The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices.
Of all movements in art and architecture history, postmodernism is perhaps the most controversial. Postmodernism was an unstable mix of the theatrical and theoretical. It was visually thrilling, a multifaceted style that ranged from the colourful to the ruinous, the ludicrous to the luxurious. What they all had in common was a drastic departure from modernism's utopian visions, which had been based on clarity and simplicity. The modernists wanted to open a window onto a new world. Postmodernism, by contrast, was more like a broken mirror, a reflecting surface made of many fragments. Its key principles were complexity and contradiction. In the architecture of postmodernism in the 1970s and 1990s saw widespread experimentation with architectural styles from the past that modernism had excluded. Postmodernism lived up to its central aim: to replace a homogenous idiom with a plurality of competing ideas and styles. Postmodernism shattered the established ideas about style. It brought a radical freedom to art and architecture, through gestures that were often funny, sometimes confrontational and occasionally absurd. Most of all, the architecture of postmodernism brought a new self-awareness about style itself. When architects began using high-powered software created for the aerospace industry, in the design phase, computer programs can organize and manipulated the relationships of a building's many interrelated parts. In the building phase, algorithms and laser beams define the necessary construction materials and how to assemble them. Combining new ideas with traditional forms, postmodernist buildings may startle, surprise, and even amuse. Familiar shapes and details are used in unexpected ways. Buildings may incorporate symbols to make a statement or simply to delight the viewer. The main characteristics of postmodernism in its various manifestations are highlighted, such as absolute relativism, the denial of truth as a metaphysical false value, the existence of which is nonsense, a manifestation of a totalitarian type of thinking.
The historical development of art is a change of paradigms. Each paradigm contains a special understanding of art, defined bothby the act of creativity itself and by the evaluation of its results. It is especially important to identify the origins of these changes, identify their stages, and determine the direction of the evolution of artistic creativity. In this context, corporeality as an artistic paradigm of European sculpture is considered in an article in the historical dimension from classics to postmodernism. Background research driven by changes that have suffered over the past century art not only in terms of formative principles, but also in terms of being a work of art. The term "art" is not given apriori; itis inseparable from the historical conditions of its own realization and filled with different content. In ancient tradition, from which theoretical understanding of artoriginates, provides an understanding of art as mimetic activity. For plastic art of the ancient Greeks man was the epitome of all things, the prototype of all creation and the created. The human body in great shape was almost the only model of art aesthetic. The Greeks thought it only as a stature completeness. For the Greeks, body language was the language of soul, although Greek plastics did not know what analysis characters the cult of the individual, which is typicalfor the art of modern times. Plasticity, the ancient body kinetics can be regarded as some elements of thesemantic structure of a particular language as a kind of mimicry. Plastic modern European sculpture shows opposite tothe ancient classics, Christian traditional relationship of mind and body. Antiquity knew dualism of mind and body, and provided perception of the gods only in the body incarnation. Christianity brought a legislateddualism and brought early naive monism attitudeinto the historically natural decay. In the art of the Renaissance in Europe, due to rethinking of ancient Christian tradition, experience acquires the tendency of forming an image of ideal body oriented on classic examples. In the mid-nineteenth century, under the influence of a new understanding of human corporeality was an appeal to antiquity qualitatively new level due to the growing trend of "naturalization" in human culture and criticism concerning the previous historical periods. In the culture of the twentieth century, there was a quite relevant anthropological stance of negativism. Justification ofindividual values has led to a lack of uniform standards, because itwas perceived as an encroachment on personality. The natural beauty in all its perfection, the image of which was the purpose and content of Antiquity plasticsand the Renaissance art lost all its worthiness and has becomea subject of neglecting within the postmodernism.
At the end of the 20 and the beginning of the 21 century as a result of the changes that took place in art, there was a need for a theoretical re- thinking of artistic practices. This task was assumed by artists, art critics, art critics and other agents of the artistic world, trying to clarify the pos- sibility of a new vision of art, give it an objective assessment. Obviously, understanding the specifics of contemporary art is not so much in the assessment itself, but in clarifying the fundamentals of a different understanding of such concepts as "classical art", "contemporary art," "virtual art." If classical art received a thorough understanding of the history of art, art history and aesthetics for centuries, virtual art, as a specific form of contemporary art, needs to be thoroughly investigated. Contemporary art is experiencing significant transformations in the context of post-industrial culture. Increasingly important are computational methods for the production of virtual artefacts. The report notes that contemporary virtual art is a new space dynamically captured by the postmod- ernist practices of contemporary art. In modern practices of postmodernism in the field of virtual art with the rapid development of computer tech- nology sharply decreases the fate of human presence in the process of creativity. Machine modelling as a product of collective creativity allows you to create a new virtual image, regardless of its existence in the real world. In modern practices in the field of virtual art, the idea of artificial ("synthetic imagination") is used, which is a machine imagination with the use of artificial modelling of man's imagination. Artificial imagination with the help of interactive search allows you to synthesize images from the data- base and create a new virtual image, regardless of its existence in the real world. Thus, the rapid development of computer technology is increasingly reducing the fate of human presence in the field of virtual art. Postmodern experiments stimulate the erosion of the boundaries between traditional forms and genres of art. The perfection and availability of technical means of production, the development of computer technology practically led to the disappearance of original creativity as an act of indi- vidual creation.
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