15 2 The nature of art-forming ability: talent and genius

Artistic and formative ability has developed under the influence of history as an objective need of consciousness to streamline the fluidity of impressions about the manifestations of life, providing them with an ideal being in artistically perfect forms. This is the creation of an image of the world according to the laws of beauty, because outside of this qualitative certainty artistic activity is not a sense.

The value of formative skills as a source and means of streamlining life , providing it with manifestations of a holistic and perfect image, humanity realized in deep antiquity. In biblical mythology, the whole world is presented with the word idk creatively forming ability of the absolute - God Forming ability is revealed in the myth as a step-by-step process, aimed at creating order from chaos. In it there is a gradual transition from the general to the specific, to the growth of individual certainty of the image of objects of formation and deepening of the content of their vitality, up to creating a man in his own image and likeness What, according to Bi Blie, is the meaning of creation? Creator’s sterbies acquire inner vitality Mastery of formation — an impetus to self-development of phenomena on one’s own basis Thirdly, the subjective sense of creativity in the subjective sense acts as the master’s need for self-realization and, consequently, for spiritual satisfaction from the effectiveness of creative efforts Forming all new natural objects and types of life, God every time was convinced that well von11 The whole multitude of real manifestations of the vitality of the world the Bible sees as a manifestation of the divine essence, because in reality nyh consequences of the formation of the current being reproduced Demiurge (Greek demiurgos - master craftsman, tvoretsgrets demiurgos -. Meister, remіsnik, the Creator).

In classical culture, the concept of artistic creativity is recognized as identical to the concept of creating life , since the latter is valid, first of all, as the life of a creatively forming spirit. The correctness of this understanding will become apparent if life is treated as a process of the formation of humanity’s own image. So, the reality of life ethnic groups, nations, nations, is determined by the way they acquired as a kind of spiritual whole. It is known that every nation realizes itself on the basis of the image in which Real manifestations of its vitality, its hopes and value ideas, objectified in the artistic and figurative language of the art of mysticism.

Aesthetic theory considers imaginative thinking to be the most ancient form of consciousness, and artists are teachers of humanity F. Nietzsche notes that it was artists who taught people to appreciate the hero hidden in every ordinary person, and their art allowed to be simplified and enlightened to look at himself as a hero, stage himself in front of himself [13, from 559 by himself "[13, p. 559].

The artist’s particular public purpose necessitates a comprehension of the sources of his particular artistic and formative ability. This is the level where creative efforts are overcome by the perfection of the figurative language of cows that personify the highest formative capabilities of a person. Each time they are unique and unsurpassed in every truly artistic work. This is the level where penetration into the essence of the phenomena of the world due to the ability of the creative spirit to comprehend its depths. Agreeing with the known Aristotle’s clear idea about the difference between scientific knowledge and artistic creativity, And Schopenhauer writes: The poet grasps the idea, the essence of humanity, without any attitude, without any time - adequate objectivity in itself at its highest degree. True disclosure of the idea is much more accurate and bright in poetry, than in history, and therefore, as a pair, it is much more real "[19, p. 355 ..." [19, p. 355].

Of particular interest to discovering the secrets of artistic and formative ability, characteristic of the period of individualization of spiritual experience, has objectified itself in the works of Renaissance artists, although from the times of the World (Egypt, Ancient Greece, Rome) mankind remembers the names of outstanding architects, sculptors, painters , musicians The study of the origins and patterns of artistic ability is one of the central problems of the aesthetics of the Enlightenment, Romanticism, Voltaire's German classical aesthetics in the work of Genius t talent and genius as an equal creative ability. The artist, in his opinion, no matter how hard he works in his art, is not considered a genius, if he doesn’t invent anything new, he doesn’t discover originality [3, p. 263] "Storms and onslaught Germans romantics claim the cult of divine genius And Schlegel speaks about the value of spiritual intuition artist as the enlightening principle of the human spirit, about the role of creative imagination as the organizing force of artistic creativity Even though it is free and natural at the same time, there can be no arbitrariness in it [12, 177 I can’t find anything [12, p. 179].

In the aesthetics of the classics of German philosophy I Kant, F. Schiller, F. Schelling, G Hegel consider the nature of artistic ability, the spiritual foundations of creativity, the level of creative skills. Kant devotes considerable attention to the problems, noting that genius is innate productive capacity: Genius is the innate makings of the soul, through which nature gives art a rule [6, from 1169] The sphere of self-fulfillment I am a genius is art, there is a sphere a reflection of aesthetic ideas Separating talent and genius, The philosopher notes the qualitative distinction of this creative ability. Genius in creativity is determined by the "originality of the idea." This is not about originality as such, because it can be meaningless, but about originality, capable of standing as a model, measure or assessment rule. "Nature gives genius p Ravil is not science, but art (italics auth - V M), and then only if it is an exquisite art [6, 1176] A genius is naturally capable of creating perfect forms, and imini from beauty prir Ode is nothing more than a beautiful thing, beauty in art is a beautiful idea of ​​speech, the beauty of mystitvі є beautiful manifestations of speech.

Genius is an innate ability for a perfect artistic formation, it is not amenable to logical reasoning itself, and therefore cannot be transferred to others. It is common for a genius to create something that cannot be learned. The primary sign of a person's ability is to learn. Creativity without genius is work. Genius requires inspiration. and labor is the discipline The mastery of artistic images, the owner of a genius, is conditioned by the naturally given ability to penetrate the depths of the vitality of phenomena and comprehend them and muddy essence and reflect it with particular depth and convincing not only when it comes to beauty in the manifestations of life, but also when the subject of the image is low Convincing his artistic image can cause aesthetic pleasure However low that causes immediately can not boot and an object of art, since it destroys any aesthetic pleasure. Based on the above, the activities of a genius are combined into a harmonious whole, a free "play of spiritual strength," and special forms meny nvі formuyuchі umіnnya.

Spirit, in an aesthetic sense, is, according to Kant, a special animating principle in the soul: it is imagination as the productive ability of knowing it is characterized by the exceptional ability to form a new second nature, from the material that true nature gives [ 6, from 1176] Recall that the artistic idea arises as the formative basis of creativity. It acquires the fullness of life thanks to the adequate vitality of the images in which it has laid out. As a sign of a specific artistic ability, it is personified by the creative subject. , is the ability to collect the world into an artistically defined integrity and Kant emphasizes that genius in art is determined by the originality of the idea The artistic genius, according to Kant, concentrates the creative possibilities of human nature in general in the free application of its cognitive ability The philosopher emphasizes that the imagination of a genius is not under the order of reason, does not interpret concepts, but creates a reason, not to understand, but to create them.

In the aesthetics of F. Schelling, an important aspect of understanding the nature of artistic ability is the emphasis on the method of combining imagination and fantasy, as well as the relationship between mind and intellectual contemplation. In the imagination, the "products" of art originate and form, and fantasy like "extracts" them from there forms in integrity. Ideas are also formed in the mind, and intellectual contemplation gives them an image. So, the fantasy in art is intellectual contemplation [17, 955]. ”[17, p. 95].

A detailed analysis of artistic ability and levels of creative skills, and then the qualitative certainty of their consequences, is contained in the aesthetics of Hegel. The philosopher differentiates the concepts of artistic ability , talent , genius Alnist The common signs of artistic ability are: - first, fantasy, highlighting creative imagination from imagination as a passive factor of consciousness, secondly, the ability (gift) to grasp the reality of its form to the smallest, and thirdly, strong memory, steadily holding the Yaty phenomena in their real form No less important are such general creative skills as the ability to externally manifest Vital phenomena to comprehend and understand their inner life. This is a special knowledge of the nature of the manifestation of the "inner life of the spirit in the real world, as it shines through the outer [4, pp. 292 through the call” [4, p. 292].

Important components of artistic ability are the artist’s ability to translate the creative intent, gathering the whole experience of vision, understanding and experiencing reality into integrity. Necessary prerequisites for the effectiveness of the process arise: first, the ability to form an intent with the content of the idea that gives them inner life secondly, the mastery of the embodiment of the idea in the language of that kind of art, where it will receive a large degree of vitality corresponding to itself. An important organizing principle of the creative process is as they permeate and animate themselves as a work of art as an artistic cycle.

The philosopher speaks about the productive activity of fantasy, the means of which the artist produces a real image for a rational sense in himself and for himself. That is what he calls genius and talent. A particular genius of a genius is universal ability to create truly artistic works universality, that is extremely broad formative skills and their perfection, genius differs from talent, which Vlast Ivo realizes in a particular field of artistic formationmuvannya.

Arguing with I Kant on the special innate abilities of a genius, Hegel does not deny, however, that art requires specific inclinations, an essential aspect of which is "natural talent". It is connected with the artist's ability to translate its meaning not in logical-conceptual forms, but in some sensual material It is in the methods of formation - the ability to render artistic images of vital fullness and perfect awn - the philosopher sees innate ability as a necessary prerequisite of proper of creative creativity Subjective condition for the development of natural inclinations is the internal energy, perseverance with which the subject develops and exercises natural endowments time specifically artistic ability is perceived only as something subjective, because it can only spiritually produce a self-conscious subject, aiming to create such a work [4, p. 294] Hegel also considers the peculiarity of the genius G to be the ease with which he masters the inner content and the external dexterity in certain types of actions. he uses the Organizational force to actualize the x ability and implement the creative concept in the material of art creative inspiration. It is always object-specific, that is, brought to life as a subject, awakened non-indifferent and sustained attention to themselves, nourishing themselves to build their skills, live by themselves Forms of mind.

An interesting distinction of ability, talent and genius in aptly shaped comparison is given by A. Schopenhauer. He likens artists to celestial bodies: capable compares with meteorites, talented with planets and, and geniuses with fixed stars. First create a fleeting effect and disappear forever, the second is capable of more a long and stable existence and even shine, but borrowed light , and only the third sparkle with its own light and belong not to any one system, but to the whole world [18, p. 246i [18, p. 246].

end of XIX century, the theory of artistic creativity is influenced by Freud's theory of psychoanalysis 3 According to her, the human psychic apparatus is an energy system, the basis of which is the conflict between the consciousness of unconscious trains and Freudian doctrine 3 about mental personality structures unjustly spread the ideas of psychoanalysis into the sphere of human creative abilities the concept of sublimation , i.e. switching part of the psychic energy from low, socially not perceived trains to cultural sprint, 3 Freud sees the origins of the artistic skills of the unconscious mind the spiritual processes that he considers the rationale for a person's mental life. He considers the origins of art’s need to realize dissatisfied with desire With the help of fantasy, the artist seeks to create an artificial world in which the unconscious soul train is realized in real life, behind the scenes of the soul.

Despite the criticality of the aesthetic theory approach to Freud's ideas, in particular regarding the origins and prerequisites of artistic ability, it became apparent that it was impossible to explore the problems of artistic creativity without taking into account the peculiarities of the mental life of a particular person, with a certain correction of the study of the nature of artistic ability are continued in O Ranka and K Jung (the latter is the founder of the theory of the collective of the obvious unconscious ) in the work On the relation of analytical psychology to the arts y (lectures given in May 1922 in Zurich) to Jung critically evaluates Freud's theory of sublimation 3 He draws attention to some justification of the origins of the art of neurosis, although the psychological conditions in which artistic works are formed are approximately the same as neurosis [20, p. 359]. It is about that spiritual stress of her first ejector poet, an intellectual in the creative process and, finally, any person can survive and be experienced.

An important role in deepening the understanding of the nature of artistic ability is played by the idea of ​​\ "archetype put forward by Jung. The psychoanalyst reveals artistic ability as a complex synthesis of the conscious and unconscious in the sub '\ "object of creativity. This concerns two types of unconscious: the unconscious of the individual and the collective unconscious unconscious personality is characterized as the total amount of mental processes and contents that are capable of becoming conscious. The collective unconscious is specific mnemonic Sky images (archetypes) According to the scientist, they are inherited in the anatomical structure of the brain K Jung describes them as some Apri arable ideas They manifest themselves only in artistic material, received formalization, as the governing principles that determine this The artistic-creative process form consists in the unconscious adaptation of the archetypical mode and its further processing and design into the finished work [20, with 377 technical examples decorated at the end of the tvir "[20, p. 377].

About artists and creative impulses that stimulate the process of artistic formation, they are divided into two types by K Jung: introverts and extroverts according to the process and consequences of formation, the first type of creativity (introverts) is the conscious creation of an artistic "product" carefully formed и разработанного для достижения определенного эффекта Второй тип творчества (экстраверты) имеет свои истоки в бессознательном и природе Поэтому часто кажется, что творческий процесс происходит без участия созна ния Если последствия первого типа формирования не выходят за пределы понимания, а вкладываются в привычное, то последствия второго - н ад личностные Они расширяют наше восприятие до тех пределов, которых достиг автор своим произведением конце концов, мы можем констатировать, что в первом случае речь идет о таланте, а во втором - о гениальности что право да, К Юнг предполагает возможность объединения в субъекте обоих тылов, но в разных видах творчества Скажем, Шиллер-поэт - интроверт, Шиллер - теоретик эстетики - екстраверстетики — екстраверт.

Акцентируя внимание на психологических аспектах художественного творчества, и Фран-ко ( С секретов поэтического творчества ) характеризует формирующие умение художников как следствие способности извлекать из глубин души спрятана й богатый опыт и предоставлять ему образного жизни [16, с 62-636, с. 62—63].

Идеи психологии художественного творчества получили развитие также в трудах ученых Харьковского университета (Потебня, Овсянико-Куликовский) Исходя из мысли В Гумбольдта о неразрывности языка и мышления, О Потебня создает стройную теорию, в которой языкознание связано с поэтической теории слова, теории литературы и теории искусства в целом Факты языка и факты искусства предстают в ней следствием глубоко й внутренней деятельности ума и души Д Овсянико-Куликовский, исследовав связь причин и следствий духовной деятельности, разворачивает проблему в чисто психологическом направлении Он сосредоточивается на пита ннях психологии речи, мысли и творчества, анализируя преимущественно творчество выдающихся художников и поэтов Предмет его исследовательского внимания - связи сознания и бессознательного в духовных структурах человека посредником которых слов є слово.

Основанием для разграничения понятий талант и гениальность он считает слишком развитую интуицию гения [14, с 350] Характерные ее признаки: особое качество бессознательного сферы и ее отношении к сознанию те бессознательное ума отличается у гения не только исключительным богатством идей, но и чрезвычайной работоспособностью в направленной на создание общих идей Ему свойственна также исключительная способность воспринимаемых ния и наблюдательности: достаточно случайного впечатления, чтобы пробудить живую работу в глубинах бессознательного Ученый считает, что бессознательное поставляет сознания преимущественно общие идеи, категории, формы мышления ния Сознание обобщает явления действительности или в общих формах мысли, что свойственно для ученого и философа, или образов - для художника Активность соединительные форм мысли характеризуется как то, что обыч чай называют интуицией гения В частности, интересен анализ творчества и личности М Гоголькавим є аналіз творчості та особистості М. Гоголя.

Итак, анализ природы художественного способности свидетельствует, что наиболее ярким и непосредственным проявлением духовности человеческой жизни является искусство Формируя идеальные образы бытия, оно придает ему эстетической определен ености Художественная способность в ее высшем смысле - это концентрированная в субъекте способность создания совершенных художественных образов Она является специфической творческой способностью, что проявляется в субъекте как органические е сочетание сознательного и бессознательного Они конкретизируются в формирующую единство образной памяти, творческого воображения и фантазии, логического мышления, интуиции и художественно-формирующих умений Реальность и полнота жизни творческого духа ярко отражаются именно в художественном творчестве Уровни художественной способности в их качественной результативности определяются через понятия талант и гениальность Оригинальность худож них идей и неповторимая совершенство их воплощение в языке искусства составляет специфику художественного гения Свобода творческого самоосуществления личности наиболее отчетливо проявляется в совершенных художественных тв орах творах.