Art is the term used in two ways : 1) the skill, ability, skill, craftsmanship, developed skill; 2), creative activities aimed at creating works of art, more aesthetically-expressive. The conceptual status I. directly linked to the second meaning of the term, while the first as a technical condition of all creativity. The concept of "I." konnotiruetsya historical change (transformation) forms and types of culture, their interaction, and hence, the philosophical nature, the arts, arts poyeticheskih refleksy and now is a multifaceted meaning education, it is open to new understandings of the elements created by continuously ongoing and artistic transformiruyuschimsya aesthetic experience of mankind, including the development of intercultural relations, communications, trade, technology, which provides support and creativity in the community and broadcast products. This kind of continuous change and the Y, its "proteizm" makes it impossible classic, positive identification I. It is a apofatichno as against its substantsionalnogo nature, and in particular, the socio-historical's goal. Because of its empiricheski- faktichnoy Noskov, I. be spetsifitsirovano only phenomenological terms, as an event (of sales) is always new, unexplored sense, and those bytiynyh circumstances in which this is possible. The tradition of this, phenomenological understanding I. is already in the ancient world, when eksplitsirovany three fundamental concepts of how I. in the form of the trinity : "POIESIS - MIMESIS - TECHNE. POIESIS - is an act of imagination to practice based on creative inspiration, identifying and creating the most artistic thing (artistic aesthetic relevance), but not the sort; In fact, and here begins smysloobrazovanie addressed to the truth. MIMESIS - podrazhanie- reproduction (as of things), the reliability of the product, its zakonosoobraznost. TECHNE-crafts, science, cunning, skill-sdelannost, completion of the work, its appearance. I. as Creative artistic phenomenon is sitting all three modes in their inseparability and complementarity. Ancient poetics (Aristotle, Horace), separating free (lyrical) I. of crafts, highlighting the artistic imagination as distinct from the outside (formal empirical) emulation, and opposed formal technical craft of smart (based on intelligent vision) creation. Poyetichesky mode, which is critical in the development of the artistic status of the work, while asking meaningful event and the nature of its presence. This meaningful character in Act I. its direct representation (presence) to understand the perception (feelings) are AISTHETIKOS (literally - sensory learning, perception, but made throughout tselokupnosti feelings, and their sense of awareness). I. Thus, creating yavlyayuschy set his art, while konstituiruet own world-artistic culture, a world in irrelevantny to the empirical fact, has its own (inherent) zakonosoobraznostyu oriented excellent, in the direction of I. only is phenomenal and . This method of I. as a phenomenal act establishes its two component system, one of which must be a matter of existential human presence in I. (through artistic culture). Here is a set of socio-cultural anthropology, which works ask situation eksplitsiruyuschuyu and tematiziruyuschuyu teleological to cultural self-determination has historically evolving human communities. Existential presence in the artistic culture of works thematically defined as the existing I. and defines his artistic ideal. I. then directly appeal to the supreme values of social order and an equally high proportion of social criticism. The second coordinate makes I. focus as artistic creative process of truth, the possibility of development for aesthetic consciousness. The problem is presented as part of the learning gnoseological I., his philosophy. Here, the truth is considered a phenomenon not noeticheski- logical system, and in its eydologicheskoy form ( "a" in letters sense). The most appropriate form of such disclosure, through its constituent truth and belief Eidos may be myth (mythologeme), the plastic-meaning education, which is "Hierophany" (holy phenomenon and, therefore, should zakonosoobraznogo and historian). This tradition is thinking gnoseological essence of I. 3. until new and modern times. In any case, in terms gnoseological I. establishes presence phenomenal things and committed to the cause transtsendentnye any presence. Professor may be the most basic form of I. phenomenon, in which the unity represented significant aspects phenomenally creative act : vneyazykovaya (vneznakovaya) reality; Certain personality, in terms prisutstvovaniya, actor (artist, a poet); Landmark and the reality of pointing and faktichnost in I. In mythologeme I. disclosed in the fullness of his life, but in so doing they do not is a separate component of the purely artistic, capturing almost the whole existence of the unity of creation and creature. Christianity, on the absolute transcendental entity (personal God), suggests a symbolic form of I. in the form of revelations simvola- (Testament), a supporting communications (dialogue) and Tvari Creator. I. This is Bogodanny character (stories and revelations of Scripture, teofanicheskie canons sacred images, vision, etc.). However, the postizhenii through transcendent symbol already being felt and creative willfulness "John", the artist. During this period, the concept of "I." konnotiruetsya meaning emphasis "artificial", "Temptation." The symbol of Christian culture is not an artistic work, it remains within the limits of the phenomenon I. phenomenon, a phenomenon directly related to transtsendentnymi basis of creativity. In this regard, there is no clear distinction, for example, between icons created by the wizard, and be very familiar natural teofanii (seq foot Lady incarnation power, physical symbols of the Holy stories). Events radically preobrazovavshim I. situation, it may be the adoption of Western Christianity "clause, where vosposledovalo postulirovannoe Thomas Akvinskim exercise" two truths "that led to a certain emancipation of the human (tvarnogo) learning the truth and, indeed, of human creativity . Tvarnaya validity (Emancipated nature), is a relatively self-sufficient source of life, and people here predpolozhen as gnoseological and creative entity. Subjectively creator (artist) is separated from the world, which is now counterbalanced by him in the form of an object and a method of specific objectives. In such a situation, I. is only able to describe the world in the display of products, which are accurate observations Feuerbach, did not claim to be true. " In artistic creativity are beginning to dominate aspects of "Engineering" - skill, ability, and "unusual", in terms of formal exemplary nature, taken in its "natural law". It is a "classic" model I. world as art, formed at the aesthetic principles and addressed to vospitatannomu aesthetic sense (perception), and judgement (taste). In the same period, the most important part of human culture is historicism, in the form of total World History, which believes the decision teleological humankind (Hegel, Marx), and this is a classic and art history (Winkelman), aimed at underscoring the (play) in the beautiful his ideal aesthetic form. The classical model of peace and I. become a fundiruyuschey to build the entire European project, which involves its relationship with all the parties Euro potsentristskogo world. Classic peace I. involves obraztsovost (normative) as at targeting wonderful ideal, literally otrafinirovaniy of the so-called classical historical eras (cf. "Classical Antiquity", "classic" (high) Rebirth), and in terms of transformation, having in sotsiologizirovannoy tematizatsii ratio "beautiful" and "life". Building obektivirovannogo "classic peace I." along with the installation of art (aesthetic) entity triggering kvazinauchnoy paradigmatiki study I. system procedures to examine, evaluate, establish patterns I. development on the basis of subjective criteria. I. New development time associated arts, the theory I. (Welflin), art criticism. Needless I. (peace classical I.) as a distinct system adequately describe (display) vnehudozhestvennoy really znachasche Its main element of which is an artistic way. Concerns artistic manner that best represented in the "aesthetics, Hegel, was an attempt to resolve differences between the consistency of the work faktichnoy I. (which as presented) and sense (in terms of classical aesthetic theory, the contradiction between the content and form). Art treated to continue benefits, as a product of imagination, resulting in the creation and appreciation of the works. However, firmly anchored artistic way to proceed reflect reality, reliable and valid, led to a series of paradoxes related to the inadequacy of principle "artistic" and the "real" world. This situation was otfiksirovana Shopengauerom and Nietzsche, otfiksirovana in the form of heightened attention to the topic POIESIS as a necessary means of artistic consistency, which remains relevant to this day. It POIESIS as the fundamental point of artistic creation is the foundation on which emerged during the many innovative, usually defined the term "modern art" has transformed the whole concept and practice together, and I. end 19-early 20 century. At the turn of the century marks a continuing throughout the 20. conflict classical tradition and innovation, whose soil has heightened indicated deep transformation I. and output it in a totally new dimension of human existence, accurately expressed Heidegger : "... art is pulled in the horizon aesthetics. This means : artistic work is under distress and Art is an expression of life. " That status is not I. classical building arts world and equal coexistence of diverse cultural and communications worlds that are vital as various, often dynamic human beings, self on political, economic and economic, ethnic, religious and ethical values and principles. Communicative principle of artistic structure (cultural) of the world, by the end of the century Adopting total, altering the manner and form of existence I., which is mostly symbolic entity (discourse), bears (transmitter, kommunitsiruyuschim) values values. I. Current is a complex system kommunitsiruyuschih forms and directions, often characterized by the so-called "postmodern project." Features a variety of "modernist" artifacts was a direct presence in the Executive Author artistic act, which is aimed at public provocation, which ends with the execution. As for the artistic vision (aesthetic), it is realized in the form of Modernism, and anthropological refleksy manifesto. Overall, we can say that the phenomenon of "modern I." rather humanitarian anthropological project dramatically, sometimes aggressively against the totally dominant systems of social samoreferentsy-political and economic. Because of this inherent in the act of artistic community are marginal and temporary. But "modern I." in its advanced form is not exhaustive of modern artistic culture, which retained the classic paradigm incorporated in the form of the classical arts education, museums, academic institutions, which are included in the system of mass communication and in relation to which the contemporary forms of artistic recognizes himself in aesthetic and artistic plans . Finally, the picture I. modern and contemporary art would not be complete without the phenomenon of mass culture, it is targeted at the mass market and artistic production ideological mass consciousness (cult stars, consumption, mass phobias, success in life). Mass culture has developed in the benefits of the means of communication directly from the prevailing political, economic and ideological references society and sotsializirovanie directly involving individuals in the total system power.