Художні й естетичні цінності в польській естетиці першої половини XX ст.ud(Artistic values and aesthetic values in the polish aesthetics of the first half to 20th century)

摘要

У статті проаналізовано погляди польських естетиків першої половини ХХ ст.: С. Оссовського, Р. Інґардена і Л. Хвістка на потребу розрізнення художніх і естетичних цінностей. Виявлено специфіку розуміння такого розрізнення в концепціях згаданих представників польської естетики. Автор звертає також увагу на udмериторичне і методологічне значення цього розрізнення в естетиці, його роль у розвитку сучасної естетичної аксіології та сприйнятті сучасної художньої творчості. ud(The actuality of distinction between artistic values and aesthetic values is the result of ability to solve the difficult issues of modern aesthetics, for example the definition of artistic status of many avant-garde’s propositions, clarification the paradox of aesthetic appeal of sophisticated hoax or copies with the minimum artistic value. An important reasoning of the distinction between these types of values is methodological views and the need to improve the conceptual apparatus of aesthetics as a theoretical discipline.udAmong Polish philosophers of the first half of 20th century the need to distict these two types of values was emphasized by S. Ossowski, R. Ingarden and L. Chwistek. udS. Ossowski distinguished between two types of evaluation the works of art because of the beautiful (aesthetic value) and artistic perspective (artistic value). He noted that these two concepts are not marked at current estimates or theoretical considerations. Therefore, the concept “aesthetic value” functions as a “conceptual synthesis”. These two values are mixed also because in practice among them there are some correlations. Aesthetic experience is often a criterion for the evaluation the creative efforts, and vice versa: the value of that attribute works of art can be a very important factor in the aesthetic feelings of the recipient. In the 70 – 80’s. XX century the comprehension of the artistic and aesthetic values, similar to Ossowski’s conception was offered by many aesthetics (R. Rudner, K. Korsmayer, P. Kiwi, G. Germeren , T. Kulka, S. Nayder, Dziemidok B. and others).udIn Roman Ingarden’s conception, the distinction between artistic values and aesthetic values correlated with the distinction of the two orders, artwork and values that serve him as well as the aesthetic concretization of artistic work with its characteristic values. The author observes that in the Ingarden’s conception the distinction between aesthetic values and assessments and artistic values significantly differs from that distinction, carried out by S. Ossowski. Ossowski linked these two values with two heteronomous orders: the artistic value of art and the aesthetics of the beautiful. He separates these two orders in the axiological sense. R. Ingarden reduces the artistic value to aesthetic value, according to the submission the art to beautiful. The artistic value is a particular feature of art itself unlike the aesthetic feature of the concretization of the work.udL. Chwistek stated the necessity of distinguishing artistic values and aesthetic values. He proposed the theory of emotions caused by artwork. The distinction between the aesthetic experience and art experience, which was made on the basis of principles defined by the philosopher, is a background to distinguish aesthetic values and artistic values.)