What Is Art?

1. Art Communicates Feeling, Not Just Beauty

Art is that human activity which consists in one man’s consciously conveying to others, by certain external signs, the feelings he has experienced, and in others being infected by those feelings and also experiencing them.

Beyond Aesthetics. Tolstoy rejects the prevailing notion that art is primarily about beauty. Instead, he posits that art's fundamental purpose is to transmit feelings from one person to another. This transmission occurs when an artist intentionally evokes a feeling within themselves and then expresses it through external means, such as words, sounds, or images, effectively infecting the audience with that same feeling.

Infection as Criterion. The success of a work of art, according to Tolstoy, hinges on its ability to infect the recipient with the artist's emotion. This infectiousness is the key criterion for distinguishing true art from mere artistic counterfeits. It's not about technical skill, aesthetic appeal, or intellectual complexity, but about the genuine transfer of feeling.

Examples of Infection. Tolstoy illustrates this with simple examples: a boy recounting a frightening encounter with a wolf, a man expressing joy through music, or an artist depicting suffering on canvas. In each case, the art lies in the ability to make the audience feel what the artist felt, creating a shared emotional experience that transcends individual isolation.

2. Religious Consciousness Defines True Art

Always, in all times and in all human societies, there has existed this religious consciousness, common to all people of the society, of what is good and what is bad, and it is this religious consciousness that determines the worth of the feelings conveyed by art.

Moral Compass. Tolstoy argues that the value of art is intrinsically linked to the religious consciousness of its time. This "religious consciousness" isn't necessarily about organized religion, but rather the shared understanding of good and evil that guides a society's moral compass. Art that aligns with this consciousness is considered good, while art that contradicts it is deemed bad.

Evolution of Values. As societies evolve, so does their religious consciousness. What was once considered virtuous may later be seen as harmful, and vice versa. Art, therefore, must reflect the highest moral ideals of its era to be truly meaningful and beneficial.

Examples Across Cultures. Tolstoy points to various historical examples, such as the Greeks valuing art that celebrated beauty and strength, while the Jews prized art that promoted devotion to God. In each case, the prevailing religious consciousness shaped the criteria for judging artistic merit.

3. Upper-Class Art Divides, Universal Art Unites

Christian art is that alone which unites all people without exception – either by calling up in them the awareness that they are all in the same position with regard to God and their neighbour, or by calling up in them one and the same feeling, even the most simple, but not contrary to Christianity and proper to all people without exception.

Exclusive vs. Inclusive. Tolstoy criticizes the art of the upper classes for its tendency to cater to a narrow audience, often at the expense of broader human connection. This exclusive art, he argues, reinforces social divisions and fails to promote the universal brotherhood that is central to Christian ideals.

The Power of Simplicity. In contrast, Tolstoy champions art that is accessible to all, regardless of social status, education, or cultural background. This universal art focuses on simple, everyday feelings that resonate with the human experience, such as joy, tenderness, and compassion.

Examples of Universal Art. Tolstoy cites folk songs, fairy tales, and simple ornaments as examples of art that can unite people across social and cultural divides. These forms of expression, he argues, are more valuable than complex and pretentious works that appeal only to a select few.

4. Counterfeit Art Relies on Borrowing and Effects

The professional artist lives by his art, and must therefore constantly invent subjects for his works, and invent them he does.

Methods of Deception. Tolstoy identifies several techniques used to create counterfeit art, including borrowing from previous works, imitating reality with excessive detail, relying on striking effects to stimulate the senses, and diverting the audience with intellectual puzzles or historical settings.

Borrowing and Imitation. These methods, while often impressive in their technical execution, lack the essential ingredient of genuine art: the artist's own authentic feeling. Instead, they offer a mere simulacrum of art, a hollow imitation that fails to infect the audience with a true emotional experience.

Effectiveness and Diversion. Tolstoy argues that true art should not be judged by its realism, its strikingness, or its intellectual complexity, but by its ability to convey a genuine feeling from the artist to the audience. These elements distract from the core purpose of art, which is to create a shared emotional experience.

5. Professionalism and Criticism Pervert Art

As soon as art became a profession, the chief and most precious property of art – its sincerity – became significantly weakened and was partly destroyed.

The Artist as Professional. Tolstoy contends that the professionalization of art, driven by financial incentives and the demands of the upper classes, has corrupted its sincerity. Artists who create for profit, rather than out of genuine inspiration, are more likely to produce counterfeit works that cater to popular tastes.

The Role of Critics. Art criticism, according to Tolstoy, further exacerbates the problem by elevating cerebral and contrived works while dismissing simpler, more heartfelt expressions. Critics, often lacking the capacity for genuine artistic experience, impose artificial standards and perpetuate a cycle of imitation and pretension.

The Harm of Schools. Tolstoy also criticizes art schools for teaching students how to replicate the styles of past masters, rather than encouraging them to develop their own unique voices. This emphasis on technique over feeling, he argues, produces a generation of skilled artisans who are incapable of creating true art.

6. The Art of the Future Will Be Universal and Sincere

The art of the future – as it really will be – will not be a continuation of present-day art, but will emerge on completely different, new principles, having nothing in common with those by which our modern upper-class art is guided.

A New Direction. Tolstoy envisions a future art that breaks free from the constraints of the upper classes and embraces the values of universal brotherhood and sincere expression. This art will be accessible to all, regardless of their social status or education, and will focus on feelings that unite people rather than divide them.

Simplicity and Clarity. The art of the future will prioritize simplicity, clarity, and brevity over complex techniques and obscure symbolism. It will be an art that speaks directly to the human heart, conveying genuine emotions in a way that is easily understood and deeply felt.

The Artist's Role. Artists will no longer be professional entertainers, but ordinary people who create art out of an inner need to share their experiences with others. This shift in focus will ensure that art remains true to its purpose: to connect people through shared feeling and promote the well-being of humanity.

7. Science and Art Must Align for Progress

Science and art are as closely tied to each other as lungs and heart, so that if one organ is perverted, the other cannot function properly.

Interdependence. Tolstoy emphasizes the close relationship between science and art, arguing that both are essential for human progress. Science provides the knowledge and understanding that guide human action, while art translates that knowledge into feeling, inspiring people to live in accordance with the highest ideals.

The Perversion of Science. Just as art has been corrupted by its pursuit of beauty and pleasure, science has been led astray by its focus on technical advancements and the justification of the existing social order. This deviation from its true purpose has hindered art's ability to fulfill its own role in promoting human well-being.

A Call for True Science. Tolstoy calls for a reorientation of science towards the study of fundamental questions about human life, morality, and social organization. Only by aligning itself with the religious consciousness of its time can science provide a solid foundation for art to flourish and contribute to the progress of humanity.

8. Christian Art Promotes Brotherly Love

The purpose of art in our time consists in transferring from the realm of reason to the realm of feeling the truth that people’s well-being lies in being united among themselves and in establishing, in place of the violence that now reigns, that Kingdom of God – that is, of love – which we all regard as the highest aim of human life.

The Essence of Christian Art. Tolstoy defines Christian art as that which promotes the union of people through love and brotherhood. This art can take two forms: religious art that directly expresses feelings of devotion and compassion, and universal art that conveys simple, everyday emotions accessible to all.

Rejecting Divisive Art. Tolstoy condemns art that promotes division and hostility, such as patriotic or sensual works. He argues that true Christian art must transcend these narrow interests and embrace the universality of human experience.

A Vision of Unity. Ultimately, Tolstoy envisions art as a powerful force for social transformation, capable of replacing violence and injustice with a world based on love and understanding. By aligning itself with the Christian ideal of brotherly union, art can help humanity achieve its highest potential.

Last updated: April 11, 2025