Толстойдың «Өнер туралы» кітабы

Book by Leo Tolstoy
a book by Leo Tolstoy

What Is Art? (Что такое искусство? Chto takoye iskusstvo?) is a book by Leo Tolstoy. It was completed in Russian in 1897 but first published in English due to difficulties with the Russian censors. Tolstoy cites the time, effort, public funds, and public respect spent on art and artists as well as the imprecision of general opinions on art as reason for writing the book. In his words, "it is difficult to say what is meant by art, and especially what is good, useful art, art for the sake of which we might condone such sacrifices as are being offered at its shrine". Throughout the book Tolstoy demonstrates an "unremitting moralism", evaluating artworks in light of his radical Christian ethics, and displaying a willingness to dismiss accepted masters, including Wagner, Shakespeare, and Dante, as well as the bulk of his own writings. Having rejected the use of beauty in definitions of art (see aesthetics), Tolstoy conceptualises art as anything that communicates emotion: "Art begins when a man, with the purpose of communicating to other people a feeling he once experienced, calls it up again within himself and expresses it by certain external signs". This view of art is inclusive: "jokes", "home decoration", and "church services" may all be considered art as long as they convey feeling. It is also amoral: "[f]eelings very bad and very good, if only they infect the reader constitute the subject of art". Tolstoy also notes that the "sincerity" of the artist – that is, the extent to which the artist "experiences the feeling he conveys" – influences the infection.

Tolstoy's analysis is influenced by his radical Christian views (see The Kingdom of God is Within You), views which led him to be excommunicated from the Russian Orthodox Church in 1901. He states that Christian art, rooted in "the consciousness of sonship to God and the brotherhood of men":
can evoke reverence for each man's dignity, for every animal’s life, it can evoke the shame of luxury, of violence, of revenge, of using for one’s pleasure objects that are a necessity for other people, it can make people sacrifice themselves to serve others freely and joyfully, without noticing it. Ultimately, "by calling up the feelings of brotherhood and love in people under imaginary conditions, religious art will accustom people to experiencing the same feelings in reality under the same conditions". Ge's Judgement, Liezen Mayer's Signing the Death Sentence, and paintings "portraying the labouring man with respect and love" such as those by Millet, Breton, Lhermitte, and Defregger.

"Universal" art by communicating "feelings of the simplest, most everyday sort, accessible to all people without exception, such as the feelings of merriment, tenderness, cheerfulness, peacefulness, and so on". Tolstoy's examples: he mentions, with many qualifiers, the works of Cervantes, Dickens, Moliere, Gogol, and Pushkin, comparing all of these unfavourably to the story of Joseph.

Tolstoy notes the susceptibility of his contemporaries to the "charm of obscurity". Works have become laden with "euphemisms, mythological and historical allusions", and general "vagueness, mysteriousness, obscurity and inaccessibility to the masses".

Imitation is highly descriptive realism, where painting becomes photography, or a scene in a book becomes a listing of facial expressions, tone of voice, the setting, and so on. Any potential communication of feeling is "disrupted by the superfluity of details".

Reliance on "strikingness", often involving contrasts of "horrible and tender, beautiful and ugly, loud and soft, dark and light", descriptions of lust, Tolstoy contends that works marked by such techniques "do not convey any feeling, but only affect the nerves".

Diversion is "an intellectual interest added to the work of art", such as the melding of documentary and fiction, as well as the writing of novels, poetry, and music "in such a way that they must be puzzled out". and his exhortation that art be "universal" in appeal. Art became pagan – worshipping religious figures – and subservient to the dictates of the Church. But instead of turning back to the early Christian teachings, the upper classes began to appreciate and commission art that was merely pleasing. This tendency was facilitated by the Renaissance, with the aggrandisement of ancient Greek art, philosophy, and culture which, Tolstoy alleges, is inclined to pleasure and beauty worship.

Jahn notes the "often confusing use of categorisation" and the lack of definition of the key concept of emotion. Bayley writes that "the effectiveness of What is Art? lies not so much in its positive assertions as in its rejection of much that was taken for granted in the aesthetic theories of the time". Noyes criticises Tolstoy's dismissal of beauty, but states that, "despite its shortcomings", What is Art? "may be pronounced the most stimulating critical work of our time". Simmons mentions the "occasional brilliant passages" along with the "repetition, awkward language, and loose terminology". Aylmer Maude, translator of many of Tolstoy's writings, calls it "probably the most masterly of all Tolstoy's works", citing the difficulty of the subject matter and its clarity. For a comprehensive review of the reception at the time of publication, see Maude 1901b.

Tolstoy, Leo (1995 [1897]). What is Art? (Translated by Richard Pevear and Larissa Volokhonsky). London: Penguin.