The Aesthetic Ideal of Individuals and Its Significance in

Philosophical Understanding

Aktamkul R. Samadov

and Otabek M. Gaybullaev

Samarkand State University, Samarkand, Uzbekistan

Samarkand State Institute of Foreign Languages, Samarkand, Uzbekistan

Keywords: Ideal, Aesthetic Ideal, Aesthetic Thinking, Types of Aesthetic Ideal, Functions of the Aesthetic Ideal, Art,

Functions of the Aesthetic Ideal.

Abstract: In contemporary times, humanity grapples with diverse moral, aesthetic, and environmental challenges,

prompting the emergence of a modern personality ideal and the theory of personality education. Despite their

relative autonomy and internal contradictions, moral and aesthetic ideals share common ground, reflecting

individuals' moral and aesthetic orientations towards existence. These ideals facilitate sensory-emotional

understanding of the world and inspire creative endeavours. Serving as models and goals, they are both

individualistic in origin and influential within social spheres, guided by imperative principles. The aesthetic

ideal not only guides personal conduct but also exerts socio-cultural influence, fostering emotional and

cognitive engagement with art and literature. As creativity increasingly aligns with scientific endeavours, the

aesthetic ideal offers motivation, inspiration, and joy, crucial components of the creative process. Societal and

cultural factors are instrumental in shaping the aesthetic ideal, fostering emotional connections with beauty

and guiding individuals' aesthetic interactions with nature, society, and themselves. Thus, the formation and

evolution of the aesthetic ideal depend on a complex interplay between foundational principles and societal

influences, enriching human perception and understanding of beauty.

1 INTRODUCTION

The historical progress of society and the individual

appears to be a sequence of ideas, a series of

phenomena associated with progress and regression.

Each historical period is distinguished by its system

of philosophical views, in which a holistic image and

philosophical understanding of time are created,

associated mainly with epistemological, theological,

ethical, and aesthetic ideas, theories, and ideals.

Human culture, corresponding to the spirit of the

times, contributes to the formation of certain types of

aesthetic thinking. It should be noted that “ideas and

ideologies that do not have their philosophical basis

or are separated from it do not acquire significance in

public life and do not even acquire new meaning for

the development of man and society – Mamashokirov

(2007)”.

In each period of historical development, the

aesthetic ideal of a person corresponds to certain

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meanings that are accepted by many, the evolutionary

state of human existence, and the norms adopted to

characterize the quality of aesthetic perception of this

world. In each period of historical development, a

person has certain theoretical ideas about moral and

aesthetic content, about the significance of the

principles of perception of beauty.

The representative of German classical

philosophy I. Kant believed that “the aesthetic ideal

is a vision of humanity that has reached its highest

and perfect level and is considered the limit of

contradictions between the individual and society. An

aesthetic ideal is a level of elevated demands on

aesthetic evaluation, which consciously or

unconsciously indicates a comparison of a particular

thing-phenomenon with an aesthetic perfect - Kant

(2000)”.

An aesthetic ideal is a type of aesthetic

relationship that represents a category that is located

as an intermediate link between aesthetic taste, on the

354

Samadov, A. and Gaybullaev, O.

The Aesthetic Ideal of Individuals and Its Signiﬁcance in Philosophical Understanding.

DOI: 10.5220/0012846000003882

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 354-362

ISBN: 978-989-758-723-8

one hand, and aesthetic worldview, on the other. In

some research works this topic is formulated in the

form of “artistic-aesthetic ideal”, “spiritual-aesthetic

ideal”, “ethno-aesthetic ideal”, “national-aesthetic

ideal”. For example, according to S.

Agzamkhodjaeva, “an artistic and aesthetic ideal is a

form of social consciousness aimed at decorating

social existence, artistic, spiritual and moral life of a

person, improving it in accordance with the laws of

grace – Agzamhodjayeva (2007)”.

The analysis of Russian philosophical literature

also demonstrates that if the concept of the aesthetic

ideal is considered from the point of view of the

analysis of the creative approach, it turns out that it

can be studied from four main theoretical positions.

The aesthetic ideal is:

 Emotional and intellectual manifestation of

beauty.

 Demonstration of the idea of perfection (as a

model), which is enriched with emotional

colours.

 The idea of perfection as the highest goal of

human activity.

 Intellectual and emotional expression of the

most perfect aesthetic value.

In philosophical and artistic research, interest in the

problem of the aesthetic ideal in literature and art

especially manifested itself in the 60s-80s of the last

century. The first studies on this issue were by N.

Geya and U. Piskunov. In their research, they tried to

answer this question. For example, they argue that

while some scientists believe that the ideal creates

reality themselves, others adhere to the idea that the

artists themselves are the creators of the perfect. The

aesthetic ideal is embodied all in the historical

concepts of a highly spiritual personality, moving

from the natural environment to the “artificial”

(contemplative device), to interpretation, criteria of

beauty, and a beacon tool for symmetrical views.

Research in the field of the aesthetic ideal is

carried out both in the context of the analysis of

objective laws and subjective interests, which are

characterized as the intellectual appearance of the

image of beauty, and the unity of moral and aesthetic

requirements for perfection. If we emphasize the

origin of the aesthetic ideal, then we can see that the

existential experience of the individual is synthesized.

All life experiences of humanity about the ideal of

beauty fill the existential gaps of the spiritual world.

The aesthetic ideal combines the standard of

beauty, truth, and goodness. Thanks to this property,

the aesthetic ideal can be characterized as the

personal appearance of a person’s social ideal. In a

general sense, the ideal gives a person the opportunity

to have his own beliefs, values, and conscious

activity, while the aesthetic ideal determines the

freedom of the individual, and the creative horizon in

a specific socio-historical space and time. In society,

this acquires constructive significance in the sense of

ensuring unified legal, religious, and socio-practical

activities in intergroup, interpersonal relations, and

movement towards a common goal. The aesthetic

ideal unifies the diversity, freedom, and creativity of

the activities of social groups, and reflects the highest

level of idealist for the harmonious development of

the individual.

As a result, a holistic definition of the aesthetic

ideal will emerge. This can be described as follows.

The aesthetic ideal is an internally stable system of

personality in the artistic and aesthetic perception of

reality, which is a category that expresses the

symmetrical and asymmetrical state of the individual

and society in its aesthetic development, reflecting its

boundaries, personally manifesting an emotionally

experiential, social state. In the inner world of the

individual, in his consciousness, this state is described

as the border between the general and the private.

The aesthetic ideal also performs the function of

decorating the socio-spiritual personality. When a

social aesthetic ideal is achieved, enriching the

existing elements of aesthetic consciousness, to a

personal degree leads to the solution of certain

motivational, constructive problems. The aesthetic

ideal regulates and controls the level of emotional-

empirical and artistic-theoretical knowledge,

fulfilling evaluative, restrictive properties in literature

and art. Considering that the creative process has a

scientific orientation, the artistic, aesthetic ideal will

have a perspective that gives motivation, inspiration,

and pleasure from creativity, which is an essential

characteristic of any creativity.

The fantastic world, artistic creativity, and human

fantasy are based on a certain imaginative worldview.

This process can be called an artistic or aesthetic

process. The classification presented here is

manifested in the influence of popular and

mainstream scientific worldviews, philosophical

views shaped by a person's spiritual and worldview

abilities and experiences, and related points of view

that can be assessed as a guide, assessment, and

methodology. First, it is important to determine what

function the ideal and its types perform for the

individual, and what its role is in ideological,

educational, epistemological, ideological, and

epistemological contexts. We strive to determine the

forms, types, internal concepts, and methods of

embodying the aesthetic ideal of a person in real life.

The Aesthetic Ideal of Individuals and Its Signiﬁcance in Philosophical Understanding

355

It follows from this that in this work the

manifestations of the internal, important, necessary

connecting qualities of the aesthetic ideal, the logical

internal system, can be divided into groups as

follows:

 Forms of manifestation of the aesthetic

ideal.

 Aesthetic ideal types.

 Categories of the aesthetic ideal.

 Ways to manifest the aesthetic ideal.

The aesthetic ideal is projected into the past by forms

modelled after the present. The aesthetic ideal has to

do with society and the individual, time and space.

Categories that imply the nature of the aesthetic ideal

divide them into significant or insignificant. The

aesthetic ideal can also be described and analysed

based on past values, evaluation criteria, and

principles of aesthetic perception, depending on the

nature of the general idea.

It is obvious that the aesthetic ideal in theoretical,

prosaic, artistic, and epic relations about objects of

aesthetic perception, such as nature, society,

personality, art, and healthy lifestyle, is influenced by

past eras. In the aesthetic ideal, which has its

orientation to the past, human and emotional

experiences are somewhat mixed. For example, the

qualities that people of the past, such as Amir Temur,

Jaloliddin Manguberdi, Alisher Navoi, and

Zakhiriddin Babur, possessed in their lives are

somewhat exaggerated.

There is a practice of idealizing the present past so

that the glorious past will acquire an aura of glory in

the present. In Ancient Greece, the criteria of beauty

were of a defining, qualitative nature about the

individual, and the aesthetic ideal was embodied in

works of art. Art and sport may have provided the

aesthetic ideal of antiquity by contributing to the

creation of a model of the human body. The artistic

interpretation of this aesthetic ideal is valuable for the

present.

Categories that have the status of an aesthetic

ideal are based on ideological systems. When forming

a modern aesthetic image, the model of a modern

personality covers all aspects of the aesthetic ideal,

factors of its formation, criteria, upbringing,

education, art, and sports, based on the general

properties of nature and society and representing a

single whole. Currently, it is more important to strive

to create an aesthetic ideal that harmonizes the

education and upbringing of the individual than to

create a form of a general aesthetic ideal.

Globalization sets before “mass culture” the goal of

lowering the level of the aesthetic ideal of the

individual, destroying the criterion of beauty, and

creating the egoistic ideal of one person. The

condition that this “order” is reflected in the work of

a “custom” writer, in the activities of creative

individuals, is strengthened by the demands of the

time.

One of the characteristics of the ideal is the

implementation of the projection of the future. The

creation of innovations that give a single holistic

image of the aesthetic ideal of the individual, formed

in the future, is reflected in ideology, and I am a

requirement of the time. In modern aesthetics, it is

important to consider such issues as the formation of

an aesthetic ideal, and the revision of old

requirements and criteria of modern society. It is

necessary to create an aesthetic ideal aimed at

preserving nature. Types of the aesthetic ideal can be

characterized as follows: lyrical-epic type (artistic-

aesthetic ideal, works of fine art, aesthetic criterion);

spatiotemporal type (dramatic process - theater,

arena, stadium, sports, ideal person, modern

gastronomy); compositional type (plot, melody,

space, fusion of modern factors).

In many cases, the aesthetic ideal is imprinted in

the artistic world of man and embodied through the

images of heroes in lyrical, artistic, and epic genres.

It is in art that the ideal, that is, the creation of an

aesthetic ideal, is called nature (natural state, real

state - S.A.), and the origins of the conflict of the ideal

were formulated by Friedrich Hegel. In his opinion,

“the contradiction between the ideal and ordinary life

consists of the following: 1) in the description of

naturalness in artistic composition, 2) in the

distinction between realism and spiritual abstraction

in the human world, 3) in reflecting the imbalance

between content and form, 4) in the transition from

the particular to the general” (See: (Hegel, 2014).

The aesthetic content of the lyrical-epic type of

person combines the human world and the spiritual

world of the creator, creating a feeling of satisfaction.

The aesthetic ideal in the poetics of a work is natural

if it is filled with emotional and external influence.

Only in this case can a work of art evoke a feeling of

pleasure. This type of aesthetic ideal will have to

explain external existence, its events, that is, its

correspondence with reality with its monotony in

content and essence. “The ideal will be hidden in

reality; these are not games of fantasy from the

simple, neither texture, nor fantasy, nor imagination,

at the same time, the ideal is a vision of this or that

thing, which does not deny reality, is decided by

reason and conceived by fantasy” - Alexandrova

(2005).

The aesthetic ideal in art is capable of eliminating

the defects of the external influence of the natural

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world and treating reality by aesthetic criteria. The

same process can be observed in the work of ancient

Greek scientists.

The aesthetic ideal reflects the dramatic processes

of time and space, an ideal shaped by the influence of

heroes in sports arenas. Here, in the dialogue of the

characters on the theatre stage, the circumstances

associated with the time and place of the event are

reflected in front of the viewer. “The collision of

temporal categories, the transition from one system to

another constitutes the structure of dramatic time.

Time changes, the phenomenon repeats itself, and the

way of organizing artistic time on stage in different

works occurs differently” – Umarova (2011). Now,

sport is not inferior to artistic composition in art. This

is caused by a sharp rise in the field of sports, different

activities of spectators, and a change in attitude

towards space and time. In a work of art or any form

of art, the requirements of an aesthetic ideal may be

inherent in time and space. These characteristics are

also followed in sports. Sports organized based on the

requirements of an aesthetic ideal include the same

compositional features as in art. The ideological

centre of a work of art, the ways of glorifying beauty,

the skill of the creator of the work, the demonstration

of creative freedom - all this is a compositional

manifestation of the aesthetic ideal.

In the aesthetic ideal, the categorical quantitative

aspect, the aesthetics of the content presupposes that

they are combined into a certain system or concept.

In the aesthetic ideal, the spatial placement of

categories in art and sports is based on the

requirements of symmetry and asymmetry. The

emergence of new categories in aesthetics, depending

on whether it reflects reality or illuminates it, can be

used as an important (central) category in

illuminating the general plan of the problem.

However, the categories of the aesthetic ideal have a

functional meaning. In other words, he is faced with

the tasks of ensuring proportionality, emotional

regulation, the transition from abstraction to

specificity, determining the boundary between

pleasure and boredom, and implementing the

principles of interaction between symmetry and

asymmetry.

The ways of manifesting the aesthetic ideal are

artistic texture, philosophical generalization,

abstraction, logical construction, and emotional

analysis, which are reflected in artistic and

philosophical works. In the images of artistic folk oral

and written creativity, in the Alpomysh epic, the use

of elements of ethnoculture (hymn, chant) is

manifested as a holistic aesthetic ideal in the

embodiment of heroes, as well as in fantastic

processes, the logical structure of reality, and the

reflection of people's pain.

The aesthetic ideal influences the nature of the

way of being and finds its explanation in the image of

a positive hero. Art is better able to show ideals than

natural phenomena. Consequently, “the creation of

nature alone cannot artistically embody divine ideals;

therefore spirituality takes precedence over the

product of nature – Hegel (2014).”

Artistic creativity, the result of which are works

of art, processes of aesthetic activity, creates a special

atmosphere for the formation of an aesthetic ideal.

The product of artistic creativity is harmonized based

on the requirements of the era and aesthetic ideal. The

force that promotes the aesthetic ideal and its logical

consistency, the system of artistic ideas that perceive

the field as a dynamic entity, is formed separately.

“As a result, the work of the scientist, which acquires

a new artistic and aesthetic form and content, within

the framework of special philosophical norms, just

like the interpretation of real reality, also came into

contact with unrealistic reality, which is what

ultimately takes place, that is, truth and fiction,

inherent in the world and human life, make it

necessary to discover unknown facets of aesthetic

concepts, such as justice and dishonesty, loyalty and

betrayal, tantalism, and nomadism” – Dilmurodova

(2016).

In a work of art, the author reflects how human

interests, spiritual value, personal virtue, and

behaviour differ from ordinary phenomena in their

completeness and results, which can be brought to a

common denominator in the artificial environment,

which in turn are the reasons for the emergence of an

aesthetic ideal. Pure love, infatuation, and moral

relationships that do not occur in life create the plot

of the work with the help of artistic techniques, form

the spirit of the work of art, their special space and

time, and the reader sets himself new tasks related to

the problem of conscience and the formation of taste.

For example, “fine art, a work of the spirit that

expresses the harmony of feelings and concepts, goes

beyond the atmosphere of the landscape, that is, the

external natural landscape – Hegel (2014).”

2 AESTHETIC IDEAL FUNCTION

It is possible to trace changes in several functions

performed by the aesthetic ideal in the activities of the

individual and society, which give an idea of the

artistic and cultural activity of the individual, life

ideal, and main values, determine the criterion of

aesthetic views, and partially regulate the attitude to

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357

the feeling of pleasure while taking into account the

requirements of morality:

 By the ontological function - the aesthetic

ideal of a person reveals the perfection of the

spiritual essence and enriches it with

completely new concepts. The individual

requires harmonization of traditional and

modern methodology, considering the

emergence of an existential gap in aesthetic

consciousness.

 The epistemological function - understanding

the universe based on traditional aesthetic

norms, criteria, and knowledge of the virtual

world - necessitates the implementation of

new ways of developing aesthetic thinking in

contrast to the outdated methodology of

perception.

 By the heuristic function - the disclosure of

spiritual life with the help of new aesthetic

methods and means, aimed at creating a new

type of knowledge, aesthetic objects.

 According to the axiological function - the

creation of new visual aesthetic values in the

space of traditional aesthetic values requires

strengthening its status.

 By the praxeological function, the individual

enriches cultural and creative activities with

new types of activities (art, sports aesthetics,

scientific creativity, virtual reality).

 By the methodological function, the use of

new methods and means to analyse the

aesthetic activity of an individual, the

education of aesthetic taste provides an

incentive for new ways of solving problems.

 By the pedagogical and didactic function, the

emergence of modern pedagogical

technologies and related professions requires

the solution of new educational,

communicative, and cognitive tasks to form a

creative personality.

Such functional changes are accompanied by the

institutional transformation of society. In the context

of the development of civil society, innovation

penetrates several spheres of social life, and progress

becomes a trigger for change. It becomes obvious that

the individual views the value structures of his

spiritual experience in a new way, with an

evolutionary tendency towards a more pragmatic

attitude towards life. For example, beauty as a

category is interpreted as a component of a person’s

inner world in works of art, including works of fine

art. In our time, the fact that virtual reality pushes the

ideological component of a work of art or works of

art to the periphery changes the essence of the

perception of these categories.

The aesthetic ideal contributes to the emergence of

such experiences as transplantation into the

“artificial” environment of natural reality, giving

meaning to the internal and external, and preparing

fundamental categories. The fact that life

demonstrates naturalness as an example of perfection,

standing next to the artificial environment, creates

sublime feelings in a person, and he always strives for

something better than this. Therefore, “...the aesthetic

ideal arises from the aesthetic experience of man, the

individual and society. A person perceives the world

aesthetically with the help of this means of

experience. For this reason, the aesthetic ideal comes

to the surface as a criterion that determines beauty,

grandeur, wonder, and other aesthetic characteristics”

- Abdullah Sher (2014).

Subsequently, research into the national,

universal, and ethno-aesthetic aspects of the aesthetic

ideal was continued both abroad and in Uzbekistan.

In particular, one of the studies devoted to the

aesthetic nature of ethnomatology belongs to O.

Nishonova, from which it follows that the national

ethnoculture and the aesthetic ideal in it have

undergone innovative and transformational changes

in historical and cultural development. She writes

“...the influence of ethnoculturology on the formation

of a spiritual and aesthetic ideal can be considered in

three stages: I. Ethnoaesthetic ideal; II. National

aesthetic ideal; III. A universal aesthetic ideal”

(Nishanova, 2016). First of all, this study is aimed at

studying the Uzbek national-ethnic ethnoculture, in

which the universal nature of the aesthetic ideal is

little analyzed. Secondly, ethnoculture has a great

influence on the formation of the aesthetic ideal, but

as a result of this influence, recognition of the fact that

the aesthetic ideal is characterized by only three

forms limits the diverse nature of the aesthetic ideal.

This classification is similar to the structure of the

values themselves. We should not forget that the

ethnoculture of a people has been formed over

centuries and includes various ethnic, national, and at

the same time civilizational achievements.

Considering that the ethnoaesthetic ideal is

essentially a national aesthetic ideal, we believe that

it is inappropriate to interpret it as a separate, discrete

“national aesthetic ideal”. Its analysis should be

generalized to the level of a universal aesthetic ideal.

According to O. Nishanova, “...the national aesthetic

ideal embodies the artistic and aesthetic values of an

ethnic group, a nation, aesthetic views, and tastes,

experience in improving life and its aspects. The

national aesthetic ideal is the quintessence of the

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artistic and aesthetic world of an ethnos or nation” –

Nishanova (2016). Elements of aesthetic

consciousness, aesthetic theories, and artistic and

aesthetic reality are considered from positions that are

also present in values and ideals of a universal human

level. Nishanova's research reveals two mutually

negating ideas. The national aesthetic ideal is

embodied in full-fledged national images (for

example, Alpomish is a national hero, a national

Uzbek ideal), as ".... the aesthetic ideal is manifested

not only in the image of heroes but also in creativity,

works created by artists, artifacts from folk

ethnography, artistic and aesthetic values.

Masterpieces created with high skill and aesthetic

taste, filled with noble ideas, realistically describing

the complexities of life, glorified, seem so ideal" -

Nishanova (2016).

As we said above, the division of the aesthetic

ideal into types by their genesis clarifies some points.

In particular, indicators of the national ethnomaterial

aspects of the aesthetic ideal are the lyrical,

ethnocultural, and artistic compositional types. The

search for national, ethnocultural elements in the

aesthetic ideal is inherent in local and national

thought, which leads to the need to analyse national

ideology. But at the universal human level, the

aesthetic ideal of man, covering issues of society and

nature, studies global ethical, aesthetic, and

environmental problems.

The general characteristics of the aesthetic ideal

regulate some formed national characteristics.

Community should not adapt to individuality, but

reflect certain aspects of its emotions and character,

embodying it as universally recognized. In other

words, the means of determining the unity between

community and individuality is the adaptation of the

state of nature to forms of thinking, the reflection of

logically necessary freedom as independence. The

image of the heroes is reflected by such qualities as

determination, fairness, humanity, freedom, and

jumardism. The hero appears to be fair, a defender of

the oppressed, a guarantor of their freedom. But

besides this, he constantly experiences a dilemma in

order not to depend on existing laws, to be free

(sometimes heroes need to bypass the requirements of

the law and morality to achieve certain goals).

Punishment and revenge are what ordinary people

expect from a hero, but in society, there are norms of

law and morality that contradict this.

A person does not have the right to establish his

laws, to take revenge, to dominate, to be fair at his

discretion, to respect or not to respect existing human

rights. However, this can be a personal, narrow

national-ethnic goal, or ambition. Therefore, by the

requirement of a universal human ideal (as well as an

aesthetic ideal), it is necessary to follow the

requirements of justice, rights, and freedom accepted

in human society. Consequently, the displacement of

the aesthetic ideal from the personal state due to the

strengthening of national traits in the image of the

hero, and the creation of asymmetry about the general

state of affairs is not an aesthetic ideal. When the

classification of the ideal was introduced, not a single

scientific concept could come to a single point of

view.

Individual, social, spiritual, national, and

ethnocultural manifestations of the ideal are always

interpreted as new. When studying the aesthetic ideal,

one should not forget about its influence on the

individual, society, social progress, and scientific

reflection. Throughout historical development, a

person’s worldview changes and develops, and by

this, the needs, tastes, and complex consciousness of

a person are formed. Forgetting about such features

leads to erroneous opinions in research on this issue.

Thus, each forms a new type of special kind of

pleasure based on an aesthetic ideal that determines

the social life of society. Then there is a need to enrich

the aesthetic consciousness and culture of the

individual with high spirituality, to build a life based

on humanistic principles. A person instils in his soul

the concepts of culture and spirituality, morality and

decency, goodness and perfection. The fact that these

concepts are aimed at obtaining a special type of

pleasure, their emotional and sensory perception by a

person leads the individual to the understanding of

what aesthetic culture is. At the moment, “the study

of the process of formation of aesthetic culture in

society demonstrates an aesthetic picture of reality,

taking on a diverse form from certain angles” –

Gaibullaev (2011).

Along with considering the aesthetic ideal, artistic

skill, and individual style of a creative person, it is

noted that all this is formed through the harmonious

application of rationality and thinking, the regular

cultivation of artistic taste, and an increase in the

intellectual level. They are the basis for

understanding the principles of the universe and

human uniqueness as a result of the study and

interpretation of socio-philosophical, artistic,

aesthetic, and moral categories.

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3 NEED TO FORM AN

AESTHETIC IDEAL IN THE

MODERN PERIOD

Today, sociocultural globalization “shifts” the criteria

and structure of the traditional aesthetic ideal. The

moral essence of the aesthetic ideal is somewhat

devalued, creating the need to create architectonics of

new values. The diminishing role of beauty in art and

artistic creation is a central issue in which each new

generation reflects its ideals, values, and needs. First,

it must approach universal ideas, placing the principle

of humanity at the centre of the aesthetic ideal. Today

it is necessary to preserve the aesthetic ideal for the

formation of the spiritual essence of man.

The creator of modern times, with the help of

artistic images, must describe the primordial struggle

between good and evil, aesthetically developing new

variations of opposing motives that represent moral

and aesthetic issues, such as justice and injustice,

faith and unbelief, conscience and unprincipledness,

selflessness and selfishness. The aesthetic ideal

imposes on the creator not so much the form of a pure

ideal when creating an artistic image but to a greater

extent the very manifestation of the aesthetic ideal to

emphasize its nationality.

We believe that the aesthetic ideal has a specific

internal taxonomy, which looks like this:

1) the aesthetic ideal is a person’s desire for an

emotional-sensual, transcendental, aesthetic mastery

of existence, which should systematize religious-

mythological, theoretical, and methodological

knowledge (ontological basis);

2) transformation of aesthetic knowledge from an

emotionally perceptual state into belief

(epistemology), the formation of an expressive

worldview, the need for aesthetic consciousness in

creative thinking at all times, the preservation of

eternal mobility in the direction of the development

of reflexive and creative abilities (epistemological

basis);

3) emphasizing the individual’s desire for truth in

life, for unlimited happiness (eudaimonism), material

pleasure (hedonism) (axiological basis);

4) a person must always combine moral and

aesthetic factors, find a balance between the

emotional and rational, the golden mean between the

human imperative and aestheticism, the presence of

opportunities for unification in emotional perception

and needs, regulate the relationship between nature

and personality based on the ecological aesthetic

ideal, the practical expression of human qualities;

5) the human need to try to express reality in

categories of value, symbols, and perfection.

Accumulate the ethno-aesthetic desire to create a

strong potential for an aesthetic ideal, the need to

demonstrate oneself (in art and sports);

6) the presence of an internal stimulus of the

individual about the search for already existing forms

of an objective ideal, the presence of an aesthetic

ideal in the surrounding world, the nature of

evaluating “imperfect” images, the rejection of

criteria that contradict the natural reconstruction of an

artistic image;

7) study of the psychological properties of a

person about the harmonization of emotional,

sensory, and intellectual abilities, the presence of

states of motivation, preliminary planning,

imaginative thinking, evaluative and logical visions,

unconsciousness, and awareness, as well as ensuring

interdisciplinary integration (psychology).

The principles that should form the aesthetic ideal

can determine its existence, the principles of progress.

In the context of the new realities of Uzbekistan, the

above principles will help form the basis for the

perception of beauty and a special emotional mood

among the residents of Uzbekistan, especially young

people.

To form an aesthetic ideal in the mind of an

individual, special conditions are necessary for

society in particular and culture in general. The

factors that form the aesthetic ideal, primarily artistic

culture, are systematized in the immanent nature of

the aesthetic ideal due to the reflection of social and

individual consciousness by art. Artistic and aesthetic

reality matters for the ideal image of a person as an

extrovert and an introvert. Currently, there are several

factors influencing the formation of an individual’s

aesthetic ideal, which include ensuring creative

achievements in society and the individual’s

consciousness. In our opinion, it looks like this:

 Increasing the level of artistic and aesthetic

thinking and literacy.

 Artistic and aesthetic awareness of existence

and an aesthetic attitude towards art.

 Harmonization of ethno-aesthetic culture and

universal human values.

 Aesthetic sensitivity and creative instinct.

 Development of a reading culture, and

creation of an image of modern heroes.

 Creating an aesthetic attitude towards

marriage.

 Improving educational and communication

processes.

 Healthy lifestyle.

 Sports - the pursuit of physical beauty.

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 Formation of eco-aesthetic culture.

It must be said that the internal system of the

aesthetic ideal will help determine whether its

functional characteristics are the result of complex

reforms taking place in society. Currently, the

formation of an aesthetic ideal in Uzbekistan is

developing, on the one hand, directly in connection

with scientific and artistic creativity, design activities,

and based on newly created values. On the other hand,

the aesthetic ideal develops inextricably in the areas

of ecology (ecological tourism, safety), and landscape

gardening. This evolution of the aesthetic ideal leads

to the formation of an individual ecological-aesthetic

ideal.

The theme of the aesthetic attitude toward nature

is a relatively new approach and introduces several

innovations. A reasonable question is how to apply

aesthetic criteria to nature. Aesthetics researcher

Losevny says: “The term “aesthetics” may seem

confusing when applied to nature. Everyone

understands nature, first of all, as a kind of natural

reality that does not require any art or aesthetics. On

the other hand, in all types of art, without exception,

ordinary people also enthusiastically talk about the

beauty of nature, harmony in it, rhythm, lyrical or

expressive moments inherent in certain natural

landscapes” - Losev(1998). Indeed, the

aestheticization of man's relationship with nature, that

is, the desire for decoration, requires the integration

of environmental and aesthetic knowledge. The

reforms in the New Constitution of Uzbekistan are

based on the same concept of “man-society-state”.

“The areas of environmental and aesthetic value are

associated with the sphere of personally significant

relationships in the Human-Nature-Society system,

manifested in responsible, life-saving behaviour in

various spheres of life.”

The eco-aesthetic ideal of man being formed in

the future will become a new topic for philosophical

research and will present new projects. The aesthetic

ideal seeks to improve human life through beauty. It

is not just some kind of landscape of nature, since

even paintings, expressions, and images are not ideal.

Therefore, “...the more passion, emotion, and thought

an artist can express with his artistic and aesthetic

vision, the faster and more intensely he can penetrate

the soul of the viewer. Such contradictions in the

spirituality of a person, contrasting interpretations,

are not without absolute innocence. Both the scientist

and the artist are individuals who create images,

styles, and ideas as if they were ideal for others” -

Agzamkhodzhaeva (2007). The ideal refers to the

highest, most mature, most beautiful of existing

realities, that is, it creates an artistically aesthetic

type. Thus, Leonardo da Vinci did not complete a

single work, despite his incomparable talent. “What

made him move from one photograph to another,

from one area to another, not knowing peace, but

living, not completing the works he started,

constantly looking for them? In his soul, it seems that

some secret, spiritual and spiritualizing force forced

him to seek great maturity, perfection, to look for

another ideal, as soon as he realized that he could not

achieve this ideal”.

4 CONCLUSION

The aesthetic ideal influences the spiritual life of the

individual through beauty, aesthetic imagination, and

views, and most importantly, through aesthetic

experience, that is, the cultural and creative process.

Aesthetic experience means artistically creative

exploration.

The scientist is forced to curb his emotions, generated

by his artistic and emotional experiences when he

formulates the results of his discoveries for public

discussion and is guided by the requirements of logic,

while it is the artist who presents his emotions to the

public. Based on the above reasoning, we will draw

some conclusions.

The aesthetic ideal is individual in origin,

social, and imperative. An ideal may in a certain sense

be an expression of the desire of its creator or the

needs of a particular society.

In human thinking, when creating an aesthetic

ideal, the emphasis is on positive qualities, and even

though the opposite negative qualities, a person

answers the question of what the image of the ideal

should be.

The personality manifests itself in various forms

(projection, modelling), types (lyrical-epic, spatial-

temporal, compositional), categories (proportionality,

regulation, abstraction, pleasure, symmetry, and

asymmetry), methods of expression (artistic texture,

philosophical abstraction, logical construction).

An artistic image, an ideal of a specific period, can

fulfil its function after a certain period and manifest

itself in another area of artistic creativity.

Researchers in the field of aesthetics in their

works can formulate artistic and aesthetic ideals in

different ways, according to their tastes and the

realities of a particular era. We call this a temporary

transformation of the aesthetic ideal.

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