On the involvement of private methods of comparison and classification in artistic analysis

It is obvious that since the work of art exists objectively, i.e. it is perceived by us as a material phenomenon (in other words - as a complex organism of speech, sounds, volumes, lines, colors, etc.) and moreover represents a work of art insofar as it reflects in its forms specific moments and forms of objective reality in its own specific way: we can approach it with the basic tools of any science: the complex system of methods and means of comparison, selection and classification. Of course, these methods have been applied since aesthetics existed as a separate discipline. Aesthetic phenomena do not lie on the surface of the work of art, and therefore, for their disclosure, the application of the so-called methods of comparative analysis is necessary. Since by its very nature the law is universal, regardless of how many objects and facts are involved (the more, the better, of course), their legal "kinship" will inevitably manifest itself in different phenomena. Observing multiple phenomena in this way will allow us to find repeatability, i.e. the first sign of regularity.