This publication opens a series of scientific articles related to the problems of artistic visual communication of the viewer (recipient) and the artist (master), as well as the artist (master) and the artistic material from which the master creates a work of visual (including fine) art. Quite freely traveling through the intellectual layers of the philosophy of art and culture, aesthetics, theory and history of culture, art, the study focuses on examining the complex problems of visual thinking, which has a dialectical sensory-rational nature and is embodied in the forms of visual artistic creativity, as well as artistic reception of visual quality. The first part of the study examines the objectification of visuality, performed by the great Plato and presented in his speculative physics of the dialogue "Timaeus". To confirm the thesis on the possibility and even necessity of purposeful construction of visuality, the concept of "significant form" is considered, which is characteristic of the aesthetics of Clive Bell, one of the participants of the Bloomsbury group and a predecessor of modern psychology of art, including neuroesthetics.
visual thinking, Plato, "Timaeus", vision, K. Bell, "Bloomsbury", "significant form", R. Fry
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