Abstract

ARAUJO, Adele Cristina Braga  and  RABELO, Josefa Jackline. Genesis of the art complex: a study based on lukacsian aesthetics. Conjectura: filos. e Educ. [online]. 2020, vol.25, e020006. ISSN 2178-4612.  https://doi.org/10.18226/21784612.v25.e020006.

This article aims to present how had been established the studies of the Hungarian philosopher Georg Lukács about the origin of the art complex from the abstract forms of the aesthetic reflection of reality, namely: rhythm, symmetry and proportion and ornamentation. These categories, according to Lukacs’ studies, are based on principles; in structural elements of artistic production, which are diverse, guided by functions that are the most varied and already quite developed, and which, in an exceptional way, in the case of ornamentation, have maintained their independence, even if they have not guaranteed the same degree of importance of remote times. This is a theoreticalbibliographic study, supported on an onto-historical basis. The Hungarian philosopher considers the difficulty of revealing the provenance of the art complex. We take into account the method, considering that we must start from the already aesthetically formed, proceeding to remote times, in a dialectical relation. We can, then, get close to the origin when we understand the most developed. Our considerations reach the understanding that any level of human activity must imply labor as founding category, in the relation of transformation of nature and of man himself. Art, therefore, has its genesis at labor and, as a late complex in the world of men, has its detachment from the everyday soil, reaching a process of human self-consciousness. In this sense, the relevance of the study is to contribute to the collective project towards the understanding of the role of creative-receptor activity in the improvement of the senses, opening possibilities for high expressions in the process of humanization, seeking to overcome the sociability maneged by capital.

Keywords : Labor; Art; Abstract forms.

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