THE DYNAMICS OF SEMANTICS AND SYMBOLS IN ART HISTORY: A PHILOSOPHICAL AND AES- THETIC PERSPECTIVE

Intentionality in human consciousness and activity necessitates the creation of messages for one- self and others, forming and transforming meanings that drive a unique dynamic in world understanding through associated symbols. The aim of this study is to identify the peculiarities of interpreting the mean- ings of symbols as represented in artistic thought through works of art and literature. To achieve this goal, hermeneutic and philosophical-aesthetic research methods were employed. The article examines the historical dynamics of meanings and symbols within various domains of ar- tistic culture. To this end, the nature of understanding the world through symbols and their meanings is de- fined, based on a generalized paradigm of approaches to the issue. In particular, the classification of mean- ings and symbols proposed by G. Frege and Y. Lotman is utilized, along with the characterization of the process of evaluating meanings through the content of objects and phenomena, their evaluation as sym- bols by E. Husserl and F. de Saussure, and the methodology for forming meanings based on the ideas of N. Chomsky and others, grounded in the identification of the characteristic features of the development of art through artistic thought. The potential for the self-realization of beauty through symbols in applied aspects of art, including painting and literature, is also considered. Additionally, the relationship between meaning and symbol in the concept of the beloved’s beauty in Eastern literature is analyzed. Conclusions are drawn that the dynamics of the evolution of art forms, genres, and directions are re- flected in the symbolic representation of meanings. For example, in painting, this is reflected in changes in the nature of the material used, its application, and the development from depicting the human figure to nature (together or separately), followed by the abstraction of images while preserving content in a sym- bolic form. The symbolic systems of each direction in painting differ from one another precisely in the na- ture of abstraction and the artistic embodiment of meaning. In terms of the potential for symbolization and the embodiment of meanings, the conventionality of signs in painting and literature rivals the symbolic sys- tem of language. The analysis of a specific concept, particularly the beauty of the beloved in Eastern litera- ture, revealed a close connection between the choice of symbol and the social environment, as well as the poet’s perception, meaning the aesthetic significance of this concept is supplemented by certain values re- flecting the social norms of a specific period. Furthermore, as we approach modern times, the influence of “icons” expressing many aspects of life becomes more pronounced, which also affects the nature of the de- piction of the qualities of the concept under consideration.