Symbolizm


	NEOSYMBOLISM

SYMBOLISM is one of the most significant trends in art that appeared in France, in 1870-80. The trend achieved its peak on the bound of XIX-XX centuries, first of all, in France, Belgium and Russia. The term "symbolism” was introduced by Jean Moreas in the Symbolist manifesto ('Le Symbolisme', Le Figaro, 18 Sept 1886) The manifesto declared: "Symbolism strives to present an idea as a perceptionally comprehensible form, but this form is not an end in itself. It serves as an expression of the idea being under the influence of it…" K. Balmont’s lines about symbolism are charged with magic of symbolistic picturesqueness : "In this world, playing with day and night, we merge the both into the one. We always turn duality into unity interlinking with its idea, a creative touch. We combine a few strings in a single instrument; merge two great eternal different ways into a single directing, like two separate verses, kissing in rhyme, merge into an indissoluble continuous sonorousness…"

Playing with symbols containing some mysteries and poetic polysemy, an artist reveals eternal interrelations in the world, which are reflected in our minds. He reveals mysteries and ideas which lead us to the Truth and help us to perceive the Beauty. The main content of a symbolistic work is figuratively expressed eternal ideas, that is, generalized notions about a human being and human life…

NEOSYMBOLISM carries on the symbolistic traditions on the current stage of social development. On the bound of XIX-XX centuries symbolists used their own sensual experience to expose the ideas of their works. Meanwhile, the most part of symbols was formed in Europe on the base of the Age of the Enlightenment ideology. This ideology was common for almost all European countries, and the language of visual artswas understandable forpeople speaking in different languages.

Love, anxiety, fear and temptation used to be expressed in different symbols, but people could perceive and decode them correctly. Today an enlightened society is in other condition. The world is proclaimed as multipolar.

Traditional distinction between good and evil is proposed to be revised and used in the tradition of modern times.
But any current tendency comes to maturity on the base of the symbols which were appropriate “yesterday”. Metamorphoses of good and evil become the norm, and a spectator either loses sight in his life, or goes round in circles, follows “Pavlov’s conditioned reflex” (the desire to capture the most irritating object).

The symbols, which are spiritual in nature, have become commodities, and the market forms, orders, uses and recycles all original fancies and inventions. Changes in fashion and worldview take place every decade. Also, the symbols, which characterize a decade, are subject to changes. Six of the seven people live in the past in accordance with schemes and symbols of the time when they were growing up in 30s, 50s, 70s or 90s. They don’t understand the symbols of modern life and how it is arranged. They are embroiled in an ongoing inherent contradiction which demolishes their individuality.Mounds of ideological rubbish are overfilled with utopian ideas and ideals of many years, creative leaps and an original experience of cognition. But only a décor and a “package” are subject to change. The essence of a “commodity” doesn’t change. Understanding of this process gives us a chance to find individuality without loss of connection with the society. Deliberate participation in this process guarantees a material comfort and real freedom of choice.An artist-neosymbolist cannot rely on perceptional experience of cognition only. He must be armed with the knowledge of symbol changes over time. Neosymbolism, as a style, correlates the meaning of each symbol with Age of the Enlightenment ideals, where good is a creative process in harmony with nature, evil is a destruction of creative processes, and human life is an absolute value from its beginning till fading.

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