Aesthetic consciousness and activity. Categories of aesthetics

Aesthetic consciousness and activity. Categories of aesthetics.

 

Topic plan and statement

 

1. The essence and meaning of aesthetic attitude to reality.

2. The structure of aesthetic consciousness and its components.

3. Aesthetic activities. Scientific creativity and aesthetic activity.

4. Categories of aesthetics and their essence.

 

 

   Relationship in the sense of a philosophical concept means mutual action and interaction. But any mutual action, interaction, which is manifested in the field of social life, does not mean a relationship. A human relationship is a mutual movement between a subject and an object, and its direction has an essence. In this sense, the sophisticated relationship to reality is a special type of interaction and interaction between the subject and the object.

   What is a sophisticated object. In fact, there is nothing that is not elegant. Under certain conditions, any thing, event can become an object of sophisticated attitude and sophisticated evaluation. But they must meet certain requirements: first, to have a clear feeling, the ability and ability to perceive; secondly, this or that event must enter into human relations and relationships and acquire social significance. Only then does a certain event become an object of a refined attitude, that is, it finds its value. We explain the concept of fulfilling a certain social duty by serving people in this or that event with the term value. Evaluation is a special form of understanding the value or social significance of events. A sophisticated attitude of a person to reality is actually a special type of evaluation of events, a method of sophisticated appreciation of events.

   An event in existence is the basis of a refined object, whose basic properties are the unity and diversity of events, compatibility, harmony. Events and things acquire their sophisticated significance only when they enter the sphere of human interests.

   A necessary aspect of a refined object is a subject of refined relation. Sophisticated subject is a very complex social formation consisting of social groups and some individuals who have joined the necessary parts of the society in their structure and are active materially and morally in various fields.

   A sophisticated relationship is characterized by a specific type of relationship between the subject and the object. The interaction that takes place in the process of perceiving beauty is the ground of a refined relationship. According to psychology, the nature of aesthetic perception is explained by the shape of perceived objects. The result of sophisticated attitude is the essence of sophisticated evaluation, the object is expressed. For example, a sophisticated assessment of a chair or a sofa is to compare the material of its shape, its processing, the proportions of its sides and parts with its practical role, that is, what it is intended for. Refinement of food finds its expression in the proportion of its form and content. Or treating a person gracefully is expressed in proportion to the spiritual content of the human personality and the form of human actions and behavior.

   Emotional excitement has a special place in a sophisticated relationship. Sensational excitement applies to all levels of aesthetic attitude and ends with a state of pleasure and excitement. Refined taste is a complex state of mind, which combines a whole series of emotions, assumptions, various impressions and imaginations. Sophisticated attitude includes emotional aspects as well as mental aspects. In this case, not only the object of sophisticated attitude, but also sophisticated feelings and experiences become the subject of analysis and reflection.

   Sophisticated awareness is the subjective side of the human relationship to the objective world. As one of the forms of social consciousness, it stands alongside social phenomena such as moral consciousness, legal consciousness, religious consciousness, and philosophical consciousness. Social life is the common foundation of all forms of social consciousness.

   It is a complex of sophisticated spiritual mental phenomena, which means a system of sophisticated feeling, taste, thought, dream, view, and theory that arises in the field of social life. Sophisticated consciousness changes, develops and improves in proportion to it on the ground of social life.

   Sophisticated understanding is also manifested in the form of expression of group interests in the life of society. But this situation is reflected differently in different areas of society, for example, sophisticated views in the field of ideology, in the relationship between dreams and hopes. In spiritual and spiritual spheres, it is manifested in a more independent way compared to group interests. This situation is related to the social and biological characteristics of each individual person, which manifests itself as the owner of specific feelings and tastes. Group interests are also felt, but mainly the parts of ideology are determined by the influence of aesthetic dreams, views, and theories.

   One of the manifestations of the relative independence of the sophisticated mind is succession. Because new sophisticated views, ideas, theories do not arise in a vacuum. They act as a continuation of the stock of knowledge and feelings accumulated as a result of the previous sophisticated and artistic development of the society. Succession applies to all the refined views and theories of the refined mind, refined tastes and joints of feeling.

   Sophisticated awareness or consciousness is a reflection of social life, it occupies an important place in the life of society, it affects it in every way. In the development of society, there is no facet, thing, or particle that is left out of sophisticated taste and dreams. Sophisticated consciousness not only feeds on material production and creation of spiritual wealth, but at the same time directly affects them, including politics, ethics, religion, philosophy, and science.

   Sophisticated awareness as a special form of social consciousness is inextricably linked with sophisticated activity and is formed and resolved in the process of sophisticated activity. A subtle mind is actually a product of subtle activity.

   A sophisticated mind is closely related to an artistic mind. Although they are close concepts, they do not mean exactly the same thing. Sophisticated consciousness emerges in the process of processing and perceiving reality as a whole, while artistic consciousness is manifested in the process of creating and perceiving art. If the artistic consciousness is expressed in the system of artistic works, the scope of reflection of sophisticated consciousness is much wider, and it finds its expression in the labor activity of people, its results, material and spiritual values.

   The appearance of subtle consciousness as a form of social consciousness is different from the appearance of individual subtle consciousness. The sophisticated mind of a single person is a part of the consciousness of a particular person, his spiritual world, and in a broad sense it acquires a social meaning, that is, it is formed and developed in the process of social life and becomes a product of society.

   Sublime consciousness and individual subliminal consciousness also differ in terms of ownership of their subjects. If social classes, strata, groups, nations, nations, and peoples appear as the subject of refined consciousness, then a single person, the subject of refined consciousness is a specific person.

   The subtle mind and the subtle mind of a single person also differ in terms of content. The sophisticated mind of the society fully embraces the sophistication in social life. Individual subtle consciousness includes only the subtle sphere of the spiritual world of one person. The individual subtle mind operates within the social subtle structure, that is, it has an internal connection with it. They can be separated from each other only through scientific theoretical analysis.

   The sophisticated mind of society consists of a series of complex, dynamic, interconnected parts.

   The stable and coherent parts of the subtle mind are the subtle feelings, dreams, visions and theories. Although they interact in relation to each other, it is easier to understand the essence of this commonality only when analyzing them separately.

   Sophisticated emotions are an integral part of the human mind in general, and occupy a special place in the field of sophisticated consciousness. They form the main layer of sophisticated consciousness, are its foundation, decorate and enrich all its aspects.

   Sophisticated emotions belong to the category of the highest, social emotions along with intellectual emotions. Here, the phrase "social" refers to phenomena such as the emergence and development of refined feelings in the society, and their implementation in the society. Refined feelings as a complex social phenomenon include concepts such as sophistication, home, tone, forms, harmony, compatibility, proportion, as well as concepts such as joy, admiration, surprise, pleasure, enjoyment, extirom, excitement, hatred. takes

   Refined feelings have a subjective nature in terms of their form, manifestation and action, and constitute a part of the human world, a piece of subjective reality. The content of sophisticated feelings is more vividly manifested in the activity of a person directed to a specific goal.

   Sophisticated emotions appear mixed with experiences, that is, they occur as a process of separate experiences. The merging of the subject and the object, the "dissolving" of the subject in the bosom of the object is a characteristic sign of an experienced feeling. A sophisticated experience is determined by the special activity of the subject, in particular, the power of imagination, mysticism.

   The end of a refined experience is refined pleasure. Refinement is a general, always positive feeling state of a person, that is, he is affected by things, events and events.

   Sophisticated enjoyment is inherently contradictory in a sense. It includes emotions, mental activity, and altruism, which is a reflection of a person's deep social ability. Impartiality manifests itself in refined enjoyment without denying the notions of profit. Therefore, altruism embodies a special vision of profit, a vision of the benefit of society, humanity, development. At the same time, altruism strongly rejects its opposite feelings, such as greed, insatiability, jealousy, arrogance, and self-interest.

   Sophisticated enjoyment is actually beneficial to the interests of society, and it is related to the process of free expression of human creative powers. Sophisticated pleasure encourages free creativity in all areas of human activity, such as material production, creation of engineering devices (construction), scientific discoveries, mentoring, artistic creativity.

   The role of refined emotions in the cultivation of refined taste is especially important.

   Refined taste is complex and multifaceted. It shows the material and spiritual creativity of a person's thoughts, behavior, actions.

   The phrase "taste" expresses people's tendencies in certain fields. A person who is inclined to engage in scientific activity is said to have a taste for science, and an inventor is said to have a great taste for invention. Therefore, it is appropriate to evaluate the concept of "taste" as a specific ability of a person, a preference for one or another aspect of reality.

   Sophisticated taste finds its expression through the feeling of satisfaction or dissatisfaction obtained in the process of perceiving and evaluating the exquisite qualities of events. The ability to distinguish beauty from ugliness and enjoy it impartially lies in the ground of refined taste. He works with feelings, that is, he is able to feel the beauties and tragedies of life, it is manifested through the ability to distinguish between tragic conflicts and imbalances.

   Sophisticated taste shines through people's outlook, especially their sophisticated outlook. But refined views and knowledge do not always represent refined taste. Sometimes it is possible to be possessed of poor or undeveloped refined taste, while possessing a reserve of refined views and refined knowledge. In order for knowledge and views to be expressed in taste, they must be absorbed into the inner world of a person, into the process of perception, or rather, become a firm belief of a person.

Design is an integral part of the activity of taking into account the expediency and technological usefulness of drawings, pictures, models in the organization of industrial design and production. Engineers, technologists, workers, economists, managers, psychologists, sociologists and sociologists of various professions participate in the design and creation of various consumer products, rare machines and tools in the industry. Here, the designer, artist, project creator has a special position: he is charged with the task of creating products and work tools of exquisite value. Harmonizing the relationship between production and consumption, producer and consumer is the most important task of the designer. The designer is primarily on the side of the consumer's interests as much as possible in the field of production. Secondly, he actively forms and harmonizes the needs of the consumer. Here, the aesthetic culture of the designer, the nature of the aesthetic taste and the content are of crucial importance.

Design can enjoy art. Although art and design share a commonality, they are two different types of aesthetic activity. How is design different from art? It is clear that art, artistic activity in one form or another, is related to the production of not only ideas, but also things. But here the production of things performs an auxiliary (additional) function. Art is primarily a form of creation of spiritual wealth, a sphere of consciousness and knowledge. This represents the essence of art.

Design is a type of material-practical activity. Design products, unlike works of art, are not a reflection of reality, but are created according to its laws of sophistication, and represent the practice of art itself.

The aesthetic value of art is to a certain extent opposed to the values ​​of "utility", that is, the work of art is aimed at satisfying spiritual needs rather than material ones. Design products emphasize pure consumption, that is, material "benefit" in cars, buildings, consumer goods, etc. The aesthetic quality of the product is determined by the extent to which its design function is expressed.

Here, the duty of a thing is determined by its social importance, ability to satisfy human needs. Thus, the refined value of the design product is explained by its suitability for purpose. The usefulness and expediency of a thing prevents it from falling to the level of performing a task in the narrow sense, i.e. following it.

When talking about the difference between art and design, it should be noted that a work of art has an independent value regardless of the material system it belongs to, the environment in which it was created. And the design product is an integral part of the system of things and cannot act outside of it. Its aesthetic value is also measured by how well it fits into the "system" of certain things, that is, the object of the designer's activity is not a car taken separately, but all its equipment, external and internal decorations together with appearance and hakazo forms taken as a whole. It is necessary to establish a system of machines. The designer needs to coordinate the shape, color and other aspects of what is being designed, whether they are consumer goods or technical devices. In this way, it creates an environment of sophisticated goods that can provide the most comfortable conditions for people in the process of creating and consuming things.

It also creates a sophisticated tone of sophisticated scientific creativity. However, negative factors are characteristic of creativity and serve as an auxiliary factor. Many scientific studies and famous scientists testify that the potential of a scientist, the results and effectiveness of his creative work are directly related to the level of his sophisticated culture.

At all stages of the scientific research of the culture of sophistication, the setting of scientific problems, their solution, and the evaluation of the obtained scientific results are of great importance. On the contrary, sophisticated underdevelopment, indifference extinguishes the scientist's creative power, deprives him of a sense of personal satisfaction, which is very important in the scientific creative process, and has a negative effect on his mental development. There are many examples in the history of a scientist who has lost the sense of enjoyment of art by being one-sidedly engaged in science, and how this loss negatively affected his intellectual and moral qualities.

A scientific hypothesis occupies a special place in the refined culture of a scientist. It is so intertwined with scientific sophistication that it is very difficult to distinguish them from each other even in the process of theoretical analysis. In fact, a scientific hypothesis has an essentially sophisticated meaning, since a thinking human is superior to any thinking machine.

Hypothesis is free in relation to reality, so hypothesis and freedom cannot be separated from each other. Hypothesis has the power to free the scientist from the scourge of subjectivity and rigid stereotypes. We use the powerful power of hypothesis when it is necessary to know and understand the most complex phenomena of reality, which depend on changing factors.

Along with the assumption, there is understanding. While discernment appears superficially to be guesswork, in fact it is the ability to see reality, that is, the objective connection of things that do not require evidence, while discernment is direct observation of reality.

Without understanding, there can be no creative activity, including artistic and scientific activity. If understanding is manifested in artistic activity in a very complex and developed form, in science it is closely connected with mental observation of events.

According to the analysis of scientists, understanding in scientific activity is gathering facts, forming theory and new concepts, transitioning from old theory to new, birth of a new idea, paving the way for further scientific creativity, the scientist's inner belief is important in testing the validity of a new theory based on

Understanding does not arise by itself. It requires the owner of scientific activity to use all his knowledge and emotional abilities, previous experience. In other words, understanding can actually exist without passion, without inspiration, and consequently, without passion, it is impossible to create and exist any great things.

Imagination, intuition, passion, inspiration have a refined description, and they apply to art in its most "pure" and developed form. At the same time, they are expressed in science as necessary parts of creative activity. They transfer science not separately, but together, through a clear system.

In the process of scientific creativity, aesthetic factors such as emotion, joy, and the desire for selfless satisfaction are important. The sophisticated content of scientific creation is expressed in the results of scientific research and the methods of achieving them, not in satisfying the feeling of joy, happiness, and satisfaction. Wise scientists have emphasized that sophisticated emotions are of great importance at all stages of scientific research.

Albert Einstein, the great scientist of our century, did not point out for nothing that the entire process of scientific creation is imbued with an aesthetic spirit, that today's science requires "creative qualities" from a scientist. Among the "creative qualities", the unnatural (paradox) league of thinking occupies an important place. The supernatural has always been a sign of artistic thinking, and ancient myths were enriched with the content of this supernatural.

A refined feeling or this can be the first criterion indicating the correctness of a scientific theory (although it has not yet been confirmed by practical experience and is not necessarily derived from previous theories). If this theory is beautiful, beautiful, and perfect, the scientist will be sure that it is correct and real.

The perfection of the structure of scientific devices is important here. Most of the great scientists saw the criterion of the scientific value of scientific works in the structure, maturity, and integrity of the device. About the effective influence of art on the work of a scientist, N. Bor said: art reminds us of the harmonies that are beyond the power of systematic analysis. It can be said that the method of expression of literary, visual and musical arts is very consistent. It is better to give more room to the game of hypotheses, instead of completely abandoning the precise definitions that this consistency is characteristic of scientific information.

The best works of art create imagination in a scientist and harmonize the sense of integrity and sophistication, increase the ability to think outside the box, give a free worldview, form a high culture of communication, are important for the development of modern science. encourages the mobilization of the capabilities that become important.

  Beauty is the main concept of aesthetics. Zero, beauty is the core, the main property, the essence, the basis of the world of sophistication. That is probably why it is interpreted in the style of aesthetics, philosophy of beauty.

All thinkers who have addressed the problem of beauty always emphasize that thinking about beauty and researching it is an extremely difficult task. This difficulty is primarily related to the fact that the concept of beauty applies to a wide range of different phenomena that have nothing in common.

  It is relatively easy to show something that is beautiful, that is, something that evokes a positive feeling in us. But it is very difficult to explain why this thing is beautiful. in the same way, the philosophical approach to the problem of beauty was formed historically.

  Beauty is a phenomenon of reality (nature, society, art) that, through a clear emotional impact, leads to an increase in the flow of physical and spiritual forces in a person, joy, pleasure, full spiritual allows for a state of satisfaction. Beauty is always useful, but this utility is intended to serve the development of society. And finally, beauty, in Schillier's apt phrase, finds expression as a symbol of human freedom. In our independent republic, the upbringing of a free spirited person is of particular importance in a historical situation where it has become an important task. Beauty has infinite variety. Beauty in nature differs from beauty in social life, beauty in useful practical activity differs from beauty in artistic creation. But no matter how much beauty is distinguished by its rank and color, they all have some common basic signs, and thanks to these common basic signs, it is possible to interpret all of them through a special scientific-philosophical concept of beauty.

When a person encounters the natural harmony that exists everywhere and at any level, he will surely enjoy the beauty of nature, be happy consciously or unconsciously, and gain spiritual wealth. Conformity to social desire seems weaker in nature than beauty in man, but the same law applies here. A person evaluates the phenomena in nature that correspond to the social dream of this or that period, this or that social group as beauty. At all times, a sophisticated attitude to nature and a sophisticated mastering of nature have been connected with its "humanization", applying human demands, needs, and goals to natural phenomena. In this regard, it is appropriate to mention here that the famous writers express the image of natural landscapes in colorful paints by organically connecting human figures, dreams, aspirations, and aspirations. (These include the beginning of Oybek's novel "Navoiy" and the artistic depiction of Otabek's visit to Margilon in Qadiri's novel "Otgan Kunlar".

The feeling of how to relate to nature did not appear in a person suddenly, of course, it was gradually formed as the human race and nature developed, primitive art did not know scenic images, did not judge whether natural phenomena were beautiful or ugly, the ancient hunter-gatherer focused his attention mainly on things and events that were a source of livelihood. (Remember Amonko'ton, Panjikent and other idea paintings). At that time, instead of hunting, which was the main type of human activity, with the appearance of farming, that is, with the emergence of farming, i.e., with the beginning of human mastery of the surrounding nature, nature was evaluated by different criteria of social dreams. As a result, the beauty and ugliness of nature begin to become clear to man. The power of natural forces in relation to human power determined the initial stage of aesthetic appropriation of nature. At first, he expressed in himself that the sides of beauty and utility were equal. In times when people are struggling against drought, everything related to water on earth becomes beautiful. The sun was perceived as the most beautiful phenomenon in those years where most days of the year were spent with precipitation. Approaching the beauty of nature from the point of view of interest is seen in opposite feelings from the appreciation that people still give to bees and common wasps. Despite the fact that they are both painful at the same time, for humans, bees are associated with the image of beauty, ordinary bees are associated with ugliness.

It is understandable, of course, to perceive beauty in terms of high utility. But such a view includes only one aspect of beauty. In the century in which we live, humanity has also acquired productive forces with enormous destructive power. It is becoming clear that treating nature only from the point of view of material interest is completely hopeless. Humanity is protecting nature and the environment, using it intelligently, and at the same time, it is delving deeper into the secrets of natural harmony, discovering new miracles of it, and learning lessons from it. Humanity, boasting of its absolute victories over nature, is increasingly striving to be in mutual relationship and union with nature. Chingiz Aitmatov was able to express this situation very convincingly in artistic colors in his fascinating novel "Kunda" "Plaha".

And beauty in art is a reflection of beauty in life, and its inexhaustible source is reality. As one of the creators of beauty said, the difference between a creator and other people is that he has the ability to see beauty everywhere that others cannot understand.

We are often used to look at nature, people, and human relations through the eyes of great artists. When we encounter wonderful natural phenomena that amaze us, we involuntarily say: "how beautiful, just like Van Gogh, like Levitan, like Rembrandt, like Gojya, etc." we exclaim. Coming to such an amazing state is not accidental, because Van Gogh, Levitan, Rembrandt, Gojya, etc. They revealed and demonstrated the objective beauty of nature, people and animals in its bosom, in generalized and symbolic forms, and expressed common experiences related to their perception.

Art should reflect the incomparable richness and variety of life, the beauty and ugliness, the high and the low, and should fulfill this task while standing in the position of a clear aesthetic dream.

Beauty in art has multi-faceted, multi-dimensional aspects, among which the aesthetic desire is of decisive importance. Art can depict both beautiful and ugly events. But it itself is always beautiful, because it represents an integral part of the aesthetic dream, that is, an imagination that has absorbed the necessary property of beauty.

Art at all stages of its development delicately and sensitively expressed the changeability of aesthetic desire, its dependence on social and national aspects. The main content of the aesthetic dream established in art is the imagination of the desire to see human beauty according to the concepts of people, nations, and social groups of different times.

For many centuries, art has developed two main directions of realizing the aesthetic dream. The first one is a way to realize the aesthetic dream by creating a positive character image. A positive hero is a representative of the aesthetic dream of the creator, and through him, the society.

The second way of solving advanced dreams by describing life events opposite to them is no less effective and aesthetically significant than the first. One of the great masters of words said the right thing that art does not require people in a dream |ideal|, but a dream in the creator himself. In the case of such a dream, the depiction of the most terrible, ugly, low life events does not diminish the positive aesthetic value of works of art.

The presence of an advanced aesthetic dream in art is a necessary but not the only factor related to the beauty of art. The beauty of art is determined inseparable from its authenticity. Artistic truth cannot be beauty in art. The unity of truth and beauty is one of the laws of the development of art. Expressing the subtle understanding of this rule, Shakespeare wrote in one of his sonnets: "Beauty ends with precious truth and discovers a hundred beauties." Any attempt to separate beauty from the reality of life has a destructive effect on art, diminishing its active, transformative value.

Beauty in art is rightly observed in connection with the unity of form and content. The pursuit of perfection and beauty is in many ways related to the search for the most appropriate form, which requires that the form corresponds to the content of the created thing. Creating according to the laws of beauty involves finding a proportional form.

It is appropriate here to add some clarifications to the rule that the correspondence of form to content is the criterion of beauty in art. The question is what kind of content is being talked about. False, harmful, ideologically distorted content finds its appropriate expression, but as a result, it can be considered as one of the criteria of the beauty of a work of art, if it is socially significant, ideological, advanced, if it is about the content with the truth of life and if this content is expressed in a perfect form in accordance with it.

Drawing a conclusion from the above-mentioned opinions, it can be said that beauty in art, its level of perfection means a multifaceted, complex system unity, and its components are the beauty of the object of the image, the truthfulness and progress of the aesthetic dream. , the fact that knowledge of reality is real and deeply meaningful, the high level of artistic skills are shown. Among these factors, the aesthetic dream with its truthfulness, democracy, and humanity is of defining and system-organizing importance.

Magnificence is connected with sophisticated and moral criteria, forming a sophisticated criterion concept that is extremely clear and directly applicable.

The scale of glory is as infinite and limitless as the scale of beauty. Magnificence is concentrated in nature, society, human works, products of his activity. The commonality of all things and events that have the sign of majesty is their normative perfection, so much so that beyond it the norm law can be violated.

The category of grandeur is one of the most important events for people. Such events are essentially so vast that they cannot be fully mastered at a certain stage of social development, therefore they always encourage people to be active and use their creative potential.

In nature, majesty is manifested in the form of high mountains, mighty waterfalls, boundless oceans, blue seas, bottomless sky, etc. What they have in common here is their vastness, immensity, greatness, inexhaustibility. The magnificence of nature awakens in man the feeling of striving to merge with nature, not his own weakness.

The feeling of grandeur includes the feeling of joy, admiration, respect, recognition, which does not have a sophisticated content by itself. Fear is sometimes added to these, but it does not humiliate a person. Maybe it will motivate you to overcome obstacles.

The feeling of grandeur has a universal, general character, as well as a socially conditioned, specific historical nature. Events and processes that have a special impact on the grandeur, social life, and historical development can also be included. In social life, heroism and heroism are mixed to such an extent that observing them separately would be equivalent to depriving them of the main content of the greatness. appears. The faces of people's devotees, lovers of the country are both glorious and brave at the same time.

The founder of our independence, the President of our country, Islam Karimov, who declared the independence of Uzbekistan in the conditions where the Shura system still prevails, is a great example of the heroic work of strengthening this independence. In the opinion of the majority of the public, intelligent heroism is an unusual, rare, rare phenomenon, but it is of great importance that it can happen in everyday life, in ordinary conditions, within the framework of the simplest ethical rules that everyone follows. AP Chekhov was the first in the history of world art to say and write about it. Chekhov's dream of heroism, bravery finds its value in daily honest work and constant adherence to moral principles.

Along with social and sophisticated dreams, some grandiosity and humility, values ​​have also changed radically. 30-40 years ago, the smoke from the pipes of huge factories and enterprises is perceived as the grandeur of life. The image of nature subjugated to man was embedded in the structure of social consciousness. In the race of man over nature, individual over herd, advanced pilot, miner, milker, scientist, working people, all these will form our dream of glory in the near future. All these are the fruits of a bitter dream of the social order system, which was created on the basis of the arbitrariness of the leaders, devotion to the whole, total and single authority of the state over the individual. To be in harmony with nature instead of dominating it, to fulfill the duty of forming a socially active, initiative, creative person instead of individualism, mass decision, general consent is the main content of today's dream of greatness. Magnificence finds its comprehensive creative expression in art, the theme of magnificence in all its forms, types and forms serves as one of the main image objects. Undoubtedly, different forms of art, different possibilities of depicting grandeur are used, it can be said that some of its types are heroic epics, lyrical epics, heroic tragedy, heroic musical works (symphony, oratorio), architecture and monumental art. Ati's views appeared in the process of artistic mastery of the theme of grandeur.

Magnificence is of particular importance in architecture. Egyptian pyramids, architectural monuments in the cities of Samarkand, Bukhara, Khiva, the Greek Parthenon, the Roman Coliseum, medieval Gothic cathedrals, the best examples of Russian church architecture, beautiful buildings created by architects such as Rossi, Rastrelli are independent O Geographical complexes in Uzbekistan surprise people with their beauty and grandeur.

It should be emphasized that the feeling of greatness cannot be achieved only by measuring the scale. If some monuments (the Tower of Babel, the Tower of Kalon, the Egyptian pyramids, etc.) amaze with their scale, others with their special elegance, subtle expression, harmony, high spirituality, and their integration with the environment. It has gained special importance due to the fact that it has disappeared. (Gori Amir, Shakizinda, Ichan Hala, Registan Square, Mir Arab Madrasah, Ismail Somoni Mausoleum, Chor Minor, Bola Qovuz Mosque, etc.) when perceiving architectural works, a person feels a special sense of grandeur. occurs.

In art, grandeur and tragedy often stand side by side and are shown, in other words, there is a kind of dialectic relationship between these two aesthetic categories, which has both commonalities and differences. Navoi's and Shakespeare's works, beautiful architectural monuments are imbued with the spirit of greatness and tragedy at the same time. Of course, it cannot be concluded that tragedy is grandeur, and grandeur is tragedy. For example, the madrasahs in Registan Square of Samarkand, although they are undoubtedly magnificent, do not evoke any tragic feelings. The image of Shakespeare's Lady Macbeth is tragic, but it does not create a sense of grandeur in the audience. Greatness in art is expressed through all the possibilities of artistic content and form, but the idea plays a decisive role in it. An important idea creates the need for a high-spirited, perfect form and determines the level of greatness of a work of art. This situation encourages us to serve the reality of life, not to avoid it.

The problem of tragedy has always attracted the attention of philosophical and sophisticated thinking. It is almost impossible to find a single thinker who did not reflect on the nature of tragedy, because in tragedy the most important, deep contradictions and conflicts of real life are life and death, freedom and necessity, reason and emotion, law and duty, personal and social aspects are revealed.

When we think about tragedy in art, it is necessary to pay special attention to such problems as tragic tones in art, the art of tragedy and, finally, the type of tragic art.

We can see in many examples the presence of tragic tones in the works created by almost all great artists. For example, in the works "Jalaluddin Mangubyerdi" and "Mirzo Ulugbek" by M. Shaikhzoda, tragic tones are felt (heard) from beginning to end. Although these dramas were not created as a special work of tragedy, in fact, tragic tones were primarily expressed in them. A creator like Sheikhzada tends to perceive reality in the spirit of tragedy. Tragedy, which is manifested by the type of art, arises from the need for the most complete and deep artistic perception of conflicts, images, situations. No matter how different Sophocles' tragedies are from Shakespeare's, Shakespeare's works from Racine's, Racine's from Vishnevsky's, there is still something in common between them.

On the ground of any tragedy lies a special tragic conflict, and its most important aspect is scale and social significance. It was not for nothing that Hegel defined tragedy as the result of the conflicts of essential forces, because the prospects and fate of mankind are connected with the way these conflicts are completed. This situation makes tragedy the most philosophically voluminous form of art, which gives the creator the opportunity to put before himself and solve the fundamental issues that have excited mankind throughout the entire history of life.

The hero of tragedy is often depicted in a positive light, he shows a strong, bright, glorious person who embodies the positive dreams and expectations of his time. However, other types of heroes are rarely represented in the tragedy, and Shakespeare's Macbeth and Richard Sh. Brecht's characters, similar to Kurajona, arouse extremely conflicting emotions in the audience with their fate. The terrible things they do cause strong resentment, sometimes even disgust and horror. At the same time, you feel sorry for them, because you realize that under the influence of vile, disgusting conditions, they are alienated from their beautiful human qualities.

Usually, the content of the tragedy shows the active desire of the hero to fundamentally change the existing conditions. The tragic hero acts here as the main subject of the tragic dramatic action. Therefore, the activeness of the tragic hero, his desire to maintain his will to dream, even if he sacrifices himself, is his essential sign. In his efforts to establish his will, he collides with historical impossibility, and this same conflict remains unsolved in these historical conditions and creates a tragedy. Although the high tragedy is connected with the painful suffering of the hero, and often the work ends with his destruction, it is still not sadness and disappointment, but the desire to live and fight, in this fight, the reader and the viewer have their own death. a person who knows about it will feel a sense of pride. The glorification of human greatness is expressed in the tragic type of art more and brighter than all others. Tragedy can be interpreted in art in a variety of ways. This does not negate the general characteristics of this genre. Common features of the tragic style include a desire for broad generalizations, richness of intellectual content, simplicity and integrity, high excitement and passions.

Tragedy flourishes at the turning points of the historical period, when old social ties and relations are broken, and old political views, aesthetic and moral rules are being painstakingly re-evaluated. The historical form of the tragedy, the tragedy of the ancient world (Aeschylus, Sophocles, Euripides) arose in the process of the destruction of the old patriarchal order and the establishment of the first class society in history. His characteristic "tone of fate" reflected ideas about natural and social laws.

In the imaginations of the people of the ancient world, the collision of man with the calamities predetermined by a powerful "fate" inevitably leads to his destruction. But the tragic perception expressed in the ancient tragic works does not mean that fate dominates fate. The Greeks took the responsibility for the sufferings of man on himself and dared to great courage. Zero must have realized that the root causes of suffering are beyond the limits of human will and ability. By showing that fate is stronger than man, Greek tragic art calls the viewer not to recognize it, but to fight it.

In the Middle Ages, the Arab Christian ideology fought completely against the spirit of tragedy, and we know that no worthy work of this type was created during this period. However, the hardships and sufferings of people in this period were no less than before. Christianity, which declared suffering as a punishment for sins and the eternal lot of mankind, actually "forbidden" the tragedy.

Fojea's prosperity began during the Renaissance, when the foundations of feudal relations, which seemed eternal and indestructible, began to erode. Instead of looking down on a person and emotional events, the philosophy of humanism was decided to glorify a person and sing about his limitless possibilities.

The tragedy of the Renaissance now represents a new historical situation, a different person's position compared to the old one. If in the ancient tragedy the individual did not yet separate himself from society and therefore acted as a manifestation of this or that moral idea, now in the tragedy of the Renaissance, personal passion and will sound as the main tone. Freed from the pain of the world and the limitations of the medieval class, a person collides with the reality that still opposes him to establish his will, his identity, and enters into an inevitable struggle with the dreams and aspirations of other people. There is no place for fate and fate here, the source of tragedy is man himself, his life on earth, the conflict of people striving for their goals, the evil they do to others and themselves. The tragedy of the Renaissance period, full of such contradictions, found its most complete and powerful artistic expression in Shakespeare's work.

In Shakespeare, tragedy covers all life, social relations and relationships, but in all of them the human personality is fully expressed. Shakespeare seems to have understood the inhuman nature of the emerging system along with his rejection of the feudal order. In it, tragedy arises as a result of a conflict with the bright humanistic dreams of the Renaissance, feudal ethics, on the other hand, with the "good age", in other words, as a result of the collision of the mixture of medieval barbarism and bourgeois rapacity.

In his tragic works, Shakespeare steadily establishes the image of a strong, courageous, proud, free man. Man believes that his personal freedom can be established, and this is where his error is revealed. Shakespeare powerfully shows the desire of his characters to preserve their identity, to establish their freedom in the conditions of a system that destroys the human spirit.

Among all other tragic heroes of Shakespeare, Hamlet stands out. Others, with the exception of Brutus, have a solid nature, firmly believe in the rightness of their work and behavior, and accept their defeat with a tragic spirit. As for Hamlet, knowing that he is doomed, he will stop at nothing to get to the end. In the tragedy "Hamlet", the clash of opposite forces was transferred from the external environment to the inner world of the hero. Here we see that Shakespeare paved the way for the mental and spiritual drama that was so prevalent on the stage several centuries later. The eternal, eternal secret significance of "Hamlet", its inexhaustible power and influence lies in the fact that the spiritual and philosophical wealth in it is irrevocably combined with the creative holistic perception of reality.

Hamlet is a humane thinker and at the same time a brave and fearless warrior. True, he spends a lot of time thinking and is lazy. However, this situation arises not because of his soft nature, but because of the fact that he could not fulfill the task of "rectifying the flawed age" which could not be solved at that time with the murder of Claudius. His moral victory is the victory of fearless human thought, although it is won at the cost of the hero's death, but it is perceived as a great lesson and a testament to future generations.

The artistic images created by Shakespeare are not only large-scale and clear, but also dynamic and impressive. Hamlet cannot be an exception to this line, because thinking that is searching for answers to eternal questions cannot be less active and less effective than directly acting behavior.

Ch. Aitmatov's novel "Kunda" can also be called a tragic work, because its main artistic tone, the spirit of passionate conflicts in it, great emotional impact, and the fate of its characters have a very tragic text. In this novel, social, moral and ecological problems that have spread widely in our time are deeply embedded in the tragedy, and because of this, this work sounds like a powerful warning of the impending tragedy.

The entire artistic work of the Georgian film director T. Abuladze is imbued with the spirit of high tragedy. Especially in his film trilogy "Iltijo", "The Family of Desires", "Repentance", avoiding the problems of historical accuracy and political tension, Abuladze presents life and death with his own, more conventional strange forms. He was able to express the eternal basic problems of life, such as goodness and evil, honesty and shame, loyalty and disloyalty, which are bothering the head and worrying at all stages of the development of mankind, in a unified unity with their tragic aspects.

There are a lot of scientific assumptions that the art of tragedy can be a constant companion, a life partner of humanity, because its striving and struggle to realize its dreams always collides with objective historical necessity, humanity the inevitable historical limitation of its possibilities at one or another stage of its development serves as an inexhaustible ground for the weaving of tragic tones in art. But it is necessary to add that the creation of a truly tragic work is the product of a rare talent that is bestowed on a rare artist. It demands from the creator of the tragedy a philosophical deep and wide-ranging thinking, a close connection with the height of personal passions capable of passing through "the whole state of the age" (Hegel), which is something that any creator can do. does not come from

Funnyness. One of the unique attitudes of human beings to world events is to look at the world with a funny look. Such a view is filled with the existing reality and its unpleasant aspects.

All researchers complain and warn about the complexity of the category of humor and the difficulty of understanding and perceiving it in terms of a system of concepts. The problem is that what, when, where, and under what conditions can cause laughter as a result of the infinite number of events that cause laughter, and most importantly, the scope and limits of funnyness are extremely mobile, unstable, and changing. It is impossible to find an answer to the question of what, when, where, under what circumstances stops laughter or does not cause laughter at all. This is the reason for the great diversity and diversity of viewpoints and opinions regarding the definition and scientific concept of humor. The variety of existing views on the funny is, of course, not only related to the thing, the event, but also related to its social relevance, one or another interpretation of the concepts of beauty and fun.

Each of the interpretations of the concept of funniness, as usual, has its own clear, rational essence, reveals some aspects that are really characteristic of funniness, but at the same time suffers from the disease of one-sidedness, exaggerating some aspect of funniness. when they overdo it, they turn it into an absolute rule of ridiculousness.

Humor, like other sophisticated phenomena, does not have only an objective side, but also combines subjective sides. The subjective side of humor is the sense of humor in a broad sense. (Moliere called the sense of humor a feature that distinguishes a person from an animal.) The sense of humor, which is the subjective side of humor, is a natural and free, direct perception of a person, seeing and understanding various funny inanities. is an expression of the ability to answer them with laughter. Qazil feeling is a very complex mental feeling, in which the person is shown with his whole being, his emotional and mental culture, the text and nature of dreams and expectations are shown. Comparing to the popular proverb: "If you tell me who your friends are, I will tell you who you are", here we could also say: "If you tell me what you are laughing about, I will tell you who you are."

Laughter, to one degree or another, forms a whole unit together with its source and its manifestation. People laugh in different areas. For example, there are also people who laugh enjoying a nutritious and delicious meal: for such people, laughter serves as an expression of a purely physiological physical perception of life. In relation to the question of laughter, which is directly related to the funny, we must say that it must correspond to the contradiction between the inconsistency of a phenomenon, first of all, the appearance of a person and his true essence, in other words, practical reality and high aesthetic dreams. It arises as a result of the natural awareness of important differences, inconsistencies, and disagreements between the existing reality.

Some people try to "decorate" their lowly, ignorant, indifferent, selfish essence with external pride, nobility, arrogance. When you meet such people, you can laugh and be happy. If the source of our laughter is the indifference between human essence and appearance, the reason for our joy comes from our awareness of this truth, our ability to distinguish truth from falsehood. Another (kind of funny) aspect of this ratio is that our joy can be accompanied by a "healthy" sense of selfishness, because we are spiritually and humanly superior to this person by our ability to understand their true nature. We like coming here too. Laughter thus lifts a person spiritually, gives him a sense of human pride. Fear and laughter are very opposite concepts, and if a person learns to laugh at naughty and ugly events, he will stop fearing these evils and start fighting them.

Laughter is democratic in nature and brings all people together, because laughing people are equal. Laughter is not only an effective means of fighting old age, but also a symbol of human strength and freedom. Laughter is incomparably colorful and multifaceted, ranging from soft, encouraging, good-humored humor to viciously bitter sarcasm.

Humor, in all its various forms, appears in almost all forms of art except architecture, but it finds its fullest aesthetic expression in comedy.

The subject of the comedy is the inconsistencies and imbalances in life and in people. The variety of forms of expression of humor causes them to be reflected in art in different ways. This is the reason for the variety of types of comedy works, the color range.

Comedy and laughter are inseparable concepts like twins. Laughter is a decisive means of revealing the essence of the events described in the comedy, the main form of aesthetic assessment of the depicted object and the expression of the author's attitude. The use of laughter as the main aesthetic tool in the art of comedy does not reduce its social significance, because laughter not only emphasizes the imperfection of the world, but also aims to reconstruct and renew it.

The special role that laughter plays in comedy is in many ways expressed in its specific social duties. Comedy is primarily a form of artistic criticism and self-criticism. They often oversimplify the fact that comedies are mainly critical, they understand and explain that comedy leads to direct, direct correction and improvement of bad behavior, bad people, bad events.

There is no doubt that Lessing was right when he said that the weapon of objective irony is aimed directly at people who are not capable of understanding. The main task of comedy is not utilitarian domestic essence, but aesthetic, that is, comedy does not teach morals, but develops the ability to learn the humor in life, and develops such a valuable quality as a sense of humor in people.

The great creators of comedy works are distinguished by the accuracy and correctness of their sophisticated judgments. They never used bitter, sardonic, sarcastic laughter only in relation to events worthy of gentle laughter and benevolent smiles, and on the contrary, they completely turned away from gentle humor and benevolent smiles when describing events that should be harshly condemned.

Mashara (satire) has a special place among the artistic forms of comedy. In the general aesthetic sense, mockery is a type of artistic representation of reality, in which the purpose of laughing at the negative events of life is to exaggerate the fact that such events are contrary to the dreams of a high man. The art of mashara can manifest itself in many ways. He is not alien to lyric, epic, or drama. At the same time, it constitutes a unique type of art, distinguished by its own goals and means of expression.

In the center of Mashara is always the negative events of life, and all the power of exposure is directed against them. Therefore, the critical direction characteristic of the art of comedy finds its fullest and clearest expression in the performance. Mashara mostly exposes laughter, but here it is not separated from anger.

Mashara is one of the most voluminous types of comedy. In the works of famous artists Petronius, Juvenal, Swift, Gogol, Sol'tikov, Shgedrin, Bulgakov, etc., satire rises to the level of raising universal problems and approaches tragedy from this point of view. In order to achieve his goal, he used all aesthetic forms of understanding reality, and first of all, all shades of humor are used, such as bitter sense of humor, bitter sarcasm, subtle sense of humor. Mashara unfailingly fulfills its duty of exposure, not excluding, but combining with lightness, wit and humor.

As a special type of artistic generalization, the plot is made as wide as possible. For this reason, people who are the object of ridicule sometimes rise to the level of large symbolic generalizations. It is not in vain that we mention the names of Tartuffe, Ishkamba, Khlestakov, Yudushka, because in these cases, we point to the fact that the person we are talking about has similar qualities, and we show the images of the people who are able to maintain their position in social life for a long time. we will try to summarize.

The characteristic of the content of the joke comes from its extreme exaggeration tools, such as hyperbole and grotesque.

Today, mashara is no longer needed, or it should continue to follow the direction of "gentle mashara", "soft mashara", "kind mashara" from its ruthless, uncompromising, sharp surprising, exposing direction opinions are widespread. But if the sharpness and ruthlessness of the mockery is thrown away, then his soul will also go out and he will not be useful to anyone. In the process of development of society, along with the object of mockery, its subject also changes. In the present era, as the priority of the interests of the universal goal is gaining a stronger place in the lives of the peoples of the world through universal values, all the rotten, outdated, hardened things, events, people's sharp and If we say that it will remain a viable object of mockery, there will be a great need for writers, painters, playwrights, poets who create mockery in this field.

A sense of humor (humor) has a special place among the types and types of funny art. Without its participation, no kind of humor can work, it is the greatest quality of value, and people who are prone to it, usually deeply understand how great and valuable qualities are all feelings of greatness, morality, nobility. Being able to find and see the flaws and funny aspects of a person not only in others, but also in oneself as a high-quality manifestation of the creative sense of humor criticizing the flaws and shortcomings of life and as an indicator of the spiritual height of a person shows ability. A sense of humor links self-criticism with self-criticism. As a separate form of emotional response to reality, it can also fulfill the duty of a component of a comedy work and a means of expression.

A sense of humor and a sarcastic attitude to reality are different forms of humor. But humor is capable of revealing the socially ridiculous aspects of life no less than mockery. Only then does the object of humor become an object of pity rather than angry condemnation, of support rather than destruction. In the comedies of writers such as Shakespeare, Lope de Vega, and Chekhov, the sense of humor is expressed at a higher level than mockery, but nevertheless, their humor has a sharp force.

Comedy serves to determine goodness and goodness through denial and criticism. Aristotle's idea that comedy, which we have quoted above, designates the most basic people as the object of its image, has the nature of historical limitation. the ancient Greeks loved to watch the comedies of Menander, in which, in addition to the venomous and bitter jokes of Aristotle, funny masks were placed in the center of their text, and wonderful young men were surrounded by noises.

Shakespeare's comedies also have a more positive resolution nature, in which mockery plays a supporting role. In Shakespeare's works, irony was an example of emotions created by exaggerating the flaws of people's simple natural weaknesses.

We will not be mistaken in applauding the life-giving spirit of Shakespeare's laughter as a product rooted in the fun-dominated features of folk festivals, spectacles, gatherings, because the combination of humor and mockery in his comedies is actually a surge of uncomplicated creative forces. is the expression of the game.

At the heart of Shakespeare's comedies is love filled with natural and healthy feelings, which glorifies man. The humor in most of them is built on the theme of the conditionality that destroys human nature, the victory of love over habits. In this regard, the importance of Shakespeare's artistic traditions for the Uzbek comedy art, which is working on the path of independence, is incomparable. While we rightly emphasize the revealing role of laughter, other aspects of its no less importance are educational laughter, laughter that softens and releases the soul, laughter of pity and compassion, life-giving and friendly expressions of laughter. we must not forget that it exists. All forms of humor become more important the more they are allowed to manifest freely. A developed sense of humor, the ability to understand and understand the funny aspects of life become an indicator of a person's spiritual health and maturity.

Art is a broad concept. Zero, art is the things created, created, created by human labor, intelligence, consciousness. Art is a creative type of human activity, and each work of art shows the unique talent of a person. And finally, art is closely related to human skill. Art, in a broad sense, includes artistic values, their creation (artistic creation) and consumption (artistic perception) processes. art has developed in connection with human development until the present time. The images of animals carved on the ideas found in the territory of Uzbekistan, Spain, the Sahara and a number of other ancient countries have a sophisticated value even from the point of view of the current era. These monuments were the results of the artistic activity of a man whose buds were just beginning to appear.

Art has always satisfied social needs in the process of historical development. Art is related to the complex, rank-and-file relations of social life, and it is at the same time a special type of work, a special field of social production, a form of social consciousness, a specific field of knowledge, and acts as a form of creative activity. Art is an independent sphere of social life, and according to its specific legal functions, it represents a separate social unit. Art affects all aspects of society, comes into contact with all forms of social consciousness, stimulates people's activities in various aspects of life.

There are many mediating links that connect art and social life. any artistic phenomenon, be it a specific work or a methodological direction, is defined, evaluated, and measured by the level of influence of religious and moral practices in their creation and development.

The relative independence of art development is explained by the fact that the level of artistic development of society does not always correspond to the level of its economic development. The progress or decline of art, its one or another type, the vivid expression of its appearance, definitely depends on the nature of social relations, the ratio of certain group forces, the characteristics of ideological life, and the status of a person in society. For example, the development of the art of the ancient world was decided behind the convergence of a number of conditions and factors and the creation of a very favorable situation. The relatively independent functioning of art in the life of society is also related to the manifestation of the law of inheritance. Succession is not a phenomenon unique to art. It applies to all forms of social consciousness. Succession is more evident in the spheres of political and legal consciousness, which are related to the material basis of society.

Succession exists in all aspects of life from spiritual life. But in art, which is far from the economic ground, covering all aspects of life, succession is manifested in a bright, full, comprehensive way. All aspects of art, the subject direction, ideological spiritual rules and tones, creative beliefs, style, types and forms of expressive means are especially prominent from succession.

In art, as in other forms of social consciousness, cognition and ideology are entwined and intertwined. At different historical stages and in different forms of art, knowledge and ideology operate in mutual proportion. The role of art in the cognitive process is clearly visible in the medium of fiction. When art is viewed as a separate form of knowledge, it is usually based on works of fiction. It is known that the cognitive abilities of music are somewhat limited compared to fiction, but music is of great importance in perceiving reality in the spirit of special tenderness, sensitivity, and sincerity, it expresses people's mental state, inner world, experiences, and feelings in uniquely delicate melodies. A similar duty is performed by architecture. Architecture, which is an art form related to satisfying people's needs, reflects the characteristics and signs of the era, people's domestic life, tastes, and hopes.