Формування етнофутуристичних принципів художньої самоідентифікації

Abstract

У статті досліджено особливості формування етнофутуристичних принципів художньої самоідентифікації на основі вивчення відомостей про появу та розвиток етнофутуризму як явища у сучасному культурно-мистецькому просторі. Проаналізовано відмінності іконографічної, морфологічної і композиційної побудови скіфської кам’янорізної пластики VIІ–ІІІ ст. до н. е. на різних територіальних осередках – ареалах. Відокремлено й проаналізовано сім основних етапів розвитку творчого мислення з позиції поступового формування етнофутуристичних принципів творчої людини.

В статье исследованы особенности формирования этнофутуристических принципов художественной самоидентификации на основе изучения сведений о появлении и развитии этнофутуризма, как явления в современном культурно-художественном пространстве. Проанализированы различия иконографического, морфологического и композиционного построения скифской каменной скульптуры VIІ–III ст. до н. э. на разных территориальных ареалах. Выделены и проанализированы семь основных этапов развития творческого мышления с позиции постепенного формирования этнофутуристических принципов творческого человека.

The article analyzes the peculiarities of formation of ethno futuristic principles of artistic self-identity based on the study of the appearance and development of ethno futurism as a phenomenon in the modern art and culture environment. It has been established that its appearance in the 20th – beginning of 21st century was caused by the need to preserve ethnocultural identity of the Turkic and Finno-Ugric peoples, however, despite its narrow orientation the principles of ethno futurism triggered the art development in the modern world. It has been determined that the human-created image is the information embedded in form and elements, and woven from many substances of the outside world. It has been found that straight horizontal, wavy lines, spirals, volutes, oval shapes, rounded and ovalish outlines prevail in the steppe zone of the southern region, thus being particularly distinguished from the forms and lines of the mountainous area, forest-steppe and forest zones where one can observe more vertical lines and shapes with sharp outlines and angles in ornaments and pictures: separate or combined triangular, diamond-shaped, rectangular and square shapes. The differences of iconographic, morphological and compositional construction of Scythian stone sculpture of 7th – 3rd B.C. at different territories-natural areas: the northern Black Sea region, the North Caucasus and the steppe region of Crimea, have been also analyzed. It has been established that the variations of sculpture features were caused not only by different artists work, but especially by conscious and unconscious adaptation of the sculptors to other territory and psychophysical perception. By relying on the researches of N. S. Blednova, Ya. A. Sher, L. B. Vyshniatskyi, seven main stages of creative thinking development, such as pre-graphic, schematic, physiosculptural, life-like, of true images, of ornamental reinterpretation, and of schematic transformation, have been separated and analyzed from the perspective of gradual formation of ethno futuristic principles of creative person’s self-identity. It has been determined that the pre-graphic stage of creative thinking arises instinctively by action – movement of a subject or an object in space, and involves the relationship between the subject and the environment; the schematic stage is distinct in the associative thinking reflected in the connection of lines and in the resemblance to the objects of the outside world where image is transmitted not through the object copying but through the knowledge; the physiosculptural stage is connected to the rapid development of imagination and the formation of world perception wholeness reflected in the relation of objects. By abandoning the general schematics the figures become recognizable and some similarities appear; the stage of true images requires by now appropriate knowledge and skills acquired by practical training with enhanced study of drawing, composition, painting and sculpture; the concepts of color, light and shade, plasticity and general composition, as well as the ability to convey movement and perspective, appear. The stage of ornamental reinterpretation is aimed at the desire of modification, re-thinking and independent interpretation of the form and details by applying various alternative techniques to form the original author’s style; the stage of schematic transformation is focused on the conversion of the image into an abstract, schematic form through the apperceptive memory, adaptation, and philosophical and psychological perception. It has been determined that natural adaptation forms the character of person’s creativity and therefore reveals the ethno futuristic peculiarities of their regional self-identity, namely the stages of the creative person’s apperceptive memory formation as a synthesizing principle of this formation; the development of conscious and unconscious forms construction; the evolutionary process of forms generation in adolescence; the self-evolving system of perception of creative person’s formed consciousness; the signs of self-identity and their use in the works of art; the principles of ethno-formative graphic language of contemporary fine art, applied and decorative arts, and design.