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p A. Ladvgina

p Even a cursory glance at the history of art cannot fail to register the clear and consistent desire on the part of its practitioners to reflect the substance of contemporary life. This desire is not always consciously recognised or buttressed by theoretical premises, but it is always alive in the best examples of artistic creation, which by virtue of it, in fact, survive their own eras and become timeless. The Egyptian pyramids, classical Greek sculpture and architecture and Renaissance painting are splendid monuments of their respective ages, stamped with the ideals, tastes and aspirations of those eras. The works of Dante, Shakespeare and Balzac breathe the spirit of their times. Even music, which is sometimes treated as a “pure” and detached art, represents a vivid example of an organic and profound link with the age that created it. Haydn and Mozart, Bach and Handel, Schubert and Schumann, Glinka and Mussorgsky were born of their times and of the vital needs of the life of society.

p The urge to answer the needs of the contemporary world and resolve the great and difficult questions posed by the times and social requirements, the life of the people and their fundamental interests is an objective law of artistic creation and the most important condition for the existence of art.

p In defining contemporaneity in art and in our very approach to this unusually acute aesthetic problem, we base ourselves on Lenin’s well-known proposition that a permanent interaction between the experience of the past and that of the present is essential.  [88•1  The contemporaneity of art is a complex fusion of the 89 old and new and represents the unity of tradition and innovation: it is in this that the difficulty of examining the living, constantly selfrenewing, mutable artistic culture of society consists.

p The contemporaneity of Soviet art is determined by its links with the progress of life and the people’s struggle to build a communist society. Whatever the artist reflects, wherever he turns his gaze-^to the past, present or future—his point of reference is the modern age, helping him in his choice of material, in his ideological understanding of it, and in his search for means of artistic expressiveness. Whereas if in past ages the work of progressive artists responded to the demands of the times in a way that was sometimes spontaneous and intuitive, then the desire of Soviet artists to comprehend the modern age is based on a consciousness of creative command. Socialist realism, which presupposes an understanding by the artist of the objective laws of social development, assists him in showing contemporary life in dynamic transition from past to future.

p While representing a qualitatively new method of cognition and aesthetic transformation of the world, socialist realism simultaneously continues and develops the traditions of progressive world art in conformity with new historical conditions; as the heir to the historical experience of world art, it presumes the former’s creative utilisation. This is not simply a manifestation of the good will or subjective wish of one particular artist. Socialist realism’s inheritance of progressive artistic experience is a necessary, historically generated process, an expression of the objective tendency of artistic development.

p In order to grasp this tendency, we must turn to the specific features of artistic continuity. This problem has been insufficiently examined in aesthetic writings, as a series of major international forums have vividly testified: during discussions at the 7th Congress of the International Music Council under UNESCO (Moscow, 1971), the 7th International Congress of Aesthetics (Bucharest, 1972) and the 15th Congress of the International Theatre Institute (Moscow, 1973) opposing approaches to the correlation between tradition and innovation in contemporary art were revealed and substantial gaps in the theoretical examination of artistic continuity became evident.

p It is impossible to discuss the inheritance and continuation of classical artistic traditions or the nature of tradition and innovation in the art of our time generally and on a serious and scholarly level without elucidating the processes of historical continuity as a law of any artistic development.

p In the course of time states fall and men’s tastes, customs, habits 90 and entire manner of life change radically; one socio-economic formation is replaced by another, more progressive formation. Definite changes consonant with the times also occur in art, reflecting, in one way or another, these social changes. But much in art is indestructible, retaining its significance over the centuries and surviving the era that produced it.

p Continuity is a remarkable feature of art, in which art’s force and its infinite potential for exercising an authoritative influence on succeeding generations have been concentrated. Art is the only field of human activity in which not only the creative practices and methods of reflecting and transforming reality acquired during the course of centuries have been passed on and steadily perfected, but also the actual results of creative labour have preserved their permanent significance and been given material form in stone and wood, clay and metal, in paint and in words, on canvas and papyrus, in wall paintings and on note paper, on film and magnetic tape, and have become churches and statues, poems and symphonies, paintings and films. In what other field do works created hundreds and thousands of years ago appear as a revelation even today, continuing to live in their original form?

p Of course, historical continuity is not exclusive to art. It also exists in other forms of social consciousness—in science, philosophy and ethics. Indeed this is a law of any kind of development—a condition for the existence of material and intellectual culture generally. But in art, as a result of its specific use of images and its integrated, synthetic representation of reality, continuity in all its many-facetedness and completeness assumes particular prominence. Great discoveries coexist in art, retaining fheir force at all periods; instead of “cancelling out" what has previously been said, they supplement the general picture of infinitely varied artistic representation.

p The experience of the past, concentrated in classical art, exists invisibly in today’s art, flowing through it in an invigorating stream, aiding the artistic assimilation of the modern age and making it possible to avoid mistakes and pursue more reliable courses. This, in its turn, furthers artistic progress and accelerates its pace.

p Continuity can take place in relation both to the art of an immediately preceding period and to art from the distant past; it can take place in relation to art close to contemporary art in a number of respects and, conversely, to art with no visible, obvious links with contemporary art. Continuity can be simple or complex, evident or concealed, mediate or immediate, continuous or discontinuous, internal or external, progressive or reactionary.

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p More than simply an expression of the will of the writer or artist is manifested in continuity. The personal biases, inclinations and sympathies of the creators of art are, in fact, extremely varied and numerous. But in the given instance we are interested in that general tendency which emerges as the joint result of the artistic activity of individuals, i.e., in continuity as a law of artistic development independent of the will and desires of artists, a specific manifestation in art of the general dialectical law of the negation of negation and, in particular, a necessary repetition at a new stage and on a qualitatively different level of definite features, signs and aspects of the past stage of development of art and, simultaneously, their overcoming.

p It is significant that from the multitude of words close and sometimes almost identical in meaning to the term “continuity” (utilisation, influence, borrowing, continuation, inheritance, transformation, repetition, return, preservation, transference), the human language has selected the broadest word with the richest concept, which implies and includes the entire range of shades of meaning. At the same time continuity is not a mechanical “transference of culture”, not a passive “borrowing” or “inheriting” of ready-made artistic forms from the past. It is not alien to a given national culture nor does it represent “transplantation” and assimilation of cultures or the violent imposition upon developing countries of the culture of an economically and politically more powerful country. Continuity is a creative act of absorption and continuation of artistic traditions (both one’s own and those of other nationalities, both of folk and professional art) and of their necessary active reinterpretation from the point of view of the aims of the modern age.

p The new era does not simply “accept its heritage" passively, but makes active use of it in the interests of its time. Continuity is a definite law of artistic development which involves the process of selection. Its essence is, ultimately, determined by more than spiritual premises. This is very important, for it provides a reliable scientific explanation of why it is socialist and communist art, the culture of a new, higher socio-economic formation, which is the true heir and successor of world artistic experience, giving thereby a point of reference to progressively-minded artists in every country.

p Forms of expressing artistic continuity and inheritance in art are exceptionally varied.

p By contrast with other fields of human activity, the permanent significance of art is preserved and handed on as above all the end result of creative work: that is, as a work of art in all its totality and 92 uniqueness, in the indissoluble unity of form and content. This is the first and most obvious form in which continuity in art manifests itself. Classic works of art live today and continue to hold a vital interest for the modern age, coming into contact with it at many points, gaining on each occasion fresh resonances and revealing hitherto unknown aspects of themselves. The outstanding works of the past, created in response to the social demands of their time, contain a hidden potential for functioning and developing and possess the capacity for resolving, directly or indirectly, contemporary problems. They continue to exercise an aesthetic influence on succeeding generations and provide the pleasure that comes of communion with the beautiful.

p A second important form of expressing the continuity of artistic development is represented by the inheriting of artistic skill, the aesthetic traditions of the classics, definite ideological and creative principles which, taken together, constitute the concept of creative method, and a variety of permanent features of the creative process. In referring in the given instance to artistic skill, we have in mind the broad, rather than the narrow sense of this concept: that is, inheritance of the ability to find and select material from life, interpret it from the standpoint of a definite set of ideas and embody it in artistic images. There is a definite continuity in the content of the art of different eras, in the logic of its development and in the means of organising this content. The active desire to embrace life and interpret its most vital manifestations ever more profoundly may be inherited; but so, too, conversely, ,may tendencies to retreat from reality, ignore the vital problems of life and seek the refuge of an ivory tower. The writer can, relative to his class standpoint, world outlook and a number of other factors, continue and develop the great traditions of realism or follow the path of formalist experimentation, sometimes providing a minutely detailed, naturalistic facsimile of the sordid side of life. In the work of his predecessors the writer may be attracted by and, accordingly, inherit either high civic spirit, patriotism, kinship to the people or an obvious lack of ideas, snobbish aestheticism or individualism.

p Finally, there is a third form .in which artistic continuity is manifested. This concerns the inheritance, continuation and utilisation .of the means of description and expression, the language of art and the artistic devices and creative methods developed by past generations of artists. Continuity is more tangible and clearly evident in this sphere and is more easily explained. It manifests itself in this area more or less continuously and progressively. Artistic means, undergoing a process of perfecting and refinement from age to age, are handed down from 93 generation to generation. The concept of “a school" in art includes, too. the successive transmission of the mysteries of creativity, artistic methods and professional skill in the narrow sense: that is. in the sense of mastery of the techniques of art. and the ability to work with material and give it a form corresponding to the laws of the given form of art. All forms of art are, ultimately, subject to the laws ot continuity.

p Even more important in the theoretical respect is the circumstance that over and above concrete forms of expression there are more fundamental ways in which continuity expresses itself in the history of art: namely, in the typological differentiation of similar processes. The type of historical continuity in art is determined by the nature and scale of the practical historical aims realised by the art of a particular period, the objective role of artistic creativity in the onward development of the life of society and also by the duration or real time of action of the given aesthetic law.

p The history of art reveals the presence of different types of continuity in art. There is something in art which is the property of all mankind, passing through its entire history, constantly developing and being passed on from generation to generation, surviving this or that specific class, enriching itself, changing and replenishing itself thereby with new features, but preserving overall its positive content. This “something” is extremely heterogeneous and can include items from all the three forms of inheritance described above. All that is valuable, aesthetically significant and possesses permanent artistic qualities is gradually accumulated in art and carefully preserved by mankind; it serves as a stimulus to further artistic development and constitutes the principal stream of continuity in art. This type of continuity can be designated as absolute continuity in art.

p Absolute continuity in art is a general category in aesthetics: its effect is not confined by class or national boundaries. At the same time this continuity manifests itself in one way or another in pre-class. class and classless art and has its specific forms of expression. Thus the class stratification of society which is inevitable at a particular stage of its development impedes the manifestation of absolute continuity in art and prevents it from being revealed in its pure form. The universal in the art of a class society is interwoven inextricably with that which relates to a particular class; the permanent is bound up with the transient.

p But not everything in art—indeed, far from everything—falls within the competence of the law of absolute continuity, outliving 94 eras, centuries and classes. A great many phenomena in art, born ot’the demands of a class society—and originating from either of its poles—survive for a shorter period. These artistic phenomena are also adopted, also continued and also inherited; however, having fulfilled their class function and satisfied one or other social demand, they are exhausted of content, lose their past significance and are forgotten (or flow into the stream of absolute continuity). They also possess continuity, but this is not absolute continuity, running through the entire history of art: it is relative continuity, which is transient and has effect for a more or less short historical period. Relative continuity in art is an aesthetic category specific to class society.

p The relative continuity which manifests itself in class society is, like absolute continuity, heterogeneous, since the very class structure of the society is itself heterogeneous and since in any socio-economic formation the interests of the two main opposing classes will, ultimately, clash. The art of a class, naturally, does not take everything from the past, but primarily that which corresponds to its class interests and can be used and placed at the service of class aims. Its continuity is selective. Such selective continuity can, in conformity with the place and role of the class in the course of social development, be designated either as relative progressive continuity or as relative regressive continuity.

p The class, in carrying out its progressive historical function, seeks out and finds within the legacy of art those aesthetic ideals which are close to it and those artistic traditions which can become its traditions. Continuity of this kind is progressive, albeit relative (inasmuch as we are dealing with the interests of a class, even though an ascending class). To the degree to which the interests of a class coincide with the interests of social progress, relative progressive continuity forms an aspect of’absolute continuity, blazing a trail towards the merging of the progressive traditions of the past in the art of a future classless society.

p That class which has lost its role in history as the driving force of social progress correspondingly changes its artistic partialities and looks for different traditions in the art of the past. Continuity of this kind is also relative, but reactionary and regressive. As class society develops from formation to formation relative regressive continuity changes its forms, but in a classless society it loses all substance, beconies outdated and vanishes from the scene together with the an ot’the last reactionary ruling class.

p In the history of art a constant complex interaction between different types of historical continuity in art and their contradictory 95 dialectical development are to be observed. Relative progressive continuity changes its forms and flows into absolute continuity or, conversely, turns into relative regressive continuity. The latter, which is in contradictory union and conflict with relative progressive continuity, also changes its forms, seeking to present itself as absolute continuity. In a society of class antagonisms absolute continuity undeviatingly forces a path for itself, taking in and absorbing everything that is best and universal in art and enriching and replenishing itself from relative progressive artistic continuity.

p Social consciousness, consonant with the materialist conception of history, reflects social being. The essence of social consciousness lies in reflecting social relationships, principal, decisive and primary among which are the production relations. Examining the structure of social relationships and distinguishing those among them which are most stable, most relevant to the whole of society and. in this sense, most permanent from those which are historically transient and related to a class, not only provides a materialist criterion for artistic continuity and makes it possible to establish a scientific foundation for its typology, but at the same time gives a theoretical grounding for the effective role of socialist and communist art as the only logical successor to the supreme achievements of worTd art. It is within socialist social relationships, which are fundamentally new and based on the elimination of private property and which simultaneously embody the great genetic link between human beings, the bearers of which are the toiling people, that the basis for the permanent in contemporary culture resides. Thanks to this, socialist social relationships serve under contemporary conditions as a basis for absolute continuity in art.

p The theoretical and aesthetic expression of this law is the category of national character, which is one of the basic principles of socialist realism. Socialist realism, in formulating its position concerning the national character of art and proclaiming national character to be an indicator of the permanent and universal principle in art and a factor determining its deep inner roots, proceeds from the fact that ultimately it is the people who are concerned to see artistic progress and the preservation and development of all the best that has been amassed by mankind. The people represent art’s chief and only legitimate heir and the guardian of the priceless classical heritage. In selecting that which is viable in the art of the past, the people not only carefully preserve it for coming generations, but also endow it with a new life in the 96 modern age through their plenipotentiaries, the artists.  [96•1  This is why socialist realism, in aiming not at a superficial imitation of reality but at a deep penetration into the core of life’s processes and at the active participation of art in creatively changing life from the standpoint of an advanced and scientifically grounded ideal, is guided in this desire by artistic experience which has already been gained, carrying it on and augmenting it rather than breaking it off, and thereby implementing the progressive development of art.

p The successive process of selection carried out by socialist art through the prism of communist ideology does not extend only to the heritage of the past, but also to a considerable extent to contemporary world art. Here, too, materialist criteria of continuity are decisive, assisting in the process of sifting out the necessary from the irrelevant. No problems or difficulties arise in connection with the continuity of art in countries with social systems of the same type as, in the given case, the countries of the socialist community: that which grows upon the soil of common socialist social relationships may be freely borrowed and adopted. The position with cultural interchange among countries of opposite social systems is more complex.

p Everything which, in the art of the capitalist world, is the product of ’relationships of social inequality is unconditionally rejected; this relates particularly to the officially sanctioned bourgeois ideological superstructure. There is no continuity between socialist culture and contemporary bourgeois culture. However, that which embodies the progressive, socialist or democratic stream in the art of the contemporary bourgeois world is accepted by socialist culture and placed at the basis of an exchange of artistic values.

p The Programme of the Communist Party of the Soviet Union and other party documents note the necessity of expanding the cultural ties of the Soviet Union, both with the countries of the socialist community and with the countries of the capitalist world. This is demanded by the interests of an exchange of scientific and cultural achievements as well as by the interests of mutual understandingand friendship among peoples. An awareness of the laws operating here and the ability to combine cultural continuity with the rejection of ideological compromise, based on 97 consideration of the objective factors of social development, make it possible to avoid both an unjustified isolationism and an unprincipled cultural omnivorousness.

The logic of social development is such that it is the working class and all working people, not the contemporary bourgeoisie, who are creating a firm bridge from the spiritual culture of the past to the culture of the present and future. This culture, which has absorbed the progressive traditions of the past and stands in direct line of succession to the entire advanced culture of the world and which is, at the same time, profoundly innovatory and contemporary in its essence, is now being built in socialist society. The method of socialist realism, which presupposes the conscious and convinced pursuit by artists of these fundamental creative goals, thus promotes artistic progress.