Evolution of the Phenomenon of Artistic Creativity in the Context of Tatar Philosophical and Aesthetic Traditions
Abstract
The article explores the evolution of ideas about artistic creativity in Tatar philosophical and aesthetic thought from the Middle Ages to the early 20th century. It is established that the foundational basis for the national mod-el of creativity is the Sufi concept of the perfect human (kamil insan), within which the creative act was con-ceived as a means of divine cognition and service to a spiritual ideal. It is shown that in the age of Enlighten-ment, the secularization of aesthetic consciousness occurs: the religious dominant shifts towards social service, and creativity begins to be interpreted as an instrument of national revival and education. Special attention is given to the poetic legacy of Gabdulla Tukay, in which a synthesis of the Eastern mystical-ethical tradition, Rus-sian humanism, and European modernist influences is implemented. It is revealed that the system-forming categories of his artistic thinking are inner duty, national memory and time, understood as a condition for attain-ing immortality through the word. Based on the poetry of the early 20th century (by Dardmand and other au-thors), the author analyzes the transformation of Sufi symbolism: in the modernist discourse, the symbol loses its exclusively religious meaning and acquires epistemological and existential functions, becoming a means of cognizing being and reflecting on the meaning of life. The paper substantiates the thesis that the evolution of the phenomenon of artistic creativity in the Tatar tradition does not represent a linear displacement of the religious by the secular, but rather a complex process of sense generation, wherein archaic symbolic structures are preserved in a transformed state and incorpo-rated into new cultural contexts. These findings help clarify the mechanisms of interaction between Eastern and Western aesthetic paradigms in the national culture and can be used in courses on the history of Tatar litera-ture, philosophy of culture, and aesthetics.