Проблема традиції в художній практиці доби модерну — переходу до постмодерну
Date
2017
Journal Title
Journal ISSN
Volume Title
Publisher
ДВНЗ «Київський національний економічний університет імені Вадима Гетьмана»
Abstract
У статті проаналізовано потенціал традиції як системоутворюючого чинника художньої практики доби модерну, переходу до постмодерну, розглядаються різні рівні співвідношення традиції та новації та зроблено спробу виявлення нових смислів традиції в означену добу.
The article analyses the potential of tradition as a backbone factor of artistic practice of the modern era, the transition to the postmodern. Different levels of interconnection tradition and innovation are considered and new meaning of tradition in the mentioned time are tried to be identified. The attention is paid to the fact that the emergence of modernism as a change of worldview of modern man is linked to new realities of the early twentieth century, leading to the split of the world in which man can’t find him. There is a phenomenal acceleration of the rhythms and cycles of life. The revolution in communications and transportation leads to feeling of disorientation in space and time; the loss of cultural religious orientation leads to a crisis of identity. Modernism is a reaction to internal conflict in the world of the art, the search of the own «Self» in this fractious world. The author notes that one of the pillars of modernism is the destruction of the image as a way of renunciation of art, going beyond it. Man is unable to understand the world and master it in a plastic image; therefore all realistic eras, all phenomena of figurative arts of the past are successfully removed from the existing traditions, while the tradition is introduced according to which the art or artistic knowledge of the world take place only in contemporary art. Modern denies and cancels the previous tradition. The meaning of artistic transformations is perceived in negativity, confrontation, creating conflict, often — in scandal or shocking as the goal. Artists of modern subjectively manifest a break of ties with tradition, but objectively they are based on a deeper tradition, bringing it to a new level. It is noted that the development of modernism as a guidance is possible in a constant opposition to tradition. Direct or indirect denial of tradition, polemic with tradition, «transformation» of tradition when it is involved into a «unique system of art and thought», a dialogue with tradition — there are the ways to preserve traditions in the culture of modern. Since the late 60’s of the XX century, Modernism begins to relinquish its positions to postmodernism, which indicate new trends in the cultural consciousness of developed Western countries. Postmodernism is built on the radical equality of all traditions and trends in art, on the transformation of them into a public domain with a right to use it in any direction of contemporary art. Irony becomes the basic principle of the mosaic postmodern art. It is highlighted that in the era of postmodernism modernist conviction is losing ground and that only a radical rejection of tradition leads to progress. A convergence of Eastern and Western ideas about arts, a return to figurativeness is observed. Pluralism of traditions becomes a sign of time and is seen as a base of the cultural ecologism. The conclusion is made that the «tradition of innovation» becomes a core in the modern culture, and innovation development of tradition is a characteristic feature of all historical and cultural eras.
В статье анализируется потенциал традиции как системообразующего фактора художественной практики эпохи модерна, перехода к постмодерну, рассматриваются различные уровни соотношения традиции и новации и делается попытка выявления новых смыслов традиции в указанную эпоху.
The article analyses the potential of tradition as a backbone factor of artistic practice of the modern era, the transition to the postmodern. Different levels of interconnection tradition and innovation are considered and new meaning of tradition in the mentioned time are tried to be identified. The attention is paid to the fact that the emergence of modernism as a change of worldview of modern man is linked to new realities of the early twentieth century, leading to the split of the world in which man can’t find him. There is a phenomenal acceleration of the rhythms and cycles of life. The revolution in communications and transportation leads to feeling of disorientation in space and time; the loss of cultural religious orientation leads to a crisis of identity. Modernism is a reaction to internal conflict in the world of the art, the search of the own «Self» in this fractious world. The author notes that one of the pillars of modernism is the destruction of the image as a way of renunciation of art, going beyond it. Man is unable to understand the world and master it in a plastic image; therefore all realistic eras, all phenomena of figurative arts of the past are successfully removed from the existing traditions, while the tradition is introduced according to which the art or artistic knowledge of the world take place only in contemporary art. Modern denies and cancels the previous tradition. The meaning of artistic transformations is perceived in negativity, confrontation, creating conflict, often — in scandal or shocking as the goal. Artists of modern subjectively manifest a break of ties with tradition, but objectively they are based on a deeper tradition, bringing it to a new level. It is noted that the development of modernism as a guidance is possible in a constant opposition to tradition. Direct or indirect denial of tradition, polemic with tradition, «transformation» of tradition when it is involved into a «unique system of art and thought», a dialogue with tradition — there are the ways to preserve traditions in the culture of modern. Since the late 60’s of the XX century, Modernism begins to relinquish its positions to postmodernism, which indicate new trends in the cultural consciousness of developed Western countries. Postmodernism is built on the radical equality of all traditions and trends in art, on the transformation of them into a public domain with a right to use it in any direction of contemporary art. Irony becomes the basic principle of the mosaic postmodern art. It is highlighted that in the era of postmodernism modernist conviction is losing ground and that only a radical rejection of tradition leads to progress. A convergence of Eastern and Western ideas about arts, a return to figurativeness is observed. Pluralism of traditions becomes a sign of time and is seen as a base of the cultural ecologism. The conclusion is made that the «tradition of innovation» becomes a core in the modern culture, and innovation development of tradition is a characteristic feature of all historical and cultural eras.
В статье анализируется потенциал традиции как системообразующего фактора художественной практики эпохи модерна, перехода к постмодерну, рассматриваются различные уровни соотношения традиции и новации и делается попытка выявления новых смыслов традиции в указанную эпоху.
Description
Keywords
традиція, художня практика, модерн, постмодерн, інновація, tradition, artistic practices, modern, postmodern, innovation, традиция, художественная практика, модерн, постмодерн, инновация
Citation
Пітякова Т. Проблема традиції в художній практиці доби модерну — переходу до постмодерну / Тетяна Пітякова // Університетська кафедра. Культурологія. Аксіологія. Філософія. Етнологія. Дискусії. Рецензії. Анотації : альм. / М-во освіти і науки України, ДВНЗ «Київ. нац. екон. ун-т ім. Вадима Гетьмана», Ін-т приклад. та проф. етики ; [редкол.: Ю. Вільчинський (голов. ред.) та ін.]. – Київ : КНЕУ, 2017. – № 6. – С. 15–28.