4 2 Aesthetic ideas of philosophical patristics

Aesthetic problems occupy an important place in the writings of Christian philosophers who formed and formulated the basic doctrines and creeds, reflecting on the reality of its conformity to the ideals of the Christianity. Art served as a source for substantiating the ideas of the new faith, in particular, it was intended to create images that would symbolize the real presence of God. in the world, the first Christian philosophers were representatives of the patristic (lat pater - father) - fathers of the church. Given the place of origin, patriotic philosophy was divided into Eastern and Western - philosophy Greek fathers (written in Greek) and latin Sgiach (written in Latin) Early patristika acquired form apology (II-IV cc n e), i.e. protection of Christians The first apology, which reached its descendants, is the work of the philosopher Aristide with Afia z Afin.

It examines the views of early Christians about God. These are also the works of Justin the Philosopher Athenagoras, Theophilus of Antioch, Irenaeus of Lyon Clement of Alexandria (II c), as well as the works of Origen, Dion Nisio of Alexandria (The Great) (III in Art.).

In the West, Tertullian (155-220) was an authoritative and active apologist. He described the provisions of the Christian faith in Latin, the essence of Christian dogmas and formulated "symbols of faith", developed Trinitarian and Christological problems based on the antinomian thinking of Tertullian. aesthetic direction About the spectacle The Roman theater was sharply criticized for its amoralism. Apologist Arnobius (end of III - beginning of IV centuries) created seven apologetic books Against pagans The work of Aurelius Augustin a On the City of God (beginning of V c) became a well-known treatise in the genre of apologetics. Apologists critically reinterpreted ancient culture from the standpoint of new ideas about spiritual values ​​of Apologetics, focusing on criticizing the foundations of the culture of the past, all were not limited to it, and sought to formulate the fundamental ideological ideals of a new culture. To the peculiarities of apologetic literature, without which the aesthetics of the apologists cannot be understood, belonged to the dialectics of their treatise, among them Stings of the іalogічність їхніх тататів.

Psychologism was a feature of the aesthetics of the apologists: self-deepening and attempts to explain themselves to themselves, publicly confessing and confessing to real and imaginary sins. They asserted the ideals of the new culture not speculative ideas and reflections, but the wide use of authoritative biblical citations and citations of the Greek-Roman authors. this is a compilation of works of ancient authors and biblical sages it is called the philosophy of Stromat called the main work of Clement of Alexandria St Romats ( Shreds Carpets ) - a bright mosaic formed from solid texts of famous TVs of the past cows Language mosaics ( carpets ) consisted of the poetic works of ancient authors None of the areas of early Christian culture perceived artistic form, in particular, poetry, for self-valuable, seeing in it only a certain means of covering the hidden truth. Christian temples were also built with the wide use of a large number of elements and blocks of ancient temples. This type of thinking is called by researchers etichny9 * [4, p. 131] This feature of thinking and the way it is articulated in cultural phenomena is interesting because it acquired relevance in culture at the end of the 20th and the beginning of the 21st centuries and is characteristic of the postmodern style: “Each word, even The letter in postmodern culture is a quotation. "[15, p. 334] However, there is a qualitative difference between the culture of apologetics and postmodern: the puget applied the achievements of the previous culture to substantiate the symbols of the faith and validate their values, and the postmodern culture It is important for the destruction of spiritual values, since the rejection of truth constitutes the pathos of postmodern values, and just outside of becoming a pathos of postmodernism.

Philo of Alexandria, justifying the reasons for worshiping believers before the statues of the gods, noticed that their images were worshiped. However, even the most perfect image is not God. This is only a manifestation of TV skills of images. The images themselves are not sacred, Clement of Alexandria understands them somewhat differently: he does not deny the value of art material, from whose image is ribbed, but the reality is not the primacy of the image, because art is only an inanimate image of reality, therefore every living being is as creative as He offers to see God more worthy of respect than the statue. The philosopher emphasizes: We are not sensitive to the statue of sensual matter, but to the spiritual image They are the only and real God Clement does not deny the value of art, allowing it glorification The main value of the images he in looking into the artistic image, which gives the art of matter. He also defended the importance of the theory of art for artistic practice. The principles of creating artistic works are contained in the theory of art Twa [4, p. 175] Early Christian aesthetics draws attention to the figure of the creator of sculptures, offering to honor his mastery. This shift in emphasis emphasizes the principle of early Christian humanism, which began to take shape at this particular time. His idea is this: the statue is only an image of a man, and the creator her - the artist - the image of God, because the ability to be creative is a reflection of the divine principle that exists in man. Therefore, wrong and impractical, that the image of God honors the human image This idea was reflected in kin in the 20th century. To the art of art, the living human body is better from any art paintings en vazhazhiv alive lyudysk tilo we grow across all the artistic images.

The basis of early Christian aesthetics is the idea of ​​man - the perfect divine creation, as well as the world as a whole, is the result of the creative work of God the artist. Therefore, man must not spoil divine creation with unworthy deeds, in particular, with wealth and luxury that people lose. The early Christian ideal of human perfection influenced and to the demands of his apologists regarding the art of Terulian in the already mentioned treatise About the spectacle , criticizing the Roman theater, expresses a correct idea, which is relevant still sounds: That which is unacceptable in reality should not be permissible in the work The reasons for this are due, firstly, to the deterioration of morality by immoral spectacles, secondly, the cultivation of cruelty and anti-humanity of spectacles. This is an important step in understanding The links between art and morality, the creative ideals of the educational ideal by means of art. Christian apologists deny not art in general, but art that is alien to the spiritual ideal of Christianity. Tertullian has developed an important idea that was formulated in antiquity on ( declared ) Aristotle, but did not receive due justification from him. This is the idea of ​​the aesthetic impact of art on the viewer. Tertullian identifies two aspects of it: the influence of the plot in the plot, that is, the content part of the work; emotional-affective action of the work - excitement of feelings to the state of affect Regarding affects and their sources, then, according to the philosopher, there can be no peace of mind without silence, I’m not satisfied with life passion without affect, no one experiences affect without appropriate grounds These bases are the causative agents of affects. Eventually, if there is no affect, there is no pleasure either. "[4, p. 199] He considers the effects of affects to be dual. On the one hand, negative, because they excite sensual ones. , low passions, which contradicts the ideal of psychic life in Christianity (flight from joy and pleasures for the sake of peace of mind) On the other hand, Tertullian’s theory of aesthetic experience, namely, his uninterested character, is important for aesthetics theory. they rejoice in the happiness of the heroes and grieve over their misfortune, without meaning any practical purpose. The problem of affects will later receive philosophical understanding in the works of Spinoza B (“Ethics”), P Descartes ( Passion of the Soul ), D Yu ma ( Treatise on Human Nature. Book Two About Affects ("Addicted to Souls"), D. Hume ("Treatise on Human Nature. Friend's book About akti ").

Apologists sought to create their ideal of art. Clement of Alexandria sees him in a sphere intermediate between science and art. Geometry is such a sphere for him (remember the Pythagoreans and Plato's artistic ideal, who defended "pure forms" in art) Involuntarily also associations with art arise. Of the 20th century Abstractionism as an artistic method and as an ideological stance declared a rejection of music and rationality in favor of the conventionality of images. True, abstractionism received a spiritual crisis, since Kuk spirit cannot realize itself as uncertainty, lack of formality (features characteristic of the aesthetics of abstractionism). The idea of ​​form in Clement looks different. In his opinion, architecture (because it is based on geometry) sharpens the soul’s ability to perceive and comprehend truth is art. capable of elevating a person from the sensually foreseeable world to self-consuming. This idea will subsequently be widely used both by Byzantine and Western European medieval aesthetics. In the aesthetics of T ertuliana, strongly protruding l against rude feelings caused by rude art (spectacles in the Roman circuses), the idea of ​​spirituality of feelings was created. Tertullian also belongs to the development of aesthetics of human external beauty. He, like Justin the Philosopher, notes the values ​​of natural human beauty, therefore he opposes luxurious clothing, jewelry and cosmetics spoil the image of a man Tertullian believes that cosmetics make a person ugly In the treatise On prayer it says elegant sensuality: it is not caused by external beauty, but by the sound of psalms and the pier it is in beauty, and the sound of psalms and prayers.

In connection with the idea of ​​graceful sensuality, there is a theory of the image of the symbol in, developed in Clement of Alexandria aesthetics. The theory of the symbol appeared in the center of his ideological system. The image acquires the value of the structural principle determining the integrity of the entire system in Clement K The philosopher represents the hierarchical structure of the image: the root cause and the original pattern The basis of the hierarchy is the deity of the Logos - the first image of the archetype. This is an invisible and sensually unseen image of His image, image or image, mind (or soul) of a person (second level of hierarchy) Clement has not distinguished spirit and soul because of the generalized concept - the spiritual essence of man Clement, according to Philo, interprets freedom of will as an image of God in man Reason and conscience arise in the images of God in man In a third way God becomes a Gnostic, towering to the contemplation of the image of the son, who consolidates his image in the soul of the Gnostic Fourth, lower in this hierarchy, there is an image embodied in the material of art. These are works of fine art that contain images of people and gods Clement's ideas are borrowed from the aesthetics of Plato and Philo of Alexandria In medieval aesthetics, the concept of image and likeness perform gnoseological functions. Hippolytus of Rome notes: Through an image representing likeness, Father’s knowledge is achieved I recognized the image (eikon), how the son appears, how you want to see the Father [4, p. 262] Image (similarity) Realize that the early Christian thinkers are praised as the path of the moral and epistemological ascent to the ideal, divine original cause, similar to the ideal, divine Pershoprichini.

So, the symbolism of the Middle Ages is the means of intellectual mastering the world [6, pp. 265-266]