Please use this identifier to cite or link to this item: http://ena.lp.edu.ua:8080/handle/ntb/49640
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dc.contributor.authorГоголь, В. Д.
dc.contributor.authorGogol, V.
dc.date.accessioned2020-05-12T07:23:40Z-
dc.date.available2020-05-12T07:23:40Z-
dc.date.created2019-03-20
dc.date.issued2019-03-20
dc.identifier.citationГоголь В. Д. Інтуїтивне і раціональне в творчості художника / В. Д. Гоголь // Вісник Національного університету “Львівська політехніка”. Серія: Архітектура. — Львів : Видавництво Львівської політехніки, 2019. — Том 1. — № 1. — С. 154–162.
dc.identifier.urihttp://ena.lp.edu.ua:8080/handle/ntb/49640-
dc.description.abstractУ статті розглянуто досвід осмислення єдності інтуїтивного і наукового підходів у творчості художника. Вирішення цієї проблеми пов’язане з фундаментальними питаннями методології процесу виконання твору мистецтва. У процесі створення скульптури (пам’ятника) необхідно вписати пластику в сформоване навколишнє середовище, визначити її масштаб, стиль, обрахувати конструктивну основу тощо. Використання цих складових є необхідною умовою створення досконалого, гармонійного твору.
dc.description.abstractThe article examines the experience of understanding the unity of the intuitive and scientific approach in the artist’s work. The solution to this problem is connected with the fundamental questions of the methodology of the process of performing the work of art. The unity of intuitive and rational is the key to its harmony. Such a dualistic experience of performing artistic works extends the creative range of the artist, complements it with new spiritual and scientific forms. This approach allows us to consider the creative process by non-traditional methods and supplement the procedure for analyzing and performing the work of art. The ability to use rational, scientific (mostly mathematical) methods is the key to success in any field of art. The author of the publication analyzes two vectors of the creative process of the artist (sculptor). The first of them – intuitive, spiritual, which involves creating a work mainly on emotions. The intuitive component usually prevails at the stage of creating an outline, sketch etc. The second vector involves the involvement in the process of creating scientific knowledge (technology, anatomy, perspective, proportions and relationships, etc.). This knowledge helps to harmonize the work, build his composition. So in the process of creating a sculpture (a monument) it is necessary to insert model into the formed environment, to determine its scale, style, to calculate the constructive basis). The use of these components is a prerequisite for the creation of a perfect, harmonious work. The importance of emotionally-aesthetic (intuitive) and scientific (rational) approaches to art is evident. Only in this way is it possible to discover and solve the fundamental questions of the essence of art, to comprehend the most general laws of its development and to choose rational methods of study. The question of the unity of the spiritual and the rational is oriented on the idea of harmony. Harmony finds expression in man – the greatest creation of God. Man is the only one in its nature, who has feelings and thinking, intuition and intelligence. The ability to use rational (mathematical) methods is the key to success in any field of art. But the use of these methods is far from simple, because it relates to the remoteness of art from the rational nature of knowledge and ways of thinking. Nevertheless, their interaction is possible. Is it possible to teach a person to draw, if he does not have innate abilities? In terms of mathematics, this is quite probable. However, the authors of this opinion note that it is not about large works of art, but only about the drawing of simple figures, which can be transmitted using graphs and elementary functions. Each elementary function can be transmitted not only through the graph, but also in the form of an equation. That is, graphic information can be translated into language of formulas. With a set of equations, if necessary, you can recreate the contour of a particular image. To do this, it’s enough to choose a coordinate system and plot the graphs of each of the equations on a certain scale. Optional to see and remember the original figure, to be able to build graphs according to the formulas. The problem of unity of talent and mind is a catalyst in the study of the processes of fundamental laws of interaction between living and inanimate matter and in evolutionary processes. Dualism is the foundation of the Divine Universe (integrity). The correlation between the humanities and scientific aspects must be harmonious. Dante pointed out two ways of moving to perfection: the path is spiritual and rational. The first is discovered through intuition, and the second is due to the mind. These two directions require two-way movement. When the work of art, which is performed using intuition, is analyzed by scientific methods, then aspects of art studies are created. Scientific methods of analysis are valuable in themselves. The procedure for their use in the fine arts, in particular in the sculpture, consists in the fact that intuitively created work is considered from a rational point of view through schemes, scale correlation, technological and constructive calculations, etc. Authors are looking for and using rational ideas for creating new forms. It is important to combine rational knowledge and intuitive feelings. In the fine arts, science (logic) helps to consciously solve creative tasks and analyze the work, even if it is created intuitively. Theoretical knowledge is the basis of the process of creation. They provide a versatile compositional forms in all types of fine arts. An open question remains whether the artist should obey the laws of nature (intuition), or the laws of logic (science). However, these two vectors of the creative process represent a single whole. The question of whether science should interfere in the field of fine arts is rhetorical. In times of prosperity, art has always entered into an alliance with science. The primary is the idea, just as the line is the development of a point (point), time – the development of momentum, movement – the development of rest. Also, the universe arises from the divine principle. The moment of self-expression of the artist is based on the unity of spiritual and rational, intuitive and logical. And this fact should be taken as a necessity and a mandatory requirement. Spiritual and rational world are two parts of the whole, two opposites with different symbols that are mutually attracted.
dc.format.extent154-162
dc.language.isouk
dc.publisherВидавництво Львівської політехніки
dc.relation.ispartofВісник Національного університету “Львівська політехніка”. Серія: Архітектура, 1 (1), 2019
dc.subjectтворчість
dc.subjectінтуїція
dc.subjectраціоналізм
dc.subjectгармонія
dc.subjectдосконалість
dc.subjectcreativity
dc.subjectintuition
dc.subjectrationalism
dc.subjectharmony
dc.subjectperfection
dc.titleІнтуїтивне і раціональне в творчості художника
dc.title.alternativeIntuitive and rational components in the work of the artist
dc.typeArticle
dc.rights.holder© Національний університет “Львівська політехніка”, 2019
dc.rights.holder© Гоголь В. Д., 2019
dc.contributor.affiliationЛьвівська національна академія мистецтв
dc.contributor.affiliationLviv National Academy of Arts
dc.format.pages9
dc.identifier.citationenGogol V. Intuitive and rational components in the work of the artist / V. Gogol // Visnyk Natsionalnoho universytetu "Lvivska politekhnika". Serie: Arkhitektura. — Lviv : Vydavnytstvo Lvivskoi politekhniky, 2019. — Vol 1. — No 1. — P. 154–162.
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dc.citation.journalTitleВісник Національного університету “Львівська політехніка”. Серія: Архітектура
dc.citation.volume1
dc.citation.issue1
dc.citation.spage154
dc.citation.epage162
dc.coverage.placenameЛьвів
dc.coverage.placenameLviv
dc.subject.udc73.01/.09
dc.subject.udc7.013
Appears in Collections:Вісник Національного університету “Львівська політехніка”. Серія: Архітектура. – 2019. – Том 1, випуск 1



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