Select your language

authors: Boris Novikov, Tamara Rudenko, Olha Potishchuk


Urgency of the research. At the heart of creative activity is the purposeful transformation of reality. Creative ideas do not arise in an empty place, they appear when a person wants to change something for the better, to improve it. The stimulus for creativity can be both social motives and the individual's own desires, dreams, and fantasies. This especially applies to artistic creativity. Artistic creativity is a kind of sphere of spiritual life of man. The artist not only reproduces the world, but also puts his feelings in it, and the perception of a work of art by other people contributes to their emotional enrichment. Thanks to art, aesthetic values are formed. They also have social significance, because they are necessary for the harmonious development of the individual, and accordingly, for society as a whole. The correct perception of the beauty of the world is one of the main tasks of aesthetic education.

Target setting. The problem of artistic creativity, understanding its nature, specifics of functioning occupies an important place in philosophy and aesthetics. It has a long history, which affected the theoretical level of its understanding. Aesthetic views were generalized through the evolution of the artistic process. The study of artistic creativity began in the second half of the 20th century, accordingly, the analysis of the development of artistic creativity necessitates a review of existing approaches to the study of this phenomenon.

Actual scientific researches and issues analysis. The philosophical and aesthetic aspect of the study provided an opportunity to turn to the works of philosophers of the past, Platon, Aristotle, L.-B. Alberti, F. Bacon, T. Hobbes, D. Locke, J.-Zh. Russo, I. Kant, F. Schelling, F. Schiller, G. Hegel, Western European researchers of the late 19th and early 20th centuries - A. Schopenhauer, A. Bergson, F. Nietzsche, K. Jung, E. Husserl, M. Heidegger , Zh.-P. Sartre and others, as well as the works of Ukrainian thinkers I. Franko, O. Potebny, L. Hubersky, M. Yevshan.

The research objective. The purpose of the study is to determine the nature, features, functioning mechanisms of artistic creativity, to consider the main stages of the development of aesthetic views. To solve the task, it is necessary to consider the philosophical and aesthetic thought of the past: philosophical searches of thinkers of antiquity, the Middle Ages, the Renaissance, and the New Age, the aesthetic views of German classical idealism, non-classical philosophy and the role of irrational motives in the artistic creativity of the 19th and 20th centuries, modern aesthetic views. A detailed examination of artistic creativity will also contribute to the understanding of the specifics of the artist's creativity in each specific art form, the aesthetic and educational role of artistic works.

The statement of basic materials. Aesthetic thought, like world science, has deep roots, traditions of aesthetic analysis have been formed since ancient times. There are various definitions of artistic creativity, but the properties of works of art and their impact on people are considered through the concept of the beautiful, which is central to aesthetic science. Artistic creativity is able to evoke strong feelings, promotes the development of imagination, fantasy, stimulates and directs the creative activity itself. In aesthetic thought, a huge amount of material was collected and various views were expressed regarding the nature and peculiarities of the functioning of artistic creativity. Artistic creativity has always been the center of attention of researchers, and in the future, it will attract attention, contribute to new creative discoveries, and will be admired.

onclusions. Artistic creativity contributes to the harmonization of relations between a person and the surrounding world, through art a person multiplies his individual experience. It promotes the development of creative thinking, the understanding of color, shape, symmetry, proportion, the ability to find similarities in nature, combine different types of activities and organize the individual's own cultural space in such a way as to receive satisfaction and enjoyment. In the process of creative activity, a person changes not only the surrounding world, but also improves himself as a subject of artistic activity.

Key words: artistic creativity, aesthetic views, aesthetics, beautiful, art, artistic perception, creative imagination, artistic work, creative activity, aesthetic education.


References:

  1. Andrushchenko, TI 2010, ‘Problema vykhovannia estetychnoho v ukrainskomu kulturnomu dyskursi v period hlobalizatsii ta informatsiinoi revoliutsii (A problem of education aesthetic is in Ukrainian cultural dyskurs in the period of globalization and informative revolution)’, Filosofski nauky, Kyiv: Hileia, № 42, s. 305-311.
  2. Barvina, NO 2016, ‘Khudozhno-estetychna potreba yak dukhovna dominanta suchasnoi vyshchoi osvity (Artistic and aesthetic need as a spiritual dominant of modern higher education)’, Dukhovnist osobystosti: metodolohiia, teoriia i praktyka. Zbirnyk. nauk. pr. Skhidnoukr. Natsionalnyi un-t im. V. Dalia, № 5 (74), s. 38-52.
  3. Bosenko, OV & Puchkov AO 2013, ‘Statti z estetyky ta poetyky u druhomu tomi “Ievropeiskoho slovnyka filosofii” (Articles on aesthetics and poetics in the second volume of the “European dictionary of philosophies”)’, Suchasni problemy khudozhnoi osvity v Ukraini, Kyiv, № 8, s. 94-99.
  4. Brazhnik, OV 2010, ‘Zakonomirnosti isnuvannia tvorchoi osobystosti (Patterns of the existence of a creative personality)’, Teoriia i praktyka tvorchosti, Lviv: Visnyk Lvivskoi natsionalnoi akademii mystetstv, № 21, s. 63-71.
  5. Vernudina, IV 2011, Estetyko-psykholohichnyi dyskurs v Ukraini na mezhi ХІХ - ХХ stolit (Aesthetic and psychological discourse in Ukraine at the turn of the 19th and 20th centuries), Kyiv: Atika, 492 s.
  6. Huk, OF 2013, ‘Teoretychni peredumovy formuvannia estetychnoi kultury (Theoretical prerequisites for the formation of aesthetic culture)’, Aktualni problemy sotsiolohii, psykholohii, pedahohiky. Zbirnyk nauk. pr. Natsionalnyi. un-t im. Tarasa Shevchenka, Kyiv: Feniks, № 18, s. 193-199.
  7. Ihoshkina, NH 2005, Kulturolohiia mystetstva (Culturology of art), Kyiv: MAUP, 208 s.
  8. Medvedeva, NV 2008, ‘Problema tvorchoho khudozhnoho spryimannia (The problem of creative artistic perception)’, Aktualni problemy psykholohii: Problemy psykholohii tvorchosti: Zbirnyk nauk. pr., Zhytomyr: Vyd-vo ZhDU im. I. Franka, T.12, №.5, Ch.I, s. 68-76.
  9. Moliako, VO 2004, ‘Psykholohiia tvorchosti – nova paradyhma doslidzhennia konstruktyvnoi diialnosti liudyny (The psychology of creativity is a new paradigm for the study of constructive human activity)’, Praktychna psykholohiia ta sotsialna robota, Zhytomyr: Vyd-vo ZhDU im. I. Franka, № 8, s. 1-4.
  10. Pikhorovych, VD & Samarskyi AU 2022, ‘Katehoriia baiduzhoho yak lohichne nachalo teorii estetychnoho protsesu u A.S. Kanarskoho (The category of indifferent as the logical beginning of the theory of the aesthetic process in A.S. Canarsky)’, Kulturolohichnyi almanakh. Ukrainskyi derzhavnyi un-t imeni Mykhaila Drahomanova, Kyiv: Helvetyka, № 3, s. 164-168.