Art: artistic reality, the role of signs, features of communication.

The article sets out to outline a holistic picture that allows for an understanding of the nature of art and the peculiarities of artistic communication, assuming that the author has already conducted a series of studies (reconstructing the history of art, examining the characteristics of works of art, the structure of artistic reality and communication). For better understanding and reliance on facts, two case studies are drawn upon: the well-known fairy tale by K.I. Chukovsky, "The Stolen Sun," and the understanding of eclipses by indigenous people, taken from E. Taylor's book "Primitive Culture." The author proposes an interpretation of Chukovsky's fairy tale: the use of Taylor's narrative as a plot scheme, the characterization of three tasks that Chukovsky addressed in artistic form (to write an interesting story for children, to tell about the saving of the sun, to demonstrate that there are two types of beings in the world - good and bad), the invention of schemes, and the use of expressive means. For a theoretical understanding of the formulated propositions, a distinction is made between two types of signs (within the framework of knowledge of objects and artistic imagination), as well as the concept of a non-utilitarian form of life, within which art was formed. Based on these theoretical positions, the concepts of artistic reality and creativity are characterized, which the author considers as a semantic configurator of art study plans. At the end of the article, it is noted that although art has gone through a long historical path, and its essence has changed, the semiotic foundation of art is unlikely to have changed: the possibility, relying on imagination, in leisure time to generate objectivity (reality) through signs and schemes, which is necessary and interesting to humans. Generating, responding to different positions in communication, satisfying them, starting from the artist (writer, composer) to the viewer, not excluding various intermediaries (art connoisseurs, later philosophers and scholars). Since the objectivity of art is not directly connected to ordinary objects and events (only through memory and imagination), it has been recognized as an independent reality since ancient times.