| Summary: | The article deals with naive art as a phenomenon of modern culture. The author clarifies the essence of naive art and reveals sacred images in their relationship with the peculiar worldview of the self-taught artist. Naive art can be defined as a pure, childish, ingenuous view of the world. A naive painter lives in two dimensions at once – empirical and mythical. The archaic, tribal principle, images of the collective memory dominate in the thinking of naive painter. The pictures show a steady attitude towards the world as spiritualized sacred space. Village life is regarded as the life of my village, where my ancestors live. This is not only life, but also – being, where life and death, good and evil, love and separation, labour and holiday coexist. Archetypical images and canonical scenes are permanently used. One of the fundamental themes is the idyllic picture of paradise and the associated with it mythological representations. Eschatological images and sacred horror reflect natural disasters, socio-political conflicts and the ever-increasing threat of a nuclear catastrophe. The study of naive art in the philosophical and anthropological perspective helps understand human nature and close interrelation between personal life and lifeworld.
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