The feelings and pleasures experienced by a person are diverse in nature, structure and psychological mechanism. Some of them are very close to animals, while others are specifically human and are unique to humans. The aesthetic sense belongs precisely to the latter. This is one of the most complex types spiritual experience, perhaps the noblest of human feelings. However, it should be noted that even he, a human being, is not given an aesthetic sense from birth. As shown Scientific research, it arises in a child relatively late, or does not arise at all if the child, for some reason, grew up among animals. As K. Marx pointed out, the aesthetic feeling appears only where a person is free from “crude practical needs.” And if an animal “produces only under the power of immediate physical need,” then a person produces, even when free from physical need, and in the true sense of the word only then “produces when he is free from it.” Developing the theory of human labor improvement, K. Marx established that the wealth of human sensuality and abilities arose and developed under the influence of diverse forms of practical activity.

Many animals have vision, but only humans have an eye that can enjoy the beauty of objects. The organ of hearing is also inherent in many animals, but only humans have an ear for music. The formation of external feelings is the result of the long biological evolution of the world, the emergence and development of aesthetic spiritual feelings is the result of all social history humanity. Ability to actively perceive the world in the forms of humanly developed sensuality is not the nature inherent in us (unlike the sense organs themselves), but is a cultural-historical product. The forms of contemplation and ideas are not only not determined by the anatomical and physiological characteristics of the organs of perception, but, on the contrary, are given to them from the outside by various forms of activity, the diversity of these forms.

The famous Soviet philosopher E.V. Ilyenkov represents this process so figuratively: The “own form” (physiological form) of the human perception organs is similar to the “wax form” precisely in the sense that it is not structurally and physiologically “encoded” in advance [a priori] none of the forms of their active functioning. Structurally, they are adapted by evolution precisely to perceive the form of any object, to adapt their activity to any objective form." physiologically,” that is, together with the anatomy of the organs of thinking and perception. They are each time reproduced in the individual through the exercise of these organs and are inherited in a special way - through the forms of those objects that are created by man for man, through the forms and organization of the objective human world. Culture, created by human labor, is a material carrier of forms of thinking and forms of contemplation, through which they are transmitted from one generation to another" 2.

Culture, its objective forms, spiritual content, as well as the human community are carriers of forms of feeling the world and forms of thinking. An individual masters such forms individually, through various forms of activity and communication, through games and learning. Outside the world of culture and human community, these generic human qualities do not develop. In other words, the method of transmitting generic qualities is sociocultural, and not biological, genetic, like in animals. Biologically and genetically, a person has only the prerequisites for a social form of life. Forming in early childhood, they actually turn into psychological mechanisms and act like “natural” human abilities. Therefore, they seem to be the same “natural” features of a human being as the anatomical structure of his body. Moreover, these abilities are characteristic of all people, differing only in the degree of their development and the cultural and ethnic originality of their manifestation. All this creates the impression that forms of thinking and forms of feeling are inherited in the same way as eye color and nose shape.

An individual, entering life, finds ready not only the socio-economic system, but also a certain culture of society, material and spiritual values. For him they act, first of all, as a condition of real existence. Only in the process of practical appropriation by an individual of social experience, crystallized in the culture of society, are his primary biological needs and feelings humanized, and his own spiritual needs and abilities are formed. These include aesthetic need and aesthetic attitude as the ability to satisfy it.

But aesthetic need arises only in the presence of an aesthetic feeling - this is the basis of an aesthetic attitude towards the world. That is, an aesthetic feeling is a spiritual education that means a certain level of socialization of an individual, elevating his needs to truly human ones.

It should be borne in mind that a person cannot satisfy any need without satisfying himself holistically as a person. The nature of the aesthetic feeling, its value orientation are therefore the most important social characteristic personality.

The existing structure of cultural, in particular artistic, values ​​of each specific era in relation to individual consciousness has a normative character. Assimilated by the individual in the process social interaction and aesthetic education, aesthetic values ​​accepted in society act as a guideline in its aesthetic attitude to reality, serve as standards and criteria that allow the formation of its own spiritual world, the internal structure of personality.

The mediation of the aesthetic attitude by the previous aesthetic experience of mankind, recorded in culture, is one of the reasons for the common aesthetic feeling of people. The measure of commonality of aesthetic feeling varies. The nature of the worldview can be common to an entire historical era. This is most clearly manifested in art. It is not easy to distinguish the romantic worldview from the classicist one when communicating with works of art representing these movements in art. One can detect similarities in aesthetic feelings among a national-ethnic community of people. This depends primarily on the social class position of the human community: the more complex the social, cultural, ethnic, and demographic structure of society, the more diverse the aesthetic feelings of people.

The forms of aesthetic worldview that exist in society do not act in relation to an individual in the form of norms prescribing a certain attitude of a person to reality - they rather acquire the significance of models on the basis of which a person builds his own worldview. What complex of sociocultural factors will influence greatest influence on individual development personality, the quality of individual aesthetic feeling depends. The measure of its development is also individual and largely depends on the efforts of the individual himself to master the wealth of aesthetic culture developed by humanity. It is at the same time a measure of the socialization of the individual. The underdevelopment of the aesthetic sense indicates a person’s low spirituality, his inability to rise to the true social reality of any act of life. Lack of spirituality, baseness, crude utilitarianism of the needs and desires of the individual indicate an underdeveloped aesthetic sense.

One should also take into account objective social conditions that may be unfavorable for the aesthetic development of both an individual and entire social strata or classes. Therefore, the accessibility of the wealth of aesthetic culture, i.e. the equal rights of all people to education, obtaining information, using libraries, museums and other cultural institutions, is an important condition for social justice.

The degree of development of aesthetic sense significantly influences the character and quality of social activities person. This is most clearly manifested in the degree of craving for beauty, perfection, and harmony. Moreover, becoming an essential characteristic of a person, the aesthetic feeling leaves an imprint on any act of human activity and his spiritual experience. It ensures not only the harmonization of the external world through activity, but also enriches and makes diverse inner world man, his spiritual experiences.

Art has a significant influence on the development of aesthetic sense. To a certain extent, it is a piggy bank, an experience of feeling the world and ensures not only the preservation of the culture of feelings, but also the sphere of development and enrichment of it. With the help of art, we not only develop and enrich our personal, individual experience of the world, but also the ability to penetrate into the inner world of another person, learn to see and feel the world through someone else’s eyes, and thereby reveal in ourselves the ability to sympathize with another person, to participate in his joy and misfortune .

Aesthetic feeling, therefore, is the basis of aesthetic consciousness, on which more can be formed. complex elements its structures that ensure aesthetic development and improvement of the individual and society, such as aesthetic taste and aesthetic ideal.

SENSE AESTHETIC a consequence of a person’s subjective emotional reaction to objective expressive forms of natural and social reality, which is assessed and experienced in accordance with the subject’s ideas about beauty. In those cases when the beauty of an object, as well as the merging of its content with an expressive form, coincides with the subject’s ideas about what should be, he experiences that special aesthetic pleasure, which consolidates the corresponding feeling. Aesthetic feeling is the main component of historically conditioned social aesthetic consciousness, which, in turn, has a direct impact on the formation of individual aesthetic feelings. Because of this, in a class world, aesthetic feelings turn out to be class feelings, although, due to their versatility and significance, they include an objective, universally significant, universal principle.

The aesthetic sense that developed in the creative work of mastering and transforming nature helped to ennoble and socialize the essential natural instincts of man - first of all, the preservation and maintenance of life. At one time, K. Marx, revealing the nature of scientific communism and equating it with humanism, paid special attention to the process of realizing the essential forces of man, especially clearly revealed in the wealth of subjective human sensuality. If crude utilitarian feelings have “only a limited meaning,” then humanized feelings, which primarily include aesthetic feelings that are far from narrow practicality, correspond to “the entire richness of human and natural essence.” These are “those feelings, wrote Marx, which are capable of human pleasures and which assert themselves as human essential forces.” In their development and in direct practice, such feelings “became theorists.”

The aesthetic feeling concentrates not only the multifaceted sensory experience of a person. Moreover, they reflect the experience of the cultural values ​​mastered by the individual. Therefore, the formed aesthetic feelings should be considered as a sensory-theoretical cross-section of the real values ​​of the objective world and subjective value orientations person, constituting the reality of the individual’s consciousness. The aesthetic feeling not only concentrates, but also purposefully directs the most heterogeneous human relationships to reality from the standpoint of consciousness and even unconscious, primarily sensory-mediated personal ideas about the beautiful desired future. It is quite clear that without the effective development of aesthetic feelings, the process of comprehensive and harmonious improvement of a person cannot take place. Only on their basis are aesthetic needs, tastes and ideals formed.

Looking at the man - his appearance, behavior, conversation, one can understand whether he has developed aesthetic feelings of the beautiful and sublime.

Does he have a sense of taste and style, a sense of beauty and beauty, aesthetic...

All people behave and look differently, everyone has different tastes and sense of style (as they say: “there are no comrades for taste and color”), everyone has developed their own aesthetic sense of beauty...

You are invited to take an online test for a sense of style to understand whether you have a developed aesthetic sense of taste for beauty or not.

And not just to understand, but also to learn to develop a sense of taste, because... if a person has developed aesthetic feelings, then this says a lot...

Test for sense of style, aesthetic sense of taste of beauty

Before taking the test for a sense of style and taste for beauty, i.e. to determine how developed your aesthetic feelings are, you should understand what we're talking about(small excursion before testing).

According to the German philosopher Immanuel Kant, taste is the ability to judge beauty.
Only a developed sense of taste in a person can lead a person to harmony with himself, other people, the world and the universe.

For example, is considered to be the presence of a sense of aesthetic taste in a person’s appearance, i.e. if a man or woman is dressed tastefully and stylishly, when they have clothes, other accessories and elements appearance(including makeup, perfume, jewelry, hairstyle...) are selected taking into account the characteristics of the figure, face, etc. - that is, they emphasize advantages and hide disadvantages.

Aesthetic taste and style presuppose a person’s selectivity, his commitment to any direction, and personal preferences with own opinion about things (I emphasize - with your own, and not taken from someone else).

Those who do not prefer something specific, do not have their own “I” (imitates, copies someone), who are omnivorous and indiscriminate, do not have a sense of taste and style. They do not have developed aesthetic feelings.

Look at the people around you on the street. How many people have a sense of taste and style? So, how many people are harmonious inside, in life, in relationships?

Psychological aspect of aesthetic taste of beauty

A few more words and you can pass the test for your sense of style and taste.

You've probably seen people dressed with taste, while others have a lack of aesthetic taste, bad taste in style, and no sense of beauty.

For example, nice to look at beautiful girl with a beautiful figure, whose tight-fitting clothes emphasize her advantages - her clothes, accessories, jewelry, good makeup, manicure, a light pleasant smell of perfume shows her sense of taste.

Or, a girl with folds, stretch marks on her stomach, cellulite and overly full legs, also dressed in tight clothes or these parts of her body are open, plus the smell of her perfume hurts her nose, and her makeup is artificially bright and not harmonious - clearly speaks of disharmony in the soul and lack of sense of taste and beauty.

Both may be dressed in stylish and fashionable clothes from the same brand, but do they both have a sense of style?

Probably, if a girl does not have a very chiseled figure, then she should wear things that level out her shortcomings, and not show them...

Psychological aspect of the sense of taste and style, or lack thereof, not just in the clothes themselves, accessories, perfumes and makeup.

And it’s not even that a person knows how to emphasize advantages and hide shortcomings, due to the ability to dress correctly and apply makeup.

Aesthetic taste is inside a person, in his head, in his soul (in his psyche) - the sense of taste is established in childhood, in the process of education and socialization.

From a psychological point of view, we can somewhat turn around (but not distort) the opinions of philosophers about the sense of taste of beauty.

Those. an undeveloped sense of taste leads a person to harmony within himself and in outside world, but a little on the contrary - a feeling of harmony within oneself leads to the development of aesthetic taste and harmony in the world and the universe.

This is easy to check. See for yourself. If a girl is beautiful both in body and in soul, then no matter how you “make up” her, no matter how you dress her up, no matter how you perfume her - no matter what, no matter how you dress her in felt boots, a padded jacket and a hat with earflaps in the summer - she is still beautiful, harmonious, charming and attractive .., something warm, beautiful, good emanates from her...

Her sense of taste and beauty is within her, and not in clothes and other accessories

Look at another beautiful girl, stylishly and tastefully dressed and well-groomed.

If she has disharmony and emptiness in her soul, then no matter her external gloss and aesthetic taste, she emanates coldness, negativity, her eyes are empty, she repels spiritually... (she can only attract physically... out of lust...).

Summary, before the style and taste test:
You have the right to dress and decorate yourself the way you personally think is good. You can follow any direction in fashion and style. The sense of taste is not innate - it is acquired; you can always develop and change your aesthetic taste.
The main thing you need to know it's that your personal sense of taste and style is in your head, not on your body. Be harmonious in your soul, and the rest will follow...

So, take the test for style and aesthetic taste of beauty online

You might be interested...or want to get rid of

Feelings are the most stable human experiences that arise when social needs are satisfied or dissatisfied (love, pride, hatred, ideological feelings, etc.). Distinctive Features feelings are their awareness, objectivity and generality.

Moral feelings are a person’s experience of his relationship to other people, to society, to the rules and norms of social life. They arise when comparing the phenomena of reality with social norms after their adoption. Positive moral feelings include feelings of benevolence, pity, tenderness, sympathy, friendship, camaraderie, collectivism, patriotism, duty, etc. Negative moral feelings include feelings of individualism, selfishness, enmity, envy, gloating, hatred, etc.

Intellectual feelings are feelings associated with cognitive activity and regulating the intellectual activity of the individual. These feelings include feelings of interest, satisfaction from intellectual activity, love of truth, doubt, surprise, humor, etc. Intellectual feelings allow one to overcome difficulties and support the desire to search for truth. That is why the efficiency of some scientists is so amazing.

Aesthetic feelings are a peculiar coloring of sensations that characterize our attitude to the individual qualities of an object. The experience of the beautiful and the ugly in nature, life, art, man, etc. is associated with an understanding of harmony, the sublime, the tragic, the comic. Art has a huge impact on a person’s emotional states. Thus, the feeling of the tragic manifests itself in a person when he empathizes with the tragic situations of other people (catharsis).

Catharsis (English cathexix - energy expended on the presentation of concepts, ideas, images, symbols) - initially the concept of catharsis referred to a state of emotional shock, internal cleansing, which was caused in spectators of ancient tragedies as a result of worrying about the fate of the hero, which, as a rule, ended in death. Catharsis is contact with people's suffering, empathy for tragedy.

Practical (praxical) feelings (Greek pаktikos - active) - feelings associated with human activity (annoyance, pleasure, creative enthusiasm, etc.).

Passions are absolutely dominant feelings that capture a person and own him. This is, as a rule, a person’s strongly expressed passion for something or someone, accompanied by deep emotional experiences associated with the corresponding object.

FEELINGS: CONCEPT, TYPES AND MANIFESTATIONS

As we have already noted, a person not only cognizes reality in the processes of perception, memory, imagination and thinking, but at the same time experiences certain feelings in relation to them. The source of such an internal personal relationship is the activity and communication in which it arises, changes, consolidates or fades away. Patriotism is also called a feeling, which largely determines a person’s position. The feeling that gripped a person is also called disgust for a liar who has deceived someone for petty reasons. Feelings are always closely related to human emotions. It is no coincidence that in the literature one can find consideration of feelings as a type of emotion, as well as emotions as a result of the experience of a particular feeling.

On the one hand, the experience of feeling appears as a special one experienced by the subject mental condition, where the perception and understanding of something, knowledge about something appears in unity with a personal attitude towards what is perceived, understood, known or unknown. In all these cases it is said as special emotional state of a person.

At the same time, the experience of feeling is mental process having its own dynamics, flowing and changeable. In particular, for example, experiencing the severity of loss loved one means to actively rethink one’s place in life, which has changed after an irreparable loss, to reevaluate life values, find the strength to overcome a critical situation, etc. The emotional process that proceeds rapidly in this way results in a certain balance of positive and negative assessments of the situation of loss itself and of oneself in this situation. So, the experience is associated with the objective need to endure a situation that has become critical, withstand it, endure it, cope with it. It means experiencing something emotionally.

In contrast to the actual emotions and affects associated with specific situations, feelings highlight in the perceived reality phenomena that have a stable need-motivational significance for a person. Feelings always have a clearly expressed objective character. It's always a feeling for something. But the subject of feelings can be very general and speculative.

The same feeling can be realized in different emotions. According to V.K. Viliunas, this is due to the complexity of phenomena, the versatility and multiplicity of their connections with each other. For example, the feeling of love gives rise to a spectrum of emotions: joy, anger, sadness, sympathy, jealousy, etc. In one and the same feeling, emotions of different signs (positive or negative) often merge and transform into each other. This explains such a property of feelings as duality ( ambivalence).

Historically, feelings are formed in the process of human social development and change depending on specific social conditions. In ontogenesis, feelings appear later than emotions themselves; they are formed as individual consciousness develops under the influence of upbringing in the family, school, etc. Arising as a result of the generalization of individual emotions, feelings become formations emotional sphere of a person, determining the dynamics and content of situational emotional reactions.

The problem of classification of feelings remains unresolved. In any case, there is no exhaustive classification of feelings yet, which is explained, firstly, by their great diversity and, secondly, variability depending on historical conditions.

Most often, when trying to classify feelings, you can come across the isolation of such a concept as “higher feelings”, since they arise when satisfying the needs of more high order. Higher feelings - This is a special group of feelings that contains all the richness of a person’s emotional relationship to social reality. Depending on the subject area to which they relate, higher feelings are divided into moral, aesthetic, intellectual and practical.

Higher feelings are nearby characteristic features: the high degree of generalization that they can achieve in their developed forms; connection with a more or less clear awareness of social norms related to one or another aspect of reality. Since the highest feelings reveal to a certain extent the attitude of a person as a whole to the world and to life, they are sometimes called worldview feelings.

Moral or ethical are the feelings that a person experiences when perceiving reality and comparing these phenomena with norms and moral categories developed by society. The object of moral feelings is social institutions and institutions, the state, human groups and individuals, life events, human relationships, the person himself as the object of his feelings, etc.

The question arises: can a feeling be considered moral only because it is directed at certain institutions, human groups, and individuals? No, since the emergence of a moral feeling presupposes that a person has internalized moral norms and rules, that they appear in his consciousness as something to which he is obliged and cannot but obey.

Moral feelings include love, a sense of duty, humanity, goodwill, friendship, sympathy, etc. Among moral feelings, moral and political feelings are sometimes distinguished separately as a manifestation of emotional attitudes towards various public organizations and institutions, teams, the state as a whole, to the Motherland, etc. One of the most important features of moral feelings is their effective nature. They act as the motivating forces of many heroic deeds and sublime deeds.

Aesthetic feelings - This is a person’s emotional attitude to the beautiful or ugly in surrounding phenomena, objects, in people’s lives, in nature and in art. The basis for the emergence of aesthetic feelings is a person’s ability to perceive the phenomena of the surrounding reality, guided not only by moral norms, but also by the principles of beauty. A person acquired this ability in the process of social development and social practice.

Aesthetic feelings are characterized by great diversity, complexity of the psychological picture, versatility and depth of impact on a person’s personality. A person experiences especially deep feelings when perceiving best works fiction, musical, dramatic, visual and other types of art. This is due to the fact that moral, intellectual, and practical feelings are specifically intertwined in these experiences. Aristotle noted the enormous positive impact that the perception of works of art has on a person’s mental and physiological states, calling this phenomenon “purification” (“catharsis”). Aesthetic pleasure brings emotional shock and emotional insight. Aesthetic psychotherapy is based on this.

In addition to the experience of beauty (or ugliness) in aesthetic feelings, a kind of reconfiguration of the mental and physiological functions of the human body is carried out in accordance with the perceived aesthetic object. As a rule, aesthetic feelings have a sthenic effect on the psyche and activate body functions. This influence is manifested in a kind of excitement when perceiving works of art.

An aesthetic feeling cannot be characterized by any one emotion involved in its manifestation. The complexity and originality of aesthetic experiences lie in the specific and unique combination of emotions that are different in their direction, intensity and meaning. N.V. Gogol characterized his humor as visible to the world laughter through tears invisible to the world.

Although aesthetic feelings are specific, different from moral ones, they are directly related to the latter. Aesthetic feelings often influence the education and formation of moral feelings and play a role in public life and human activity, a role similar to that played by moral feelings.

Intelligent or cognitive feelings are called experiences that arise in the process cognitive activity person. Discovery of new facts and phenomena of reality, their interpretation, reasoning about certain provisions, finding new ways to solve a problem, etc. cause a whole range of experiences in a person: surprise, bewilderment, curiosity, inquisitiveness, conjecture, a feeling of joy and pride about the discovery made, a feeling of doubt about the correctness of the decision, etc. All these feelings, depending on the nature and scale of the problem being solved and the degree of its difficulty, can appear in a more or less complex form.

One of the most necessary for intellectual activity is a sense of curiosity, a love of truth. It is effective in nature and is expressed in the constant search and struggle for something new, progressive both in the field of knowledge and in practical activity. A. Einstein very aptly called this desire “escape from surprise.”

Intellectual feelings reinforce and make activities associated with overcoming difficulties on the way to achieving a goal enjoyable. They provide energy for the work necessary to advance knowledge from the existing level to new heights. It is precisely the strength of intellectual feelings that can explain the amazing ability of some scientists.

Practical feelings or praxis (from the ancient Greek “praxis” - action, activity) - this is an emotional response to all the richness and diversity human activity. These feelings are generated by the activity, its change, success or failure, the difficulties of its implementation, its completion. Practical feelings are characterized by different contents and to varying degrees the intensity of the experience depending on the forms and complexity of the activity that a person performs.

When familiar, uncomplicated work is performed, the process of which is fairly automated, the emotional response relates more to the result of the work itself than to its process. Complicating an activity and introducing creativity into it generates a response to the very process of its implementation in the form of so-called creative feelings.

Aesthetic feelings -- emotional condition, associated with the attitude towards beauty in the surrounding social and natural environment. Both physical objects and relationships between people can be beautiful. Aesthetic feelings merge with moral feelings (hence the expression “beautiful deed”, “wonderful character”, etc.). V.G. Belinsky rightly said that beauty is the sister of morality. Moral education is inextricably linked with the education of an aesthetic attitude to reality. People's actions are assessed simultaneously as both an ethical and an aesthetic phenomenon; they are experienced as both beautiful (or ugly) and good (or evil). Depending on the properties of phenomena, aesthetic feelings are expressed as an experience of the beautiful or ugly, tragic or comic. The concept of beauty changes depending on changes in the development of society. Thus, the norm for the external beauty of a woman among peasants was a dense, large physique, physical strength, blush as a sign of health, etc. The ideal of a secular beauty was completely different.

The feeling of tragedy is associated with a reflection of the contradiction between necessity and possibility, with a reflection of the confrontation between the beautiful and the ugly. Grief in connection with tragic events activates the progressive activities of people. The tragic evokes hatred of base phenomena.

The sense of the comic is based on the discrepancy between one or another social phenomenon, people’s actions, and the objective properties of things: new - old, content - form, the real essence of a person - his opinion about himself, etc.

The reflection of phenomena as tragic and comic, funny and sad depends not only on what a person perceives, but also on his aesthetic, moral positions, and the existing system of assessments. Laughter at any trifling occasion, and even more so in connection with circumstances unpleasant for other people, is not aesthetic; it indicates a lack of understanding of what is funny, a lack of a genuine sense of humor.

The experience of beauty in art is expressed in a state of artistic pleasure. It depends on systematic communication with beauty, on a person’s aesthetic knowledge, his artistic assessments and tastes, emotional excitability, impressionability, understanding of the relationship between content and form of this work, artistic style and method.

Works of art are one of the most powerful sources emotional experience of a person, they form a person’s attitude towards life.

The emotional impact of art is based on the fact that true art reveals the essence of phenomena and manifests this essence in a directly perceptible form.