The paper attempts to reveal the originality of Friedrich Nietzsche's solution to philosophical problems. Using Schopenhauer's metaphysics of irrational will power, Nietzsche formulates a new non-classical relativist philosophy of art. Nietzsche gives it a solid empirical basis by associating it with human existence. Nietzsche's "philosophy of life" is an attempt to change the very essence of predominating regulations in classical metaphysical Western philosophy. Also it avoids the abstract observative nature of rational philosophy and its irreverent attitude towards the problems of human existence. From here follows a fierce criticism of rational thinking and a huge tendency of ontologisation and aesthetisation of philosophical themes which emphasizes the means of artistic expression. When treating the problems of individual human existence, the followers of non-classical philosophy of art relied on an understanding of being as non-substantial (personality is not something given but a totality of constantly emerging potentialities) and at the same time subjectivized their ontological problems. Thus, the strengthening of subjectivist tendencies in post-hegelian philosophy of art reached the culmination of its development. SANTRAUKA Straipsnyje siekiama atskleisti įtakingo vokiečių mąstytojo Friedricho Nietzsche'ės filosofinių problemų sprendimo originalumą veikaluose. Remdamasis Schopenhauerio iracionalios valios metafizika, Nietzsche kuria naują neklasikinę reliatyvistinę meno filosofiją, tiesiogiai susijusią su žmogaus būtimi ir suteikia jai tvirtą teorinį pagrindą. jo "gyvenimo filosofija" tai-bandymas paneigti pamatinius anksčiau vyravusios klasikinės metafizinės filosofijos principus, kuriuos jis aiškino kaip platoniškos dualistinės metafizikos sklaidą vakaruose. Iš čia seka radikali racionalaus mąstymo kritika ir galinga filosofinės problematikos ontologizavimo ir estetinimo tendencija, kuri skleidžiasi neklasikinės meno filosofijos šalininkų veikaluose. Gvildendamas individualios žmogiškosios būties problemas, Nietzsche, kaip ir kiti neklasikinės meno filo-ANTANAS ANDRIjAUSKAS lietuvos kultūros tyrimų institutas, lietuva lithuanian culture Research Institute, lithuania

The goal of this article is to analyze, on the basis of today’s research strategies and the sources that deal with the psychology of Western art during the 20th century, the emerging field of the psychology of art and of its component, the psychology of the creative process, in different national traditions and in various fields of the humanities (aesthetics, the philosophy of art, experimental and general psychology, physiology, psychiatry, psychoanalysis, art history). Through comparative analysis, this article reveals how German-speaking countries, France, Great Britain, the United States, and the Soviet Union changed their attitude toward the artist, his creative potential, creative work, the creative process, and other problems of the psychology of art. The author devotes special attention to highlighting the distinctive ideas, theoretical positions, and main categories of the psychology of art in the West and in the great civilizations of the East (India, China, Japan). All of this has acquired exceptional importance in today’s metacivilizational culture, in which, as never before, there is active interaction between the ideas of various Eastern and Western peoples about the psychology of art. Finally, on the basis of a comparative analysis of today’s main national traditions relating to the psychology of art, this article highlights its place, functions, and role in the disciplines that study art.

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P aulius Mormantas was born in Kalniškės (Akmenė district). In 1974, he graduated from Vilnius University. Since 1983, he is a member of the Union of the Lithuanian Art Photographers. Also he is a member of the Union of the Hungarian Art Photographers, the Lithuanian Journalist Union, and the International Journalist Union as well as a member of the Hungarian Art Foundation and academic of Hungarian Academy of Arts. Along with Algimantas Švėgžda and Jurga Ivanauskaitė, Paulius Normantas is a prominent figure of the tiny Lithuania culture characterized by its maximalist humanistic aspirations-something not true of the cultures of big nations. The cycles of Normantas's photos perpetuate the essential life moments of various ethnic groups of Tibet, Nepal, Kashmir, Sri Lanka, Cambodia, and Igarka. The photos are highly valuable not only as the artistic expression of personal experience but also they are important as ethnographic and artistic documents. Perhaps the most valuable are those photos which show the traces of now vanishing exotic cultures reminding the world of the great losses. But, unfortunately, so far, the significance of Normantas's thirty years of work is not adequately appreciated.