The significance of creation typicality lies in systematizing the artist's ideological "feelings about the world" and direct and ideological understanding of life. All the characteristics of artistic typification of an artist's personality include putting some aspects in the most important position in the description, the degree of personality, the role of exaggeration and fantasy in the personality structure, etc. It all depends on how an artist feels about the world ideologically and which ideological tendency dominates his creative content.

Keywords: creativity; Typical; artist

When an artist begins to create a work, he uses expressive thinking. Only with the gradual deepening and complexity of the creative process, the appearance becomes the image. The characteristics of artistic image are caused by the characteristics of the artistic creation process itself. So where does art begin? It seems that it can be said that art begins when some means and materials used to reproduce some social characteristics in direct and ideological understanding and evaluation begin to take shape. Art, in essence, is a special department that understands life ideologically. It helps individuals to determine their position in life and society internally under the historical and concrete conditions of social life, and constantly develops their own unique principles of understanding and evaluating reality, thus enriching the spiritual (including aesthetic) civilization of all mankind. At the same time, art has gradually become a special department to accumulate knowledge about the objective laws of human social life. However, art always achieves this through its special channels, and in this respect, it is also different from science. What is the special way that art reflects the laws of reality? What laws can be reflected? It goes without saying that this is the inherent law of the social characteristics of life, the special object of art itself. This is the inherent law of people's character, which is created by the social relations of a certain country under the specific living conditions of a certain historical era. The way art reflects this law is to understand and evaluate the characteristics of life ideologically, and creatively reproduce it in the middle of understanding representative things ideologically. The generalization of art can be said to know * * * through personality; In art, individuality is generally expressed as * * *, no matter how much * * itself is recognized in historical concreteness or in "particularity", that is, the characteristics of its nation, times and society. Before the artist began to reproduce the external process of life, another process happened in his consciousness, that is, the internal process of reproducing representative things. The significance of this internal process lies in systematizing the artist's ideological "feeling of the world" and his direct and ideological understanding of life. This systematization is special, just as the work of art itself is special. This is a creative typification of the characteristics of life.

Typical and very representative. In real life, this typicality exists in a state of being diluted, diluted and dispersed. There is a general lack of internal coherence and external integrity. Moreover, the essential characteristics of life itself are not immutable. Their hearts are full of contradictions and changes. Their various aspects and tendencies are constantly developing and transforming from one aspect to another. The essence of real life is the ever-changing and intricate relationship. In addition, its internal consistency and appearance integrity are often interfered by external forces. Art seeks advanced representativeness and typicality in life. To this end, it synthesizes typical things that seem scattered in life and gives them greater internal coherence and appearance integrity. Therefore, from this perspective, the artist's task is to collect and connect the typical things mixed in various life phenomena, as if to concentrate them, so as to create a more typical and perfect image than all life phenomena as his starting point and foundation. On this issue, many art theorists and artists have put forward many correct and convincing arguments. For example, Gorky put forward in his article: (note 1) "Like those listed above, some people don't exist in life; In the past and now, only people like them. These people are much smaller and more fragmented than they are, but language artists have come up with a' fictional' summary of people's' typical'-a universal typical. " Artists often use the concept of "exaggeration" to illustrate the typical process of creation. But on one condition, the meaning of "exaggeration" should be understood as the process of upgrading representative things to a higher quality, rather than expanding in quantity. Exaggeration in quantity is only an external means of creating typicality. This creative typification process of representative things has long been recognized as the basic principle that art reflects life, and it is also a unique principle of art. The creative typification of representative things-that is, systematizing the content of ideology's "feeling of the world" and the content of direct ideological understanding of life in a unique and unique way, The purpose is to show the universal significance of this content in artistic works. When the artist chooses the most representative attribute of the real phenomenon in his own imagination, he abandons other attributes that are less representative or even cover up its essence, adds new and more representative features in his own imagination, and integrates all this with the fictional personality of people, things and feelings created for this purpose. The artist's thoughts and feelings about the world and his direct thoughts and understanding of life include not only the reflection of the objects and representative things in life, but also the emotional evaluation of them. Direct and ideologically recognized objects are reproduced in works of art to show the emotional understanding of the recognized objects. Therefore, there is another aspect in the creative mode of life-expressing the emotional evaluation of representative things in typical life through the changing attributes and characteristics of representative things in life.

Artists understand the reality ideologically and emotionally, which also gives another important aspect to the typification process of representative things. Creative typification has opened a new world for art and deepened the understanding of its object. Among the new and transformed individuals created by the artist, the social characteristics in life and the aspects, factors or tendencies he is interested in from the ideological point of view will be particularly vivid, powerful and consistent. By following this road, artists can guess the inherent possibility from the recognized life characteristics and develop this possibility in their emotional attitude towards them. For example, when a writer expresses his ideological understanding of characters, he puts them in a situation that is often fictional. At this time, he can effectively reveal such attributes of characters, let them make such actions, express such thoughts and experience such feelings. All this is not particularly obvious or intense in real life. In life, all these are hidden in the depths of recognized social character as some potential possibilities, reflecting some tendencies in their lives. In the artistic typification of social figures, the principle of developing some aspects of these figures from cognition and creation is the basis of the greatest works of world art, which has been perfectly applied in the works of Shakespeare and Dickens, Balzac and Nikolai Gogol, and in the paintings of Rembrandt and Goya. For example, there are also cases where an artist has a personal relationship with the organization of the characters he describes. Sometimes he thinks of himself as the prototype of some characters. He can also take the representative things in his inner feelings in his personal life as the object of creation and reproduction. All these inevitably leave personal likes and dislikes on the artist's perceptual knowledge of social representative things in life. Therefore, when artists create a brand-new and reformed personality and exclude accidental and exogenous factors from it, they also get rid of personal prejudice in their ideological understanding and emotional attitude towards representative things in life. In the process of creative typification of artistic objects, the artist himself got rid of the accidental factors of experience in life, which was manifested in his ideological laws, thus gaining universal significance. However, although the artist got rid of his personal interests and likes and dislikes in his perceptual knowledge of life, he undoubtedly maintained his unique creative personality and left his mark on his works in the process of serving customers, thinking and typifying. It is precisely because of the artist's personal endowment that he can reflect the people he knows so profoundly, not only in his general understanding of life, but also in his creative activities, and reappear so perfectly that his works can become outstanding contributions to the art history of his country and even the world.

The social feature of life is the unity of balance and mutual penetration between sex and personality. In the process of typification, artists transform representative things. Here, because of some characteristics of their thinking, artists will destroy the balance and mutual penetration of sex and personality in some life characteristics in one way or another. There are two possibilities at this time. If the artist's ideology "feeling of the world" is greatly influenced by his ideological theory, religion, morality, politics and legal concepts, which are very abstract in history, then this influence cannot but be reflected in his creative process. In this case, when artists typify representative things, they will more or less show a tendency to melt their individuality into the nature of * * * and into things belonging to society, so that * * * naturally loses its inseparable concreteness of expressing individuality, thus making it barren. In this way, the typical things in art will have the characteristics of rationalism and emotional abstraction to some extent. But artists can also fall into the other opposite extreme. In the process of typifying things, he may unconsciously put personality first, but he did not make * * * clearer and deeper, but covered it with personality. In this way, his artistic conception has more or less become empiricism. At this time, he concentrated on the groundless and unnecessary accidental things, and did not reveal the essential characteristics of life, but made people farther away from these characteristics. This can be called the naturalistic tendency in the typification of representative things. This tendency usually occurs in the following situations, that is, when the artist's "feeling about the world" is immature, unclear and uncertain in thought, when the artist lacks a positive and stable world outlook, and when the ideas he accepts do not go deep into his creative consciousness.

In other words, when an artist raises the "representative things" to the highest level-the "typical things" in his works, he does so not because it is necessary or according to the norms since ancient times, but first because he wants to express his ideological understanding and evaluation of the representative things through this practice. Therefore, all the typical characteristics of personality art include raising some aspects to the most important position in description, the degree of personality, the role of exaggeration and fantasy in personality structure and so on. It all depends on how an artist feels about the world ideologically and which ideological tendency dominates his creative content. To sum up, we can see that in the process of expressing the ideological understanding and evaluation of representative things, it is indeed a universal principle of artistic creation and a universal "law" of art to typify representative things expressively and creatively. As for the principles and techniques of typification itself, they are naturally different and varied in different social development stages and different artistic schools. If we want to find out the great differences in the creative typification principles of representative things, we should pay attention to the hidden possibilities of artistic objects themselves again.

To annotate ...

① Note: Excerpted from Gorky's On How I Learn to Write. See Literature, Chinese Translation, People's Literature Publishing House, 1978, p. 162.

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