is necessary that I saw the ability to considerable human passions in my own, so that my mood and inclinations went to meet that the artist depicted " Thus, the psychologist approves, "My ideal aesthetic person is invested in the acquisition of things, and the acquisition is based on the approval of my personality with what causes the work of art or the phenomenon of nature." That is why the main content of our junction is always "internal activity", the activity of our personality.

By analogy with the aesthetics of spatial forms, Lipps formulates a kind of "aesthetics of temporary relations", trying to explain the aesthetic effect of the rhythm, its formal elements and their combinations, in the interpretation of which the psychologist is forced to leave a purely psychological point of view and refer to the "objective" field (mechanical , physiological) analysis of rhythmic forms. Based on the principle of educating, they explain the aesthetic pleasures from colors, color ratios, as well as aesthetics of the language and speech. The area is perfect is understood as Lips as "the region of a quiet and existing pleasure, where our aesthetic feeling is satisfied freely." The aesthetic pleasure at the perception of tragic, he explains that the suffering of a person increases the "sense of his self-esteem."

The most clearly illustrates this pattern introduced by Lips the law of the Psychological Dam: "If any mental movement, for example, the connection of representations, is delayed in its natural course, then this movement forms a dam, stops and rises precisely in the place where it comes to an obstacle " So, thanks to the tragic "delays", the value of the suffering hero increases, and due to the acquisition of this process - and our own value. Here the principle of sympathy (sympathy) is triggered, consisting in direct investment of our own value in empathy of other people. Thus, the value that has another personality for us is our own, in the form of a "objective sense of own value". And the means to this is compassion.

Lippsy views on the psychological phenomenon of educating appeared in the future, along with the views of other representatives of the "Theory of Justice", theoretical basis for understanding, developing and disseminating this concept in the theory of the art of the XX century, in the aesthetic concepts of V. Voringer , J. Santyana, etc.

Of great interest are studies of aesthetic object as integrity on the principle geshtaltaAccording to which the elements of aesthetic form themselves are not aesthetic, but a holistic aesthetic form, which is not coordinated to the mechanical amount of its parts, acquires a new specific quality - aesthetics. As a result of its perception at the subject and an aesthetic reaction occurs.

Numerous and diverse experimental studies in the field of aesthetic perception did not lead to the detection of the specificity of the aesthetic reaction of the subject, its difference from other psycho-physiological reactions.

In theoretical aesthetics, the objectivity of the aesthetic qualities of the object of perception is recognized far from all scientists, which is associated with the use of a different methodological principle of the study - consideration of aesthetic as a relationship, as a result of which it is recognized that the objects themselves are aesthetically neutral and acquire aesthetic characteristics only in the process of perception of the object by the recipient. In other words, aesthetic arises in relation to, the interaction of the subject and the object, and do not exist in itself. A similar position demonstrates the sociological concepts of art in which the aesthetics of the object is determined by public opinion and is social value.

Technical equipment:multimedia accompaniment.

Literature:

Main:

1. Borev Yu.B. Aesthetics. M., 2000.

2. Krivzun O.A. Aesthetics. M., 1998.

Additional:

1. The history of aesthetic thought. M., 1985.

In this paragraph, the subject of consideration will be those age features that are inherent in the younger schoolboy and which should be taken into account when developing his aesthetic perception.

Nowadays, the problem of aesthetic perception, personality development, formation, its aesthetic culture is one of the most important tasks facing the school. This problem was developed quite fully in the works of domestic and foreign educators and psychologists. Among them, B. T. Likhachev, A. S. Makarenko, B. M. Nemensky, V. A. Sukhomlinsky, V. N. Shatskaya, I. F. Smolyaninov, O. P. Kotikova and others.

We have already noted that it is very difficult to form aesthetic ideals, an artistic taste, when the human person has already developed. The aesthetic development of the person begins in early childhood. In order for an adult to become spiritually rich, it is necessary to pay special attention to the aesthetic education of children of younger school age. B.T. Likhachev writes: "The period of younger school childhood is almost the most decisive from the point of view of aesthetic education and the formation of moral and aesthetic attitudes towards life." The author emphasizes that it is at this age that the most intensive formation of relations to the world, which gradually turn into the property properties is carried out. Essential moral and aesthetic qualities of personality are laid in the early period of childhood and are stored in a more or less consistent form for life. And in this regard, this is the most appropriate time for the development of aesthetic perception.

There are many definitions of the concept of "aesthetic perception", but considered only some of them, it is already possible to distinguish the main provisions speaking of its essence.

First, this is the process of targeted impact. Secondly, this is the formation of the ability to perceive and see beauty in art and life, evaluate it. Thirdly, the task of aesthetic perception is the formation of aesthetic tastes and identity ideals. And finally, fourthly, - the development of the ability to independently and create a beautiful.

A peculiar understanding of the essence of aesthetic perception determines various approaches to its goals. Therefore, the problem of the goals and objectives of aesthetic education in order to develop perception requires special attention.

It is impossible or, at least, it is extremely difficult to teach the young man, an adult confidence in people, if he was often cheated in childhood. It is difficult to be kind to someone who in childhood did not join the sympathy, did not survive the children's direct and therefore indelible strong joy from kindness to another person. It is not suddenly in adulthood to become courageous if in preschool and younger school age did not have learned to resolutely express his opinion, and boldly do.

The course of life changes and makes its own adjustments. But it is in preschool and younger school age that the development of aesthetic perception is the basis of all further pedagogical work.

One of the features of younger school age is the advent of a child to school. He appears a new leading activity - study. The main person for the child is the teacher. "For guys in elementary school, the teacher is the most important person. Everything for them begins with a teacher who helped overcome the first difficult steps in life ... "Through it, children will know the world, the norms of social behavior. The views of the teacher, his tastes, preferences become their own. From the pedagogical experience A.S. Makarenko knows that a socially significant goal, the prospect of movement towards it, with an inept setting before children, leave them indifferent. And vice versa. A vivid example of the consistent and convinced work of the teacher himself, his sincere interest and enthusiasm easily raise children to affairs.

The following feature of the development of aesthetic perception in the younger school age is related to the changes occurring in the field of cognitive processes of a schoolboy. For example, the formation of aesthetic ideals in children, as part of their worldview, complex and long-term process. This is noted by all teachers and psychologists mentioned above. During the upbringing of life relations, ideals undergo changes. In certain conditions, under the influence of comrades, adults, works of art, nature, vital shocks, ideals can undergo indigenous changes. "The pedagogical essence of the process of forming aesthetic ideals in children, taking into account their age characteristics, is to form the sustainable meaningful ideal ideas about society from the very beginning, from early childhood, about the person, about the relationship between people, making it in a variety of changing on every stage of a new and fascinating form, "- notes in his work B.T. Likhachev.

For pre-school and younger school age, a leading form of dating with aesthetic ideal is children's literature, animated films, movies and photos in books. Changes in the motivational sphere occur with younger school age. The motives of the relationship of children to art, the beauty of reality is recognized and differentiated. D.B. Likhachev notes in his work, that a new, conscious motive is added to the informative incentive at this age. This manifests itself in the fact that "the guys are appropriate to art and reality is aesthetically. They enjoy reading books, viewing illustrations in them, listening to music, drawing a movie watching. They still do not know that this is aesthetic attitude. But They formed an aesthetic attitude to art and life. The thrust for spiritual communication with art gradually turns into need.

Changes in the motivational sphere occur with younger school age. The motives of the relationship of children to art, the beauty of reality is recognized and differentiated. D.B. Likhachev notes in his work, that a new, conscious motive is added to the informative incentive at this age. This manifests itself in the fact that "the guys are about art and reality is aesthetically. They enjoy reading books, listening to music, drawing a movie viewing. They still do not know that this is aesthetic attitude. But they have formed aesthetic attitude. To art and life. The thrust for spiritual communication with art is gradually turning into need for them.

Other children communicate with art outside the aesthetic relationship. They approach the work rationalist: Having received a recommendation to read the book or watch a movie, they read and look at them without deep comprehension of the essence, only to have a general idea about it. "And it happens that they read, watch or listen from prestigious considerations. Knowledge The teacher of the true motives of the relationship of children to art helps focus on the formation of a truly aesthetic relationship.

The feeling of the beauty of nature surrounding people, things creates special emotional-mental states in the child, excites direct interest in life, exacerbates curiosity, thinking, memory. In early childhood, the guys live immediately, deeply emotional life. Strong emotional experiences are maintained for a long time in memory, often turn into motives and incentives of behavior, facilitate the process of developing beliefs, skills and habits of behavior. In the work of N.I. Kiyashchenko is quite clearly emphasized that the "pedagogical use of the child's emotional relationship to the world is one of the most important ways to penetrate children's consciousness, its expansion, deepening, strengthening, designing." It also notes that the emotional reactions and states of the child are the criterion for the effectiveness of aesthetic education. "In the emotional attitude of a person to one or another phenomenon, the degree and nature of the development of his feelings, tastes, views, beliefs and will" are expressed.

Any goal cannot be considered without tasks. Most of the teachers (GS Labkovskaya, D. B. Likhachev, N.I. Kiyashchenko and others) allocate three leading tasks that have their own options and from other scientists, but at the same time do not lose the main essence.

So, firstly, this is "the creation of a certain stock of elementary aesthetic knowledge and impressions, without which the tendency, thrust, interest in aesthetically significant subjects and phenomena cannot arise.

The essence of this task is to accumulate a variety of sound, color and plastic impressions. The teacher should be able to choose the objects and phenomena on the specified parameters that will meet our ideas about beauty. Thus, a sensual emotional experience will be formed. Specific knowledge of nature, the world of artistic values \u200b\u200bis also needed. "The versatility and wealth of knowledge - the basis of the formation of broad interests, needs and abilities that are manifested in the fact that their owner in all ways of life behaves behaves like aesthetically creating personality," said G.S. Labkovskaya.

The second task of aesthetic perception consists in "formation based on the knowledge of such socio-psychological qualities of a person, who provide an opportunity to emotionally worry and evaluate aesthetically significant objects and phenomena, enjoy them."

This task suggests that children are interested in, such as painting, only at the general education level. They are hastily watch the picture, try to remember the name, artist, then turn to a new canvase. Nothing causes astonishment in them, does not force and enjoy the perfection of the work.

B.T. Likhachev notes that "... such a quick acquaintance with the masterpieces of art eliminates one of the main elements of aesthetic relationship - admiring." With aesthetic love, the overall ability to deep experience is closely connected. "The emergence of the gamma of sublime feelings and deep spiritual pleasure from communication with the beautiful; feelings of disgust when meeting with ugly; sense of humor, sarcasm at the time of contemplating comic; Emotional shocks, anger, fear, compassion leading to emotional and spiritual cleansing arising from the experience of tragic - all these signs of genuine aesthetic pupils, "the same author notes.

Deep experience of aesthetic feeling inextricably with the ability of aesthetic judgment, i.e. With aesthetic assessment of art and life phenomena. A.K. Dremov aesthetic assessment determines as an assessment, "based on certain aesthetic principles, on a deep understanding of the essence of aesthetic, which involves the analysis, the possibility of evidence, argument." Compare with the definition of DB Likhacheva. "Aesthetic judgment is an evidence, reasonable assessment of phenomena of public life, art, nature." In our opinion, these definitions are similar. Thus, one of the components of this task is to form such qualities of a child who would allow him to give independent, taking into account age possibilities, a critical assessment to any work, to express a judgment about him and its own mental state.

The third task of aesthetic perception is associated with the formation of creative ability. The main thing is to "develop such qualities as the needs and ability of the personality, which turn the individual in the active creator, the creator of aesthetic values, allow him not only to enjoy the beauty of the world, but also convert it" according to the laws of beauty. "

The essence of this task is that the child should not only know the wonderful, be able to admire and evaluate, and he still must actively participate in creating beautiful in art, life, labor, behavior, relationships. A.V. Lunacharsky emphasized that a person learns to comprehensively understand beauty only when he himself takes part in its creative creation in art, labor, public life.

The tasks considered by us partially reflect the essence of aesthetic perception, however, we considered only pedagogical approaches to this problem.

Every child's thought develops peculiar ways, everyone is clever and talented in their own way. There is not a single child of unable, mediocre. It is important that this mind, this talent is the basis of success in teaching so that no student has learned below its capabilities. Children should live in the world of beauty, games, fairy tales, music, drawing, fantasy, creativity. It is very important that before children did not make a mandatory task to learn letters, learn to read. The first step of knowledge of the child should be raised by their mental life, which would be spiritualized by beauty, fantasy, the game of imagination. Children deeply remember what excited their feeling, fascinated by beauty.

The life experience of the child at various stages of its development is so limited that children will not immediately learn to allocate actually aesthetic phenomena from the total mass. The task of the teacher is to raise the child with the ability to enjoy life, develop aesthetic needs, interests, bring them to the degree of aesthetic taste, and then ideal.

Aesthetic education is important for the subsequent full-fledged development of the student of a schoolboy, which makes the first steps on a huge staircase of education. It is designed to develop art tastes, engraves a person. Through the aesthetic education, one of the ways to the harmonious, comprehensive development of the personality, to the formation of the ability to perceive, rule to evaluate and create beautiful in life and in art. It is much easier to move a person with one specialty to another, than to achieve changes in the system of ideas about poor and good, about beautiful and ugly.

The younger school age is called the peak of childhood. The child begins to lose the children's immediacy in behavior, he appears another logic of thinking. The teaching for it is a significant activity. In school, he acquires not only new knowledge and skills, but also a certain social status. The interests of the child's value are changing. This is a period of positive changes and transformations. Therefore, the level of achievements carried out by each child at the age stage is so important. If at this age, the child will not feel the joy of knowledge, will not acquire the ability to learn, will not learn to be friends, will not gain confidence in himself, his abilities and opportunities, to do this in the future will be much more difficult and will require immeasurably higher mental and physical costs.

Development in children's perception ability, to understand the feelings of human spiritual moral beauty simultaneously with the formation, their own aesthetic spirituality is a complex, peculiar, uneven flowing, dialectical contradictory, depending on the specific conditions of the process. Children of younger school age more about perception and evaluation of the external form, striking harmony.

Thus, the youngest school age is a special age for the development of aesthetic perception, where the major role is played by the teacher. Using this, skillful teachers are capable not only to establish a solid foundation for aesthetically developed personality, but also through development in the schoolchildren of aesthetic perception to lay true human worldview, because at this age, the child's attitude to the world is formed and the development of the essential aesthetic qualities of the future person.