ARTISTIC REFLECTION IN THE PERSONAL DIMENSION OF PAINTERLY IMAGE-MAKING

Abstract

The article presents a comprehensive study of artistic reflection as a person-centered phenomenon that plays a pivotal role in the process of painterly image-making. Its cognitive-aesthetic nature is examined through the lens of deep interpretation of artistic experience, integrating intuition, figurative thinking, sensory perception, and the heuristic intentions of consciousness. Artistic reflection is shown to perform the functions of self-awareness, emotional comprehension, and the formation of authorial intent, ensuring the visual embodiment of the creative concept in the artistic image. The syncretic nature of the artistic image is revealed, combining sensory, emotional, and symbolic components. It is demonstrated that the artist’s reflective thinking is shaped by a complex system of psychological prerequisites, among which observation, emotional sensitivity, intuition, and the ability for critical self-evaluation play a leading role. In this context, artistic reflection emerges as a fundamental mechanism of meaning-making, self-understanding, and aesthetic generalization, providing depth to creative self-expression, particularly in the realm of painting. The study analyzes the structure of artistic thinking, the semantic levels of artistic dialogue, psychological factors of reflective perception, and sensory mechanisms of meaning formation. The functional manifestations of artistic reflection are defined as a means of self-regulation in the creative process, a form of meaning-making through sensory localization of experience, a factor in shaping the artistic image and authorial style, and a foundation for artistic communication that enables dialogue between the artist, the artwork, and society. Based on the analysis of the creative legacy of Ukrainian painters, four types of artistic reflection are identified: intuitive (spontaneous emotional-sensory immersion into the semantic field of the image); cognitive (rational interpretation of compositional and symbolic structures); existential (visualization of boundary experiences and spiritual search); sociocultural (integration of the image into the context of historical memory and aesthetic testimony).