Tolstoy: What is Art? & Wherein is Truth in Art (Essays on Aesthetics and Literature). Leo Tolstoy

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      CHAPTER VI

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      But how could it happen that that very art, which in ancient times was merely tolerated (if tolerated at all), should have come, in our times, to be invariably considered a good thing if only it affords pleasure?

      It has resulted from the following causes. The estimation of the value of art (i.e. of the feelings it transmits) depends on men's perception of the meaning of life; depends on what they consider to be the good and the evil of life. And what is good and what is evil is defined by what are termed religions.

      Humanity unceasingly moves forward from a lower, more partial, and obscure understanding of life, to one more general and more lucid. And in this, as in every movement, there are leaders,—those who have understood the meaning of life more clearly than others,—and of these advanced men there is always one who has, in his words and by his life, expressed this meaning more clearly, accessibly, and strongly than others. This man's expression of the meaning of life, together with those superstitions, traditions, and ceremonies which usually form themselves round the memory of such a man, is what is called a religion. Religions are the exponents of the highest comprehension of life accessible to the best and foremost men at a given time in a given society; a comprehension toward which, inevitably and irresistibly, all the rest of that society must advance. And therefore only religions have always served, and still serve, as bases for the valuation of human sentiments. If feelings bring men nearer the ideal their religion indicates, if they are in harmony with it and do not contradict it, they are good; if they estrange men from it and oppose it, they are bad.

      If the religion places the meaning of life in worshiping one God and fulfilling what is regarded as His will, as was the case among the Jews, then the feelings flowing from love to that God, and to His law, successfully transmitted through the art of poetry by the prophets, by the psalms, or by the epic of the book of Genesis, is good, high art. All opposing that, as, for instance, the transmission of feelings of devotion to strange gods, or of feelings incompatible with the law of God, would be considered bad art. Or if, as was the case among the Greeks, the religion places the meaning of life in earthly happiness, in beauty and in strength, then art successfully transmitting the joy and energy of life would be considered good art, but art which transmitted feelings of effeminacy or despondency would be bad art. If the meaning of life is seen in the well-being of one's nation, or in honoring one's ancestors and continuing the mode of life led by them, as was the case among the Romans and the Chinese respectively, then art transmitting feelings of joy at sacrificing one's personal well-being for the common weal, or at exalting one's ancestors and maintaining their traditions, would be considered good art, but art expressing feelings contrary to this would be regarded as bad. If the meaning of life is seen in freeing oneself from the yoke of animalism, as is the case among the Buddhists, then art successfully transmitting feelings that elevate the soul and humble the flesh will be good art, and all that transmits feelings strengthening the bodily passions will be bad art.

      In every age, and in every human society, there exists a religious sense, common to that whole society, of what is good and what is bad, and it is this religious conception that decides the value of the feelings transmitted by art. And therefore, among all nations, art which transmitted feelings considered to be good by this general religious sense was recognized as being good and was encouraged; but art which transmitted feelings considered to be bad by this general religious conception, was recognized as being bad, and was rejected. All the rest of the immense field of art by means of which people communicate one with another, was not esteemed at all, and was only noticed when it ran counter to the religious conception of its age, and then merely to be repudiated. Thus it was among all nations,—Greeks, Jews, Indians, Egyptians, and Chinese,—and so it was when Christianity appeared.

      The Christianity of the first centuries recognized as productions of good art only legends, lives of saints, sermons, prayers, and hymn-singing, evoking love of Christ, emotion at His life, desire to follow His example, renunciation of worldly life, humility, and the love of others; all productions transmitting feelings of personal enjoyment they considered to be bad, and therefore rejected: for instance, tolerating plastic representations only when they were symbolical, they rejected all the pagan sculptures.

      This was so among the Christians of the first centuries, who accepted Christ's teaching, if not quite in its true form, at least not in the perverted, paganized form in which it was accepted subsequently.

      But besides this Christianity, from the time of the wholesale conversion of nations by order of the authorities, as in the days of Constantine, Charlemagne, and Vladimir, there appeared another, a Church Christianity, which was nearer to paganism than to Christ's teaching. And this Church Christianity, in accordance with its own teaching, estimated quite otherwise the feelings of people and the productions of art which transmitted those feelings.

      This Church Christianity not only did not acknowledge the fundamental and essential positions of true Christianity,—the immediate relationship of each man to the Father, the consequent brotherhood and equality of all men, and the substitution of humility and love in place of every kind of violence,—but, on the contrary, having set up a heavenly hierarchy similar to the pagan mythology, and having introduced the worship of Christ, of the Virgin, of angels, of apostles, of saints, and of martyrs, and not only of these divinities themselves, but also of their images, it made blind faith in the Church and its ordinances the essential point of its teaching.

      However foreign this teaching may have been to true Christianity; however degraded, not only in comparison with true Christianity, but even with the life-conception of Romans such as Julian and others,—it was, for all that, to the barbarians who accepted it, a higher doctrine than their former adoration of gods, heroes, and good and bad spirits. And therefore this teaching was a religion to them, and on the basis of that religion the art of the time was assessed. And art transmitting pious adoration of the Virgin, Jesus, the saints and the angels, a blind faith in and submission to the Church, fear of torments and hope of blessedness in a life beyond the grave, was considered good; all art opposed to this was considered bad.

      The teaching on the basis of which this art arose was a perversion of Christ's teaching, but the art which sprang up on this perverted teaching was nevertheless a true art, because it corresponded to the religious view of life held by the people among whom it arose.

      The artists of the Middle Ages, vitalized by the same source of feeling—religion—as the mass of the people, and transmitting, in architecture, sculpture, painting, music, poetry or drama, the feelings and states of mind they experienced, were true artists; and their activity, founded on the highest conceptions accessible to their age and common to the entire people, though, for our times a mean art, was, nevertheless a true one, shared by the whole community.

      And this was the state of things until, in the upper, rich, more educated classes of European society, doubt arose as to СКАЧАТЬ