Одухотворення у мистецтві

Abstract

У статті йдеться про мету образотворчого мистецтва, а саме – створення одухотвореного образу в завершеному мистецькому творі. A great attention is paid in artistic education to the methods of presentation of information programs during training of an experienced specialist. A key element in the methodological presentation of the material in fine arts during the creation of an artistic work is the reflection of the truth of life through the spiritualization of the artistic image. An image is made alive by means of realism. Realism, in its turn, seeks a truth in the art. The truth of art is deeper than just the truth. The truth of art is the transformation of the subjective experience into an objective notion. When the work is completed we do not see the paint or the linen, but a living, internally inspired image. Different cultures and sciences have been looking for different ways to breathe life into artistic works. There are no specific limits in the mental life of a person, and an understanding of what is normal or not normal in behavior is abstract and relative. But humanity has always been keeping certain humanistic principles in order to preserve the integrity and stability of the social system; which is also evident in art as a phenomenon of different artistic periods. All the works that characterize these periods have the spirit of their epoch. Much attention was given to the harmony of spirit and skill in ancient China. Chinese artist Su Shi (1036–1101 AD) practiced free creativity, based not on the analytical study of details, not on training and practice, but on the given from above intuitive ability and inspiration to find the inner nature of the subject. According to Su Shi, the external shape itself is only a non-living shell and the visible world is also an illusion, only spiritual feelings are real and true, capable of revealing to a person the true essence, the soul of things. It is interesting to consider the identification of spirituality in the Buddhist tradition. The passion of the Siddhi (an absolute yogi) for pure intuitions, as enlightened thought has the nature of pure truth, which comes from the vanity of all worldly phenomena, gives the essence of the Buddha deprived of mental constructs, which is undoubtedly entirely positive, benevolent to everything, embodies the practice of enlightenment. It is a combination of body, language and thought. For a Siddhi, who has reached the level of «transcendence», the moral idealism, as a process, is transformed and rejected to the «sympathetic emptiness». The integrity is a moral concept, this is the way we seek and express the integrity of a landscape or portrait, the beauty of this thing or space, we understand complexity as a wholeness. In a creative state an important role is played by bodily freedom, the absence of any muscular tension and the complete subjugation of the entire physical apparatus to the orders of the will of the artist. Such a discipline results in a substantially organized creative work, that the artist can freely express with the body what the soul feels. Perception of an artistic work takes place in time, as any state or action. In most cases, time is imagined as a flowing river. But the time flow is different for everyone. The artist must depict the time to be a true realist. For example in a photo depicting a person with its foot raised or a horse standing on one leg. A true work of art is created in a mysterious, enigmatic, mystical way «out the artist». Getting apart from the artist, it receives independent life, becomes a personality, an independent, spiritually breathable subject which obtains also a kind of material real life. The artwork is not a random phenomenon, it lives, acts and participates in contemplating the spiritual atmosphere.