Visits: 4

DEVELOPMENT OF EMOTIONAL AND SPIRITUAL UPBRINGING OF STUDENTS OF ARTISTIC INSTITUTIONS

The article analyzes the influence of the artist’s spiritual and emotional state on the creation of an artistic product. The role and place of art education in the system of forming the worldview of a creative personality is determined. The main means of artistic and figurative language as a structure of students’ spiritual education are characterized.
Keywords: Kosiv Art School, spirituality, decorative art, worldview, artistic image.

Yurchyshyn H. M.
Professor, Candidate of Architecture, Honored Architect of Ukraine,
Corresponding Member of the UAA, Director,
Kosiv State Institute of Decorative Arts, Kosiv, Ukraine
Stefiuk R. H.
PhD in Art History, Associate Professor, Director,
Professional College of the Kosiv State Institute of Decorative Arts, Kosiv, Ukraine

10.34142//2708-4809.SIUTY.2022.158

The category of spirituality is perhaps the most important fundamental component in the formation of a master artist, an artist with a deep sense of national identity and high human values. These components of existential art are laid down in future creators of beauty from school years. It is at school, which gives rise to a person’s worldview, that the foundations of lifelong learning of a future citizen are formed. A worldview is a system of the most general philosophical, aesthetic, political, ethical, and religious views of a person on the world as a whole, on the universe and his or her place in it. Worldview as a holistic understanding of the world and oneself, of the possibilities of talent is indeed the most important motive for creativity, so artistic works reflect the historical dimensions of worldview: beliefs, principles of cognition, ideals and norms characteristic of a certain time, in fact, a synthesis of the intellectual and emotional mood of the era. This often reveals a previously unknown and unexpected worldview – one’s own artistic world based on the intellectual and emotional experience of the individual.

As T. Kharlamova notes,

“…it is the scientific achievements of mankind that have exacerbated the problem of the essence of Man, human nature, revealed the “anthropological catastrophe” of civilization (M. Mamardashvili), the crisis of “humanity” of modern society (Teilhard de Chardin, C. Lévi-Strauss). The negative consequences of scientific and technological progress have led to the realization that all the achievements of technogenic civilization alone are not capable of introducing into human culture the value orientations and ethical norms that are most important for human existence. Logic without emotions, science without culture and ethics, without reflections on the meaning of life are terrible ghosts of the nuclear genetic apocalypse” [3].

All school education should be imbued with the spirit of the national idea so that young people can determine their place in society, be attached to their people, create for them and for their sake. As V. Trachuk notes,

“in its general form, the national idea is an idea that reflects the main national interest and sets the country’s development in the optimal direction in the present and in the future… It is a project of social development, an attempt not only to preserve all that has been acquired, but also to make society better, more perfect than it is” [2, p.155].

In our case, the school will become a social consolidating lever of society. Higher education should continue this process in the future.

V. Andrushchenko in his reflections on education believes that

“education in general, and higher education in particular, plays a unique role in society: it reproduces the individual, equips him or her with knowledge, shapes the worldview, creative abilities, educates as a patriot and citizen – that is, its (society’s) future. And, without exaggeration, the future of the state, its people and culture depends on the quality of our education” [1].

It should be noted that the artistic and figurative language of art is a complex spiritual structure, because every element of artistic reality is an image; a work as an artistic whole is a complex system of imagery. The richness of the figurative structure determines the completeness and depth of the ideal being of the aesthetically mastered reality in the artwork, which becomes a reasonable, self-deploying life. The direct sensory manifestation of the essence in an artistic image is the content of beauty in art. The individualization of imagery reflects the individualization of the spiritual experience of the subject of creativity – the artist. His (the artist’s) vision and understanding of phenomena go beyond the established understanding of the image of the world and traditions, and its conclusion in canonical forms and laws. The artistic image objectifies existence into sensually perceived ideal forms, alienating it from immediacy, which takes it beyond the life cycle: aging, death, and nothingness. Reality, distanced from the immediate singularity of the phenomena of the real world, is enclosed in the forms of another, ideal being, in expressive, artistically appropriate images, and becomes the subject of a holistic reasoned and experiencing attitude. Thus, the artistic and imaginative nature of art is a source of nourishment for the human spirit as a holistic logical and sensual being.

The concepts of art and spirituality are closely intertwined, they do so constantly, and therefore we can even speak of a significant cultural dyad “art – spirituality”. There is no doubt about whether the sense of beauty is connected with spirituality – spirituality at its deepest core is nothing more than the desire for beauty – bodily, social, ethical, ontological beauty. It requires specific efforts and tension, setting goals and moving towards them. An artist who cares about the quality of his or her creations is also concerned about his or her own spirituality, about the formation of a certain individual spiritual portrait. The Creator has an ideal image in each person, and the meaning of life is to manifest this image so that others can see it.

Art itself is the realm of spirituality and a specific form of comprehending reality that has artistic means of conveying human emotions and aspirations reflected in works of art. The enormous developmental potential inherent in the visual arts allows for the development of a student’s creative and intellectual abilities, their ability to communicate, and broadens their horizons. The task of the teacher is to offer an effective methodology that will allow to skillfully combine different methods in the educational process: cognitive, analytical, emotional, figurative-associative and generalizing when creating an author’s work. The tasks of the academic staff of the Kosiv Art School are much more complex, as they also aim to teach young creative people to explore and develop the artistic heritage left to us by folk artists. We strive to involve students in research and scientific activities in order to realize the importance and role of traditional art of Ukraine as an inexhaustible source of creativity and to use its interpretation in contemporary works of decorative art and design research.

Any artist is endowed with his or her own original synesthesia, which is not a common norm for all artists and indicates the difference between the sensory properties and characteristics of the world around us that are revealed to a person in ordinary sensory and empirical experience, compared to the sensory-internal perception of a creative personality.

The artist’s artistic and synesthetic states cannot be objectified and specified in a certain way or verified by certain scientific and psychological methods, and if they are really inherent in the artist, they are perceived by other people, on the one hand, on faith, and on the other hand, by the results of his or her creative product.

The issue of spirituality is especially relevant in the time of aggression of the Russian occupation forces against our independent state. Therefore, it is art as a universal tool that has inexhaustible aesthetic possibilities for use in pedagogical practice not only in art education, but also in the system of general and higher education, that should be given dominant importance. V. Sukhomlynsky rightly believed that “art is the time and space in which the beauty of the human spirit lives. And our task is to educate not only qualified doctors, teachers, or engineers, but also to instill in their souls high aesthetic tastes, humanity, sensitivity, and national patriotic spirit. During the years of independence, the need for deep penetration into the basic bowels of national spirituality, which forms the patriotic foundations of the nation, has increased. This is what the vector of the concept of educational activities of the Kosiv State Institute of Decorative Arts is aimed at, as evidenced by the results of the diploma defense. The current spiritual situation in the country is perhaps the most vivid evidence of the relevance for every Ukrainian of the issues of strong faith and morality as the basic foundations that engrave the originality of ethno-national mentality and culture, national identity.

List of references

1. Andrushchenko V. P. Reflections on education: articles, essays, interviews. Knowledge of Ukraine. 2008. 719 с.
2. Philosophy of human-centeredness in the strategies of educational space. Pedagogical thought. 2009. 520 с.
3. Kharlamova T. Artistic concept and development of creative abilities: a study guide. 1999. С. 68-79.