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THE SOCIAL EDUCATIONAL FUNCTION OF ART IN THE PROCESS
OF SPIRITUAL UPLIFTMENT OF NEW UZBEKISTAN
Shokirov Otabek Bahodirovich
Researcher, Fergana State University
Orcid ID: 0009-0001-6560-7941
https://doi.org/10.5281/zenodo.14809864
Abstract:
The article studies the theoretical foundations of the socio-
philosophical analysis of the factor of art in the process of spiritual upliftment,
the socio-philosophical aspects of the possibilities of art in the process of
spiritual upliftment, the future tasks of the development of art in the process of
spiritual upliftment. Also, the socio-philosophical analysis of the possibilities of
art in the process of spiritual upliftment of New Uzbekistan is carried out.
Key words:
spiritual growth, social laws, the factor of art, tradition and
modernity, comparative analysis, analysis and synthesis, systematic and
functional, socio-philosophical analysis, liberalization, dialectic, social education
function, modernization.
INTRODUCTION.
In the present era, artistic culture consists of a complex
system, the main components of which are types of art. The division of art into
types is a product of a long historical development. In the primitive community,
artistic activity was carried out in a holistic manner. Due to the social division of
labor, the liberation of artistic activity from the manifestations of labor, beliefs,
and images, and the development of the physical and mental aspects of man, the
process of division of artistic activity into separate manifestations took place.
Types of art, in general, possessing the most important signs inherent in art, in
each of them, whether it is literature, architecture or music, these signs are
manifested in their own unique manifestations. Types of art in general are
related to art in the ratio of the particular to the general. It is known that
aesthetic thinking paid special attention to the issue of the sources of the
formation of types, and two directions emerged in it. The first of them is that the
source of the emergence of certain types of art is expressed in the complexity of
reality, its figurativeness and multiplicity.
LITERATURE ANALYSIS AND METHODS.
The spiritual foundations and
social functions of art are discussed by Hauve, D. Kerven, Y.E. Jacques-Dalcroze,
L. Daniel and F. Lissek, R. Munich, D. Karomatli, T. Levin, E.B. Abdullin, B.M.
Teplov, A.N. Sokhor, V.G. Mozgot, V.I. Petrushin, B.V. Asafyev, V. Beloborodova,
T.V. Cherednichenko, S.F. Gurbanaliyeva, E. Abdulin, Y.E. Bodina, N. Ivanov, A.
Nizamov, V. Rajnikov, F. Khalilov, D. Soipova, O.A. Ibrohimov, D. Karimova, R.
Khonazarova, S. Makhmudova, M.S. Mukhitdinova, Z. Oripov, Sh. Omankulova, Q.
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Panjiyev, R. Azizov, X.A. Turaqulov, M. Khojdayeva, Scientists such as G.
Sharipova and U.Y. Yuldashev were engaged in this.
RESULTS AND DISCUSSION.
There is no contradiction between these two
points of view on the origin of art forms, but there are, of course, certain
differences. Recognizing the decisive importance of reality in the formation of
certain types of art, it is necessary to take into account the subjective factor,
primarily the characteristics of human perception. The characteristics of the
material object used in the process of the artist's creativity should not be
ignored. Material objects in many ways create the characteristics of figurative
and expressive means inherent in one or another type of art.
There is no process of mutual substitution between types of art. Each of
them has its own unique value of rarity and irreplaceability. Because each of
them fully and directly reflects a specific aspect of reality that is relevant to it.
Each type of art occupies a priority position over other types in reflecting one or
another aspect of life, in expressing one or another human emotion. At the same
time, it also has a certain limitation compared to other types. For example,
fiction is an art form that has no equal in reflecting the broad and deep
functioning of life, in revealing the intellectual aspects of the human soul. But it
also has the property of existing limitations. It cannot be equal to music in
expressing the full wealth of human emotions, the diverse aspects of human
sensations, or to fine art in expressing the perception of the figurative emotional
aspects of reality. Even cinema, which is created by enjoying the possibilities of
literature, music, and fine art, cannot be equal to each of them in some respects.
Therefore, it is not appropriate to compare one type of art to another or to
create a hierarchy between them. All types of art operate on an equal footing,
but some have a priority over others in reflecting specific aspects of reality.
The characteristics of the arts are also reflected in their social functions.
Each type fulfills all the functions inherent in art, but these functions are
implemented in different types of art with varying degrees of completeness. For
example, the cognitive function of art is especially manifested in fiction and
other types related to it. Music is of particular importance in the formation of a
person's emotional culture. Fine arts are considered the most important means
of improving the culture of observation through spectacle. Pop and circus arts
perform their function as an unparalleled type of entertainment and spectacle.
Just as art forms cannot replace each other, they must also obey the very
important laws of inequality that apply without deviation in their development.
The law of inequality arises, first of all, from the fact that the development of art
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is not directly related to economic development. In different historical periods,
in the life of different peoples, one or another type of art, which determines the
artistic image of its time, plays a leading role. In ancient Greece, all types of art
were developed. Soft and flexible types (sculpture) were especially flourishing.
From the beginning of the Central Asian Renaissance, the poetic and
architectural spheres of artistic culture were able to reach the peak of their
development. In Italy, the fine arts flourished more during the European
Renaissance, and in England, theatrical art was very developed. In Russia,
throughout the past century, fiction has played a leading role in artistic culture
and social life with its enormous power.
Theorists of aesthetics have paid attention to the uneven development of
art forms since the beginning of the last century. Even F. Schiller, in his "Letters
on Aesthetics," tried to describe it, linking the uneven development of certain
areas of artistic culture with social propaganda, in particular, the social division
of labor. Continuing his predecessor's views in this area, Hegel derived the
development of art and its individual forms from the possibilities of human
development, which depend on social conditions.
Hegel interpreted the development of art as a complex, contradictory and
uneven process, and associated this unevenness with tendencies that are
expressed in the degree of difference, variety, speed and clarity of art forms,
sometimes slowing down the development of art. Linking the development of art
and its forms with the nature of social relations, he gave an idealistic
interpretation of social relations themselves. As a result, Hegel could not
indicate the real source of uneven development of certain areas of artistic
culture.
In socially contradictory societies, the violation of scale and harmony also
has a huge impact on the development of art, as a result, the unevenness of the
development of certain types of art is expressed in its specific manifestations.
For example, the Renaissance, freeing itself from the limitations of the Middle
Ages, initiated an unprecedented personal flourishing, the role of a single
individual principle in art grew, leading to the transfer of primacy from
architecture to the field of spatial art. In the fine arts, in turn, it led to the
flourishing and growth of its manifestations directly related to the disclosure of
the inner world of man.
Oral art also separated from oral folk art and rose to the level of genuine
literary literature, and it began to fully master the problem of the relationship
between man, nature and society in its entirety.
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In the process of its development, each type of art enters into interaction
with other types of it, acts as a specific part of a certain artistic system. The
historical periods of the development of art differ not only in ideas and images,
aesthetic desires and tastes, but also in a specific system of art forms. After its
emergence, no art form disappears, but the place of specific types of the artistic
system, and therefore the role they play in society, undergoes significant
changes.
Art forms develop not in isolation, but in the process of interacting with
each other. The nature of the interaction and the leading role of one or another
type of art in it are constantly changing. Reality is the objective basis and the
ultimate source of interaction. Each type of art, having its own characteristics,
strives to fully demonstrate its power of influence and expressive possibilities,
while at the same time needing the help and support of other types of art. At the
same time, each art form, on the one hand, strives to maintain its independence,
and on the other, they merge into each other. According to experts, the
Renaissance theater had a very significant impact on the definition of the quality
of distance and perspective in the visual arts, on the emergence of portraits and
thematic landscape images.
In the system of arts, fiction occupies one of the leading places, has a
significant impact on the development of other types of art. It constitutes not
only the necessary initial basis of theater and cinema, but also its influence is felt
in works of music and fine arts. Along with influencing other types of art, fiction
itself is influenced by other types, including fine arts and cinema.
In closely related types of art (for example, theater and cinema), the
processes of interaction and mutual enrichment are especially effective. The
interaction between theater and cinema is a clear historical process. Cinema,
when it was just emerging, was mainly influenced by theater. Because the first
feature films depicted theatrical performances. A peculiar intermediate state
was created, in which these feature films were not yet theatrical plays, but at the
same time they were not yet matured as truly new cinematographic works. At
the next stage, cinema as a special genre of imagery was formed, acting as a
period of separation from theater, but in fact the connection between theater
and cinematographic arts still remained. It goes without saying that if it were
not for the centuries-old theater culture, cinematographic art would not have
become one of the most powerful means of artistic influence on people in the
eyes of one or two generations. As cinematographic art achieved its artistic
independence, it began to exert more and more influence on theatrical culture.
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In the early days, this influence was more external, superficial in nature, and was
manifested in the introduction of a film screen into theatrical plays, the
intelligibility of the film image or the division of stage scenes into small events.
In the status of stage art, the influence of cinema is particularly evident in
practice. Under the influence of cinema, the culture of behavior on stage rises
sharply, the staging of visual elements - actors, objects, equipment - rises to a
new level of quality, and the decoration of the stage acquires a new meaning. But
the greatest influence of cinema on theater is manifested in the fact that it forced
theater to reveal its own characteristics, to analyze life intellectually, and to
develop in depth the processes of forming the thoughts and feelings of the
audience. In this sense, modern theater and its system of activity reflect the
influence of cinema on itself.
CONCLUSION.
The highest form of interaction of all types of art is their mixture
(synthesis), diverse, colorful manifestations. The form of artistic mixture is
formed by the combination of various means of art for the purpose of ideological
and aesthetic impact. An example of this is mixtures created using parts of
architectural monuments of the Middle Ages or the Renaissance, monumental
works of art, and works of applied and decorative art. Usually, each participation
in this mixture is manifested as a part of a new artistic integrity, while
preserving the identity of the type of art, and architecture occupies a leading
place in this artistic integrity.
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