Ontological aspectof the convention in arts andspatial-temporal formsof representabilityin works of arts
- Authors: Orlov IV1, Orlov IV1
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Affiliations:
- Issue: Vol 11, No 3-4 (2011)
- Pages: 37-41
- Section: Articles
- URL: https://aspvestnik.ru/2410-3764/article/view/25409
- DOI: https://doi.org/10.17816/2072-2354.2011.0.3-4.37-41
- ID: 25409
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Abstract
The paper deals with one of aesthetics basic notions, i.e. the convention in arts. The convention
in arts means a nonequivalence of an image of arts and a substratum of itself. The author turns
to the art image and spatial-temporal forms of its representability. It is the main problem of
this paper - whether any links between forms of art image representability and ontological
foundations of classification of arts exist? For this task the author analyzes the paper «Laocoon:
or, The Limits of Poetry and Painting» by G.E.Lessing. The investigation resulted in the following
thesis. Arts bent for either spatial or temporal forms of representability in works of arts; due to
it arts are divided into three classes: extensive arts, intensive arts and synthetic arts.
in arts means a nonequivalence of an image of arts and a substratum of itself. The author turns
to the art image and spatial-temporal forms of its representability. It is the main problem of
this paper - whether any links between forms of art image representability and ontological
foundations of classification of arts exist? For this task the author analyzes the paper «Laocoon:
or, The Limits of Poetry and Painting» by G.E.Lessing. The investigation resulted in the following
thesis. Arts bent for either spatial or temporal forms of representability in works of arts; due to
it arts are divided into three classes: extensive arts, intensive arts and synthetic arts.
References
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