6 7 Aesthetic ideas in the culture of Ukraine XVII-XVIII centuries

XVII-XVIII centuries in Ukraine - the time of baroque, the period of statehood formation (Cossack state) and the beginning of national consciousness itself. This is the time of development of professional philosophy, which is close in ideology to the early Western European Enlightenment, and in the manner of discourse building - baroque. The basis for the development of professional philosophy is the development of education, the initiation of a new dominant stratum (Cossacks and gentry). She assumes the role of an active creator of a new the spiritual atmosphere of life, in which an important role belongs to such cultural factors as art education, typography. The result of the efforts of the spokesmen of new social trends are Ukrainian collegium and universities (XVIII century), where they studied under the programs of European educational institutions. There were two types of schools: Latin, based on Aristotelianism, and the Greek-Slavic (Hellenic-Slovenian) with the ideas of Neo-Platonism. The Kiev-Mohyla Academy, the first higher education institution, was of particular importance for the formation of an educational ideal. As the researchers noted, existing ideas in the culture of the Cossacks, which were consonant with the ideology of the early Enlightenment, spread in Zech and Europe days [6, 67] Important signs of the new were: interest in understanding the world, striving to improve the human race as a means of eliminating of all forms of lack of freedom. The Early Enlightenment was a synthesis of two social and political movements in the forefront — humanism and the reformist reform.

The ideas of three European social currents - humanism, reformation and early Enlightenment - are reflected in the philosophical systems of professors of the Kiev-Mohyla Academy. Their main focus was ontology, gnoseology, and moral issues, since the main goal of education is to improve the mind and moral qualities human personality [19].

Philosophy and culture as a whole, including art, during the seventeenth and eighteenth centuries developed primarily within the baroque worldview. A distinctive feature of the baroque worldview, in particular the specifics of its development in Ukraine, there is an aesthetic beginning that has penetrated. Researchers call such inherent baroque worldview features, as a hoax, idealization and romanticization of nature [16, p. 70] The features and attitudes to the world are called for due to the influence of the growing level of scientific knowledge, opening the door to ertyvaniya intuition irrationalism Baroque grows a new, purely scientific grounds, using uyuchy achievements of modern philosophy, in particular the ideas of Descartes and P D Leibniz, who were well-known in Ukraine and focuses on finding the origins and boundaries of mental znaniyamio knowledge.

natural philosophical problems in the courses of the Kiev-Mohyla Academy are considered in accordance with the ideas of Renaissance humanism, considers a person the creative beginning of nature and the highest value of the professions of Or and Kononovich-Gorbatsky (died 1653) in the course of rhetoric notes: \ "There is nothing in the land of the great but the man , and nothing great in man except the mind \ "[6, 78] Mind man is close to God, that is in the majority - \" microcosm \ ", that is small, or the world \" macrocosmigraphy svit т macrocosm .

In the context of the problem \ "macrocosm \ microcosm \" scientists of the Kiev-Mohyla Academy in the courses of logic and psychology investigate questions of the culture of human feelings and cognitive abilities. This, in particular, is feeling, imagination, perception, memory, thinking, speech. In the course of logic I Kononovich -Gorbatsky substantiates the principle of sensualism known since antiquity. It distributes sensations to external (vision, hearing, smell, to, taste) and internal (performance, imagination, evaluation, memory, sleep). First contact with the world arises due to external feelings. tv, image-forming objects The author explains the process of image formation based on the ideas of mechanistic materialism, regarding images as a modification of "animate spirits", breaking away from objects and penetrating the human brain through the senses. Images that cause sensations due to external stimuli, they are called impressive. In further knowledge, they turn into expressive - imprinted images [6, p. 75] impressive images collect and organize the brain, the main function of which is to create a "general Feeling \ "Sensual cognition is considered as the first stage, and rational cognition is the final stage - the highest degree of cognitive activity. True, the mechanics of measuring the transition from sensual to rational cognition are not clear. It is important (in connection with the theory of aesthetic) to pay attention to the understanding of sensual-figurative knowledge as" below the logic \ ", if we apply the term O Baumgarten, i.e. of the initial stage of knowledge of O. Baumgarten, tobto of the cobble gangs.

Baroque culture pays great attention to language issues, based on an understanding of its symbolic character: words are signs of things that are reflected in the concepts of rhetoric and poetics allow tracing originality in the aesthetic in the mentioned period. Researchers tend to believe in this connection that the whole culture of the XVII-XVIII centuries can be call rhetorical [2, p. 108]. Rhetoric occupied two levels that were distinguished by aesthetic qualities. The first level is aesthetic in the way of forming and expressing thought, speech culture is inherent in it: propriety (decorum), relevance, correctness, politeness. Second level - ordinary speech, stylistically and meaningfully reduced. Thus, the spheres of application of the first and second types of speech differed: sublime is a way of revealing unusual things in the word acquire corresponding to themselves the secret content Outside the sublime style, below it, is the world of everyday everyday life.

The art of speech acts as a secret, unusual and promising knowledge, capable of \ "creating \" reality. The importance of rhetorical culture in the knowledge system of the baroque era is indicated by rhetoric courses in the Kiev-Mogilev of the Yansk Academy F Prokopovich (courses: \ "Poetics \", read in 1705 , \ "Rhetoric \" - 1706 - 1707 gg) notes the importance of \ "persuade the language \" Rhetoric and poetics are a system of rules supported by patterns В and cue culture consisted of \ "sublime style \" - aesthetic in form. It acquired the character of a canon and that is why you dit beyond the usual \ "ordinary \" speech, entering into the world of symbols (concepts, images), became the language for the \ "dedicated \", ie, attached to a specific content of culture It is at the same time not the truth about things, but the \ "technology \" reproduction of general ideas about the speech is not a matter of speech, but a "technology" of the interpretation of speech.

The profound meaning is reflected in the differentiation of speech culture levels: the difference in the levels of spiritual experience and the hierarchy of life values. Differentiating them into \ "higher \" and \ "lower \" sent a person to the path of reasonable self-restraint and conscious self-control. Medieval mystical austerity gives way to the Baroque era \ "ascetic spirituality \" The ideal of the Baroque - an ascetic-philosopher, who is close to the ideal of ancient love and to all living things, but at the same time he is directed by the spirit to the eternal, heavenly. In the XVII there appear works where the complex nature of spirituality In the first national textbook on philosophy to Sakovich and (1620) reflected interest in phenomena without conscious - images that emerge in dreams, when thought is freed from day cares. They help to create an unusual reality, the unreal world. In the treatise \ "About the soul \" (1625) Sakovich expresses the characteristic of the Baroque era the \ "dreaming \" fantasy, as part of the brain's analytical activity, has much in common with logical thinking \ "Perceived fantasies by family similarities sent by a common feeling," notes Phil Sof, - they linger more tightly in her and are carefully tested not only during the day, but also at night, in a dream she examines these similarities and creates many new things \ "[16, from 73 on rozbira ре tsі pіbnostі i vitvoryuато bаgato novykh speeches ..." [ 16, p. 73].

In the last decade of the XVII century, a book of poems appears / Ornovsky \ "Spesa gemstones \", containing remarkable examples of Baroque lyric phantasmagoria. The poet’s reasoning about the possibilities of poetry to highlight the \ "innermost depths of human thought \" thanks to the associative series , which arose on the basis of a combination of contemplation (sensory impressions), imagination and dreams, the Poet marks the subconscious as the source of images and creative impulses in creative and empirical sіv.

In the 30s of the 18th century, a course of lectures by M. Dovgalevsky \ "Poetics \" appeared, showed the popularity of the phantasmagoric poetic style and gave instructions on the creation of this type of particular poetry, the author noted the fruitfulness of the state of inspiration, the role of fantasy, which brings over the ordinary, giving the world of dreams - a similar image This is how a particular interpretation of space in visual arts and baroque appears. Here, the earthly and the heavenly expanses are constantly compared, and the character is simultaneously in two spaces. ak, engravings A Tarasevich imaginary and the real are constantly intertwined, creating an image of the state in particular the merger \ "sky \" with \ "zemleyquot; sky" Zi "earth."

Contradictions between the internally completed religious model of the world and its scientific picture, which was formed in the era of baroque and rationalism, influenced the outlook of the first Ukrainian professional philosopher Gregory Skovoroda (1722-1794). His aesthetic ideas are organically combined with ontology, epistemology and ethical issues, which is The cornerstone in the work of the philosopher. The aesthetic dimension has a dialogic method and its philosophy, aimed at spiritual \ "cooperation \": on the relationship between two worlds, whose movement is designed to find the truth, that is, to give a harmonious way of being of the spirit as its true state. This movement is a full spirit, movement towards truth through man’s overcoming of everything current, external, everything that closes a person’s path to himself. to comprehend the truth is not laid in the speeches of the external world, but inside the person - in his ability to know his nature, that is, spiritual, and not perishable essence of the essence of society.

Opening the way to self-discovery is the basis of G. Skovoroda's philosophy. Its effectiveness lies in the fact that this is the way of "peering" into the world, the discovery after appearance (form of things) of their essence - true life. Since the ideology of G. Skovoroda was formed under the influence of two spiritual beginnings: the traditional religious worldview and scientific knowledge that spread to Ukraine from the West The philosopher synthesized them in such a way that true knowledge stood for him, which asserted the value of a person with its richness of soul and spirit In the terminology of a philosopher, this is respectively feelings and reason. To justify the philosophy of the FGC of ideas, G Frying Pan uses the \ "allegorical \" method of communicating the provisions of the Holy Scripture, and the philosopher has poetic inspiration, often leads beyond the full denial of the literal meaning and provides another - allegorical In Zenkovsky in the work \ "History of Russian Philosophy \", describing the uniqueness of the philosophy of G. Skovoroda, writes that the allegorical interpretation was his source of inspiration He is a mystic in the faith, in the best sense of the word, but his reason for free inspired has no limitations, and the features of rationalism are often inherent in the yom, and in the riches of the rational, often in the power of the yom.

It can be argued that its ontology has an aesthetic character: the philosopher understands the world as the unity of the opposite or as the unity of the two natures visible and invisible, that is, living truth and God. The harmony of these relations is determined by the organizing principle. " the invisible nature is God. "In such an antithetical interpretation of being, founded by Plato and developed in Christian philosophy, the world is intelligently and expediently arranged, therefore the aesthetic direction acquires knowledge, because it is valuable in the sense that since the truth is hidden behind the appearance (\ "perishable being \"), only a person who is able to comprehend the essence behind the appearance can understand it. Moral attitude to the world reveals its truth as beauty and perfection. Plato considers the initial level of Mr. the sensual beauty of things. They kindle a feeling and lay a bridge to the comprehension of the idea of ​​beauty and beauty to sense the beauty of beauty.

Valuable spiritual (rather than purely rational) knowledge, and can be characterized as aesthetic - the hallmark of the ontology of G. Skovoroda. This is not about the incompatibility of the two methods of knowledge, but about the quality of each method. The philosopher insists on the primacy of sensory knowledge and from him - the rise to spiritual sense of spirit, above the captivity of sensuality, is able to comprehend the truth. In such a mind, the Uni of duality shines through the understanding that there are two manifestations in each manifestation of being: ideas and an image, there are ideas of integrity and an image and the beauty of peace.

In the work of G. Skovoroda, the cornerstone is also the idea of ​​the unity of truth, goodness and beauty. Starting the dialogue "Askhan" in the letter of M. Kovalinsky, he explains the title of the work: \ "Askhan is the daughter of Caleb, who will come to the promised land. Beauty means \" Arvon (Hebron) means \ "friendship \" [22, p. 105] In the work \ "Narcissus \" a completely original interpretation of the mythological image of antiquity Narcissus is given, fell in love with his own insult, seen in the waters of the stream, the philosopher does not condemn, as is customary in culture, and endorses on the grounds that opened he is not a mortal likeness, but his own essence: Narcissus turned into pure waters, after all \ "everyone is where the heart is \" [22, p 64] The philosopher notes that the image of Narcissus \ "preaches the gospel \": Know yourself To be pleased with yourself and to fall in love with yourself, you should know yourself. The first step to love is love for beauty. \ "Does not love the heart, not seeing beauty. Truly a good pride, if it is whole, holy gay, when true \" [22, p. 63. , as it is holy; gay is holy, if it is fair ... "[22, p. 63].

Beauty in man, the philosopher notes, is not the body, but the heart. Beauty is real, and we are merged with everything in us. Everything visible is only a shadow of a true person. "Our outer flesh is not our thought, our main person is \" Ie \ "spiritual body \" Opinion the philosopher calls the heart, and the heart - a man [22, p. 69] Thus a trinity is formed: truth, good, beauty. Having known a person, we are able to rise to the realization of everything in everything, \ "a true person and God is one and the same \" [22, p 78] The philosopher sees the dialectic of the soul and thoughts as follows: cape and - \ "seed \" (source of life), and \ "advice in the heart of our affairs \" The above citations in the context of aesthetic problems capture not only figurative expression of opinion An interesting baroque form of thought construction, replete with comparisons, associations They are classic images of culture and at the same time they bring to the universal (existing) the seemingly ordinary manifestations of the sensually given world of natural objectivity. This is grain, spikelet, awn, ash, water, grass, bird ki. Thus, the opposition of two levels is overcome. constructing thoughts: high (rhetorical technique) and \ "low \" (ordinary), arguing that the case - in fact, the truth This gives the expression of thought doskon aloi formchi scho right - in sutі, іstinі. Tse th nadaє vlovlovleni dumtsi doskonaloї form.

The pan deeply comprehends the ontology of beauty, considering it not as an attribute attribute, but as a real sign of life. The human mind and its heart are the real signs. Thanks to them, a person is able to know himself - isnta man's inn in himself. The concept of His criterion is revealed. truth: only \ "true man \" is able to see the truth in everything \ "Do not understand yourself the same as losing yourself e \" [22, I am 67 and myself ”[22, p. 67].

The dialogues have thoughts that are important to the theory of aesthetics in the sense of understanding the criteria for aesthetic evaluation of artistic phenomena. The philosopher stresses the importance of distinguishing in a work of art \ "matter \" and \ "idea \": malyuno ok, or \ "proportion and placement of colors \", this and there is a painting, and besides paint- \ "dirt and only emptiness \" [22, p. 72] Similarly, the construction is not only brick and lime. It is impossible to know it without a plan, the ore is opened by understanding the plan, symmetry, proportion, size parts of it sees the animal, and man understands, бный соотносить части с целым, видеть задумку, любоваться формами, степени и п от Интересны рассуждения философа о красоте музыкального звучания [22, с 97ософа щодо краси музичного звучання [22, с. 97].

Актуальным для теории эстетики является трактовка соотношения идеи вещи и ее чувственной данности \"Как ты посмел сказать, что при разбиении черепка пропала сосуд?\" ора На основе многочисленных образных сопоставлений приходится, что \"главное начало вечное\", есть идея вещи - \"вечное начало\" Важным для теории эстетики является положение относительно отношения \"ум - сердце\" В гносе ологии первичным Г Сковорода считает сердце, которое преодолевает \"злое семя разума\" Следовательно сердце - настоящая, истинная человек На этой идее важно акцентировать, поскольку, с одной стороны, она вписывается в общую т енденцию культуры европейского Просвещения (направленность на воспитание ума и чувств личности), с другой - у Сковороды она приобретает оригинальности, ведь связывается с духовной, внутренней работой лица: познание в себе человека через самоуглубления в мир собственного Я и затем развертывания отношений с миром с позиций человечности Западная познавательная парадигма направлена ??преимущественно на зьясува ния \"механизмов\" познания и рассматривает разум как \"инструмент\" познавательной способности, чувственность же (сердце) считает скорее тормозным фактором в философии Г. Сковороды отношения \"ум - сердце\" открывают смысл целостности человека: духовность его мира, причем он во взаимодействии ума и сердца предпочитает сердцу, когда речь идет о самопознанию (\"Нарцисс\"), и разума, когда говорится о познании символического мира культуры - мира Библии (\"Диалог Название его - Потоп змеиный\"виться про пізнання символічного світу культури — світу Біблії ("Діалог. Назва його — Потоп зміїний").

The problems of the aesthetic theory of G. Pan considers in the unity of moral and epistemological problems, forms organic mutual transitions of logical and aesthetic knowledge.