ФІЛОСОФСЬКО–КУЛЬТУРОЛОГІЧНІ АСПЕКТИ МИСТЕЦЬКОЇ ІНТЕРПРЕТАЦІЇ.

Urgency of the research. In the process of development, the mimetic principle of art began to be conceived in artistic culture in two directions: as an imitation of the forms of reality, and as an explanation and evaluation of phenomena and events of real life. Gradually, the beautiful in art was transformed from expressing the world of eternal ideas through idealized canons of beauty and the creation of symbolic images to the production of realistic images of reality. And from depicting certain characteristic or typical phenomena of social reality to the complete creative arbitrariness of the artist, free of any objective rules or laws, forgetting about the «sense of inner necessity» (V. Kandinskyi), that is, strictly determined by the spiritual as an essential principle of universal existence. It is also necessary to take into account the fact that when defining essential concepts, in one way or another, in addition to the solution of purely instrumental tasks, the main contours of the problem field of the investigated problem are outlined, its connection with other aesthetic problems, other related concepts. Target setting. Clarifying the philosophical and cultural dimensions of the problem of art activity requires the development of adequate and effective logical and conceptual tools. Without this, it is impossible to penetrate into the essence of the problem, and to analyze the most important trends in its development. The need to deal with the basic concepts that reveal the specifics of art activity is also due to the fact that already in the content of these concepts, the strategy of theoretical search, and directions of movement of scientific thought are outlined. The research objective. Current problems of understanding the artistic text and its interpretation in other types of art are considered; the procedural movement of the artistic image and the peculiarities of the ontological paradox of art. The statement of basic materials. The artistic image is a complex multilayered entity. It begins with the artist’s idea, which acts as a kind of sketch for the future image. Technical skills and mastery, the artist’s spiritual powers are aimed at realising this idea, but sometimes the idea and its realisation in the material are very far away. An artistic image is an image of the being of an artistic work, a way of thinking in art. In the aesthetic sense, the artistic image is an integral organism in which there is nothing accidental. Therefore, the artistic image is neither an object nor a thought, but a process, not completely concrete in its immersion in the sensual element. The specificity of the cognitive side of the artistic image lies in the fact that in the process of its perception there is a direct vision of truth which does not rely on evidence, there is a diffusion of the artistic and real world. Conclusions. The complex structure of the artistic image cannot be viewed statically; the artistic image is a process. It is a universal category of artistic creation, a means and form of assimilation of life by art. [ABSTRACT FROM AUTHOR]