Interrelation of traditions and creativity in culture. Showforum artist Shilov biography personal life

The relationship of culture and creativity

In every kind of activity there is a moment of creativity, every person is a creator, he creates all his life. Every activity is creativity. On the other hand, creativity is the achievement of some new socially significant ideas, i.e. they must be recognized by society as new and important.

There is creativity, which is embodied in ideas, and then in material objects. And then there is the creative process itself. There is creativity, the result of which is a change in the person himself.

As a result of creativity, the ratio of the new and the already known is 10 to 90 percent, if the new is more than 10%, this becomes incomprehensible to contemporaries. Therefore, the genius is not the one who invented, but who managed to embody when society is interested in this.

Every culture has its own dominant - in Italy painting, in Russia - literature, in Germany - philosophers. Everything valuable from the past dominant becomes the foundation for the development of a new culture. Each culture finds its priority direction.

Creation - cognitive (cognitive) activity that leads to a new ( socially significant) or unusual vision of a problem or situation.

In artistic creation, it is almost impossible to get the same result from two authors, and in science it is even possible.

Any process of creativity presupposes a subject - a creator, a human personality, a bearer of creativity. In creativity, personality manifests itself as something free, indivisible.

The main enemy of creativity is fear, fear of new achievements, fear of failure. We also include laziness, passivity, lack of resources, etc.

Creativity motives: self-actualization, satisfaction of actual desires, external, internal.

Culture humanitarian and technical

Culture is a set of meanings that manifest themselves in the form of ideas, values ​​and standards. Technical culture is just ideas and standards, it is of a service nature, it regulates processes, the life of society. And the humanitarian one sets values ​​and ideals. Their relationship is the end and the means, but often these concepts are shifted. Sometimes you can only survive at the expense of technocratic culture.

At the beginning of the development of culture, the humanitarian (creativity) served the technical - they invented tools, etc. Then creativity took over - tools began to decorate. Now the desire to create is also coming to the fore. We need a car not just to drive, but also beautiful. When technocratic culture comes to the fore, many problems arise (from environmental to extremism). When utility, comfort comes first, it's not very good for the culture as a whole. It is impossible to say unequivocally that humanitarian K. operates without norms, and technocratic without values. It has its own values ​​- efficiency, economy, etc.

creativity, man, levels of consciousness, levels of mind

The article discusses the understanding of creativity, its levels, focus, significance and development of its technologies in modern culture

Article text:

"Creativity is the creation of something new." It is in this transcription that the concept of creativity exists in culture. Because of this, culture and creativity are phenomena that flow from one another. Just as culture is created in the process of creativity, so creativity is nourished and developed at the expense of culture. Therefore, it is advisable to consider creativity as the pinnacle of the main driving force - the activity in the process of which new values ​​\u200b\u200bare created that have one or another cultural status.

Creativity is a complex problem, the mystery of which will always excite the minds of people. Despite numerous researches in this area, the mystery of creativity has not been solved, and, obviously, cannot be fully revealed. It is quite obvious that there are as many styles, types, ways of creativity as there are creators. Everyone develops his own method, his own creative laboratory, but several major trends have emerged that have set themselves the task of determining the essence of creativity.

The levels of creativity are just as varied. There are creativity in the field of performance, authorship, imitation, interpretation, variability, improvisation, etc. Moreover, all these areas have a pronounced specificity, form the skills necessary in this particular area, etc. But with a greater degree of certainty, creativity is divided into creative processes in the field of creating ideas (productive) and technology creation (reproductive).

Researchers of creative processes have been trying to figure out the priority of these positions for a long time. Supporters of the “creators of ideas” (Lubkokht F., Ransvert S., Shipurin G. and others) believe that the main thing in creativity and, consequently, culture is the creation of ideas, that is, thought forms, which can then be clothed in the attire of a specific object. Ideas and thoughts are the main wealth of culture. Therefore, man and mankind must form a correct understanding in relation to this aspect. Supporters of the “technological component” (V. Zaraev, A. Zverev, R. Fuiding, A. Yankers and others) believe that the idea is an important, but not so significant position in creativity. People cannot feed on ideas; the latter must be clothed in objects. For the development of society, not only the right ideas are needed, but also optimal technologies. They contribute to filling the society with samples of culture. Therefore, it is important not only to come up with a model, but also quickly, at a lower cost, at a high quality level to create an item. This requires a technology that can help a person master a particular profession, skills, teach how to create objects, cultural products, etc. Technological creativity is a huge field in which creative methods, teaching methods, methods for performing certain actions, etc. are created.

Recently, both levels of creativity are considered equivalent, noting that priority is given to one or another direction depending on the mentality of national cultures. So, Russian culture - emphasizes and considers creativity in the field of idea production more significant; performance-oriented cultures (Japan, China, and other Eastern cultures) consider creativity in the field of technology to be more significant. Obviously, it is advisable to consider creativity in one direction or another as equally significant and consider its priority in terms of impact on the individual.

In addition to creating a new one that is important for the existing culture, creativity can act in this capacity in relation to the individual. Therefore, reproductive (reproducing) types of knowledge and activities, which are not new for society, put the individual in a situation of creativity, developing in it, thereby, new abilities, skills, abilities, knowledge. Because of this, each new generation becomes creators in the process of mastering the existing culture.

In literature, creativity is interpreted as “a process of human activity that creates qualitatively new values. Creativity is the ability of a person, arising in labor, to create a new reality from the material supplied by reality that satisfies the diverse human needs. In the history of human development, there have been several directions-views on creativity. Plato considered it as a “divine obsession”, transforming in directions and cultures, but remaining the same in essence, this position exists to this day.

Scientists have always tried to systematize creativity. Aristotle noted the types of mimesis in art, Rousseau and Descartes adhered to the principles of rationalism - the development of canons that control activity in the cognitive sphere and the moments of development into creativity. Russian philosophers and writers created their own systems - theoretical and artistic; in which it is possible to reflect the highest creative achievements.

The theories of Z. Freud and E. Fromm are widely known, in which the Freudian school connects creativity and the creative process with sublimation. Therefore, creativity in this interpretation is a balancing of the principle of pleasure and reality, which Freud considers as the main types of the human psyche. Creativity, therefore, is the desire to satisfy the accumulated desires, to adapt through this transformation in reality, which is considered as a game. At the same time, desires are complexes laid down since childhood, which have strengthened and increased under the influence of numerous social prohibitions, mainly related to the sexual sphere. As a result, all the work of the artist gives vent to his sexual desires. Such an interpretation is transferred by the Freudians not only to the explanation of the process of creation, but also to the content of works, which, in turn, are transferred to the analysis of perception. Moreover, society and social collisions, Freud notes, are generated precisely by these reasons, the cause of mental breakdowns, tensions, conflicts lies in this biological zone.

Fromm considered creativity as an understanding of the problem of the essence and existence of a person, coming to the conclusion that the main thing in this world is love not in Freudian-sexual clothes, but all-encompassing love, the basis of which is art. Therefore, the main thing in the world is art, a person's search for himself, the expression of his search in artistic images that have taken place in the past, present and future.

A number of researchers associate creativity with systematic activity, mainly of a substantive nature. We can say that it is this position that prevails in the development of the phenomenon of creativity in the European school. The basis of any creativity is intense systematic purposeful activity. Phrases are widely known, such as Tchaikovsky’s statement “inspiration is a rare guest, she does not like to visit the lazy”, Pushkin’s “talent is one drop of talent and ninety-nine drops of sweat”, Pascal “random discoveries are made only by well-prepared minds”, etc.

But the mechanisms of inclusion in creativity in the Western scale are practically not worked out. Under the study of creative methods, they consider, first of all, external attributes - the systematics of work, lifestyle, nutrition, the use of thermal techniques, etc. This gap quite clearly manifests itself in the life of creators. Among the huge number of talents born of the Western European, Russian, American school, one can count many of those who were included in creativity for short periods, after which they experienced long periods of inactivity and despondency, some artists could create works under the influence of alcoholic, narcotic substances, which destroyed the physical and mental body and led to well-known consequences.

Many artists were looking for their own methods of entering the desired state. It is known that Pushkin and Tolstoy loved to walk barefoot on the snow and stone floor, arguing that the blood irrigates the brain more powerfully, which begins to work better. Someone had to endure severe stress, a kind of shock, which allowed them to acquire the properties necessary for creativity. But, despite the difference in methods, everywhere one sees a general tendency to enter a state of “other being”, the stay in which is not indifferent to the psyche. It is no coincidence that in the Western school, in Russian reality, there are so many talents with fragile mental health. It is obvious that creativity needs not only to be explained from the point of view of gross material positions, but also to be considered in more subtle categories, which must be supported by a clear mechanism for entering and leaving it.

These positions are well developed in Eastern schools. Therefore, when analyzing the relationship between culture and creativity, we will focus on these methods and explanations of the positions of creativity.

Eastern esoteric culture is the most ancient and integral part of human culture. It contains a system of general ideas about the genesis, structure and world order. Due to the fact that such knowledge greatly enhances power over the world and others, the initiates had to have special qualities - specific indicators of the brain capable of accommodating knowledge, spiritual maturity, responsibility and be able to bear it. Transformation of sacred knowledge and teachings into exoteric (open , secular, accessible to everyone) allows not only to get acquainted with them theoretically, but also to get involved in the technique of mastering spiritual methods. Let's dwell on some of them. Alice A. Bailey, Satprem, Sri Aurobindo Ghosh, Osho Rajnesh, Russian researchers Roerichs, Kapten, Antonov V.V., Lapin A.E., Kashirina T.Ya., Malakhov G.P. are now known to the general reader. they say that creativity is nothing more than a connection to a single information field and all a person can do is find the most acceptable way to enter it.

The information field is heterogeneous in its composition. It is extremely multifaceted and the lowest - the mental layer consists of five layers of the mind - ordinary, higher, illumined, intuitive, global. These positions are most fully developed by Sri Aurobindo, according to whom we will give these characteristics. He believed that each layer of the mind has a special color and vibration. It is the properties or qualities of light, the nature and frequency of vibrations, that are the barriers of the layers of the mind. So, in his interpretation, the lowest or ordinary mind - gray maize with many dark dots that swarm around people's heads, that huge mass of information that constantly attacks a person. (Esoteric teachings consider the human brain not as an organ that creates thoughts, but as a receiver that constantly catches certain thoughts, information). The ordinary mind is the densest layer, huge in volume, which keeps ordinary people captivated by its information, focused mainly on the nature and quality of interpersonal communication. People who are in it are infinitely dependent on each other, mutual emotions and often cannot maintain a single stable mood for a long time. They, according to A. Bailey, are unhappy, because they are at the bottom of the ocean and do not represent the beauties of the upper sunny floors. Creativity here is possible to an extremely small extent. Most often, it is reduced and practically replaced by a compilation of already created works.

The higher mind is most often found in philosophers and thinkers. Its color also changes. Dove shades appear in it, flashes of light are observed, which do not disappear for some time. Here information is concentrated, focused on a specific mind, which is quite rigid in nature and is focused on constant analysis, dissection. A person entering this layer cannot immediately understand the information received, he correlates it with his attitudes for a long time, selects episodes from it, recomposes and creates his own object, different from the general information field. Emotions in this layer last longer than in the ordinary mind, but they also depend on a lot of surrounding circumstances. The illumined mind is characterized by a different nature. Its basis is no longer “general neutrality, but a clear spiritual lightness and joy; on this basis, special tones of aesthetic consciousness arise.” This layer of the mind is flooded with a golden stream of light, saturated with different shades, depending on the consciousness of the creator. A person who has entered this layer is in a state of lightness, joy, love for everyone around, constant readiness for positive actions. The mind expands infinitely and gladly accepts the whole world and itself in this world. Information coming from the general field is perceived immediately, it does not require a long adaptation to the qualities of the creator. Creativity is carried out in a variety of areas - sciences at the level of discoveries, art in all its multi-genre, worship of a new, sincere love. The ascent to this layer is characterized by a sudden flowering of creative abilities and most often manifests itself in poetry. Most of the great poets went into this layer, the great composers drew their ideas from it. Each person can go into it from time to time, and children who often speak in verse at the age of 4-7 years become a vivid confirmation of this, and although here mechanical rhyming occurs most often, there is a certain connection with the illuminated mind. A person who has mastered spiritual practice and is able to enter this layer of the mind stays in it for as long as he needs, illuminates others with his light and warmth. These are radiant people who attract others to them.

intuitive mind it is distinguished by clear transparency, mobility, airiness, not connected with metal constructions. It comes out suddenly. After staying in other layers of the mind, a person becomes knowledgeable not at the level of constructing mental structures, but at the level of all-knowledge, all-understanding. Intuition brings a state of constant joy and happiness, when a person enters the stage of not knowing, but recognizing, as Sri Aurobidno says, the truth is remembered. “When there is a flash of intuition, it is clearly seen that knowledge is not the discovery of something unknown - it reveals only itself, there is nothing more to discover, it is a gradual recognition in time of that moment of Light when we saw everything. The language of intuition is extremely concrete, it does not contain pompous phrases, but there is also no warmth of an illumined mind.

global mind - the top, which is rarely approached by a person. This is the level of cosmic consciousness where personal individuality is still preserved. It is from this layer that great religions come, all great spiritual teachers draw their strength from it. It contains the greatest works of art. The consciousness of a person who has entered this layer is a mass of constant light, where the contradictions of the lower layers of the mind are eliminated, since everything is filled with light that creates harmony, joy and universal love. A person can rarely achieve global consciousness, but when this happens, it is carried out in different ways: religious self-giving, artistic, intellectual activity, heroic deeds - everything with which a person can overcome himself. All these layers of the mind are mental, lower layers, which can be reached through a long spiritual practice, perfectly developed by mankind.

In fact, the spiritual practices-methods created in the East are the only ones that were given to man, which could and can create powerful spiritual health and superhuman abilities. Thus, the fruits of creativity, which we often consider with vanity to be our own, in fact, are a connection to a single information field, to different layers of the mind. It is no coincidence that the spiritual teachers of mankind rarely put their names under the works written by them, explaining this by the fact that they were simply dictated to them.

Methods of exit to different layers of the mind are extremely diverse. Now they are becoming popular all over the world. But everywhere the common position remains the preservation of spiritual and physical purity, abstinence in food, the use of a significant number of verified meditations.

Communication with different layers of the mind at different times is felt by almost everyone. Everyone remembers the moments of recognition of some area, phrases, thoughts that seem to have already met, although you clearly know that you are encountering this for the first time. The connection with the information field is very clearly seen when a person is passionate about a certain idea. After some time after thinking it over, the necessary literature literally begins to “crumble” on him, meetings with people who can help him take place. That is, access to a common information layer always attracts related information. Everyone has intuitive glimpses when a person clearly knows what will happen, but the concrete mind begins to persuade him that all this is illogical and, therefore, ridiculous. Hence, a significant number of wrong deeds.

This information makes it possible to approach the study of the phenomenon of provincial creativity. It is known that in some parts of the globe, to which Russia also belongs, the layer of the ordinary or lower mind is narrowed, therefore the entire culture of our country is saturated with information from higher layers. Hence, people born in this territory are initially endowed with big data to enter higher information fields. But the narrowing of this layer is represented differently in specific localities and, to a large extent, depends on the abundance of people living together. In territories with a large number of them, the lower layer of the mind (the capital) becomes denser, which is so concentrated that it is extremely difficult to break through it. The abundance of people gives rise to a very powerful field that coordinates group actions, including everyone in a single vibrational vibration. As long as you live and act in resonance with everyone, you feel comfortable, and only when a person begins to look for his own path, that is, to get out of the general flow of vibrations, others begin to consciously put pressure on him. Each of us experienced resistance when we tried to make an independent decision. At this moment, there are many people around who give completely natural “correct” arguments and attack us with their reasoning. They calm down only when they get their way. Sri Aurobidno Ghose pointed out: “As long as we roam the common herd, life is relatively simple, with its successes and failures - few successes, but not too many failures; however, as soon as we want to leave the common rut, thousands of forces rise up, suddenly very interested in us behaving “like everyone else,” we see with our own eyes how well our imprisonment is organized. In this situation, the forces of a person are spent primarily on resisting the surrounding influences, a person swims in the waves of the lower mind, not having the strength to go beyond its limits.

Staying in the provinces, in nature, is extremely necessary for creators. This is nothing more than an attempt and an opportunity to stay in a less saturated layer of the lower mind, to concentrate one's forces and enter other information fields. Representatives of all branches of knowledge and art have written quite a lot about this need. In the provinces, the layer of the lower mind is not only narrowed, it is also less dynamic, as if rarefied. Among the many gray dots and swirls, other colors are visible, other vibrations are felt. Less attack by alien forces makes it easier to overcome these barriers.

The next point, which is obvious here, is related to activities. The practical orientation of the work of the majority of the inhabitants of the province with a clear alignment of value orientations and the very way of life directs a person not to the pointless rational flexibility of the intellect, but to the stability associated with human life values. This relative calm does not disturb and does not give rise to the dynamics of the lower mind to such an extent as in other environments, as a result of which, its attacks are somewhat smoothed out and there is an opportunity to preserve one's "I". Even though the media has oversaturated the layer of the lower mind at the present time, this is balanced by the stability of the way of life. I think that is why the province remains a field of creation, in which the very way of life orients a person towards creativity.

The history of mankind quite clearly demonstrates the dependence of creativity on the place of creation, where the creators retire to quiet, remote, mountainous places, where the layer of the lower mind is sparse.

Therefore, now we are faced with the task of not only teaching young people a set of information collected by a specific mind, but also drawing their attention to teaching time-tested methods that open access to these structures, teach them to perceive high works of art, communicate and understand worthy scientific discoveries.

In this case, the study of the spiritual practices of the East will be invaluable, there are now quite a lot of books and schools in this direction. It will be useful for students to turn to literature of this kind and develop the habit of new activities.

It seems that it not only optimizes creative processes, but allows solving more global problems: it will show the way to the formation of true spirituality, teach you to draw from high information layers, and prepare you for painstaking and hard work. After all, it is known that intellectual and spiritual activity is the most complex and requires tremendous will, efforts on oneself, helping to achieve the desired state, which comes only as a result of long-term thoughtful practice.

Now creativity, its comprehension, development of creative skills is experiencing a real boom. The combination of East-Western methods of creativity, the widespread use of meditative and other spiritual techniques begins to have a certain amount of creative skills, their own creative laboratory, which allows them to fill the vacuum of knowledge and skills in a short time. Therefore, creativity becomes not just desirable, but a necessary component of human life. And, if in ancient times, it provided the possibility of survival in the natural environment, now it is a tool for survival in the social environment.

Obviously, the scale of creative processes will increase, as society moves to a new level of development, where intellectual activity becomes the main area of ​​activity, so it is simply impossible to overestimate the study of the problem of the relationship between creativity and culture.

Alexander Shilov is a Russian painter and portrait painter. He has an incredibly high performance. Hundreds of paintings created by him will undoubtedly remain in the category of "high art". The artist Shilov belongs to the older generation, to the masters of the Soviet era. The propaganda period forced many artists to paint canvases praising communist ideas, values, and party leaders. However, Shilov's paintings always had a certain meaning, carried artistic value. At the exhibitions of paintings of that period, it was at his works that people lingered the longest.

Biography of the artist. student body

Artist Shilov Alexander was born into a family of intellectuals on October 6, 1943. When Sasha was 14 years old, he entered the art studio of the House of Pioneers, which was located in the Timiryazevsky district of the capital. The post-war years were difficult, and the young man had to help his family, he worked as a loader. Studied at night school. His life was firmly connected with the fine arts. The artist Laktionov immediately noticed the boy's abilities, he helped develop the young talent. Later, Laktionov played a significant role in the work of Shilov.

Since 1968, Alexander Shilov studied at the Surikov State Art Institute. I studied there for five years in the class of painting. In his student years, he painted many paintings. His works were popular at many art exhibitions of young talents. Even then, Shilov's works stood out among the rest for their expressiveness.

mature years

In 1976, Alexander Shilov was accepted into the Union of Artists of the USSR. After that, he is given a personal workshop, he receives a series of orders from the party of the country. The artist Shilov starts to work already as a recognized master. By order of the Government in 1997, in the very center of Moscow, not far from the Kremlin, a personal gallery of Alexander Shilov was opened. In the same year, People's Artist of the USSR Shilov became a corresponding member of the Academy of Arts of Russia.

In 1999, Alexander Maksovich holds a post in the Council of the Russian Federation for Art and Culture. Political activity began to occupy more and more time, and the master began to visit the art studio less and less. 2012 finally dragged the artist into politics. Shilov becomes a confidant of President Putin, is a member of the Public Council under the Federal Security Service. In March 2014, Oleksandr Shilov puts his signature under the President's appeal, it concerned the political position regarding the events in Ukraine.

Personal life

The artist Shilov was married several times. The first marriage was registered with the artist Svetlana Folomeeva. In 1974, the couple had a son, Alexander. He continues the family tradition and is currently a member of the RAI. Alexander Alexandrovich Shilov is, of course, a hereditary artist, but his writing technique is very individual, pronounced.

After a break in relations with his first wife, Alexander Shilov lived as a bachelor for some time. The second wife Anna Shilova was the artist's muse, from her he received great inspiration in his work. The couple lived in marriage for twenty years (1977-1997). During this time, the artist had two daughters: Maria in 1979 and Anastasia in 1996. But after these years, another divorce followed in the life of the master.

Union with music

Alexander Shilov, a world-famous artist, could not do without inspiration from the weaker sex. For the third time, he chose a violinist as his companion. The creative union of painting and music gave rise to many new works by the master. Yulia Volchenkova is depicted in many of Shilov's works. In 1997, daughter Catherine was born. The marriage with Volchenkova was not officially announced, however, Katya was registered as the legitimate daughter of Shilov.

Three years later, the violinist and the artist lost interest in each other, mutual feelings were lost. Yulia Volchenkova was recognized as the legal official wife, therefore, when dividing the property, the couple faced litigation. The case was considered in two courts: on the housing issue and the general state of affairs. Throughout her life, the daughter of the artist Shilov Katya did not feel the need for anything. She has a normal, civilized relationship with her father.

Gallery of artist Shilov

In 1996, Alexander Maksovich Shilov addressed the State Duma with a request that all his works be donated to the state. Such an idea came to the artist more than once after his exhibitions, when visitors asked to create a permanent gallery of Shilov's works.

On March 13 of the same year, with the unanimous decision of all factions, the State Duma of the Russian Federation passed a resolution on the acceptance of the Shilov collection by the state. A request was sent to the Government of Russia for the allocation of premises for the exhibition of the artist. At first, they planned to allocate three halls directly on the territory of the Kremlin, but due to the security of the facility, the decision was changed. The gallery of the artist Shilov was located at Znamenka, 5. The founder of the gallery was the Government of Moscow, 355 works of the artist Shilov were accepted and placed.

Gallery opening

The grand opening of the gallery took place on May 31, 1997. It was attended by the first persons of the city, famous, respected people: Mayor Luzhkov, singers Kobzon, Esambaev, artists Shakurov, Nikulin and many others. Shilov, an artist whose gallery could now receive hundreds of visitors daily, promised that he would replenish the collection with new works every year. In 2003, the architect Posokhin presented a project for a new gallery building, which, according to the plan, was a single architectural complex with an old mansion (the total area of ​​​​the old building occupied 600 square meters). In the same year, on June 30, the opening of a new building for the gallery took place.

The exhibition area of ​​the gallery is 1555 square meters, stock storage - 23 square meters. There are 19420 items stored in the gallery, the main fund occupies 991 items. An average of 110,000 people visit the gallery every year. Shilov Gallery ranks 11th in the ranking of state museums. Alexander Maksovich personally manages the creative activities of the exhibition, the director of the gallery decides administrative and financial issues.

The current state of the gallery

The basis of the gallery's exposition is the paintings of the artist Shilov, representing picturesque portraits of people of different categories. Here you can see the faces of war veterans, doctors, scientists, musicians, clergymen, sharply social images.

Female images have a special place in the artist's work, he was able to see the beauty in every face of the fairer sex, to emphasize the features of the look, facial expressions, and gestures. The gallery also presents works of landscape genres, still lifes, nude style. Two halls are reserved for graphics. Soft music constantly sounds in the walls of the gallery. Excursions are constantly held here, lectures are given, competitive programs for orphans and disabled children are held on a charitable basis. In the halls of the gallery, "Starry Evenings" are held, Kobzon, Gaft, Bashmet, Zeldin, Sotkilava, Pakhmutova, Kazakov, Dobronravov, Obraztsova performed here. The Meetings at the Portrait events provide an opportunity to meet the person depicted on the canvas. Some of the gallery's paintings are exhibited from time to time in Russian cities. The exhibition "They fought for the Motherland" traveled to dozens of cities and was a huge success.

Shilov is an artist. Paintings. Creation

Shilov's work is a whole world. Still lifes, landscapes, graphics, genre paintings - all this can be seen at the exhibition, but, of course, his main masterpieces are portraits. A whole section is dedicated to the older generation by Shilov the artist. The pictures of the old people are very touching, many people stay near them for a long time. These include the following canvases:

• 1971 - "The Old Tailor".
• 1977 - "My grandmother."
• 1980 - "The wild rosemary blossomed."
• 1985 - "Soldier's Mothers".
• 1985 - Forgotten.

Most of the master's work is occupied by portraits of prominent figures, diplomats, famous artists, and writers.

• Ballet "Spartacus" 1976 - "People's Artist of the USSR Maurice Liepa".
• Ballet "Giselle" 1980 - "Ballerina Lyudmila Semenyaka".
• 1984 - "Portrait of the writer Sergei Mikhalkov."
• 1996 - "Mayor of Moscow Luzhkov".
• 2005 - "People's Artist of the USSR Etush".

The artist created many portraits of clergymen.

• 1988 - "In the cell" Pyukhtitsky monastery.
• 1989 - "Archimandrite Tikhon".
• 1997 - "Monk Joachim".

Shilov's still lifes depict many of our household items. It is amazing how the master created masterpieces from the image of simple things (books, dishes, wild flowers).

• 1980 - "Gifts of the East".
• 1974 - "Violets".
• 1982 - "Pansies".

• 1983 - "Silence".
• 1986 - "Thaw".
• 1987 - "The last snow in Peredelkino".
• 1987 - "Nikolina Gora".
• 1999 - “Golden autumn.
• 2000 - Autumn in Clothes.

Other works of Alexander Shilov that should be noted are:

• 1981 - "On the birthday of Arisha."
• 1981 - "Portrait of Olenka".
• 1988 - "Portrait of a mother".
• 1993 - "Homeless".
• 1995 - "Young Muscovite".
• 1996 - "Self-portrait".
• 1998 - "The fate of the violinist."

Alexander Shilov is an artist, whom some call the exponent of the "Luga style". Sharp critics associate it with bad taste in the fine arts, vulgarity. Adherents of historical architecture criticize Shilov for the fact that in 2002 two monuments dating back to the 19th century were demolished on Volkhonka. In place of this, a lifetime gallery of the artist was erected. The construction of the new building caused a mixed reaction from officials. It was connected not with the building of the gallery, but with the construction of a business center on the territory adjacent to the gallery. Shvydkoy, the Minister of Culture of the Russian Federation, personally opposed such development.

Alexander Marsovich Sh I L O V

Born October 6, 1943 in Moscow.
From time immemorial, Great Russia has given birth to talents that all mankind is rightfully proud of. They entered the history of world culture. Their names are immortal. Among our contemporaries who create Russian culture today, Alexander Shilov certainly stands out. He is one of the outstanding artists of the past twentieth century and the beginning of a new one, a living legend, the pride and glory of Russia.
In 1957-1962 A.M. Shilov studied at the art studio of the House of Pioneers in the Timiryazevsky district of Moscow, then at the Moscow Art Institute named after V.I. Surikov (1968-1973). Participated in exhibitions of young artists. In 1976 he became a member of the Union of Artists of the USSR. He held numerous solo exhibitions in the best halls not only in Russia, but also abroad. His paintings have been exhibited with great success in France (Boulevard Raspail Gallery, Paris, 1981), West Germany (Willibodsen, Wiesbaden, 1983), Portugal (Lisbon, Porto, 1984), Canada (Vancouver, Toronto, 1987), Japan (Tokyo , Kyoto, 1988), Kuwait (1990), United Arab Emirates (1990), other countries.
Alexander Shilov chose the most difficult direction in art - realism, and remained faithful to the chosen path for the rest of his life. Absorbing all the highest achievements of world art, continuing the traditions of Russian realistic painting of the 18th-19th centuries, he purposefully, inspiredly went his own way, enriching and improving his own artistic language. He avoided the influence of destructive tendencies in the artistic culture of the 20th century, did not lose the miraculous properties of his talent and the artist's most precious tool - the heart.

Among a large number of his works - landscapes, still lifes, genre paintings, graphics. But the main genre of A.M. Shilova - portrait. It is the person, his individuality, uniqueness that is the focus of the painter's creativity. The heroes of his works are people of very different social status, age, appearance, intellect, character. These are politicians and ministers of the church, prominent figures of science and culture, doctors and war heroes, workers and rural workers, old and young, businessmen and homeless people. Among them are portraits of pilot-cosmonauts P.I. Klimuk (1976), V.I. Sevastyanova (1976), V.A. Shatalov (1978), "Son of the Motherland" (Yu.A. Gagarin, 1980), "Academician N.N. Semenov" (1982), "On Victory Day. Machine gunner P.P. Shorin" (1987), "Metropolitan Filaret "(1987), "Metropolitan Methodius" (1990), "Archbishop Pimen" (1990), "Hegumen Zinovy" (1991), "Film director S. Bondarchuk" (1994), "Dramaturg V. Rozov" (1997), " People's Artist of the USSR Yevgeny Matveev" (1997), "Portrait of A. Yakulov" (1997), "Portrait of Tamara Kozyreva" (1997), "Portrait of Bishop Vasily (Rodzianko)" (1998), "Writer Arkady Vainer" (1999), "Portrait of a mother", "G. Kh. Popov" (1999), "After the ball" (Natalia Bogdanova) "(2000).
As a portrait painter, Alexander Shilov is a kind of intermediary between man and time. He sensitively captures the psychological life of the image and creates not just a painting, but, penetrating into the secrets of the soul, reveals the fate of a person, captures the moment in which our real contemporary lives. A. Shilov is interested in a person in all manifestations of individual existence: his characters are in joy and sadness, in calm meditation and in anxiety of expectation. There are many children's and women's images on his canvases: pure, charming, heartfelt, beautiful. Respect and sympathy are imbued with portraits of elderly people who have lived a long difficult life, but retained kindness and love for others: "My grandmother" (1977), "Master of the earth" (1979), "Ledum blossomed" (1980), "On Arisha's birthday "(1981), "Together" (1981), "Cold" (1983), "Grandfather Gavrila" (1984), "Soldier's Mothers" (1985), "Portrait of a Mother" (1988), "Mother Macarius" (1989) , "Homeless" (1993), "Abandoned" (1998). The special softness and sincerity of the images makes A. Shilov's works deeply national.
Everything in A. Shilov's paintings carries a deep meaning. There is nothing accidental in them, for the sake of external effect. The facial expression of a person, his posture, gesture, clothing, interior items in the picture, its coloring serve to create an image, characterize the hero, convey his inner state.
No lofty words can convey the great mastery that Alexander Shilov achieved. The artist simply works wonders. With his magic brush, he makes the eyes speak, turns colors into silk, velvet, fur, wood, gold, pearls... His portraits live.
In addition to oil paintings, the artist's collection includes paintings made in the pastel technique. This is an ancient technique in which the artist writes with special colored crayons, rubbing them with his fingers. Having perfectly mastered this most complex technique, Alexander Shilov became an unsurpassed pastel master. Nobody since J.E. Lyotard did not achieve such virtuoso skill.
Conquers, enchants, the portrait of Masha Shilova (1983), made in this technique, cannot leave anyone indifferent. What a beautiful Masha! What Mashenka has long hair! What an elegant, luxurious dress Mashenka has! The baby is already aware of its attractiveness. Pride, joy and happiness illuminate her smart, sweet, tender face. Masha's posture, the position of the head, hands - everything is full of natural grace and nobility. Childishly plump hands affectionately, carefully hug their beloved bear. The girl animates him, does not part with him for a second - this child has a compassionate, kind, pure soul.


Masha's childhood happiness coincided with the happiness of the artist himself. It is impossible not to feel that the picture was created in a single impulse of love and happy inspiration. Everything in it is depicted so lovingly, written out with such great and amazing art: a pretty face (gleaming eyes, delicate velvet skin, silky hair), a chic dress (playing satin, luxury lace and ribbons), a shaggy bear. In terms of thoroughness and plausibility, only the talent and love of A. Shilov could do this.
The image on the canvases of A. Shilov "breathes" with such authenticity that the audience in front of the paintings weep and laugh, sad and rejoice, admire and are horrified. Such portraits are the fruit of not only skill, but the heart, mind, soul of the artist. Only a person with a vulnerable, impressionable, nervous soul, who feels the pain, suffering, joy of each character in his own heart, can write like that; a wise man, deeply aware of life, knowing the price of everything: love, happiness, and grief. Only a patriot who loves his people, his city, his country with all his heart can write like that.
Russia for Alexander Shilov is beautiful and loved. Landscape painting of the master is a reverent declaration of love to the Motherland. He is inspired by the image of a modest, sad, sincere Central Russian nature: "Thaw" (1986), "February. Peredelkino" (1987), "October. Nikolina Gora" (1996). In the most ordinary, he knows how to see beauty. The artist is interested in various states of nature, which give rise to various emotions in the soul. By means of landscape, he expresses the finest range of feelings: joy, anxiety, sadness, loneliness, hopelessness, confusion, enlightenment, hope.
In still lifes, the artist depicts objects that are inseparable from our life, decorating it: books, indoor and field flowers, elegant dishes. Among the most famous are such works as "Gifts of the East" (1980), "Violets" (1974), "Pansies" (1982) and others. And yet it is the portrait that occupies a central place in the artist's work.
In 1996, Alexander Maksovich Shilov donated a collection of 355 paintings and graphic works to the Fatherland. This noble act was duly appreciated by the public, the leadership of the country and its capital. By resolutions of the State Duma of the Russian Federation of March 13, 1996 and the Government of Moscow of January 14, 1997, the Moscow State Art Gallery of the People's Artist of the USSR A. Shilov was established.
To accommodate the collection, a mansion was allocated in the historical center of Moscow near the Kremlin, built at the beginning of the 19th century according to the project of the famous Russian architect E.D. Tyurin. The grand opening of the gallery took place on May 31, 1997. Created in accordance with the highest spiritual needs of the viewer, with respect and love for him, from the first days of his life, it became extremely popular and extremely visited. For 4 years of existence it was visited by over half a million people.
The museum collection of A. Shilov is constantly replenished with new works by the artist, which confirms his promise: to bring each new work written as a gift to his native city. On May 31, 2001, the Moscow State Art Gallery of the People's Artist of the USSR A. Shilov celebrated the fourth anniversary of its opening. The presentation of the gift of new works by A. Shilov to Moscow was timed to coincide with this day. Three new portraits - "Professor EB Mazo", "Milochka", "Olya", created in 2001, have replenished the permanent exposition of the Gallery, whose collection today includes 695 paintings.
By donating his best new works, A. Shilov thereby continues the best spiritual traditions of the Russian intelligentsia, the traditions of patronage and service to the Fatherland.
The work of Alexander Shilov received well-deserved recognition: in 1977 he became the laureate of the Lenin Komsomol Prize, in 1981 - the People's Artist of the RSFSR, in 1985 - the People's Artist of the USSR. In 1992, the International Planetary Center in New York named one of the planets "Shilov". In 1997, the artist was elected a corresponding member of the Russian Academy of Arts, an academician of the Academy of Social Sciences, and in 2001 he was elected a full member of the Russian Academy of Arts.

Since 1999 he has been a member of the Presidential Council for Culture and Art.
September 6, 1997 for services to the state and for his great personal contribution to the development of fine arts A.M. Shilov was awarded the Order of Merit for the Fatherland, IV degree. But his most expensive, priceless reward is the love of the viewer.
Creativity A.M. Shilov are devoted to the films "Knocking at the Hearts of People" (1984), "The Art of A. Shilov" (1990), "Alexander Shilov - People's Artist" (1999), as well as albums of his paintings and drawings.
A.M. Shilov loves classical music. His favorite Russian artists are O.A. Kiprensky, D.G. Levitsky, K.P. Bryullov, A.A. Ivanov, V.G. Perov, I.I. Levitan, F.A. Vasiliev.
Lives and works in Moscow

If you want to admire the portraits of famous and ordinary people, pay attention to the paintings of Alexander Shilov. Creating another work, he conveys in it the individuality, character, mood of a person.

About the artist

Alexander Maksovich Shilov was born in Moscow in 1943. He received his first professional artistic skills at the House of Pioneers, which was located in the Timiryazevsky district of the capital. Here Alexander studied at the art studio.

From 1968 to 1973 he was a student at the Moscow State Academic Art Institute named after M. V. I. Surikov. Since 1976 Shilov has been a member of the Union of Artists of the USSR. In 1997, he was given premises near the Kremlin to open a personal gallery. There you can see paintings by Alexander Shilov.

He is a full member of the Russian Academy of Arts, a member of the Council for Culture and Art under the President of the Russian Federation. Alexander Maksovich was awarded many orders, signs, medals, diplomas for his high merits. He is also the recipient of several awards.

Portrait of Mashenka

This is the name of one of the works created by the artist Alexander Shilov. His paintings allow the characters of the canvases to come to life in front of the audience. They inspire other creative people as well. So, the poet Ivan Esaulkin, inspired by the work of a talented artist, wrote five quatrains dedicated to the painting, which was created in 1983.

The canvas is written in pastel technique. The poet calls it fabulous. He says that Shilov achieved his goal - shed light on our souls. Such a feeling arises when you look at the paintings of Alexander Shilov.

The description of this portrait can begin with the fact that Mashenka is 3 years old. This is the artist's daughter from his second marriage. Unfortunately, she passed away early - at the age of sixteen.

The artist was able to convey the love for his daughter through paints and brushes. The girl holds her favorite toy, looks at the viewer clean. The corners of her mouth are slightly raised in a half smile. It can be seen that the child is happy. The mood of the hero of the canvas is conveyed by other paintings by Alexander Shilov.

In this work, the artist managed to show even the smallest details of the attire, folds and frills of a beautiful dress are visible. The curves on the sleeve were able to convey the movement of the arm.

The girl is sitting on a chair. The decor and clothes help to understand that we are in front of a real princess. All this was transferred to the artist, who loved his daughter very much.

"One"

The paintings of Alexander Shilov show not only happy, but also sad people who evoke a feeling of compassion.

The canvas “One” was written in 1980. It depicts an elderly woman. She is drinking tea from an iron mug with two sweets nearby. But the meal does not bring joy to the old woman. She sadly looks in front of her, because she is sad and lonely. These are the details and the mood of the characters that Alexander Maksovich Shilov can convey, whose paintings you can look at for hours.

Once a woman was married, this can be seen from the ring on her hand. Previously, villagers did not have the opportunity to purchase gold jewelry, so the ring could be iron, or at best, silver.

If a woman has children, then they most likely moved to live in the city. In those days, young people aspired to leave the countryside. Granny sits and is sad near the wooden table. Perhaps she remembered her difficult life? Or is she thinking about when the children and grandchildren will finally arrive? The viewer wants it to happen as soon as possible. Then the old woman's house will be filled with noisy conversations, cheerful children's laughter, and she will be happy.

These are the thoughts and desires evoked by the paintings of Alexander Shilov.

"Summer in the countryside"

The canvas "Summer in the Village" was created by the artist in 1980. It depicts a real Russian beauty against the backdrop of picturesque nature. The cut makes the outfit look like the attire of young ladies of past centuries. Just like this girl, they loved to spend the summer months in the countryside. In those days, the head and hands were covered, but on this canvas the artist Alexander Shilov depicted a modern girl. His paintings, like this one, carry a cheerful mood.

The variegation of the meadow sets off the girls in white. She has curly hair and a long braid.

The sky is reflected in the heroine's large eyes. It is blue, with purple tints. The horizon line is clearly shown. There, the blue sky turns into a field with emerald grass. In the foreground you can see high mixed with pink, yellow, white.

The girl folded her hands humbly, genuine modesty froze in her eyes. All this helps to feel the character of the heroine, which was painted by Shilov Alexander Maksovich. Paintings like this show the charm and irresistibility of nature.

Picturesque canvases

In the paintings "Rick", "Indian Summer", "Beyond the outskirts", "The Holy Key near the village of Ivankovo" the artist depicted nature on one of the warm summer days.

The canvas "Stog" is multifaceted. We see a stack of hay. The peasants mowed the grass, dried it for more than one day. Now they piled the finished hay into a stack. So that the blades of grass would not be blown away by the wind, they applied a sledge on both sides.

The stack is located on a high, gently sloping shore. If you go down, you can be near the river. The sky is reflected in its deep waters. Lush bushes and trees fit very well. The dark green perfectly sets off the light green that covers the banks of the river.

Paintings with titles

Here is a list of just some of the paintings that the artist created:

• "Russian beauty".
• "Son of the Motherland".
• "Singer E.V. Obraztsova".
• "Where Sounds Reign".
• "Portrait of Nikolai Slichenko".
• Metropolitan Philaret.
• "Diplomat".
• "Shepherd.

The artist has many other works. Familiarize yourself with them, and a new beautiful world will open before you!

Alexander Maksovich Shilov - realist painter, author of portraits in the traditional romantic style. People's Artist of the USSR.
Born in 1943 in Moscow. Graduated from the Moscow State Art Institute named after V.I. Surikov. Participated in exhibitions of young artists, and in 1976 became a member of the Union of Artists of the USSR.
In 1997, the State Art Gallery of the People's Artist of the USSR Alexander Shilov was opened in Moscow.
Since 1997 - Corresponding Member (since 2001 - Full Member) of the Russian Academy of Arts.
Since 1999 - member of the Council under the President of the Russian Federation for Culture and Art.

“I got acquainted with the works in this beautiful gallery with great pleasure and admiration. Unsurpassed portraits, of course, are part of the history of Russia and its people”, “I am glad and happy that we have such a wonderful museum of a talented, recognized, beloved by all masters. It is a real pleasure to see the exhibition, the artist's skill leaves an indelible impression - high, spiritual, philosophical! - such enthusiastic words are left in the guest book by visitors to the gallery of Alexander Shilov.

We have long been accustomed to the fact that in the center of Moscow - opposite the Kremlin - there is the State Art Gallery of the People's Artist of the USSR, portrait painter Alexander Shilov. She turned 15 this year. Is it a lot or a little? To be judged by visitors, admirers of the painter's talent, and those who for the first time cross the stairs to the high exhibition halls. Many have already forgotten how this museum was created, with a constantly updated exposition. Unfortunately, there are more and more people with a short memory and not respecting their past. These are the realities of our life. But at the same time, interest in realistic art, in the portrait genre, remains. We met with the founder of the gallery and the brightest representative of this genre Alexander Maksovich Shilov and asked him a few questions.

Correspondent. Alexander Maksovich, tell us how it all began?

Alexander Shilov. In 1996, I applied to the State Duma with a proposal to donate my work to the country, the people, the state. I had the moral right to do so. After each exhibition in the 80-90s - and they were held in the Manezh, and on the Kuznetsk bridge, and on Tverskaya - people in their reviews and in their appeals to the heads of various departments asked me to make my exhibition permanent. After listening to my proposal, the Chairman of the State Duma, and then he was Gennady Seleznev, raised this issue at the plenary session. Of which I am proud, all factions, although I never belonged to any of them, voted unanimously for the creation of a state gallery, deciding to give it my name. After that, they turned to the Kremlin with a request to allocate a room in the city center. Not for me personally, as the unscrupulous media write, which is the worst lie, but for the gallery. At first, they offered three halls in the Kremlin Palace, which had just been restored then, but this room is restricted (not open every day), and my work would not fit there. Therefore, this option was dropped. Then the Moscow government allocated a mansion designed by architect Tyurin built in 1830 at the address: Znamenka Street, house 5. A small cosmetic repair was carried out here, and the gallery opened on May 31, 1997. On that solemn day, I said that I would give away works that were not made by me to order - and this is almost 95 percent of what I write. This has been happening for 15 years now. The best in my work - 15-20 paintings and graphics - I present to Moscow every year on City Day.

Corr. And how many works are kept in the collection today?

A.Sh. The collection consists of 935 paintings and drawings.

Corr. You have interesting pastel portraits.

A.Sh. Yes, it is the most difficult technique. I erase my fingers into the blood, as I work on zero-grade sandpaper so that the pastel does not crumble ...

Corr. Your gallery has won the fame of one of the most famous concert venues in Moscow.

A.Sh. Again, by decision of the Moscow Government, we hold concerts of classical art stars “Visiting the Shilov Gallery”. Over the years, world-class masters have performed with us - Obraztsova, Matorin, Sotkilava, Pakhmutova and others. We always have a full house. In addition, we often invite people to our concerts who cannot afford to buy tickets.

We also arrange free evenings for children with disabilities. I would like to pay more attention to those who are deprived of this from birth. We arrange drawing contests, I select children's works for exhibitions. I hope that the children find a good shelter here and feel full.

In addition, there are meetings with the heroes of my paintings. I made a number of portraits of the military, intelligence officers, border guards. We invite guys who are preparing to become defenders of the Fatherland to such meetings. I must say that these evenings are passing warmly and cordially.

Corr. Your creative credo...

A.Sh. The most important thing is to grow as an artist. From work to work, try to improve the level of skill, to achieve depth of content. I write what I feel in my heart. The artist must be a Samoyed, in this state he must work. Only fools are complacent. If a person is satisfied with himself, he dies in creativity. And in order to feel shortcomings, said Repin, you need to look only at the great.

Corr. How do you choose heroes for portraits?

A.Sh. I paint portraits of all kinds of people. And doctors, and artists, monks and nuns, homeless people and abandoned old people. “History in faces”, “absolute section of society” - this is how they write about the gallery's collection. An artist is first and foremost a state of mind. First of all, I must be ready to work. By my last heroine, I was shaking along our roads for 9 hours by car, but I could not do without it. I was told about her, showed her photograph, and I wanted to meet her.

Corr. Has anything shocked you lately?

A.Sh. Yes. That's how she shocked me. Recently returned from the Saratov region. He went to the village to paint a portrait of an amazing woman - Lyubov Ivanovna Klyueva, a participant in the Great Patriotic War. Her portrait will be included in the exhibition "They fought for the Motherland." She is 90 years old, from the age of 19 she was at the front. If you could see her hands! These are not female, and not male hands. They are all in knots. This woman didn't have a day off. She worked all her life and raised six children. She has already buried her husband. When I talked to her, I had a spasm in my throat, tears welled up. It was some kind of spiritual cleansing. Lyubov Ivanovna is intelligent, modest and pleasant in communication. God, what subtle manners she has! When we said goodbye to her, she gave me a rose. It's so touching... It's sad that such beautiful people are leaving. For six months I dreamed of breaking out to her. The work, however, was very hard. It is very difficult to write in a cramped hut with small windows, where even an easel cannot really be placed. But this path to the portrait is dear to me.

Corr. How often does your gallery travel with expositions to other cities?

A.Sh. Approximately once a year. Organizing exhibitions is not an easy task. The gallery does everything itself, for its own money. Recently, the exhibition "They fought for the Motherland" was held in Volgograd. The exhibition includes more than 40 of my works. These are portraits of participants in the Great Patriotic War. Here are ordinary soldiers, clergymen, and famous cultural figures - Bondarchuk, Etush, Viktor Rozov ... The interest was great - the exhibition was extended twice. Front-line soldiers came, not those who sat in the wagons, but, you know, real warriors. If I had such an opportunity and time, I would definitely paint their portraits. After all, these are the last witnesses of the terrible events of the twentieth century, in their eyes - the war. There were many young people. In general, our exhibition has a great educational value. Soon, at the invitation of Aman Tuleev, we will go to Kemerovo. Of course, I would dream of traveling with this exhibition to all the hero cities! But the gallery alone cannot lift this ...

Corr. Have you exhibited abroad for a long time?

A.Sh. For a long time. True, now there is no such special need. First, there is the gallery. Now people come to us from different parts of Russia and abroad. And ordinary people leave reviews, and distinguished guests. President of Kazakhstan Nursultan Nazarbayev, President of Belarus Alexander Lukashenko, and recently Vladimir Putin was. Everyone praised my work, which I am very proud of. For example, I had an exhibition in Paris. A lot of people came. I remember the opinion of Louis Aragon: “It is surprising that under such pressure of ideology and all sorts of “isms” you have preserved the traditions of classicism.” Secondly, I repeat, it is a big risk to organize an outdoor exhibition, moreover, abroad. Now, if someone made such an exhibition for me, I would be happy!

Corr. How can young artists make their way, because realistic art is not in honor today? For example, the organizers of the Kandinsky do not even consider the work of realist artists?

A.Sh. Even Chekhov said: "Talent needs help, but mediocrity will break through on its own." I want to assure you that it is always difficult to break through in my country and abroad, but this is the test of vocation. If a person draws and cannot live without it as without air, and if he has a gift, then such a person cannot be stopped. Talent cannot be stifled. It was not easy for me either, but I worked hard, and today I write every day for 4-5 hours. Then, of course, I feel like a surviving lemon. But until I finish the portrait, I can’t calm down, I feel inferior, I can’t be completely happy. Not for the sake of a beautiful word I will say: "Without work, I will die."

Of course, some today paint only to get rich. That's what PR is for. But, unfortunately, at the same time, the criterion of mastery is being trampled. The level of skill, I think, is deliberately lowered to the position of ris. And this happens in all areas. In literature, painting, music… Everything is deliberately mixed up. Now every genius, everyone knows how to sing, draw, etc.

Corr. Can this situation be changed?

A.Sh. Yes, sure. There must be a government program. Art must be taught from kindergarten in order to develop the souls of people. High art saturates with thoughts and feelings.

I remember how my mother brought me to the Tretyakov Gallery for the first time. I was shocked. Portraits by Levitsky, Borovikovsky, Bryullov are something divine. I was always haunted by the question: “Can a person paint a portrait in such a way that I see the face of a real person with whom I can talk?” I enjoyed the way it was done. Craftsmanship to perfection! I was surprised that I do not see the artist's kitchen, and in my work I also strive not to see it.

But returning to the topic of education, I repeat: there must be a state program. If a child learns to draw and sees masterpieces in front of him, he will never be interested in cheap and vulgar fakes in the future. See how they painted before the revolution in noble families, in military families. Music was taken seriously. Griboyedov composed a waltz - a miracle! And if people do not come into contact with art, purify themselves, grow up, they will quickly turn into a herd. Well, there is always a shepherd.

Corr. And if you are offered to create a certain educational program? Agree?

A.Sh. Yes, I would love to do this.

Corr. Do you often visit provincial art galleries?

A.Sh. Yes. Recently I was in the same Saratov. The gallery is in a terrible state. Although there are paintings by Shishkin, Polenov ... Who should support this? Probably the Ministry of Culture. Let's remember history. Michelangelo's painting of the Sistine Chapel was supervised by the elderly Pope. Russian emperors constantly visited the Academy of Arts, they were interested in what was happening in Russian art. Indeed, the level of development of the country is determined by the state of artistic values, by achievements in art.

Corr. What museums do you prefer to visit abroad?

A.Sh. I love Italy, I love the amazing Louvre Museum. Of course, everything came from Italy. It is no coincidence that our boarders - graduates-medalists of the Russian Academy of Arts - were sent to Italy at public expense. And Kiprensky, and Bryullov, and Ivanov, and many other outstanding artists improved their skills there.

Corr. Do you have students?

A.Sh. No. First, you need to have time, and I don't have it. Secondly, you need to have patience, I don’t have it either. Apparently, this is not my calling. I am an artist. I put a lot of effort into my work. I invite everyone to the exhibition "They fought for the Motherland." I believe that the people who fought and laid down their lives on the altar of the Fatherland should be rewarded much more than is being done now. I want to be heard through these portraits. The exhibition has a very beneficial effect on the viewer, makes you think about a lot, remember the concepts of honesty, honor and decency ... I want a sense of pride in our people, in our art to take root.

Corr. What qualities do you appreciate in women, in men?

A.Sh. Whatever the relationship, in a woman I appreciate devotion, even if it is blind. Any relationship should be based on that. A woman should be loving, caring, feminine. Previously, in the villages it was believed that if a woman loves a man, she protects him. A man is obliged to take care of a woman, while maintaining dignity. But in general, by and large, I love people with a subtle mental device. After all, I'm an artist.

The interview was conducted by Oksana Lipina.

RUSSIAN PHILOSOPHICAL SOCIETY

SECTION "THEORY AND METHODOLOGY OF CREATIVITY"

DEVELOPMENT OF SCIENCE

AND CREATIVITY

Monograph

Moscow 2002

Development of science and creativity. Monograph. Ed. A.N. Loshchilina, N.P. French. M.: RFO RAN, 2002.

Under the general editorship

Doctor of Philosophy, Professor A.N. Loshchilina,

Doctor of Philosophy, Professor N.P. French

The collective monograph "Development of Science and Creativity" is the fourth collective work, which is devoted to a systematic generalization, presentation of ideas and work experience of members of the "Theory and Methodology of Creativity" section of the Presidium of the Russian Philosophical Society. If the first monograph "Philosophy of Creativity" was devoted to the theoretical and methodological problems of creativity, the second and third "Creativity and the development of culture", "Creativity in the space and time of culture" - to the analysis of the role of creativity in the development of culture, then this monograph examines the methodological problems of the development of science and scientific creativity.

The work can be useful for researchers of creative issues, for those interested in the problems of creativity, for students and graduate students, as well as for the preparation of courses and special courses on the philosophy of culture, the philosophy of creativity.

Reviewers:

Doctor of Philosophy, Professor V.A. Titov,

Doctor of Philosophy, Professor V.A. Vasiliev

Ph.D. Aleshnya S.V. , Ph.D., Assoc. Grishunin S.I. (1.3.), Ph.D., prof. Ignatiev V.A. (1.8.), Candidate of Philological Sciences, Assoc. Kataeva O.V. (2.11.), Candidate of Philological Sciences, Assoc. Kononova L.I. (2.9.), Kapitonova T.A. (1.9.), Koroleva S.A. (2.4.), Ph.D., prof. Loshchilin A.N. (2.9.), Loshchilina M.A. (2.6., 2.7., 2.8., 2.9.), Ph.D., Lyubimova T.B. (2.5.), Ph.D. - MD, Assoc. Mikhailova E.M. (1.5.), Ph.D. Markelov V.E., Ph.D., prof. Metlenkov N.F.1.6.), Ph.D., Assoc. Nedzvetskaya E.A., Svetlov S.V. (1.7.), Ph.D., prof. Surkova L.V. (2.1.), Tikhomirova E.A. (2.9.), Ph.D., prof. Frantsuzova N.P. (1.1.), Ph.D., Assoc. Chelyshev P.V. (1.4.), Ph.D., prof. Yakovlev V.A. (1.2.), Ph.D., prof. Yatsenko L.V. (2.2.).

Ó Russian Academy of Sciences,

Russian Philosophical Society,

Section "Theory and methodology of creativity"

FOREWORD

In this collective monograph "Development of Science and Creativity", the work on summarizing the experience of previous studies of members of the section "Theory and Methodology of Creativity" is continued. The leadership of the section set the task of summing up some results of the scientific research that was carried out by the members of the section in the 80-90s of the XX century and the beginning of the XXI century on the problems of the development of science and scientific creativity, in order to summarize the experience and formulate the main tasks of further research within the framework of the section "Theory and Methodology Creativity” at the Presidium of the Russian Philosophical Society for the coming years.

This collective monograph is a continuation of the work that was carried out in previous collective monographs: "Philosophy of Creativity". M., 2002., "Creativity and development of culture." M., 2002., "Creativity in the space and time of culture." M., 2002. If the first three monographs were devoted to the philosophical problems of creativity, the role of creativity in the development of culture, then this work is devoted to the problems of the development of science, scientific creativity, methodological problems of creative activity.

In the 20th century, especially in its second half, in-depth research was carried out on the problems of scientific creativity. This is due, on the one hand, to the rapid development of science, as well as in connection with the fundamental works of K. Popper, T. Kuhn, P. Feyerabend, L.A. Mikeshina, A.T. Shumilina, I.S. Ladenko, N.P. Frantsuzova, M.S. Kagan, Ya.A. Ponomareva, B.Ya. Pakhomov, S.N. Semenov and many other foreign and domestic researchers of the development of science and scientific creativity. Fundamental works on the problems of the development of science made it possible in many respects to consider in a new way the process and essence of the activities of scientists as a scientific community, evolutionary and revolutionary changes in the development of science, the role of a paradigmatic vision of the world, the formation of a scientific picture of the world, the role of the collective principle in the development of science, and many others. Aspects. But at the same time, many factors of internal and external determination of scientific creativity, the essence and role of creative inclinations and creative abilities, ways of their formation and development, remained aloof from a comprehensive consideration. There is no doubt that the development of science is carried out by the scientific community. But any scientific community consists of scientific teams, specific people with certain abilities, needs and interests. And, as Altshuller noted, even if a thousand diggers dig one ditch, then everyone digs it in their own way. In this regard, the task of studying the essence and specifics of not only collective, but also individual creativity arises.

The members of the editorial board were far from being biased in assessing certain ideas, theoretical provisions, which were reflected in certain sections of this collective monograph, although the points of view of the authors largely differ on some issues.

This collective monograph does not pretend to be a comprehensive and exhaustive answer to all the problems of science, and it is impossible to do so in principle. The authors tried to reveal only those aspects of the task that are currently the most relevant. We hope to continue our work in the future.

CREATIVITY AND DEVELOPMENT OF SCIENCE.

Culture and creativity are closely interconnected, moreover, interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize its task only by interacting with the spiritual experience of mankind, with the historical experience of civilization. Creativity, as a necessary condition, includes the habituation of its subject into culture, the actualization of some results of people's past activities. The interaction between different qualitative levels of culture that arises in the creative process raises the question of the relationship between tradition and innovation, because it is impossible to understand the nature and essence of innovation in science, art, technology, to correctly explain the nature of innovation in culture, language, and in various forms of social activity outside of dialectics. development of the tradition. Consequently, tradition is one of the internal determinations of creativity. It forms the basis, the original base of the creative act, instills in the subject of creativity a certain psychological attitude that contributes to the realization of certain needs of society.

Creative activity is the main component of culture , its essence. Culture and creativity are closely interconnected, moreover, interdependent. It is unthinkable to talk about culture without creativity, since it is the further development of culture (spiritual and material). Creativity is possible only on the basis of continuity in the development of culture. The subject of creativity can realize its task only by interacting with the spiritual experience of mankind, with the historical experience of civilization. Creativity, as a necessary condition, includes the habituation of its subject into culture, the actualization of some results of people's past activities.

What do we mean by creativity? Creativity - the creation of new cultural, material values.

Creativity is an activity that generates something qualitatively new and is distinguished by originality, originality and socio-historical uniqueness. Creativity is specific to a person, since it always involves a creator - the subject of creative activity; in nature there is a process of development, but not creativity. .

The most adequate definition of creativity was given by S.L. Rubinstein, according to which creativity is an activity that “creates something new, original, which, moreover, is included not only in the history of the development of the creator himself, but also in the history of the development of science, art, etc.” . Criticism of this definition with reference to the creativity of nature, animals, etc. is unproductive, because it breaks with the principle of cultural-historical determination of creativity. The identification of creativity with development (which is always the generation of the new) does not advance us in explaining the factors of the mechanisms of creativity as the generation of new cultural values.

Creativity is a general criterion of human activity and therefore it is supranational. But creativity is still a tool. No doubt, the tool is the only one. But the process must have a purpose. Meaningless movement does not exist from the very beginning.

Creativity as a criterion for the development of culture

Society, creating artificial nature, simultaneously forms people who are able to consume the culture encrypted in it. So the culture of society reveals its dual nature. On the one hand, they are petrified accumulated forms of activity, fixed in objects, on the other hand, mental forms of activity, fixed in the minds of people. The living culture of society arises from the unity of the objective and conceivable components. The material and spiritual, objective and subjective components of the culture of one society may not coincide with the elements of the culture of other peoples or eras. Thus, the food or clothing of some peoples does not fit into the culture of others: after all, each society creates its own "cultural objects" and its own "cultural individuals". It is from the sum of these poles that concrete historical types of cultures arise.

And no matter what material and spiritual elements of culture we consider, we will certainly see in them a concrete imprint of our time. Paintings by Raphael and Aivazovsky, songs of medieval bards and Vysotsky, bridges of Florence and St. Petersburg, Phoenician ships, the Fulton steamer and modern aircraft carriers, the baths of Rome and eastern sulfur baths, Cologne Cathedral and St. Basil's Cathedral, Australian aboriginal dances and break, Greek tunics and Georgian cloaks - everything and everywhere bears the stamp of time. People who have assimilated these specific historical types of cultures will naturally differ from each other both in the form and in the content of the manifestation of their culture.

In culture, the national and universal are dialectically united. She is always national. From the best achievements of all national cultures, the world universal culture is formed. But "universal" does not mean non-national. Having enriched the treasury of world culture, Pushkin and Tolstoy remain great Russian writers, just as Goethe is German, and Mark Twain is American. And, speaking of culture, both the "denationalization" of world culture and its closure in the limited space of the narrowly national are equally mistaken.

But, culture not only introduces a person to the achievements of previous generations accumulated in experience. At the same time, it relatively severely restricts all types of his social and personal activities, regulating them accordingly, in which its regulatory function is manifested. Culture always implies certain boundaries of behavior, thereby limiting human freedom. Z. Freud defined it as "all the institutions necessary to streamline human relationships" and argued that all people feel the sacrifices demanded of them by culture for the sake of living together ". This should hardly be argued, because culture is normative. In the noble environment of the past century, it was the norm to respond to a friend’s message that he was getting married with a question: “And what dowry do you take for a bride?” But, the same question asked in a similar situation today can be regarded as an insult. Norms have changed, and forget about it shouldn't.

However, culture not only limits human freedom, but also ensures this freedom. Rejecting the anarchist understanding of freedom as a complete and unrestricted permissiveness, Marxist literature for a long time simplistically interpreted it as a "conscious necessity." Meanwhile, one rhetorical question is enough (is a person who has fallen out of a window free in flight if he realizes the need for the operation of the law of gravitation?) to show that the knowledge of necessity is only a condition of freedom, but not yet freedom itself. The latter appears there and then, where and when the subject has the opportunity to choose between different behaviors. At the same time, the knowledge of necessity determines the boundaries within which free choice can be exercised.

Culture is able to provide a person with truly unlimited possibilities for choice, i.e. to exercise his freedom. In terms of an individual, the number of activities to which he can devote himself is practically unlimited. But each professional type of activity is a differentiated experience of previous generations, i.e. culture.

Mastering the general and professional culture is a necessary condition for a person's transition from reproductive to creative activity. Creativity is the process of free self-realization of the individual. Finally, in the leisure environment, culture constantly forces a person to choose what to devote his time to (theatre? cinema? TV? book? walk? going to visit?), what exactly to prefer (KVN on the first program, interview of a famous politician on the second or "horror movie" "via a cable channel?), how to realize the choice made (watch KVN at home, or at a party, or at home, but in the presence of guests?). Any district library is able to offer so many alternatives to choose from that an inexperienced reader may even be confused. And this is no coincidence. The less a person knows about the world of culture, the narrower his possibilities of choice, the less free he is. And vice versa. It is no coincidence that the famous Russian philosopher N.A. Berdyaev considered freedom to be the most important essential characteristic of culture.

The fruits of civilization and culture, which we use daily in everyday life, we perceive as something quite natural, as a result of the development of production and social relations. But behind such a faceless idea there is a great number of researchers and great masters mastering the world in the course of their human activity. It is the creative activity of our predecessors and contemporaries that underlies the progress of material and spiritual production.

Creativity is an attribute of human activity - it is a historically evolutionary form of human activity, expressed in various activities and leading to the development of personality. The main criterion for the spiritual development of a person is the mastery of a complete and full-fledged process of creativity.

Creativity is a derivative of the individual's realization of unique potentials in a certain area. Therefore, there is a direct connection between the process of creativity and the realization of human abilities in socially significant activities, which acquire the character of self-realization.

Thus, creative activity is amateur activity, covering the change of reality and self-realization of the individual in the process of creating material and spiritual values, which helps to expand the limits of human capabilities.

It should also be noted that it is not so important in what exactly the creative approach manifests itself, in the ability to “play” on a loom, like on a musical instrument, or in opera singing, in the ability to solve inventive or organizational problems. Creativity is not alien to any kind of human activity.

As a result of solving the tasks set in the work, it should be noted that culture and creativity are two inextricably linked processes. Raising the level of culture of society increases the number of creative individuals brought up on the cultural achievements of previous generations. And at the same time, the creativity of one person is a powerful foundation for the development of the culture of a class, nation, humanity.