Artistic creativity. The goals of my work are to consider the problems inherent in the understanding of creativity, from the point of view of philosophical and psychological approaches; determine the philosophical essence of creativity, explore the influence of creativity on personality
The author of this text is Leonid Aleksandrovich Tishkov - Russian artist— cartoonist. The text offered for analysis represents the author’s thoughts about whether there are boundaries for real art.
The author is convinced that through creativity one can find meaning and support in life. He believes that artistic creativity is not just a way of self-expression. Sometimes it can become a saving straw, by clinging to which a person can go through many and survive. Inner peace, fantasy, and creativity saved many lives in difficult times. Leonid Tishkov is sure that art liberates, releases into freedom, and can give a person a feeling of inner freedom, even if in reality he is deprived of it.
I think Leonid Tishkov is right. Art helps to survive, helps people to comprehend the situation, to look at things correctly, sometimes without even suspecting its true power. Many examples can be given to confirm the idea expressed.
Stalingrad. There are street fights going on. One side of the street is occupied by our fighters, the other by the fascists. The fire does not stop day or night. But one day, towards evening, a sergeant comes out of the door of the house onto the street. He heads to the middle of the intersection, where among the ruins one can see a piano covered in brick dust, but somehow miraculously preserved. Our soldiers look at the sergeant with bewilderment and alarm. It could all end at any second... People on the other side also look in bewilderment.
The sergeant makes his way to the piano, lifts the lid and begins to play. Not a single shot breaks the silence. All this seems like some kind of incredible magic, some kind of miracle. As if from long ago peaceful life the sounds of “Waltz” by Fryderyk Chopin reached the soldiers. Everyone listens as if spellbound. The machines fell silent.
It turns out that the power of music is greater than the power of war. But what is this power? She is a wonderful symbol of peace and life. This is her strength. Let it be for a while, but beautiful music stopped the battle. This means that Fyodor Mikhailovich Dostoevsky was right when he said that beauty will save the world.
Art enriches spiritual world a person and thereby raises him to another higher level. D. Likhachev said about: “It illuminates and at the same time sanctifies a person’s life. It makes him kinder, and therefore happier.”
Even in the most hopeless times, thanks to art, hope returns to a person. This is the purpose and power of art.
Valeria Gumovskaya©
Formation creative personality- one of the important tasks of pedagogical theory and practice in modern stage. Its solution should begin already in preschool childhood. The most effective means for this is the visual activity of children in a preschool institution.
In the process of drawing, sculpting, appliqué, the child experiences various feelings: he is happy beautiful image, which he created himself, is upset if something doesn’t work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects and remember them characteristic features and details, master visual skills and abilities, learn to use them consciously. Aristotle also noted that drawing contributes to the diversified development of a child. Outstanding teachers of the past - J. A. Komensky, I. G. Pestalozzi, F. Frebel - and many domestic researchers also wrote about this. Their work shows: drawing and other types of artistic activities create the basis for full, meaningful communication between children and with adults; perform a therapeutic function, distracting children from sad, sad events, relieve nervous tension, fears, cause a joyful, upbeat mood, provide positive emotional state. Therefore, it is so important to widely include pedagogical process a variety of artistic and creative activities. Here every child can express himself most fully without any pressure from an adult.
Management of visual activities requires the teacher to know what creativity in general, and especially children’s, is, knowledge of its specifics, the ability to subtly, tactfully, supporting the initiative and independence of the child, to promote the mastery of the necessary skills and abilities and development creative potential. Your understanding of creativity famous explorer A. Lilov expressed it this way: “...creativity has its own general, qualitatively new signs and characteristics that define it, some of which have already been quite convincingly revealed by the theory. These general natural points are as follows:
- creativity is a social phenomenon,
- his deep social essence lies in the fact that it creates socially necessary and socially useful values, satisfies social needs, and especially in the fact that it is the highest concentration of the transformative role of a conscious social subject (class, people, society) in its interaction with objective reality."
Another researcher, V. G. Zlotnikov, points out: artistic creativity is characterized by the continuous unity of cognition and imagination, practical activity and mental processes; it is a specific spiritual and practical activity, as a result of which a special material product arises - a work of art.
What is a child’s visual creativity? to school age? Domestic teachers and psychologists consider creativity as the creation by a person of something objectively and subjectively new. It is subjective novelty that makes up the result creative activity children of preschool and primary school age. By drawing, cutting and pasting, a preschool child creates something subjectively new for himself. The product of his creativity does not have any universal novelty or value. But its subjective value is significant.
The visual activity of children, as a prototype of adult activity, contains the socio-historical experience of generations. It is known that this experience was carried out and materialized in tools and products of activity, as well as in methods of activity developed by socio-historical practice. A child cannot master this experience without the help of an adult. It is the adult who is the bearer of this experience and its transmitter. By mastering this experience, the child develops. At the same time, the visual activity itself, as a typical child’s activity, including drawing, modeling, appliqué, contributes to the diversified development of the child.
How do famous domestic scientists define children's creativity? How is its significance determined for the formation of a child’s personality?
Teacher V.N. Shatskaya believes: in conditions of general aesthetic education children's artistic creativity is rather considered as a method of the most perfect mastery a certain type art and the formation of an aesthetically developed personality than as the creation of objective artistic values.
Researcher children's creativity E.A. Flerina evaluates it as a conscious reflection of a child surrounding reality in drawing, modeling, design, reflection, which is built on the work of the imagination, displaying one’s observations, as well as impressions received through words, pictures and other forms of art. The child does not passively copy the environment, but processes it in connection with accumulated experience and attitude towards what is depicted.
A. A. Volkova states: “Nurturing creativity is a versatile and complex impact on a child. In the creative activity of adults, the mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love of beauty, fascination with an image, thought) take part. We must cultivate these same aspects of the child’s personality in order to more successfully develop creativity in him. Enriching the child’s mind with various ideas and some knowledge means giving abundant food for creativity. Teaching him to look carefully and be observant means making his ideas clear. more complete. This will help children more vividly reproduce what they see in their creativity.”
I. Ya. Lerner defines the features of a child’s creative activity as follows:
independent transfer of previously acquired knowledge to a new situation;
vision of a new function of an object (object);
vision of the problem in a standard situation;
vision of the structure of the object;
ability to make alternative solutions;
combining previously known methods of activity with new ones.
I. Ya. Lerner states: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills that are usually taught.
We were convinced of the correctness of this idea in our own practice. However, we note: the independent transfer of previously acquired knowledge to a new situation (the first trait according to Lerner) can manifest itself in children if they learn to perceive objects, objects of reality, and learn to identify their forms, including in this process the movements of both hands along the contour of the object. (In other words, just as we outline an object, looking at it, we also draw - with pencils, brushes, felt-tip pens.) Only then will children be able to use this method independently, only then will they gradually acquire the freedom to depict any objects, even those that do not have a clearly fixed shape, for example, clouds, puddles, floating ice, unmelted snow.
The second feature according to Lerner - the vision of a new function of an object (object) - appears when the child begins to use substitute objects, for example, turning cut narrow and wide strips into parts of objects or objects; plays with spoons, imagining that he is playing in an orchestra. This ability to highlight a form, a part, in the process of perception, which we form in children, leads them to seeing the structure of an object, mastering the ways of conveying it in drawing, modeling, and appliqué. That's why we recommend creative activities include in the work plan the topic “Teaching to create images of animals, the shape and structure of which have been learned.”
Introducing children to works of art ( fine arts, literature, music), we thereby introduce them into the world of standards of beauty, i.e. We implement the goals and objectives mentioned above - to understand the expressiveness of means and figurative solution, variety of colors and compositional construction. Knowing, for example, the secrets of Dymkovo painting, a child will undoubtedly use them, creating images of fairy-tale animals and birds; comprehends the qualities of what is depicted, the remembered characteristic features.
What characterizes creativity? In this regard, B. M. Teplov writes: “The main condition that must be ensured in children’s creativity is sincerity. Without it, all other virtues lose meaning.”
This condition, naturally, is satisfied by the creativity “that arises in a child independently, based on an internal need, without any deliberate pedagogical stimulation.” But systematic pedagogical work, according to the scientist, cannot be built relying only on independently arising creativity, which is not observed in many children, although these same children, when organized in an organized manner, sometimes display extraordinary creative abilities.
This is how it arises pedagogical problem- search for such incentives for creativity that would give birth to a child’s genuine effective desire"to compose". Lev Nikolaevich Tolstoy found such an incentive. When starting to teach peasant children, the great Russian writer already understood how significant the task of “developing children's creativity” was; as one of possible solutions he offered children joint compositions (see the article “Who should learn to write from whom?”). So, what is the essence of involving children in artistic creativity, according to L.N. Tolstoy? Show not only the product, but also the very creative process of writing, drawing, etc. in order to see with my own eyes how “it’s done.” Then, as the domestic researcher of the psychology of children's creativity E. I. Ignatiev writes, the child “from simply listing individual details in the drawing moves on to an accurate transfer of the features of the depicted object. At the same time, the role of the word in visual arts, the word is increasingly acquiring the meaning of a regulator that directs the process of depiction, controlling the techniques and methods of depiction."
In the process of drawing and modeling, the child experiences a variety of feelings; as we have already noted, he rejoices at a beautiful image, gets upset if something doesn’t work out, tries to achieve a result that satisfies him, or, conversely, gets lost, gives up, refuses to study (in this case, the teacher’s sensitive, attentive attitude and help are needed). Working on an image, he acquires knowledge, his ideas about the environment are clarified and deepened. The child not only masters new visual skills and abilities that expand his creative capabilities, but also learns to consciously use them. A very significant factor from the point of view of mental development. After all, every child, when creating an image of a particular object, conveys the plot, includes his feelings, and understanding of how it should look. This is the essence of children's fine arts, which manifests itself not only when the child independently comes up with the theme of his drawing, modeling, appliqué, but also when he creates an image on the instructions of the teacher, determining the composition, color scheme and other expressive means, making interesting additions, etc.
Analysis of provisions on children's creativity by famous domestic scientists - G. V. Latunskaya, V. S. Kuzin, P. P. Pidkasisty, I. Ya. Lerner, N. P. Sakulina, B. M. Teplov, E. A. Flerina - and ours long-term research allows us to formulate it working definition. By artistic creativity of preschool children we mean the creation of a subjectively new (important for the child, first of all) product (drawing, modeling, story, dance, song, game); creation (invention) of previously unused details that characterize in a new way created image(in a drawing, story, etc.), different options images, situations, movements, its beginning, end, new actions, characteristics of heroes, etc.; the use of previously learned methods of depiction or means of expressiveness in a new situation (to depict objects of a familiar shape - based on mastering facial expressions, gestures, voice variations, etc.); showing initiative in everything.
By creativity we will understand the very process of creating images of a fairy tale, story, dramatization games in drawing, etc., the search for methods in the process of activity, ways of solving a problem, visual, gaming, musical.
From our assumed understanding of artistic creativity, it is obvious: in order to develop creativity, children need certain knowledge, skills and abilities, methods of activity that they themselves, without the help of adults, cannot master. Otherwise: we're talking about about purposeful learning, mastering rich artistic experience.
For kids (junior groups) creativity in the creation of an image can manifest itself in a change in the size of objects. Let me explain this idea: class in progress, children make apples, and if someone, having completed the task, decides to independently make a smaller or larger apple, or a different color (yellow, green), for him this is already creative solution. Showing creativity younger preschoolers- these are some additions to modeling, drawing, say, a stick - a stalk.
As skills are mastered (already in older groups), creative solutions become more complex. Appear in drawings, modeling, applications fantastic images, fairy-tale heroes, palaces, magical nature, outer space with flying ships and even astronauts working in orbit. And in this situation positive attitude The teacher’s appreciation of the child’s initiative and creativity is an important incentive for the development of his creativity. The teacher notes and encourages the creative discoveries of children, opens exhibitions of children's creativity in the group, in the hall, in the lobby, and decorates the institution with the works of pupils.
In a child’s creative activity, three main stages should be distinguished, each of which, in turn, can be detailed and requires specific methods and techniques of guidance on the part of the teacher.
The first is the emergence, development, awareness and design of the plan. The theme of the upcoming image can be determined by the child himself or proposed by the teacher (its specific decision is determined only by the child himself). How younger child, the more situational and unstable his plan is. Our research shows: initially, three-year-old children can implement their plans only in 30-40 percent of cases. The rest basically change the idea and, as a rule, name what they want to draw, then create something completely different. Sometimes the idea changes several times. Only by the end of the year, and only if classes are carried out systematically (in 70-80 percent of cases), do children’s ideas and implementation begin to coincide. What is the reason? On the one hand, in the situational nature of a child’s thinking: at first he wanted to draw one object, suddenly another object comes into his field of vision, which seems more interesting to him. On the other hand, when naming the object of the image, the child, having still very little experience in the activity, does not always correlate what he has in mind with his own visual possibilities. Therefore, having picked up a pencil or brush and realizing his inability, he abandons the original plan. The older the children, the richer their experience in visual activity, the more stable their idea becomes.
The second stage is the process of creating the image. The topic of the task not only does not deprive the child of the opportunity to show creativity, but also guides his imagination, of course, if the teacher does not regulate the solution. Significantly greater opportunities arise when the child creates an image according to his own plans, when the teacher only sets the direction for choosing the topic and content of the image. Activities at this stage require the child to be able to master the methods of representation, expressive means, specific for drawing, sculpting, appliqué.
The third stage - analysis of the results - is closely related to the previous two - this is their logical continuation and completion. Viewing and analysis of what children create is carried out at their maximum activity, which allows you to more fully comprehend the result own activities. At the end of the lesson, everything created by the children is exhibited at a special stand, i.e. Each child is given the opportunity to see the work of the entire group and note, with a friendly justification for their choice, those that they liked the most. The teacher's tactful, guiding questions will allow children to see the creative discoveries of their comrades, an original and expressive solution to the topic.
A detailed analysis of children's drawings, modeling or appliqué is optional for each lesson. This is determined by the feature and purpose created images. But here’s what’s important: the teacher conducts the discussion of the work and their analysis in a new way every time. So, if the children made Christmas tree decorations, then at the end of the lesson all the toys are hung on the furry beauty. If created collective composition, then upon completion of the work the teacher pays attention to general view painting and invites you to think about whether it is possible to complement the panorama, make it richer, and therefore more interesting. If children decorated the doll's dress, then everything best works"displayed in the store" so that a doll or several dolls can "choose" what they like.
Experts distinguish three groups of means, the purpose of which is to increase the level of aesthetic education: art in all forms, the surrounding life, including nature, artistic and creative activity. Thanks to these interconnected means, the child actively participates in the experience of creative activity of adults. However effective leadership possible provided that the teacher knows and takes into account the mental processes that underlie children's creativity and, most importantly, systematically develops them.
About which mental processes are we talking? Of all the means of aesthetic education, all types of artistic activity, we single out general groups, which form the basis of creative abilities.
1. Perception of objects and phenomena of reality and their properties, which has individual differences. It is known that in their drawings, modeling, and applications, children reflect the impressions received from the world around them. So they got it together varied experiences about this world. Ideas about objects and phenomena are formed on the basis of their perception. Therefore, the most important condition for creativity is to develop children’s perception (visual, tactile, kinesthetic) and to form a diverse sensory experience.
How should education be carried out so that children acquire the necessary knowledge and ideas? Psychologists note: syncretism, unity and lack of clarity of perception images are characteristic of children of primary preschool age. To depict an object or phenomenon, a child must imagine all its basic properties and convey them so that the image is recognizable. For little artist this is quite significant.
The teacher forms knowledge and ideas about the environment purposefully. These include special observations and examination of the subject during didactic games. The teacher directs the child’s perception to certain properties and qualities of objects (phenomena). After all, not all preschoolers come to kindergarten, having a rich experience of perceiving the environment - figurative, aesthetically colored, emotionally positive. For the majority, it is limited to fragmentation, one-sidedness, and often simply poverty. In order to develop aesthetic perception in children, the teacher himself must have the ability of aesthetic vision. V. A. Sukhomlinsky also emphasized: “You cannot be a teacher without mastering a subtle emotional and aesthetic vision of the world.”
Children should not just look at an object, recognize and highlight its properties: shape, structure, color, etc. They should see its artistic merits, which are to be depicted. Not everyone is able to independently determine the beauty of an object. The teacher shows them this. Otherwise, the concept of “beautiful” will not acquire a specific meaning in the eyes of the student and will remain formal. But in order for him to understand why this or that object, this or that phenomenon is beautiful, the teacher himself, we repeat, must feel and see the beauty in life. He constantly develops this quality in himself and his children.
How to do this? Day after day, watch with your children the phenomena of nature - how the buds swell on trees and bushes, how they gradually blossom, covering the tree with leaves. And how varied are the gray clouds driven by the wind of bad weather, how quickly do their shape, position, and color change! Pay attention to the beauty of the movement of the clouds, the changes in their shape. Observe how beautifully the sky and surrounding objects are illuminated by the rays of the setting sun.
This kind of observation can be carried out with different objects. The ability to contemplate beauty and enjoy it is very important for the development of children's creativity. It is not without reason that in Japan, where the culture of aesthetic perception is so high, teachers develop children’s powers of observation, the ability to listen attentively, to peer into their surroundings - to catch the difference in the sound of rain, to see and hear how heavy drops loudly knock on the glass, how joyfully the sudden summer “mushroom” rings. " rain.
Objects for observation are found daily. Their goal is to expand children's understanding of the world, its variability and beauty. The Russian language is so rich in epithets, comparisons, metaphors, poetic lines! N.P. Sakulina once drew attention to this.
L. S. Vygotsky, speaking about the role of training, emphasized: training leads to development. At the same time, he drew attention: “Training can provide more in development than what is contained in its immediate results. Applied to one point in the sphere of a child’s thought, it modifies and rearranges many other points. It can have remote, rather than only immediate consequences."
It is precisely this long-term result that we can talk about when it comes to the formation of figurative ideas in children in the process of learning visual arts. The statement is not accidental. Proof of this is the work of E. A. Bugrimenko, A. L. Venger, K. N. Polivanova, E. Yu. Sutkova, the topic of which is preparing children for school, diagnosing mental development and its correction. The authors note: “The insufficient level of development of figurative ideas is one of the common reasons difficulties in learning not only at the age of six, but also much later (up to high school). At the same time, the period of their most intensive formation occurs in preschool and early primary school age. Therefore, if a child entering school has problems, then they must be “compensated” as soon as possible with visual and constructive activities - in free time stimulate activities in drawing, modeling, appliqué, and design.”
When characterizing a child’s thinking, psychologists usually distinguish stages: visual-effective, visual-figurative, logical. Visual-figurative is based on visual representations and their transformation as a means of solving a mental problem. It is known that entering a new stage of thinking does not mean overcoming the previous stage. It is retained by the child and helps in the development of thinking. new stage, forms the basis for the formation of diverse activities and abilities. Moreover, experts believe that this form of thinking is necessary not only for children’s creativity, but also for the creativity of a person of any profession. This is why it is so important to develop imaginative thinking, like imagination, positive emotional attitude, mastering the methods of depiction, expressive means of drawing, sculpting, and appliqué.
Magazine " Preschool education" № 2, 2005
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(1)Artistic creativity, from my point of view, is not just a way of self-expression. (2) Sometimes it can become a saving straw, clinging to which a person can go through many ordeals and survive. (3) And here is one of the striking examples.
(4) An amazing woman, amateur artist Evfrosinya Antonovna Kersnovskaya spent many years in a Stalinist camp, after which she began to sketch her entire life from the very beginning: her childhood in Bessarabia, how she was arrested in Romania, how she was exiled to Siberia. (5) For many years she depicted everyday life, details and commented on her drawings.
(6) This is what she writes to her mother:
(7) “I drew them for you, thinking about you... (8) I started drawing there, in Norilsk, immediately after I left the camp. (9) There was still neither a mattress, nor a sheet, there was not even a corner of our own. (10) But I already dreamed of drawing something beautiful, reminiscent of the past - the past that
was inextricably linked with you, my dear! (11) And the only thing I could think of was to draw...”
(12) And so Euphrosyne creates in pictures the story of her life, all her misadventures, in order to free herself from those difficult memories that surrounded her after leaving twelve years of hell. (13) She drew with whatever she had to: colored pencils, a pen, and sometimes tinted it with watercolors.
(14) And these simple, but so detailed, true drawings amaze with their persuasiveness and inner freedom. (15) As many as twelve general notebooks were composed and drawn by her in the 60s of the last century. (16) In 1991 they were published as a separate book called “Rock Painting”. (17) And to this day, looking at these drawings that were born so long ago, somewhere deep inside I feel how much art helped this amazing artist and simply noble woman to survive.
(18) Here's another story. (19) Artist Boris Sveshnikov also for a long time was in captivity. (20) His albums were drawn directly there, in captivity, but they were not about the camp, not about the life he lived then - they were fantastic. (21) He depicted some kind of fictional reality and extraordinary cities. (22) With a thin feather, the thinnest, almost transparent silver stroke, he created in his albums a parallel, incredibly mysterious, exciting life. (23) And subsequently these albums became evidence that his inner world, fantasy, creativity saved his life in this camp. (24) He survived thanks to his creativity.
(25) Another extraordinary artist, Mikhail Sokolov, a contemporary of Sveshnikov, being imprisoned for his extravagant appearance, also tried to seek freedom and salvation in creativity. (26) He drew with colored pencils, and sometimes with pencil stubs, small pictures three by three centimeters or five by five centimeters and hid them under his pillow.
(27) And these little ones fantastic drawings Sokolov, in my opinion, is in some sense more grandiose than some huge paintings, painted by another artist in a bright and comfortable studio.
(28) As you can see, you can depict reality, or you can depict fantasy. (29) In both cases, what you transfer from your head, from your soul, from your heart, from your memory onto paper, frees you, sets you free, even if there are prison bars around you. (30) Therefore, the role of art is truly great. (31) And it doesn’t matter what or how you do it: creativity knows no boundaries and does not require special tools. (32) It, sincere and truthful, simply lives in a person, seeks a way out and is always ready to selflessly help him.
(according to L.A. Tishkov*)
*Leonid Aleksandrovich Tishkov (born in 1953) is a Russian cartoonist, also works in the field of book graphics.
Explanation.
Approximate range of problems:
1. The problem of the significance of artistic creativity in the life of the artist himself. (What is the benefit? The saving power of artistic creativity? Is artistic creativity capable of helping a person survive, saving a person?)
2. The problem of understanding such a phenomenon. as artistic creation. (What is artistic creativity? Are there boundaries to creativity? Where is artistic creativity born?)
3. The problem of the real and the fantastic in artistic creativity. (What should artistic creativity be based on: reality or fantasy?)
1. Artistic creativity is not just a way of self-expression, it can bring enormous benefits: it spiritually liberates a person, even if he is in prison. helps get rid of difficult memories. overcome difficulties, immerses a person in a different reality.
2. Artistic creativity is that. what a person transfers from his head, from his soul, from his heart onto paper. Creativity knows no boundaries and does not require special tools. True creativity can be born both in the artist’s bright studio and on a tiny piece of paper.
3. For artistic creativity, it does not matter whether a person depicts reality or fantasy. It remains creativity great power which is truly limitless.
ARTISTIC CREATIVITY - the process of creating new aesthetic values Artistic creativity is an element of all types of social and production activity of a person, but in its full quality it finds expression in the creation and execution of works of art. The ideological and aesthetic orientation of creativity is determined by the artist’s social and class position, his worldview and aesthetic ideal.
Creativity in art is innovation both in the content and in the form of artistic works. The ability to think productively is certainly a mandatory sign of talent. But innovation is not an end in itself. Creativity is necessary for the product aesthetic activity possessed both novelty and social significance; so that its creation and method of use meet the interests of the advanced classes and contribute to socio-cultural progress. Unlike formalist aestheticians, who view creativity primarily only as the construction of new forms and structures, Marxist aestheticians proceed from the fact that heuristic work in art is characterized by the creation of new social values within the framework of such structures.
Artistic creativity is inseparable from development cultural heritage, from which the artist spontaneously or consciously selects traditions that have a progressive meaning and correspond to his individuality. Creativity, on the one hand, presupposes the acceptance and development of certain traditions, on the other hand, the rejection of some of them, their overcoming. The creative process is a dialectical unity of creation and negation. The main thing in this unity is creation. The preaching of self-directed destruction, characteristic of many theorists of decadence and modernism, turns into pseudo-innovation, draining the creative potential of the artist. In order to move forward in art without repeating anyone, you need to know well the achievements of your predecessors.
In terms of socio-gnoseological creativity is a figurative reflection of the objective world, its new vision and understanding by the artist. It also acts as an actualization of the artist’s personality, his life experience. Self-expression, subjective in nature, is not opposed to the objective, but is a form of its reflection in work of art. In this case, this self-expression turns out to be simultaneously an expression of generally valid, popular and class ideas.
Freedom of imagination, fantasy and intuition, breadth of outlook, the desire for a comprehensive knowledge of existence are necessary components of creativity. At the same time, the artist also needs self-restraint in the selection and interpretation of life material, concentration and selectivity of attention, strict discipline of the mind and heart. Holistic artistic image, which results in creative process, is born only when the artist knows how to see and deeply comprehend through life situations and the facts of one’s own biography are natural and typical. In this capacity, artistic creativity acts as creativity according to the “laws of beauty” (K. Marx).
ARTISTIC CREATIVITY AS A WAY TO IMPROVE THINKING
General characteristics of the concept of “thinking”
General characteristics of the concept of “artistic creativity”
Psychological mechanisms of artistic creativity, the connection between artistic creativity and thinking
1. GENERAL CHARACTERISTICS OF THE CONCEPT OF “THINKING”
Life constantly presents a person with acute and urgent tasks and problems. The emergence of such problems, difficulties, surprises means that in the reality around us there is still a lot of unknown, incomprehensible, unforeseen, hidden, requiring an ever deeper knowledge of the world, the discovery in it of more and more new processes, properties and relationships of people and things. The Universe is infinite, and the process of understanding it is endless. Thinking is always directed into these endless depths of the unknown, the new. Every person makes many discoveries in his life (it doesn’t matter that these discoveries are small, only for himself, and not for humanity).
Thinking - this is a socially conditioned, inextricably linked with speech, mental process of searching and discovering something essentially new, a process of mediated and generalized reflection of reality in the course of its analysis and synthesis. Thinking arises on the basis of practical activity from sensory knowledge and goes far beyond its limits.
Cognitive activity begins with sensations and perceptions. Any, even the most developed, thinking always maintains a connection with sensory knowledge, i.e. with sensations, perceptions and ideas. Mental activity receives all its material from only one source - from sensory knowledge. Through sensations and perceptions, thinking is directly connected with the outside world and is its reflection. The correctness (adequacy) of this reflection is continuously verified in the process of practical transformation of nature and society.
Ta sensual picture of the world, which our sensations and perceptions provide daily, is necessary, but not sufficient for its deep, comprehensive knowledge. In this sensory picture of the reality directly observed by us, the most complex interactions of various objects, events, phenomena, etc., their causes and consequences, and mutual transitions into each other are almost not dissected. It is simply impossible to unravel this tangle of dependencies and connections, which appears in our perception in all its colorfulness and spontaneity, with the help of sensory knowledge alone. In perception, only the general, summary result of a person’s interaction with a cognizable object is given. But in order to live and act, one must first of all know what external objects are in themselves, i.e. objectively, regardless of how they appear to a person, and in general, regardless of whether they are cognizable or not.
Since within the framework of sensory cognition alone it is impossible to fully dissect such a general, total, direct effect of the interaction of a subject with a cognizable object, a transition from sensations and perceptions to thinking is necessary. In the course of thinking, further, deeper knowledge of the external world is realized. As a result, it is possible to dismember and unravel the most complex interdependencies between objects, events, and phenomena.
In the process of thinking, using the data of sensations, perceptions and ideas, a person at the same time goes beyond the limits of sensory knowledge, i.e. begins to cognize such phenomena of the external world, their properties and relationships, which are not directly given in perceptions and therefore are not directly observable at all.
Practical-effective, visual-figurative and theoretical-abstract - interconnected types of thinking . In the process of historical development, human intelligence was initially formed in the course of practical activity.
Genetically the earliest type of thinking - practically -effective thinking; Actions with objects are of decisive importance in it.
Based on practically effective manipulative thinking, there arises visual-figurative thinking. It is characterized by operating visually in the mind. The highest level of thinking is abstract, abstract thinking. But here, too, thinking remains connected with practice.
The thinking of individual people is also divided into predominantly figurative(artistic) and abstract(theoretical). But in the process of life, for the same person, first one or another type of thinking comes to the fore.
The structural unit of practical (operational) thinking is action; artistic - image; scientific - concept.
Depending on the depth of generalization, there are empirical And theoretical thinking. Empirical thinking gives primary generalizations based on experience. These generalizations are made at a low level of abstraction. Empirical consciousness represents the lowest, elementary stage of cognition. Theoretical thinking reveals a universal relationship and explores the object of knowledge in the system of its necessary connections. Its result is the construction of theoretical models, the creation of theories, the generalization of experience, the disclosure of patterns of development of various phenomena, the knowledge of which ensures the transformative activity of a person. Theoretical thinking is inextricably linked with practice, but in its final results it has relative independence.
So, the information received by a person from the surrounding world allows a person to imagine not only external, but also inner side an object, to imagine objects in their absence, to foresee their changes over time, to rush with thought into the vast distances and microcosms. All this is possible thanks to the thinking process. In psychology, thinking is understood as the process of an individual’s cognitive activity, characterized by a generalized and indirect reflection of reality. Starting from sensations and perceptions, thinking, going beyond the limits of sensory experience, expands the boundaries of our knowledge due to its nature, which allows us to indirectly (i.e. by inference) reveal what is not directly given (i.e. by perception). So, by looking at the thermometer hung on the outside of the window, we find out that it is quite cold outside. Seeing the treetops swaying strongly, we understand that there is wind outside.
Sensation and perception reflect individual aspects of phenomena, moments of reality in more or less random combinations. Thinking correlates the data of sensations and perceptions, juxtaposes, compares, distinguishes and reveals relationships. Through the disclosure of these relationships between the directly, sensorily given properties of things and phenomena, thinking reveals new, not directly given abstract properties: identifying relationships and comprehending reality in these relationships. Thus, thinking deeply understands the essence of the surrounding world, reflects existence in its connections and relationships.
2. GENERAL CHARACTERISTICS OF THE CONCEPT
"ARTISTIC CREATIVITY"
Creativity is an attribute of human activity. It predetermined the emergence of man and human society, underlies the further progress of material and spiritual production.
According to Leontiev A.A., creativity is not reduced to the activity of creating new material and spiritual values, as the Psychology dictionary defines it (in fairness, we note that this definition goes back to L.S. Vygotsky’s definition of creativity as “creating something new” ). This understanding is correct only from the point of view of the “processual” approach to creativity, which should rather be called “resultative”. It is no coincidence that the same dictionary entry speaks of a creative product as “distinguished by novelty, originality, and uniqueness.” This “novelty,” however, cannot in any way be used as the basis for a psychological understanding of creativity. Even if we talk about artistic creativity, such an understanding leaves aside a huge layer of so-called executive creativity - to define it creative character through the originality of the final product seems to us a stretch.
Under common name creativity combines its different types: technical, artistic, pedagogical, ethical, etc. All these types are psychologically unequal; for example, technical and artistic creativity are differently correlated with theoretical thinking. But they have one thing in common: a person’s ability to “act in uncertain situations.”
The condition for such ability is self-realization (self-determination) of the individual. According to A.A. Ukhtomsky, from an activity point of view, such an ability is multi-layered - it, in particular, can manifest itself at the level of both whole personality(artistic creativity), and operational components of productive or cognitive (educational) activity (solving so-called creative problems), at the level of the structure of indicative activity and the restructuring of the indicative basis of activity, and ultimately the image of the world ( scientific creativity), etc. But in all cases we are dealing with the independent “construction” of a system of relations between a separate person and the objective and social world, of which this personality is an integral part. The novelty here is not in an objectively new final product, but in the independent creation of a system of relationships with the world or in the transformation of the world (not necessarily a “material” one, rather a social one, the world of activity and relationships: the world in its entirety should be presented not as an object at all, but as process) through one's own activities.
Creativity is the highest form of activity and independent activity of man and society. It contains an element of the new, presupposes original and productive activity, the ability to solve problem situations, productive imagination combined with a critical attitude towards the achieved result. The scope of creativity covers actions from a non-standard solution to a simple problem to the full realization of an individual’s unique potential in a certain area.
Creation is a historically evolutionary form of human activity, expressed in various types of activities and leading to personality development. Realized through creativity historical development and connection between generations. It continuously expands human capabilities, creating conditions for conquering new heights.
A precondition for creative activity is the process of cognition, the accumulation of knowledge about the subject that is to be changed.
Creative activity - this is amateur activity, covering a change in reality and self-realization of the individual in the process of creating material and spiritual values, new more progressive forms of management, education, etc. and pushing the limits of human capabilities.
Creativity is based on the principle of activity, and more specifically, labor activity. The process of practical transformation by man of the surrounding world, in principle, determines the formation of man himself.
Creativity is an attribute of activity only of the human race. The generic essence of a person, his most important attributive property, is objective activity, the essence of which is creativity. However, this attribute is not inherent in a person from birth. Creativity is not a gift of nature, but a property acquired through work. It is transformative activity and inclusion in it that is a necessary condition for the development of the ability to create. The transformative activity of a person educates him as a subject of creativity, instills in him the appropriate knowledge and skills, educates his will, makes him comprehensively developed, allows him to create qualitatively new levels of material and spiritual culture, i.e. create.
There are two interpretations artistic creativity :
epistemological - from ancient ideas about the soul as wax in which objects are imprinted, to Lenin’s theory of reflection;
ontological - from ancient ideas about creativity as the soul’s recollection of its primordial essence, from medieval and romantic ideas that God speaks through the lips of a poet, that the artist is a medium of the Creator, to Berdyaev’s concept, which gave creativity a fundamental existential meaning.
Neither the ontological nor the epistemological component of creativity can be neglected. V. Solovyov saw in their interconnection a condition for the creative process. This theoretical tradition should be relied upon. It is from these positions that the artistic image and its features should be considered.
Artistic image
is specific and has the features of a representation, but of a special kind: a representation enriched with mental activity. Representations are a transitional stage between perception and concept, a generalization of the broadest layers of social practice. The idea contains both the meaning and meaning of the phenomenon being mastered. In order for artistic representations to become the property of the audience, they must be objectified. An artistic image is an objectification of a system of artistic representations.
The conceptual principle is also present in artistic thinking - sometimes in a hidden, and sometimes in an explicit form. The conceptual content of a work of art consists of ideas and ideas objectified in the image. Artistic thinking figuratively. It combines generality and specificity with a personal form. Art recreates life in its integrity and thereby expands and deepens a person’s real life experience.
There is a hierarchy of value ranks that characterize the degree of a person’s predisposition to artistic creativity: ability - giftedness - talent - genius.
According to I.V. Goethe, the genius of an artist is determined by the power of perception of the world and the impact on humanity. American psychologist D. Gilford notes the manifestation of six artist abilities in the process of creativity: fluency of thinking, analogies and contrasts, expressiveness, the ability to switch from one class of objects to another, adaptive flexibility or originality, the ability to give the artistic form the necessary outlines. Artistic talent presupposes acute attention to life, the ability to choose objects of attention, consolidate these impressions in memory, extract them from memory and include them in a rich system of associations and connections dictated by the creative imagination.
Many people engage in artistic activity in one form or another at one time or another in their lives with greater or lesser success. However, only artistic abilities ensure the creation of artistic values of public interest. An artistically gifted person creates works that have lasting significance for a given society for a significant period of its development. Talent gives rise to artistic values that have enduring national and sometimes universal significance. A brilliant artist creates the highest universal values that have significance for all times.
3. PSYCHOLOGICAL MECHANISMS OF ART
CREATIVITY, CONNECTION OF THE ARTISTIC
CREATIVITY AND THINKING
Along with the scientific knowledge of the world of ideas, the field of knowledge of human characters was actively developing, which ultimately led to the penetration of human individuality into the world. This was an area of artistic and aesthetic creativity that gave priority not so much to strict logic as to intuition and therefore, more freely than logically based knowledge, turned to the artistic modeling of man. Aesthetics’ comprehension of artistic images created by means of literature and art became the path that ultimately contributed to the formation of psychological science, which is so necessary for understanding culture in its phenomenological state and historical unfolding.
Artistic activity plays an important role in the process of scientific self-knowledge. Due to the fact that it combines the world of reason and feelings, fertilized by the projective activity of the imagination, artistic creativity has the ability to take on the functions scientific knowledge. This happens, as a rule, during periods when sociocultural experience is faced with the need to present the object of scientific study, but does not yet have the information necessary for a sufficiently complete scientific generalization.
Artistic activity, syncretic in nature, combines elements of imagination in the projective activity of rational knowledge and value orientation.
Artistic creativity begins with keen attention to the phenomena of the world and presupposes “rare impressions”, the ability to retain them in memory and comprehend them.
An important psychological factor in artistic creativity is memory. For an artist, it is not mirror-like, selective and of a creative nature.
The creative process is unthinkable without imagination, which allows the combinational and creative reproduction of a chain of ideas and impressions stored in memory.
Imagination has many varieties: phantasmagoric - in E. Hoffman, philosophical and lyrical - in F.I. Tyutchev, romantically sublime - in M. Vrubel, painfully hypertrophied - in S. Dali, full of mystery - in I. Bergman, real -strict - by F. Fellini, etc.
Imagination is understood as the mental cognitive process of creating new images by processing materials of perception and representation obtained in past experience. Imagination is inherent only to man. It allows you to imagine the result of work, drawing, design and any other activity before it begins.
Depending on the degree of activity, a distinction is made between passive and active imagination, when the products of the first are not brought to life. Taking into account the independence and originality of the images, they talk about creative and reconstructive imagination. Depending on the presence of a consciously set goal to create an image, intentional and unintentional imagination are distinguished.
Imagination arises in situations of uncertainty, when a person finds it difficult to find in his experience an explanation for any fact of reality. This situation brings together imagination and thinking. As Vygotsky L.S. emphasized, “these two processes develop interconnectedly.” Thinking ensures selectivity in transforming impressions, and imagination complements and concretizes the processes of mental problem solving and allows one to overcome stereotypes. And solving intellectual problems becomes a creative process.
In addition to the fact that imagination significantly expands the boundaries of knowledge, it allows a person to “participate” in events that are not encountered in everyday life. This “participation” enriches his intellectual, emotional, moral experience, allows him to more deeply understand the surrounding, natural, objective and social reality. And the richer a person’s experience, the more material his imagination has at his disposal.
Consciousness and subconsciousness, reason and intuition participate in artistic creativity. In this case, subconscious processes play a special role here.
American psychologist F. Barron used tests to examine a group of fifty-six writers - his compatriots - and came to the conclusion that among writers, emotionality and intuition are highly developed and prevail over rationality. Of the 56 subjects, 50 turned out to be “intuitive individuals” (89%), while in the control group, which included people who were professionally far from artistic creativity, there were more than three times fewer individuals with developed intuition (25%). High role the subconscious in artistic creativity already led ancient Greek philosophers (especially Plato) to interpret this phenomenon as an ecstatic, divinely inspired, bacchic state.
In contrast to the scientifically based picture of the world, which prefers to rely on proven knowledge, the picture of the world created by artistic creativity allows not only the existence of an area of the unknown, but also tries to model its possible image. In artistic creativity, what is possible acquires the status of an existing one, stimulating the conscious identification of its signs or features in real life. Thus, aesthetic activity structures the projective activity of the imagination, directing it into the mainstream of rational knowledge. Thus, cognitive activity, on the one hand, is included in the mass consciousness of everyday life, and on the other, receives a powerful impetus for the development of its specialized areas. Artistic creativity - the area of dominance of the thought experiment - takes on the role of leader of the cognitive process in cases where science is still powerless to give an accurate picture of the phenomenon or calculate possible options its development. The connection of historical knowledge with the field of artistic creativity and the process of its comprehension was not an invention of modern times. It was inherited and traditional. Over time, there was only a concretization and redistribution of the functions of scientific and artistic in the interest of society in the culture of the past and present.
Scientific knowledge dismembers space and time for the convenience of their study. Artistic creativity creates a chronotope - the unity of space-time, where time becomes, according to M.M. Bakhtin, the fourth dimension of space. Artistic images make the discoveries of science psychologically acceptable to ordinary consciousness. Moreover, they give rise to the need to further expand the horizons of individuals, even those who do not have the necessary highly specialized knowledge. The laws of image creation are becoming a sphere of specialized knowledge, attracting special attention from researchers. Aesthetic systems capture the way of understanding the world that has developed at the level of professional culture; they postulate a picture of the world in the form in which it is accessible to both the thinker and the practitioner. Aesthetic systems help create a field for experimentation that cannot be done in the laboratory. They also provide the opportunity to test the viability of created material and ideal constructs, defining the artistic development of reality as its role in understanding the world through the study and creation of cultural creations.
Thus, we can conclude that creativity in general, and artistic creativity in particular, is a means of improving thinking. What cannot be comprehended by scientific methods can be represented through artistic images. What cannot be immediately verified by a social experiment is modeled in the collision of a work of art.
That is why it is necessary to develop creativity in a child from a very early age, because it is this that gives rise to a living fantasy, a vivid imagination, and develops and improves thinking. Creativity, by its nature, is based on the desire to do something that has never been done before, or to do something that existed before you in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for beauty in the highest and highest in a broad sense this concept.
Druzhinin V.N. notes that creative people often surprisingly combine maturity of thinking, deep knowledge, diverse abilities, skills and peculiar “childish” traits in their views on the surrounding reality, in behavior and actions.
You can often hear the following words from parents and even teachers: “Well, why does he waste valuable time writing poetry - he doesn’t have any poetic gift! Why does he draw - he won’t make an artist anyway! Why is he trying to compose some kind of music - it’s not music, but some kind of nonsense!..” This is a very dangerous delusion. It is imperative to support any desire for creativity in a child, no matter how naive and imperfect the results of these aspirations may be. Today he writes awkward melodies, unable to accompany them with even the simplest accompaniment; composes poetry in which clumsy rhymes correspond to clumsy rhythms and meter; draws pictures that depict some fantastic creatures without arms and with one leg... But behind all these naiveties, awkwardness and clumsiness lie the sincere and therefore the truest creative aspirations of the child, the most genuine manifestations of his fragile feelings and not yet formed thoughts.
He may not become an artist, a musician, or a poet (although in early age this is very difficult to foresee), but perhaps he will become an excellent mathematician, doctor, teacher or worker, and then his childhood creative hobbies will make themselves felt in the most beneficial way, a good trace of which will remain his creative imagination, his desire to create something new , his best, forward-moving business, to which he decided to devote his life.
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Druzhinin V.N. Psychology of general abilities - St. Petersburg, 1999
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Psychology with a human face: a humanistic perspective in post-Soviet psychology / Ed. D.A.Leontyeva, V.G. Shchur. – M., 1997
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