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The main problems of theory and history. -- L., 1925. P. 7). Here, in hisopinion, and the need for a "collectivist theory of art." Such statements, of course, follow outside the formal method, howeverf.Schmitt leads a number of its purely semiotic observations."Visual images characteristic of spatiality. (...) For acousticimages is typical, on the contrary, the fact that their ranks are deployed in time andout of time does not exist" (ibid. P. 42). 06 the same write andRoman Jakobson in their work on visual and auditory signs(Jacobson R. To the question of visual and auditory signs // Semiotics andaccustomedly. -- M., 1972). In determining F. Schmittconstantlyfalls and consumers of art: "the Task of the spatial arts --to oformliat outside of the artist substance to matchvisual images of the artist and prompted the same visual imagesconsumer art" (F. Schmitt, op. CIT. Op.P.42). The researcher introduces the distinction between fine andnonrepresentational art. In the latter case we are talking aboutthe feeling of the artist, at the same time, fine art talking aboutspecific emotions. And then follows a purely semiotic complexity: "Nofine art, which would be completely absentnon-visual elements (tone, rhythm, rhyme in literature, rhythms,the pace and timbre of the movements in the drama, rhythms, and harmony in painting and sculpture),and there is nonrepresentational of the arts, where there were no traces of depiction(onomatopoeia, rhythms and tempos in music, in dance, facial expressions, naturalisticmotifs in patterned painting, nonrepresentational sculpture and architecture" (Theresame.P.45).
Empire thoroughly searched each separate instance of the gospeltexts to destroy it, - for I knew that these books pose athe mighty revolutionary potential energy..." (Ibid.P. 175-176). F. Schmidt in principle, interpreted the art of pure communication:when one person finds before the other world of his images below"infect" their experiences. Thus again dramatically increases the roleconsumer: "the artist not only caters to painters, awakening "withan unknown force" the images and the emotions, which in a vague kindnon-artists under the influence of being already born; the power of the artist over"people's hearts" - the power is quite limited, whatever itability, talent, genius, and anything mysterious and mystical in it.Any work of fiction, which had success with a teampeople can be rightfully considered as an expression of feelingsall of the team and as an indicator of the level of public its development"(Ibid. P.37). In General, the concept of F. Schmitt sufficient system, we even loweredsome of the proposed classifications. It is communicative in essence,therefore, it constantly refers to the consumer, it is purely passivefunctioning is translated into a more active role. And almost allsemiotic ideas associated with the future development of visual semioticsart, are already present here, including forward/reverseperspective, point of view (the latter being actively developed today, toexample, B. Uspensky. See: The Assumption B. A. Semiotics of art.- M., 1995). Prdyduschy texts attracted us by its desire for consistency andobjectivity. Among them we can also include V. bogaevskii,who said: "art history as a result of their work, hopefullydevelop a common language of art, which as yet recognize only a few"(Bogaevsky V. The task of art history (Contemporary issues in the studyfine arts) // problems and methods of studying the arts. -- P., 1924.P. 61). The reports read at the meetings of the Commission on the study of philosophyart philosophical branch of the State Academy of ArtSciences in 1926-1927 and combined in a collection of articles "portrait Art",it should be recognized already
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