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Uroqova O.J. associate professor Andijan State Medical Institute
BEAUTY - THE MAIN CATEGORY OF AESTHETICS
Annotation: This article considers beauty as the main category of aesthetics.
Key words: category, aesthetics, beauty, image.
If we look at monographs, textbooks, research on the category of beauty of aesthetics, we come across the following generalizations.Go to the comments of scientists and creators in the category of beauty of aesthetics and publish our own "Philosophy. Encyclopedic Dictionary "(2004). The category of "beauty" in the dictionary is difficult to scientifically accept several definitions.
First, beauty is a phenomenon of nature, society, society. Aesthetic category. Beauty allows a person to create physical and spiritual satisfaction through emotional interaction. Utility will be designed to serve the development of the community. Beauty, in Schiller's words, manifests itself as a symbol of human freedom. Man enjoys the beauty of nature everywhere and in all conditions, rejoices consciously or unconsciously, and gains spiritual wealth.
Secondly, it is said that "beauty is a category of nature, society, art, aesthetics", and here the concept of man, man, has fallen, because beauty is a man, without man, nature, society, the phenomenon of art?
Third, does the usefulness of beauty serve the development of society?
Fourth, Schiller's phrase also needs to be supplemented, because there are beings who are not a symbol of human freedom, but other symbols of freedom.
Fifth, "treating nature solely in terms of material interests is utterly hopeless."Man's aesthetic approach to reality consists of a complex unity of natural, personal, national, and social relations.
Especially in the life of the artist, in his activity, aesthetic feelings, perceptions and imaginations are formed in the flow of extremely unique looks and perceptions. Mankind's aesthetic experiences emerge primarily through the family environment, national traditions and natural phenomena, symbols, and gradually acquire their own beauty and content over time. The family environment, after its moral boundaries, natural landscapes, literary and artistic works form the basis of aesthetic experiences.
Moreover, each person, the individual's external and internal imaginations of the creator, takes them into the world of aesthetics and awakens in them the rays of personal ability and spiritual aspiration. Also, the period in which each person lives, the social environment and traditions combine to cultivate the direction of personal artistic and aesthetic imagination and experiences, the buds of artistic and aesthetic taste. In this way, the aesthetic content of the individual, the nation and the period, the system of works of art that express this content,
emerges. These imaginations and concepts become plates of legitimacy for all as aesthetic categories through artistic creation. If we look at monographs, textbooks, research on the category of beauty of aesthetics, we come across the following generalizations.Go to the comments of scientists and creators in the category of beauty of aesthetics and publish our own "Philosophy. Encyclopedic Dictionary "(2004). The category of "beauty" in the dictionary is difficult to accept scientifically for several definitions.
First, beauty is a phenomenon of nature, society, society. Aesthetic category. Beauty allows a person to create physical and spiritual satisfaction through emotional interaction. Utility will be designed to serve the development of the community. Beauty is, in Schiller's words, a symbol of human freedom. Man enjoys the beauty of nature everywhere and in all conditions, rejoices consciously or unconsciously, and gains spiritual wealth.
Secondly, it is said that "beauty is a natural, social, artistic phenomenon, an aesthetic category", and here the concept of man, man, has fallen, because beauty is a man, without man, nature, society, a phenomenon of art? Third, does the usefulness of beauty serve the development of society?
Fourth, Schiller's phrase also needs to be supplemented, because there are beings who are not a symbol of human freedom, but other symbols of freedom.
Fifth, "treating nature solely in terms of material interests is utterly hopeless."Man's aesthetic approach to reality consists of a complex unity of natural, personal, national, and social relations.
Especially in the life of the artist, in his activity, aesthetic feelings, perceptions and imaginations are formed in the flow of extremely unique looks and perceptions. Mankind's aesthetic experiences emerge primarily through the family environment, national traditions and natural phenomena, symbols, and gradually acquire their own beauty and content over time. The family environment, after its moral boundaries, natural landscapes, literary and artistic works form the basis of aesthetic experiences.
In addition, each person, the individual's external and internal imaginations of the creator, take them into the world of aesthetics and awaken in them the rays of personal ability and spiritual aspiration. Also, the period in which each person lives, the social environment and traditions combine to cultivate the direction of personal artistic and aesthetic imagination and experiences, the buds of artistic and aesthetic taste. In this way, the aesthetic content of the individual, the nation and the period, the system of works of art that express this content, emerges. These imaginations and concepts become plates of legitimacy for all as aesthetic categories through artistic creation.
Sources used:
1. Philosophy. Encyclopedic Dictionary. T., Sharq, 2004, p.98
2. .N.Dmitrieva. Oprekrasnom. M., Iskusstvo.1960 N.Dmitrieva. Oprekrasnom. M., Art.1960
3. M.Kagan. Lectures on aesthetics. L., 1963;4. O.J. Urakova. Artistic and aesthetic essence of Cholpon's work., Scientific and intellectual. Tashkent. 2019.
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4. Uroqova, O. J. (2018). CHULPANS PROBLEMS OF EMANCIPATION OF PEOPLE CREATIVE WORK. Теория и практика современной науки, (1), 64-67.
5. Uroqova, O. J. (2019). CHULPON'S TRANSLATION ACTIVITIES.
Экономика и социум, (9), 35-36.
6. Urakova, O. J. (2019). The philosophical and aesthetic meaning of abdulhamid chulpan's idea of «if literature is alive, so nation will live. Asian Journal of Multidimensional Research (AJMR), 5(4), 179-184.
