Art space in the context of cultural and philosophical discourse

The article considers approaches to the analysis of the term "art space" in cultural philosophy, philosophy of art and art criticism. The authors point out that this concept is semantically polyvariant, which, on the one hand, is due to the ambiguity of the interpretation of the category "space", on the other, each of the humanitarian directions, highlighting in accordance with its inherent problem area only one of the aspects in the analysis of artistic space, determines it based on the chosen focus of view. It is emphasized that only at the turn of the 18-19th centuries. There is a tendency to rethink the artistic space, so that it is endowed with such characteristics as continuity and infinity. It is indicated that the formation of this trend is primarily associated with a change in the perception of the essence of a person. Romantic philosophers were convinced of the possibilities of art to reveal new aspects of human nature. Further, the approaches formed at the turn of the 19-20th centuries and presented in the works of O. Spengler, A. Hildebrand, G. Welflin are analyzed. It is pointed out that various aspects of the transmission of spatial characteristics are already touched upon in art criticism theories of that time, but art space is not yet considered as an independent phenomenon. It is emphasized that in the second half of the 20th century philosophy of art and art history begins to clear, culturally-oriented trend, thanks to which the analysis of the artistic space through the prism of socio-cultural context of the era. In conclusion, it is pointed out that with the variety of interpretations of the concept of "artistic space" there are a number of common characteristics that are distinguished by all humanitarian directions, in particular, the features of space perception inherent in the period determine the artistic space.