Tol st oy: What i s Ar t ?

WhatIsArt?
byLeoTolstoy
translationbyAlymerMaude(1899)



Explanations
and Questions


CHAPTERFOUR(excerpts)

Ifwesaythattheaimofanyactivityismerelyourpleasure,anddefineit
solelybythatpleasure,ourdefinitionwillevidentlybeafalseone.But
thisispreciselywhathasoccurredintheeffortstodefineart.Now,ifwe
considerthefoodquestionitwillnotoccurtoanyonetoaffirmthatthe
importanceoffoodconsistsinthepleasurewereceivewheneatingit.
Everyoneunderstandsthatthesatisfactionofourtastecannotserveasa
basisforourdefinitionofthemeritsoffood,andthatwehavetherefore
norighttopresupposethatthedinnerswithcayennepepper,Limburg
cheese,alcohol,etc.,towhichweareaccustomedandwhichpleaseus,
formtheverybesthumanfood.

Tolstoy looks to
the AIM or
PURPOSE of an
activity as the key
to defining it, so
he endorses
FUNCTIONALISM

Food has a
purpose, and its
not pleasure
Andinthesameway,beauty,orthatwhichpleasesus,caninnosense
serveasthebasisforthedefinitionofart;norcanaseriesofobjectswhich
afforduspleasureserveasthemodelofwhatartshouldbe.

Toseetheaimandpurposeofartinthepleasurewegetfromitislike
assuming(asisdonebypeopleofthelowestmoraldevelopment,e.g.,by
savages)thatthepurposeandaimoffoodisthepleasurederivedwhen
consumingit.

Likewise,
pleasure is not
arts purpose
Justaspeoplewhoconceivetheaimandpurposeoffoodtobepleasure
cannotrecognizetherealmeaningofeating,sopeoplewhoconsiderthe
aimofarttobepleasurecannotrealizeitstruemeaningandpurpose
becausetheyattributetoanactivitythemeaningofwhichliesinits
connectionwithotherphenomenaoflife,thefalseandexceptionalaimof
pleasure.Peoplecometounderstandthatthemeaningofeatingliesinthe
nourishmentofthebodyonlywhentheyceasetoconsiderthattheobject
ofthatactivityispleasure.Anditisthesamewithregardtoart.People
willcometounderstandthemeaningofartonlywhentheyceaseto
considerthattheaimofthatactivityisbeauty,i.e.,pleasure.The
acknowledgmentofbeauty(i.e.,ofacertainkindofpleasurereceived
fromart)asbeingtheaimofartnotonlyfailstoassistusinfindinga
definitionofwhatartis,but,onthecontrary,bytransferringthequestion
intoaregionquiteforeigntoart(intometaphysical,psychological,
physiological,andevenhistoricaldiscussionsastowhysucha
productionpleasesoneperson,andsuchanotherdispleasesorpleases
someoneelse),itrenderssuchdefinitionimpossible.Andsince
discussionsastowhyonemanlikespearsandanotherprefersmeatdo
nothelptowardfindingadefinitionofwhatisessentialinnourishment,
sothesolutionofquestionsoftasteinart(towhichthediscussionsonart





What is the true
purpose of
eating?















Tol st oy: What i s Ar t ?
involuntarilycome)notonlydoesnothelptomakeclearinwhatthis
particularhumanactivitywhichwecallartreallyconsists,butrenders
suchelucidationquiteimpossibleuntilweridourselvesofaconception
whichjustifieseverykindofartatthecostofconfusingthewholematter.

Goodness in art
must be linked to
its essential
purpose
CHAPTERFIVE(excerpts)

Inordercorrectlytodefineart,itisnecessary,firstofall,toceaseto
consideritasameanstopleasureandtoconsideritasoneofthe
conditionsofhumanlife.Viewingitinthiswaywecannotfailtoobserve
thatartisoneofthemeansofintercoursebetweenmanandman.

Tolstoy postulates
arts general
purpose
Everyworkofartcausesthereceivertoenterintoacertainkindof
relationshipbothwithhimwhoproduced,orisproducing,theart,and
withallthosewho,simultaneously,previously,orsubsequently,receive
thesameartisticimpression.

Speech,transmittingthethoughtsandexperiencesofmen,servesasa
meansofunionamongthem,andartactsinasimilarmanner.The
peculiarityofthislattermeansofintercourse,distinguishingitfrom
intercoursebymeansofwords,consistsinthis,thatwhereasbywordsa
mantransmitshisthoughtstoanother,bymeansofarthetransmitshis
feelings.

Art must be
contrasted with
speech, since
they have the
same general
purpose
Theactivityofartisbasedonthefactthataman,receivingthroughhis
senseofhearingorsightanothermansexpressionoffeeling,iscapableof
experiencingtheemotionwhichmovedthemanwhoexpressedit.To
takethesimplestexample;onemanlaughs,andanotherwhohears
becomesmerry;oramanweeps,andanotherwhohearsfeelssorrow.A
manisexcitedorirritated,andanothermanseeinghimcomestoasimilar
stateofmind.Byhismovementsorbythesoundsofhisvoice,aman
expressescourageanddeterminationorsadnessandcalmness,andthis
stateofmindpassesontoothers.Amansuffers,expressinghissufferings
bygroansandspasms,andthissufferingtransmitsitselftootherpeople;
amanexpresseshisfeelingofadmiration,devotion,fear,respect,orlove
tocertainobjects,persons,orphenomena,andothersareinfectedbythe
samefeelingsofadmiration,devotion,fear,respect,orlovetothesame
objects,persons,andphenomena.

Speech
communicates
thought; art must
communicate
emotion



Why does Tolstoy
describe the
transmission of
emotion as
infection? How
does it differ from
expression?
Anditisuponthiscapacityofmantoreceiveanothermansexpressionof
feelingandexperiencethosefeelingshimself,thattheactivityofartis
based.

Art is based on
infection (so not
all infection is art)
Ifamaninfectsanotherorothersdirectly,immediately,byhis
appearanceorbythesoundshegivesventtoattheverytimehe
experiencesthefeeling;ifhecausesanothermantoyawnwhenhe
himselfcannothelpyawning,ortolaughorcrywhenhehimselfis
obligedtolaughorcry,ortosufferwhenhehimselfissufferingthat

Examples of
infection that are
not art
Tol st oy: What i s Ar t ?
doesnotamounttoart.

Artbeginswhenoneperson,withtheobjectofjoininganotherorothers
tohimselfinoneandthesamefeeling,expressesthatfeelingbycertain
externalindications.Totakethesimplestexample:aboy,having
experienced,letussay,fearonencounteringawolf,relatesthat
encounter;and,inordertoevokeinothersthefeelinghehasexperienced,
describeshimself,hisconditionbeforetheencounter,thesurroundings,
thewoods,hisownlightheartedness,andthenthewolfsappearance,its
movements,thedistancebetweenhimselfandthewolf,etc.Allthis,if
onlytheboy,whentellingthestory,againexperiencesthefeelingshehad
livedthroughandinfectsthehearersandcompelsthemtofeelwhatthe
narratorhadexperiencedisart.Ifeventheboyhadnotseenawolfbut
hadfrequentlybeenafraidofone,andif,wishingtoevokeinothersthe
fearhehadfelt,heinventedanencounterwithawolfandrecounteditso
astomakehishearerssharethefeelingsheexperiencedwhenhefeared
theworld,thatalsowouldbeart.Andjustinthesamewayitisartifa
man,havingexperiencedeitherthefearofsufferingortheattractionof
enjoyment(whetherinrealityorinimagination)expressesthesefeelings
oncanvasorinmarblesothatothersareinfectedbythem.Anditisalso
artifamanfeelsorimaginestohimselffeelingsofdelight,gladness,
sorrow,despair,courage,ordespondencyandthetransitionfromoneto
anotherofthesefeelings,andexpressesthesefeelingsbysoundssothat
thehearersareinfectedbythemandexperiencethemastheywere
experiencedbythecomposer.

Art is a conscious
infection that is
brought about by
external
indicators what
does this mean?



Words are
examples of
external indicators





Painting and
sculpture




Music
Thefeelingswithwhichtheartistinfectsothersmaybemostvarious
verystrongorveryweak,veryimportantorveryinsignificant,verybad
orverygood:feelingsofloveforonesowncountry,selfdevotionand
submissiontofateortoGodexpressedinadrama,rapturesoflovers
describedinanovel,feelingsofvoluptuousnessexpressedinapicture,
courageexpressedinatriumphalmarch,merrimentevokedbyadance,
humorevokedbyafunnystory,thefeelingofquietnesstransmittedby
aneveninglandscapeorbyalullaby,orthefeelingofadmirationevoked
byabeautifularabesqueitisallart.

Ifonlythespectatorsorauditorsareinfectedbythefeelingswhichthe
authorhasfelt,itisart.

The kind of
emotion that is
communicated
does not matter.
Any intentional
infection by
means of external
material is art
Toevokeinoneselfafeelingonehasonceexperienced,andhaving
evokeditinoneself,then,bymeansofmovements,lines,colors,sounds,
orformsexpressedinwords,sototransmitthatfeelingthatothersmay
experiencethesamefeelingthisistheactivityofart.

Art is primarily an
activity.
Artisahumanactivityconsistinginthis,thatonemanconsciously,by
meansofcertainexternalsigns,handsontoothersfeelingshehaslived
through,andthatotherpeopleareinfectedbythesefeelingsandalso
experiencethem.
Tolstoy
summarizes his
definition of art
Tol st oy: What i s Ar t ?

Artisnot,asthemetaphysicianssay,themanifestationofsome
mysteriousideaofbeautyorGod;itisnot,astheaestheticalphysiologists
say,agameinwhichmanletsoffhisexcessofstoredupenergy;itisnot
theexpressionofmansemotionsbyexternalsigns;itisnotthe
productionofpleasingobjects;and,aboveall,itisnotpleasure;butitisa
meansofunionamongmen,joiningthemtogetherinthesamefeelings,
andindispensableforthelifeandprogresstowardwellbeingof
individualsandofhumanity.

Because art is
produced to share
emotions, it has a
kind of union
among men as
its overall purpose
As,thankstomanscapacitytoexpressthoughtsbywords,everyman
mayknowallthathasbeendoneforhimintherealmsofthoughtbyall
humanitybeforehisday,andcaninthepresent,thankstothiscapacityto
understandthethoughtsofothers,becomeasharerintheiractivityand
canhimselfhandontohiscontemporariesanddescendantsthethoughts
hehasassimilatedfromothers,aswellasthosewhichhavearisenwithin
himself;so,thankstomanscapacitytobeinfectedwiththefeelingsof
othersbymeansofart,allthatisbeinglivedthroughbyhis
contemporariesisaccessibletohim,aswellasthefeelingsexperiencedby
menthousandsofyearsago,andhehasalsothepossibilityof
transmittinghisownfeelingstoothers.

Tolstoy returns to
the parallel
beyond speech
and art.



Art can make use
of speech, but
when it does, the
purpose is a union
of feelings
Ifpeoplelackedthiscapacitytoreceivethethoughtsconceivedbythe
menwhoprecededthemandtopassontootherstheirownthoughts,
menwouldbelikewildbeasts,orlikeKasparHouser.

Houser was a
child raised with
limited human
contact
Andifmenlackedthisothercapacityofbeinginfectedbyart,people
mightbealmostmoresavagestill,and,aboveall,moreseparatedfrom,
andmorehostileto,oneanother.

Andthereforetheactivityofartisamostimportantone,asimportantas
theactivityofspeechitselfandasgenerallydiffused.

Tolstoy
speculates what
will happen to a
society without art
Weareaccustomedtounderstandarttobeonlywhatwehearandseein
theaters,concerts,andexhibitions,togetherwithbuildings,statues,
poems,novels....Butallthisisbutthesmallestpartoftheartbywhich
wecommunicatewitheachotherinlife.Allhumanlifeisfilledwith
worksofartofeverykindfromcradlesong,jest,mimicry,the
ornamentationofhouses,dress,andutensils,uptochurchservices,
buildings,monuments,andtriumphalprocessions.Itisallartistic
activity.Sothatbyart,inthelimitedsenseoftheword,wedonotmean
allhumanactivitytransmittingfeelings,butonlythatpartwhichwefor
somereasonselectfromitandtowhichweattachspecialimportance.

Notice these
examples

However, our
definitions do not
aim to cover all art
Thisspecialimportancehasalwaysbeengivenbyallmentothatpartof
thisactivitywhichtransmitsfeelingsflowingfromtheirreligious
perception,andthissmallpartofarttheyhavespecificallycalledart,
attachingtoitthefullmeaningoftheword.
Tolstoy adds one
more criterion to
his definition
Tol st oy: What i s Ar t ?

ThatwashowmenofoldSocrates,Plato,andAristotlelookedon
art.ThusdidtheHebrewprophetsandtheancientChristiansregardart;
thusitwas,andstillis,understoodbytheMohammedans,andthusit
stillisunderstoodbyreligiousfolkamongourownpeasantry.

Mohammedans
are Muslims
SometeachersofmankindasPlatoinhisRepublicandpeoplesuchas
theprimitiveChristians,thestrictMohammedans,andtheBuddhists
havegonesofarastorepudiateallart.

What does he
mean by
repudiate?
Peopleviewingartinthisway(incontradictiontotheprevalentviewof
todaywhichregardsanyartasgoodifonlyitaffordspleasure)
considered,andconsider,thatart(ascontrastedwithspeech,whichneed
notbelistenedto)issohighlydangerousinitspowertoinfectpeople
againsttheirwillsthatmankindwilllosefarlessbybanishingallartthan
bytoleratingeachandeveryart.

Can arts
audience control
how it makes
them feel? If not,
is art dangerous?
Evidentlysuchpeoplewerewronginrepudiatingallart,fortheydenied
thatwhichcannotbedeniedoneoftheindispensablemeansof
communication,withoutwhichmankindcouldnotexist.Butnotless
wrongarethepeopleofcivilizedEuropeansocietyofourclassanddayin
favoringanyartifitbutservesbeauty,i.e.,givespeoplepleasure.

Despite its
dangers, Tolstoy
rejects the total
removal of art
from society
Formerlypeoplefearedlestamongtheworksofarttheremightchanceto
besomecausingcorruption,andtheyprohibitedartaltogether.Nowthey
onlyfearlesttheyshouldbedeprivedofanyenjoymentartcanafford,
andpatronizeanyart.AndIthinkthelasterrorismuchgrosserthanthe
firstandthatitsconsequencesarefarmoreharmful.

What does
Tolstoy identify as
the greater
danger?
CHAPTEREIGHT(excerpts)

Totheremarkthatifourartisthetruearteveryoneshouldhavethe
benefitofit,theusualreplyisthatifnoteverybodyatpresentmakesuse
ofexistingartthefaultliesnotintheartbutinthefalseorganizationof
society;thatonecanimaginetooneself,inthefuture,astateofthingsin
whichphysicallaborwillbepartlysupersededbymachinery,partly
lightenedbyitsjustdistribution,andthatlaborfortheproductionofart
willbetakeninturns;thatthereisnoneedforsomepeoplealwaystosit
belowthestagemovingthedecorations,windingupthemachinery,
workingatthepianoorFrenchhorn,andsettingtypeandprintingbooks,
butthatthepeoplewhodoallthisworkmightbeengagedonlyafew
hoursperday,andintheirleisuretimemightenjoyalltheblessingsof
art.

Tolstoy considers
an objection








Do people who
have more leisure
time spend more
time with art?
Butevenwerewetoadmittheinadmissibleandsaythatmeansmaybe
foundbywhichart(thatartwhichamongusisconsideredtobeart)may
beaccessibletothewholepeople,anotherconsiderationpresentsitself
showingthatfashionableartcannotbethewholeofart,viz.,thefactthat


fashionable art
is fine art
Tol st oy: What i s Ar t ?
itiscompletelyunintelligibletothepeople.Formerlymenwrotepoems
inLatin,butnowtheirartisticproductionsareasunintelligibletothe
commonfolkasiftheywerewritteninSanscrit.Theusualreplytothisis
thatifthepeopledonotnowunderstandthisartofoursitonlyproves
thattheyareundeveloped,andthatthishasbeensoateachfreshstep
forwardmadebyart.Firstitwasnotunderstood,butafterwardpeople
gotaccustomedtoit.

Itwillbethesamewithourpresentart;itwillbeunderstoodwhen
everybodyisaswelleducatedaswearethepeopleoftheupper
classeswhoproducethisart,saythedefendersofourart.Butthis
assertionisevidentlyevenmoreunjustthantheformer,forweknowthat
themajorityoftheproductionsoftheartoftheupperclasses,suchas
variousodes,poems,dramas,cantatas,pastorals,pictures,etc.,which
delightedthepeopleoftheupperclasseswhentheywereproduced,
neverwereafterwardeitherunderstoodorvaluedbythegreatmassesof
mankind,buthaveremainedwhattheywereatfirstamerepastime
forrichpeopleoftheirtime,forwhomalonetheyeverwereofany
importance.Itisalsooftenurged,inproofoftheassertionthatthepeople
willsomedayunderstandourart,thatsomeproductionsofsocalled
classicalpoetry,music,orpainting,whichformerlydidnotpleasethe
masses,donowthattheyhavebeenofferedtothemfromallsides
begintopleasethesesamemasses;butthisonlyshowsthatthecrowd,
especiallythehalfspoiledtowncrowd,caneasily(itstastehavingbeen
perverted)beaccustomedtoanysortofart.Moreover,thisartisnot
producedbythesemasses,norevenchosenbythem,butisenergetically
thrustupontheminthosepublicplacesinwhichartisaccessibletothe
people.Forthegreatmajorityofworkingpeople,ourart,besidesbeing
inaccessibleonaccountofitscostliness,isstrangeinitsverynature,
transmittingasitdoesthefeelingsofpeoplefarremovedfromthose
conditionsoflaboriouslifewhicharenaturaltothegreatbodyof
humanity.Thatwhichisenjoymenttoamanoftherichclassesis
incomprehensibleasapleasuretoaworkingman,andevokesinhim
eithernofeelingatalloronlyafeelingquitecontrarytothatwhichit
evokesinanidleandsatiatedman.Suchfeelingsasformthechief
subjectsofpresentdayartsay,forinstance,honor,patriotism,and
amorousnessevokeinaworkingmanonlybewildermentandcontempt,
orindignation.Sothatevenifapossibilityweregiventothelaboring
classesintheirfreetimetosee,toread,andtohearallthatformsthe
flowerofcontemporaryart(asisdonetosomeextentintownsbymeans
ofpicturegalleries,popularconcerts,andlibraries),theworkingman(to
theextenttowhichheisalaborerandhasnotbeguntopassintothe
ranksofthosepervertedbyidleness)wouldbeabletomakenothingof
ourfineart,andifhedidunderstandit,thatwhichheunderstoodwould
notelevatehissoulbutwouldcertainly,inmostcases,pervertit.To
thoughtfulandsincerepeopletherecan,therefore,benodoubtthatthe
artofourupperclassesnevercanbetheartofthewholepeople.Butifart
isanimportantmatter,aspiritualblessing,essentialforallmen(like




Who is the
audience for fine
art?










What is meant by
taste here? Is
taste subject to
manipulation?










Why DONT truck
drivers and
construction
workers spend
more time at the
art museum and
symphony?





Tolstoy presents a
dilemma
Tol st oy: What i s Ar t ?
religion,asthedevoteesofartarefondofsaying),thenitshouldbe
accessibletoeveryone.Andif,asinourday,itisnotaccessibletoallmen,
thenoneoftwothings:eitherartisnotthevitalmatteritisrepresentedto
beorthatartwhichwecallartisnottherealthing.

Thedilemmaisinevitableandthereforecleverandimmoralpeopleavoid
itbydenyingonesideofit,viz.,denyingthatthecommonpeoplehavea
righttoart.Thesepeoplesimplyandboldlyspeakout(whatliesatthe
heartofthematter),andsaythattheparticipatorsinandutilizersof
what,intheiresteem,ishighlybeautifulart,i.e.,artfurnishingthe
greatestenjoyment,canonlybeschneGeister[beautifulsouls]the
elect,astheromanticistscalledthem,thebermenschen[superior
men]astheyarecalledbythefollowersofNietzsche;theremaining
vulgarherd,incapableofexperiencingthesepleasures,mustservethe
exaltedpleasuresofthissuperiorbreedofpeople.Thepeoplewho
expresstheseviewsatleastdonotpretendanddonottrytocombinethe
incombinable,butfranklyadmitwhatisthecasethatourartisanartof
theupperclassesonly.Soessentiallyarthasbeen,andis,understoodby
everyoneengagedinitinoursociety.













Here, our art is
fine art

CHAPTERTEN(excerpts)

Moreover,itcannotbesaidthatthemajorityofpeoplelackthetasteto
esteemthehighestworksofart.Themajorityalwayshasunderstood,and
stillunderstands,whatwealsorecognizeasbeingtheverybestart:the
epicofGenesis,thegospelparables,folklegends,fairytales,andfolk
songsareunderstoodbyall.Howcanitbethatthemajorityhassuddenly
lostitscapacitytounderstandwhatishighinourart?

Tolstoy offers a
list of the very
best art
Ofaspeechitmaybesaidthatitisadmirable,butincomprehensibleto
thosewhodonotknowthelanguageinwhichitisdelivered.Aspeech
deliveredinChinesemaybeexcellentandmayyetremain
incomprehensibletomeifIdonotknowChinese;butwhatdistinguishes
aworkofartfromallothermentalactivityisjustthefactthatitslanguage
isunderstoodbyall,andthatitinfectsallwithoutdistinction.Thetears
andlaughterofaChineseinfectmejustasthelaughterandtearsofa
Russian;anditisthesamewithpaintingandmusicandpoetrywhenitis
translatedintoalanguageIunderstand.ThesongsofaKirghizorofa
Japanesetouchme,thoughinalesserdegreethantheytouchaKirghizor
aJapanese.IamalsotouchedbyJapanesepainting,Indianarchitecture,
andArabianstories.IfIambutlittletouchedbyaJapanesesonganda
Chinesenovel,itisnotthatIdonotunderstandtheseproductionsbut
thatIknowandamaccustomedtohigherworksofart.Itisnotbecause
theirartisaboveme.Greatworksofartareonlygreatbecausetheyare
accessibleandcomprehensibletoeveryone.ThestoryofJoseph,
translatedintotheChineselanguage,touchesaChinese.Thestoryof
SakyaMunitouchesus.Andthereare,andmustbe,buildings,pictures,
statues,andmusicofsimilarpower.Sothat,ifartfailstomovemen,it






Tolstoy clarifies
his criterion of
universal
accessibility




For Joseph, see
Genesis 39;
Sakya Muni is
Siddhrtha
Gautama, the
founder of
Buddhism
Tol st oy: What i s Ar t ?
cannotbesaidthatthisisduetothespectatorsorhearerslackof
understanding;buttheconclusiontobedrawnmayandshouldbethat
suchartiseitherbadartorisnotartatall.

Artisdifferentiatedfromactivityoftheunderstanding,whichdemands
preparationandacertainsequenceofknowledge(sothatonecannot
learntrigonometrybeforeknowinggeometry),bythefactthatitactson
peopleindependentlyoftheirstateofdevelopmentandeducation,that
thecharmofapicture,sounds,orofforms,infectsanymanwhateverhis
planeofdevelopment.

Thebusinessofartliesjustinthistomakethatunderstoodandfelt
which,intheformofanargument,mightbeincomprehensibleand
inaccessible.Usuallyitseemstotherecipientofatrulyartisticimpression
thatheknewthethingbeforebuthadbeenunabletoexpressit.

Tolstoy looks
ahead to Chapter
Fifteen
Andsuchhasalwaysbeenthenatureofgood,supremeart;theIliad,the
Odyssey,thestoriesofIsaac,Jacob,andJoseph,theHebrewprophets,the
psalms,thegospelparables,thestoryofSakyaMuni,andthehymnsof
theVedas:alltransmitveryelevatedfeelingsandareneverthelessquite
comprehensiblenowtous,educatedoruneducated,astheywere
comprehensibletothemenofthosetimes,longago,whowereevenless
educatedthanourlaborers.Peopletalkaboutincomprehensibility;butif
artisthetransmissionoffeelingsflowingfrommansreligious
perception,howcanafeelingbeincomprehensiblewhichisfoundedon
religion,i.e.,onmansrelationtoGod?Suchartshouldbe,andhas
actuallyalwaysbeen,comprehensibletoeverybodybecauseeverymans
relationtoGodisoneandthesame.Andthereforethechurchesandthe
imagesinthemarealwayscomprehensibletoeveryone.Thehindranceto
understandingthebestandhighestfeelings(asissaidinthegospel)does
notatalllieindeficiencyofdevelopmentorlearning,but,onthe
contrary,infalsedevelopmentandfalselearning.Agoodandloftywork
ofartmaybeincomprehensible,butnottosimple,unpervertedpeasant
laborers(allthatishighestisunderstoodbythem)itmaybe,andoften
is,unintelligibletoerudite,pervertedpeopledestituteofreligion.And
thiscontinuallyoccursinoursocietyinwhichthehighestfeelingsare
simplynotunderstood.Forinstance,Iknowpeoplewhoconsider
themselvesmostrefinedandwhosaythattheydonotunderstandthe
poetryoflovetoonesneighbor,ofselfsacrifice,orofchastity.

Notice these
examples

The Vedas are
the four ancient
sacred texts of
Hindu teachings

Does all religious
perception
recognize the
same divinity? In
another book,
Tolstoy defines
religious
perception as a
relation to the
whole immense
Infinite in time and
space conceived
as one whole.
Sogood,great,universal,religiousartmaybeincomprehensibletoa
smallcircleofspoiledpeoplebutcertainlynottoanylargenumberof
plainmen.

Tol st oy: What i s Ar t ?
CHAPTER FIFTEEN
Art,inoursociety,hasbeensopervertedthatnotonlyhasbadartcome
tobeconsideredgood,buteventheveryperceptionofwhatartreallyis
hasbeenlost.Inordertobeabletospeakabouttheartofoursociety,itis,
therefore,firstofallnecessarytodistinguishartfromcounterfeitart.

How does
exclusive art
relate to
counterfeit art?

Thereisoneindubitableindicationdistinguishingrealartfromits
counterfeit,namely,theinfectiousnessofart.Ifaman,withoutexercising
effortandwithoutalteringhisstandpointonreading,hearing,orseeing
anothermanswork,experiencesamentalconditionwhichuniteshim
withthatmanandwithotherpeoplewhoalsopartakeofthatworkofart,
thentheobjectevokingthatconditionisaworkofart.Andhowever
poetical,realistic,effectful,orinterestingaworkmaybe,itisnotawork
ofartifitdoesnotevokethatfeeling(quitedistinctfromallother
feelings)ofjoyandofspiritualunionwithanother(theauthor)andwith
others(thosewhoarealsoinfectedbyit).

Infection is
accompanied by a
second feeling,
that of a union
that gives us joy
when we
experience it.
Itistruethatthisindicationisaninternalone,andthattherearepeople
whohaveforgottenwhattheactionofrealartis,whoexpectsomething
elseformart(inoursocietythegreatmajorityareinthisstate),andthat
thereforesuchpeoplemaymistakeforthisaestheticfeelingthefeelingof
diversionandacertainexcitementwhichtheyreceivefromcounterfeits
ofart.Butthoughitisimpossibletoundeceivethesepeople,justasitis
impossibletoconvinceamansufferingfromDaltonismthatgreenisnot
red,yet,forallthat,thisindicationremainsperfectlydefinitetothose
whosefeelingforartisneitherpervertednoratrophied,anditclearly
distinguishesthefeelingproducedbyartfromallotherfeelings.

Art in the limited

sense is now
identified as real
art



Daltonism is a
type of color
blindness
Thechiefpeculiarityofthisfeelingisthatthereceiverofatrueartistic
impressionissounitedtotheartistthathefeelsasiftheworkwerehis
ownandnotsomeoneelsesasifwhatitexpresseswerejustwhathe
hadlongbeenwishingtoexpress.Arealworkofartdestroys,inthe
consciousnessofthereceiver,theseparationbetweenhimselfandthe
artistnotthatalone,butalsobetweenhimselfandallwhoseminds
receivethisworkofart.Inthisfreeingofourpersonalityfromits
separationandisolation,inthisunitingofitwithothers,liesthechief
characteristicandthegreatattractiveforceofart.

An important
paragraph:
Tolstoy says more
about his idea of a
feeling of union
with artist and the
rest of the
audience

Art creates a
community
Ifamanisinfectedbytheauthorsconditionofsoul,ifhefeelsthis
emotionandthisunionwithothers,thentheobjectwhichhaseffected
thisisart;butiftherebenosuchinfection,iftherebenotthisunionwith
theauthorandwithotherswhoaremovedbythesameworkthenitis
notart.Andnotonlyisinfectionasuresignofart,butthedegreeof
infectiousnessisalsothesolemeasureofexcellenceinart.

Tolstoy again
insists that TWO
feelings occur in
real art (infection
of emotion PLUS
a feeling of union)
Thestrongertheinfection,thebetteristheartasart,speakingnowapart
fromitssubjectmatter,i.e.,notconsideringthequalityofthefeelingsit
He sets subject
matter aside
Tol st oy: What i s Ar t ?
transmits.

Andthedegreeoftheinfectiousnessofartdependsonthreeconditions:

1.Onthegreaterorlesserindividualityofthefeelingtransmitted;
2.onthegreaterorlesserclearnesswithwhichthefeelingis
transmitted;
3.onthesincerityoftheartist,i.e.,onthegreaterorlesserforcewith
whichtheartisthimselffeelstheemotionhetransmits.

Themoreindividualthefeelingtransmittedthemorestronglydoesitact
onthereceiver;themoreindividualthestateofsoulintowhichheis
transferred,themorepleasuredoesthereceiverobtain,andthereforethe
morereadilyandstronglydoeshejoininit.

real art provides

pleasure (even if
thats not its
purpose)
Theclearnessofexpressionassistsinfectionbecausethereceiver,who
minglesinconsciousnesswiththeauthor,isthebettersatisfiedthemore
clearlythefeelingistransmitted,which,asitseemstohim,hehaslong
knownandfelt,andforwhichhehasonlynowfoundexpression.

How could an
emotion be
unclear?
Butmostofallisthedegreeofinfectiousnessofartincreasedbythe
degreeofsincerityintheartist.Assoonasthespectator,hearer,orreader
feelsthattheartistisinfectedbyhisownproduction,andwrites,sings,or
playsforhimself,andnotmerelytoactonothers,thismentalconditionof
theartistinfectsthereceiver;andcontrariwise,assoonasthespectator,
reader,orhearerfeelsthattheauthorisnotwriting,singing,orplaying
forhisownsatisfactiondoesnothimselffeelwhathewishestoexpress
butisdoingitforhim,thereceiver,aresistanceimmediatelysprings
up,andthemostindividualandthenewestfeelingsandthecleverest
techniquenotonlyfailtoproduceanyinfectionbutactuallyrepel.

Can you think of
an example of
insincere art?
Ihavementionedthreeconditionsofcontagiousnessinart,buttheymay
beallsummedupintoone,thelast,sincerity,i.e.,thattheartistshouldbe
impelledbyaninnerneedtoexpresshisfeeling.Thatconditionincludes
thefirst;foriftheartistissincerehewillexpressthefeelingashe
experiencedit.Andaseachmanisdifferentfromeveryoneelse,his
feelingwillbeindividualforeveryoneelse;andthemoreindividualitis
themoretheartisthasdrawnitfromthedepthsofhisnaturethe
moresympatheticandsincerewillitbe.Andthissamesinceritywill
impeltheartisttofindaclearexpressionofthefeelingwhichhewishesto
transmit.

Is sincerity really
enough to allow
clear
communication of
an emotion?
Thereforethisthirdconditionsincerityisthemostimportantofthe
three.Itisalwayscompliedwithinpeasantart,andthisexplainswhy
suchartalwaysactssopowerfully;butitisaconditionalmostentirely
absentfromourupperclassart,whichiscontinuallyproducedbyartists
actuatedbypersonalaimsofcovetousnessorvanity.

Peasant art
would be a type of
folk art

For whom is most
art created?
Tol st oy: What i s Ar t ?
Sucharethethreeconditionswhichdivideartfromitscounterfeits,and
whichalsodecidethequalityofeveryworkofartapartfromitssubject
matter.

A summary of
Chapter Fifteens
central point
Theabsenceofanyoneoftheseconditionsexcludesaworkformthe
categoryofartandrelegatesittothatofartscounterfeits.Ifthework
doesnottransmittheartistspeculiarityoffeelingandisthereforenot
individual,ifitisunintelligiblyexpressed,orifithasnotproceededfrom
theauthorsinnerneedforexpressionitisnotaworkofart.Ifallthese
conditionsarepresent,eveninthesmallestdegree,thenthework,evenif
aweakone,isyetaworkofart.

Is sincere art
ALWAYS better
than insincere
(and therefore
counterfeit) art?
Thepresenceinvariousdegreesofthesethreeconditions
individuality,clearness,andsinceritydecidesthemeritofaworkofart
asart,apartfromsubjectmatter.Allworksofarttakerankofmerit
accordingtothedegreeinwhichtheyfulfillthefirst,thesecond,andthe
thirdoftheseconditions.Inonetheindividualityofthefeeling
transmittedmaypredominate;inanother,clearnessofexpression;ina
third,sincerity;whileafourthmayhavesincerityandindividualitybut
bedeficientinclearness;afifth,individualityandclearnessbutless
sincerity;andsoforth,inallpossibledegreesandcombinations.

Thusisartdividedfromthatwhichisnotart,andthusisthequalityof
artasartdecided,independentlyofitssubjectmatter,i.e.,apartfrom
whetherthefeelingsittransmitsaregoodorbad.

Buthowarewetodefinegoodandbadartwithreferencetoitssubject
matter?

How can we
determine the
DEGREE of
sincerity in a work
of art?
CHAPTERSIXTEEN(excerpts)

Itmustbetheart,notofsomeonegroupofpeople,norofoneclass,
norofonenationality,norofonereligiouscult;thatis,itmustnot
transmitfeelingswhichareaccessibleonlytoamaneducatedinacertain
way,oronlytoanaristocrat,oramerchant,oronlytoaRussian,ora
nativeofJapan,oraRomanCatholic,oraBuddhist,etc.,butitmust
transmitfeelingsaccessibletoeveryone.Onlyartofthiskindcanbe
acknowledgedinourtimetobegoodart,worthyofbeingchosenout
fromalltherestofartandencouraged.

Subject matter is
independently
discussed
because it affects
accessibility

The most
accessible art is
the best
Christianart,i.e.,theartofourtime,shouldbecatholicintheoriginal
meaningoftheword,i.e.,universal,andthereforeitshoulduniteallmen.
Andonlytwokindsoffeelingdouniteallmen:first,feelingsflowing
fromtheperceptionofoursonshiptoGodandofthebrotherhoodof
man;andnext,thesimplefeelingsofcommonlife,accessibletoeveryone
withoutexceptionsuchasthefeelingofmerriment,ofpity,of
cheerfulness,oftranquility,etc.Onlythesetwokindsoffeelingscannow
supplymaterialforartgoodinitssubjectmatter.
In the past, art
only needed to
unify small
groups. Today, it
is imperative that
it unite all men

There are two
ways to do this
Tol st oy: What i s Ar t ?

Andtheactionofthesetwokindsofart,apparentlysodissimilar,isone
andthesame.ThefeelingsflowingfromperceptionofoursonshiptoGod
andofthebrotherhoodofmansuchasafeelingofsurenessintruth,
devotiontothewillofGod,selfsacrifice,respectforandloveofman
evokedbyChristianreligiousperception;andthesimplestfeelingssuch
asasoftenedoramerrymoodcausedbyasongoranamusingjest
intelligibletoeveryone,orbyatouchingstory,oradrawing,oralittle
doll:bothalikeproduceoneandthesameeffect,thelovingunionofman
withman.Sometimespeoplewhoaretogetherare,ifnothostiletoone
another,atleastestrangedinmoodandfeelingtillperchanceastory,a
performance,apicture,orevenabuilding,butmostoftenofallmusic,
unitesthemallasbyanelectricflash,andinplaceoftheirformer
isolationorevenenmitytheyareallconsciousofunionandmutuallove.
Eachisgladthatanotherfeelswhathefeels;gladofthecommunion
established,notonlybetweenhimandallpresent,butalsowithallnow
livingwhowillyetsharethesameimpression;andmorethanthat,he
feelsthemysteriousgladnessofacommunionwhich,reachingbeyond
thegrave,unitesuswithallmenofthepastwhohavebeenmovedbythe
samefeelings,andwithallmenofthefuturewhowillyetbetouchedby
them.Andthiseffectisproducedbothbythereligiousartwhich
transmitsfeelingsoflovetoGodandonesneighborandbyuniversalart
transmittingtheverysimplestfeelingscommontoallmen.

While religious
perception is our
awareness of our
relationship to the
universe as a
whole, the
Christian religious
perception
involves
recognition of our
absolute equality
as human beings


How art gives us
joy
Theartofourtimeshouldbeappraiseddifferentlyfromformerart
chieflyinthis,thattheartofourtime,i.e.,Christianart(basingitselfona
religiousperceptionwhichdemandstheunionofman),excludesfromthe
domainofartgoodinsubjectmattereverythingtransmittingexclusive
feelingswhichdonotunite,butdivide,men.Itrelegatessuchworktothe
categoryofartbadinitssubjectmatter,while,ontheotherhand,it
includesinthecategoryofartgoodinsubjectmatterasectionnot
formerlyadmittedtodeservetobechosenoutandrespected,namely,
universalart,transmittingeventhemosttriflingandsimplefeelingsif
onlytheyareaccessibletoallmenwithoutexceptionandthereforeunite
them.Suchartcannotinourtimebutbeesteemedgood,foritattainsthe
endwhichthereligiousperceptionofourtime,i.e.,Christianity,sets
beforehumanity.

Christianarteitherevokesinmenthosefeelingswhich,throughloveof
Godandofonesneighbor,drawthemtogreaterandevergreaterunion
andmakethemreadyforandcapableofsuchunion,orevokesinthem
thosefeelingswhichshowthemthattheyarealreadyunitedinthejoys
andsorrowsoflife.AndthereforetheChristianartofourtimecanbeand
isoftwokinds:(1)arttransmittingfeelingsflowingfromareligious
perceptionofmanspositionintheworldinrelationtoGodandtohis
neighborreligiousartinthelimitedmeaningoftheterm;and(2)art
transmittingthesimplestfeelingsofcommonlife,butsuch,always,asare
accessibletoallmeninthewholeworlduniversalart

Tol st oy: What i s Ar t ?

CHAPTEREIGHTEEN(excerpts)

Thereligiousperceptionofourtimewhichconsistsin
acknowledgingthattheaimoflife(bothcollectiveandindividual)isthe
unionofmankindisalreadysosufficientlydistinctthatpeoplehave
nowonlytorejectthefalsetheoryofbeautyaccordingtowhich
enjoymentisconsideredtobethepurposeofart,andreligiousperception
willnaturallytakeitsplaceastheguideoftheartofourtime.

Tolstoy returns to
the religious
perception of our
time (implying
that it has
changed over
time)
Andassoonasthereligiousperception,whichalreadyunconsciously
directsthelifeofman,isconsciouslyacknowledged,thenimmediately
andnaturallythedivisionofartintoartforthelowerandartforthe
upperclasseswilldisappear.Therewillbeonecommon,brotherly,
universalart,andfirstthatartwillnaturallyberejectedwhichtransmits
feelingsincompatiblewiththereligiousperceptionofourtime,feelings
whichdonotunite,butdividemen,andthenthatinsignificant,exclusive
artwillberejectedtowhichanimportanceisnowattachedtowhichit
hasnoright.

Is Tolstoy too
optimistic?
Andassoonasthisoccurs,artwillimmediatelyceasetobewhatithas
beeninrecenttimes,ameansofmakingpeoplecoarserandmorevicious,
anditwillbecomewhatitalwaysusedtobeandshouldbe,ameansby
whichhumanityprogressestowardunityandblessedness.

Theartofourtimeandofourcirclehasbecomeaprostitute.Andthis
comparisonholdsgoodeveninminutedetails.Likeheritisnotlimitedto
certaintimes,likeheritisalwaysadorned,likeheritisalwayssalable,
andlikeheritisenticingandruinous.

Arealworkofartcanonlyariseinthesoulofanartistoccasionallyasthe
fruitofthelifehehaslived,justasachildisconceivedbyitsmother.But
counterfeitartisproducedbyartisansandhandicraftsmencontinually,if
onlyconsumerscanbefound.

What does this

imply about highly
productive artists,
such as Picasso?
Realart,likethewifeofanaffectionatehusband,needsnoornaments.
Butcounterfeitart,likeaprostitute,mustalwaysbedeckedout.

Thecauseoftheproductionofrealartistheartistsinnerneedtoexpress
afeelingthathasaccumulated,justasforamotherthecauseofsexual
conceptionislove.Thecauseofcounterfeitart,asofprostitution,isgain.

Do commercial
motives ruin art?
Theconsequenceoftrueartistheintroductionofanewfeelingintothe
intercourseoflife,astheconsequenceofawifesloveisthebirthofanew
manintolife.

Theconsequencesofcounterfeitartaretheperversionofman,pleasure
whichneversatisfies,andtheweakeningofmansspiritualstrength.

Tol st oy: What i s Ar t ?

Andthisiswhatpeopleofourdayandofourcircleshouldunderstandin
ordertoavoidthefilthytorrentofdepravedandprostitutedartwith
whichwearedeluged.