15 ARTIST - SUBJECT OF ARTISTIC CREATIVITY 15 1 Patterns of artistic and creative process

Artistic creativity is the process of the spiritual and practical embodiment of an artistic idea in sensually perceived artistic images. Its overall focus is to achieve the maximum correspondence between creative design and yogi with an adequate embodiment in the language of art. It is an objectification process in the art material of images that have been formed in the imagination. vital completeness and inner necessity within the work as the integrity of the artistic idea and its figurative vitality.

The basis of the artistically-forming ability of the individual is, first of all, the general ancestral ability to form, produced by mankind throughout its history. The stimulating factor of the artistic form in the subject’s world is special - the spiritual need to provide the sensual perceived embodiment to the images formed in the imagination forms and internal connections, arise in the memory full of vitality and persuasiveness The artist sees them in the smallest details, his thoughts, feelings and, imagination, memory steadily hold these images, or rather, the images completely captured the mind and require tu to be reality into the language of the artistic work, usually suggesting the ways of their ideal life in the language of a particular art form. They inspire on the art formation on the art form.

Images as a spiritual reality also arise corrective start creative formation: they prompt the internal logic of their lives within the work as a whole, contributing to, or rather, causing the need to constantly clarify the previous plan according to the objective logic of their deployment within the work as an artistic whole The artist is freed from their power , only by fully realizing the idea in the dialects of the nocturnal connection of the idea and its embodiment in the figurative speech of the creative image of the work.

Consequently, the creative process has two main periods, which are divided into several stages. The first is a common creative concept, the artistic embodiment of which can even be formed under the influence of random external enemies. It is known that the artistic embodiment of the idea of ​​the picture In Surikov Boyary Morozov was inspired a random impression: the silhouette of a black crow on white snow against a background of Moscow buildings. In the process of creating a rebellious boyar, the experienced impression was contained by the artist, allowing color through contrast in the shade of her figure, expanding the meaningful logic of the work, its compositional solution and pictorial mova. The latter built on color contrasts of black and white. Against the background of white snow on the diagonal of the picture, the artist disposes a sleigh with the figure of a boyary in black clothes. on h arable background), open mouth, frozen in the frosty air, the hot words of the sermon addressed to the crowd, raised up a hand with the twig symbol of faith (old believer symbol) reflect the firmness of the heroine’s ear Other comp nents product composition are arranged around a central image, conveying the sympathy of people standing on the right while the sledge and a very small group of left - priests, when believed reform Nikon and hostile to the disgraced boyarinlashtovanі to opalnoї boyarinі.

Formation of a creative plan combines sensual impressions caused by the subject of indifference and understanding of the patterns of its objective vitality. It is important that the artist begins to see the work as a whole, already at the stage of creative design, translating concrete circumstances, events, etc. in the new - artistic being Images inspired by real impressions of the world, are designed to transform the mind, imagination, fantasy, and feelings and feelings into another - the ideal way to be in the context of another - spiritual reality, obeying the logic of the artistic work. Then the entire creative potential of the artist works to shape holistic images and understanding of their qualities in the context of an artistic whole. At this stage, the creative idea of ​​its implementation in the material of a particular art form is defined as Cored oil neobhodimostіst.

The second stage is a practical embodiment of the plan; it also has a number of stages. Its purpose is to provide the creations of the imagination with a perfect, sensually perceptible image thanks to a formative ability. This is the desire to form a work into such expressive integrity that would appear in an organic unity of content and content. every element of it was internally convincing. The whole process, no matter how long and difficult it may be, in the artist’s imagination to live by the work, to keep his images and individual actions tali up to the period when he will appear truly perfect. Thus, the artist during the whole period of the formation of the work is inspired by the concept Outside the Consciousness of the need for its embodiment, the work would never have acquired real life.

Artistic-forming skill as a subjective ability is, on the one hand, development and concentration in the subject of generic spiritual qualities: rich imagination, fantasy, memory, creative thinking, allowing from consciousness to form holistic images, rosy alliance richness of their vitality On the other hand, this skill embody the images of consciousness in the material of a particular type of art so skillfully that they experience perfect inner vitality As the subject is driven by the need to objectify the creative x in the images of art, it is an active force that motivates skills and abilities to form. Therefore, it is worth noting that the creative spirit is the organizing force of artistic ability: it stubbornly holds the need to form, determines the content of the process and encourages the will to translate the intent into the material of art. artistic formation is manifested in the constant deepening and improvement of the creative intent and mastery of its implementation.

An important regularity that follows from the above is the emphasis on the intrinsic value of the need to objectify spiritual experience. No other motives can fulfill in this process a constructive role. This qualitatively distinguishes practical and spiritual formation. In the activity of practical formation, the goal of the subject’s efforts arises to satisfy certain vital needs. acts as the creation of freedom from , that is, the liberation from vital needs by their The space of freedom is created precisely because it is possible to satisfy vital needs. In the artistic and artistic formation, there is the other. I am regular: the artist is driven by the need to enter the space of freedom for, and to unfold the vitality of the spirit in the matter of artistic formation Reflexive spirit, delving into , concentrates on the sharing of images of imagination, memory, fantasy - on organizing them into a harmoniously defined integrity with a wealth of nuances of manifestation. tom the logic of the whole suggests new and new facets of the vitality of the sky of iduzhuzhosti as creative design unfolds. Artistic memory not only preserves the richness of the nuances of the vitality of the subject of non-indifference, but also helps the imagination, thinking and feelings to build the logic of their artist's life. the expedient combination of the universal (idea) and the special (individual uniqueness) The need of the creative spirit to be embodied in the matter of formation, to get a real life, acquires for x ozhnika nature need is free necessity No other goal: success in life, glory, because they are pozaduhovnimy factors that are not defined as organizing incentives n rotsesne viznachayutsya yak organіzuyuchі stimulated Process.

So, the objective factors are the basis of artistic and creative activity. The first is the desire to objectify the spirit in the matter of formation, and it takes on the character of the goal. The second is the ability of the subject and creative skills to delve into the essence of phenomena and form images of their vitality as an ideal reality in a particular type art results, this ability in the artistic and creative process to achieve a dequality of the embodiment of images that live in the mind of the artist, in the material of art.

On these patterns it should be noted, because in the present era understanding of the goal of formative efforts is mainly associated with extraordinary factors. This is one of the powerful reasons for the destruction of artistry in the participants of the world. Material interest and life success, being the determining stimuli in the artistic formation, take the process itself beyond the limits of creativity. , enjoys material motives, there is a slave, not a creative one. That is why the artistic process has lost its qualitative certainty, and about the consequences do not correspond to the concepts of creativity , spirituality What now claims to be art status, devoid of primary and initial foundations: attitude towards the subject of indifference as a goal, and therefore the need to perpetuate the images live in consciousness, providing them with a convincing inner life (regardless of the quality of the subject of the image) The aesthetic criteria of artistry were also lost, for which in the world of the personality of postmodern culture culture rooted the ugly, extramoral and under the order of art stve rate hudozhnoї tvorchostі.

Since the main motivation for creativity is the inner need of the artist to provide real-life images that live in the imagination and are held by memory, she focuses on herself, giving rise to great creative inspiration. That is, the shaping process in art aims to consolidate the relationship in its most complete, holistic, artistic and convincing revealing the Inner truth of images that live in the artist’s consciousness allows him to deepen, improve, fill them with all the new features of vitality, while he not acquire the internal completion of the internal sense of the truth works - a source of inspiration to the artistic n odalshu deyatelnostyust.

A prerequisite for the effectiveness of the artistic process is also the perfect mastery of the artist's artistic technique . The work acquires inner conviction with the skillful embodiment of images in the material for a particular art form. Indeed, thanks to the artist’s formative skill, images are filled with free internally defined vitality, creative activity unfolding in the forms of internal needs, which acquires the character of necessity and realizes itself in consequences as the free inner vitality of the spirit in perfect artistic images.

Since the creative process in art is the creation of an ideal way of being, elevated above the ordinary in manifestations of reality, it is legitimate to say that it reflects the patterns of spiritual experience of these disasters of historical eras both in terms of their meaningful content and in the character and methods of artistic embodiment. such as an artistic formation, also defined as historical e Tapi mapping the relationship of man to the world and humanity to the very first - this is naive, or narod This art, reflecting a non-individualized image of the world, is a consequence of a non-individualized way in relation to it. The indivisibility of thought and feeling ( akordnist ) is displayed in the non-exaggerated figurative language of folk artistry. negative etc. Bakhtin characterizes this pattern of folk art by m as a phenomenon of ambivalence and carnival of folk culture. Its tradition is well promoted in Ancient Greece in the phenomenon of Dionysian culture; in medieval ritual actions and rituals, combining elements of mythological, religious and practically experienced attitude to the world (carnival to actasvіtu (carnival actions).

The origins of folk art go back to deep antiquity, reflecting spiritual experience rolled up in naive forms, tested in complex relationships with life for centuries and millennia. That this type of thinness is characteristic of all ethnic groups at a certain stage of their history and persists, at least partially, in developed cultures, shows its objective necessity for the self-identification of ethnic groups, peoples and nations.

The second qualitative stage of the formation and deployment of spiritual experience, and hence the type of artistry, due to individualization, attitude to objects that are determined by universal value and determine the persistence of stable communication with them. Attitude appears to be a kind of concentration of experiencing skills, reflecting the spiritual unity of the individual and the community to understanding values and the experiences of their passions. The joint experience of seeing and experiencing predetermines a special way of objectifying the objects of the universal indifference: in the forms of canonization of their images.

Individual skills are designed to consolidate objects of indifference by means, assert the value of qualities in the features presented to them not as an accident, but as a constancy of relationship. Therefore, the canon is not only the system of formation, but also a synthesis of the experience of understanding the qualities of objects of general indifference. the ability to provide the perceptible about the objects of universal indifference for nourishing the feelings of the public. Individualized images, i.e. images full of holistic intelligible vitality concretize feelings, giving them expressive inner vitality. Therefore, they are perceived and experienced by communities as undoubtedly valuable universality. The vision of values ​​concretizes itself, on the one hand, in the object: it gives convincing vitality for its gratitude to its sensible perceptions, which arise as the creative skills of the subject of the formation. The subject of the formative skills asserts the experience of the universality of the relationship, giving to its objects the expression Because of this, they acquire qualitative certainty precisely as spiritual phenomena, and therefore are perceived as absolutely valuable. Florensky rightly points out that icon painters do not testify their icon painting skill, that is, not themselves, but saints, witnesses of the Lord, or the same - and the Lord himself .

On the other hand, the object of universal indifference objectified in the artistic image forms a qualitative definiteness of attitude to oneself: an informed, individually defined experience of his image. It is precisely the individualized image of universal indifference that is the basis for individualization to relate to it. Is the dialectic of the individual and the universal in relation to? that they are concretized in his image. At the same time, there is a dialectic connection of the common response to the indifference in the course of growth is an individualized way of experiencing it by a specific subject of perception. Therefore, canonical imagery is a necessary stage of objectification of spiritual experience in the unity of the universal and the particular. On the side of the subject of artistic formation is a way to provide an individualized image to objects of universal indifference. the formation of the dialectic connection comprehending the experience of the universality of the content of experience in individualism baths methods its manifestations It is this type of experience that personifies the canonical image of the image.

The third type of spiritual experience, and consequently the laws of its artistic embodiment, associated with an individualized image of the world, supported by an artistically gifted person. Within the work (a), it forms an ideal space, filling it with a rich manifestation of the vitality of the human spirit, the ideal artistic world is humanized ,

ideal artistic phenomena Therefore, the purpose of the formation here is not the image of an object of indifference and not the need to give it adequate forms of artistic existence. Each time is a matter of promise and prompting. After all, none of the objects of formation in postmodern art conforms to the laws of the vitality of the object as such and the laws of its artistic embodiment Deformation, destruction appear as a self-valuable substantive activity t This kind of artistic foresight (or provoked Maintenance) eschatology spirit spirit.