FUGUE IN ABSTRACT PAINTING AS AN OBJECT OF SYNESTHETIC THINKING AND PERCEPTION
UDC index:
УДК 75.049
DOI: 10.31773/2078-1768-2024-67-259-270
Article ID in the RSCI:
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Information about authors: Vasiruk Irina Ivanovna, Ph. D. (Arts), Associate Professor of the Department of Piono and Musicology of the Samara State Institute of Culture (Samara, Russian Federation). E-mail: vasiruk@mail.ru
Annotation: In this article, modern abstract painting is considered in the context of synesthetic thinking and perception. The paintings of the last third of the XX-beginning of the XXI century with the name "Fugue" differently demonstrate two levels of synesthesia: intersensual and mentally generalized. It is the psychological aspect of understanding and interpreting non-objective painting that gives rise to the right associations and analogies with the musical fugue. It is the inter-sensory connections, the subtle "nuances" of the perception of a "complex" musical fugue, its universality and signality, that allow us to penetrate into the probabilistic meaning. When analyzing fugue paintings, various factors are shown: coloristic-color and compositional solutions, a variety of geometric shapes and graphic elements in the space of paintings. The multidimensional and long-term "path" of the fugue in abstraction makes it a necessary collaborative element, both in terms of content and art, and in terms of synesthesia and psychology. As a result of the undertaken research, it turned out that the correctness of understanding the author's idea includes a turn towards the recipient – the viewer, capable of remifologization, deciphering the semantic spectrum of paintings. The identification of the ontological and specific properties of the musical fugue as the highest form and genre of polyphonic music made it possible to show its existence in the abstract painting of modern domestic and foreign artists. The author of the article comes to the conclusion that the content parameter of abstract painting is complex, since it does not reproduce the visible, but is comprehended by building harmony with the object and penetrating into the meaning of the context at the intersensual synesthetic level.
Keywords: fugue, abstract paintings, color, synesthetic aspect, semantic codes, associations.
DOI: 10.31773/2078-1768-2024-67-259-270
Article ID in the RSCI:
Article file: Download
Information about authors: Vasiruk Irina Ivanovna, Ph. D. (Arts), Associate Professor of the Department of Piono and Musicology of the Samara State Institute of Culture (Samara, Russian Federation). E-mail: vasiruk@mail.ru
Annotation: In this article, modern abstract painting is considered in the context of synesthetic thinking and perception. The paintings of the last third of the XX-beginning of the XXI century with the name "Fugue" differently demonstrate two levels of synesthesia: intersensual and mentally generalized. It is the psychological aspect of understanding and interpreting non-objective painting that gives rise to the right associations and analogies with the musical fugue. It is the inter-sensory connections, the subtle "nuances" of the perception of a "complex" musical fugue, its universality and signality, that allow us to penetrate into the probabilistic meaning. When analyzing fugue paintings, various factors are shown: coloristic-color and compositional solutions, a variety of geometric shapes and graphic elements in the space of paintings. The multidimensional and long-term "path" of the fugue in abstraction makes it a necessary collaborative element, both in terms of content and art, and in terms of synesthesia and psychology. As a result of the undertaken research, it turned out that the correctness of understanding the author's idea includes a turn towards the recipient – the viewer, capable of remifologization, deciphering the semantic spectrum of paintings. The identification of the ontological and specific properties of the musical fugue as the highest form and genre of polyphonic music made it possible to show its existence in the abstract painting of modern domestic and foreign artists. The author of the article comes to the conclusion that the content parameter of abstract painting is complex, since it does not reproduce the visible, but is comprehended by building harmony with the object and penetrating into the meaning of the context at the intersensual synesthetic level.
Keywords: fugue, abstract paintings, color, synesthetic aspect, semantic codes, associations.
