*BORN UNIQUE ABOUT THE ARTISTIC IMAGE

An aching spirit is healed by hymns,
The mysterious harmony power
A grave mistake atones
And tames rebellious passion.
~ E. Boratynsky

- How is life? - Ask people when they meet each other.
- All right.
The answer is correct if indeed everything is all right. A good life is permeated by mood, tone, rhythm, consistency in diversity. This kind of life has an inherent organic interrelationship of all phenomena, the natural outflow of one to another. Conversely, and just opposite, a bad is a discord, chaos, mess, failure, absurdity, futility.
 They say that it goes through the deck of stumps, tipsy-curvy about that kind of life. A wrong way of life is accompanied by all the haste and lack of consistency; the result is a bad quality that impacts the beauty of life.
This immediately brings a rather dangerous for rationalism and consumerism conclusion: a lot of the same - it means ugly, unattractive. A few things, but with the feelings and in different ways, means, beautiful and unique. And we talk here is not about just work, but also about everyday life, about the style of life in general.
 Harmony and beauty when they are present at work, let's avoid the crushing gravity of labour. But, of course, it is difficult and beyond your abilities when you do not know how to work beautifully, when somebody is dumb or when there is not enough imagination and patience. But is it not the same, for example, in everyday life or in public life? It's all precisely the same.
Beauty in the world is a diversity of otherness. The idea that mankind is supposedly a crowd of the ordinary and the same people who are led by exceptional individual and vivid personalities; such view is contrary to the rule of beauty and aesthetics.
No, there are no absolutely identical, in other words, thoroughly mediocre people! On the contrary, everyone is born into the world with the stamp of talent. The need for creativity is as natural as the need to drink or eat; it is hidden in each of us, even under the most incredibly tricky conditions. Each person in his own talent, in other words, is peculiar.
 Fortunately, people who are absolutely evil internally and externally do not exist. The need for creativity inherent to each of us can be seen from the fact that in childhood, even in infancy, the child needs games. Every child wants to play, which is to live creatively.
 Why, over the years, has creativity gradually disappeared from our lives? Why the creative principle is not maintained and developed in each of us?
 Roughly speaking, either we have not chosen our profession properly (not found themselves, our personality, our talent), or have not learned to live and work (not developed skill). The second is often dependent on the first, but the first is not always independent from the second.
 It is impossible to know what kind of gift nature gave to you without learning how to work. If the spiritual potential is weak, identity is erased, levelled, loses individual, inherent traits. To the rising of spirit, the creative emancipation of the individual, any spiritual, family, social or global discord, any disorder, are detrimental. For example, one case when there are no shoes to walk to school (and even there is no school itself), and quite another when you are forced to study music notation.
 Of course, the second case is preferable, but the disorder is a disorder. And so, we see that the social orientation is not always faultless and that trends can be harmful in such cases as finding yourself.
 Why, in fact, is only the creative life of an actor or artist? For you can be an artist in any trade. A halo of exclusivity of one or another profession, hierarchical division of labour and life on such principles as "honourable or low," "interesting - not interesting," perpetuates social indifference and identity, promoting the idea of the inaccessibility of creativity for all and for each. But such behaviour is entirely appropriate for the person as a supporter of the individualistic philosophy, as a bureaucrat-dogmatist, who is ready today to arrange people in order of size for the common good.
The qualitative diversity of parts is often better than anything else for the strength of the whole. But, of course, the antagonism of the elements generally destroys the whole, which can also be called diversity, as cited by supporters of levelling. But diversity and hostility are different things.
Outside of the dispute between "antagonists" and "levellers," so to speak, quite separately stands the artistic image.
Probably none of us doubt the unity of the whole in Moscow Protection Church (better known as The Cathedral of Vasily the Blessed). But how are different are its components! Every part, every detail lives by itself, does not repeat itself and is not like another part.
It still wants to be explainable ... It is avoiding us... it, like the rainbow, moves away from us exactly as soon as we approach it. It is as the swift, which can not fly from the ground and which must always need height. A child's toy loses its delightful sense when a child, moved by curiosity, takes it apart to see what is inside. So no matter how talented the is artist, if he relies only on inspiration, ignoring the artistic tradition, he will still be fruitless. But what is a culture without the inspiration of the artist?
The artistic image is elusive, although it always lives next to us. It immediately disappears; as soon as you begin to study and decompose it into parts, it never repeats itself.
Born a unique ...
Comparing different classical art forms, you can find some eternal qualities of the artistic image. For example, the rhythm.
As was already mentioned, the magic power of rhythm allows for singing - beautifully and easily – for stutterers who cannot say words without effort and stress. Moreover, quarrelling with a neighbour, i.e. sinning, many women cannot free themselves from the rhythm of the imagery, which further strengthens the emotional dissonance since the image is always more willing to serve good than evil.
There are instances of infantile cries with the beginnings of artistry: a cry of a weeping child suddenly begins to be wedded with a semblance of rhythm and melody ...
Music and literature need rhythm, as do painting and sculpture, dance and architecture. Rhythm, as we see, is a requisite of life in general ...
Another sign of the artistic image can be called composition (in Russian - proportionality) present in all types of creativity. Proportionality. Do you feel in this word some kinship with the rhythm? To be educated means to appear, be born, and identify yourself.
  Education is a process of learning to acquire knowledge, but the word initially meant formation, formed, means to become someone and get own face. Recall an eternal "all be sorted out" of Stephen Oblonsky, equivalent to the fact that everything sooner or later comes back to normal. The ugliness is about not having the face, something abstract, disgusting. Here we come again to the definition of "art" and the mystery of the artistic image as it was, still remains ...
After all of the above said, can we conclude that the academic study of creation can never rise on a par with the artistic perception of the product. Great art is great because it is accessible for everyone, at least for the majority. It is unnecessary to be a renowned expert in reading "War and Peace" or watch and listen to "Swan Lake." A mediocre artist sometimes masks a lack of talent with complexity and inaccessibility of the form. This does not mean that the works of great artists are never complicated and confusing. The difference between the complexity of mediocre and complexity of the genius is that in the first case, the complexity of marking time in one place is static; in the second - it is moving, self-revealing, discovering all the new features of a great artist's work.
The perception of the artistic image is essentially and qualitatively the same as that of its creation. The difference here is probably only in the magnitude ...
Undoubtedly, that perception of art is a creative process in any case. This circumstance is fraught with great danger of cultural dependency.
Is hidden cowardice or plain laziness under the guise of modesty ("who are we really?"). A person only uses established artistic values, not even trying to create something of their own.
 Let it be not brilliant, but one's own! Notorious maximalism (either becoming a Michelangelo or not engaging in creative work) has never contributed to the welfare of public culture. Ignoring your own talent (whatever it may be of value) because there are people more capable of you, turning off your own creative impulses is immoral as it is unethical to engage in self-promotion, noisy exaggerating their own, often feeble abilities.
"Self-humiliation is worse than pride," - says the proverb. To find your own individuality is a moral obligation of everyone. But how to treat more talented people without losing your face. The real artist expects from others, not servility but respect. He does not have a sense of superiority. The higher the talent, the less arrogance and pride of its owner. There is a direct relationship between the magnitude of talent, the strength of the artistic image, and the level of morality. Shame, conscience, modesty, spiritual and physical purity, love for people, excellent knowledge of the difference between good and evil are all moral properties reflected in the artistic image. The creative image can not be created by a shameless, unscrupulous artist, a man with dirty hands and thoughts, hatred for people, a man not knowing the difference between good and evil.
 And in general, is it possible to have true creativity in the troubled or evil state of mind? Hardly ... a wicked man is more inclined to destroy than to create and should not confuse the creator's inspiration with the inspiration of Herostratus ...
An actual artistic image is always new, bashful, like a bride, chaste and pure. Its freshness is not tarnished. The artist seems to us too shy, after all, and creativity itself requires solitude and mystery. Carrying on and giving birth of the image can not occur publicly for all to see. Publicly known to all should be the artist's creation, but not himself. That's why probably the brilliant creations of the ancient Russian artists are not signed? Some old artists and architects chose to remain nameless. There should be a meaning in this fact and not an accidental circumstance.
On this, perhaps, and it's most appropriate to finish our occasionally chaotic, more often fragmented reflections on the Northern folk aesthetics ...