6 AESTHETICS OF EPOCHA rationalism and enlightenment in Europe 6 1 General trends in the development of aesthetics XVII-XVIII centuries

A characteristic feature of the life of the European society of the seventeenth and eighteenth centuries is its secularization (Latin saecularis - secular), i.e. liberation of the European society's consciousness from authoritarianism of religions of the young faith, growing interest in the knowledge of the world and human destiny, the need to establish an aesthetic experience of the beauty of the world in art Of great importance, in particular for aesthetics and artistic practice, were the discoveries of gallium in the field of mechanics and dynamics (speed, inertia, etc.). A natural scientist came to the conclusion that perfection is not connected with immutability, but with perpetual changes. They establish the diversity and inexhaustibility of life forms. The airspace properties discovered by scientists have greatly influenced the visual art of subsequent eras. Respective to the aerial perspective Descartes’s experiments on studying the function of the retina and the discovery of the law of refraction of light, as well as Newton’s experiments, decomposed the spectrum into primary colors, does p The color of the XVII in tonal painting as a result with great convincingly implemented tasks, the purpose of which, firstly, to reveal the unity of the world in painting, in which everything doesn’t matter to everyone , secondly, to depict the air that envelops everything around, forming the organic integrity of relations and the interdependence of life forms. Moreover, the global position of culture has changed, echoing the pantheistic world view, which sees the world as the unity of everything in usсьdomnogo everything.

However, the most changes occurred in a person’s understanding, namely, its spiritual world, place in the world whole and society. The interest in a person arises as an essential feature of the epoch, making it possible to change the understanding of the meaning of life, the values ​​of the inner world at every stage of human history. The Renaissance asserted the strength and scale of the characters, the active focus of the personality and on the very realization through creativity, time is revealed that the inner world of the Renaissance personality is fewer nuanced. He developed praying mostly within the limits of opposites good - evil Such a person in activity is often inclined to move from genius to theft. Suffice it to say that famous people of the Renaissance, say, Milan’s ruler L. Moreau, King of Naples Ferrante Neapolitan, Napoleon’s ruler L. Medici, Pope Alexander VI Borgia, the ruler of the principality of Rimini C Malatesta and others, were people of brilliant education, patrons of art, patrons of the arts and at the same time cruel treacherous murderers, extremely resourceful in methods of committing crimes Almost everyone can be said that they were satanic criminals [15, p 122-135] This phenomenon is rightly called the opposite side of titanism , and about wild and brutal aesthetics [15, p 120t; wild and sound aesthetics "[15, p. 120].

The man of the XVII-XVIII centuries is distinguished by the growth of the nuances of experiencing the world. The epoch reveals inherent contradictions between the mind and feelings, spiritual and physical nature. It is the tension of feeling caused by the loss of illusions about harmony and inner perfection of man, the ground of the tragic humanism of the Baroque era. the world and to itself was also influenced by the achievements of the science of the properties of cognitive activity and the ambiguity of various spheres of mental activity of P Descartes in his treatise "Passion and showed the influence of sensuality on the human psyche, the complex and controversial inner world of her desires, fantasies and experiences. Leibniz revealed the ambiguity of the content of various spheres of mental activity. The philosopher’s proof of the two-sidedness of mental activity of a fluid, highlighted by the concepts of perception and apperception, i.e. Laroshfuko’s unconscious and conscious perceptions, comprehending a person’s attitude to the world, consider passions barely an engine of human actions. Great historical acts dazzle us with their brilliance and are interpreted by politicians as a result of great intentions. Most often they are the result of the game of whims and passions. It became the basis for its broad reflection in the art of classicism and enlightenment, particularly in theatrical art. High tragedy - the leading genre of art of classicism mu - emerged as a reflection of the tragedy of the psychological and moral conflict hero This phenomenon discovered, in particular, the aesthetics of classicism, is a phenomenon tragic gumanizmm "tragіchnogo" gumanіzmu.

Interest in man and belief in her moral, creative nature form in the eighteenth century humanistic culture of the Enlightenment. Artistic practice and the theory of aesthetics focus on how to overcome sensuality (intrinsic to the sense of capriciousness and arbitrariness) with the help of reason. Hence, great interest in the value of rational knowledge of the world. The world of external and internal Self-knowledge and self-improvement arise leading ideas of the epoch.

Art activity attracts attention as a source of accumulation of spiritual experience, concluded in perfect figurative and sensual forms. Philosophy explores the laws of aesthetic influence of art on a person, the mechanism of aesthetic perception, experience and evaluation of aesthetic and artistic phenomena. Philosophical and art history studies in those aspects where they are revealed by common interests: problems of beauty, aesthetic taste and specificity There is a person to the world, the aesthetic perception and experience of the world was considered not in his sensual immediacy, but as a consequence of shaping the emotional states of the mind, thanks to which they acquired depth, balance and self-expression measures in the forms of perfection.

A unique human person appeared at this time with universal value. From this, the interest of art in the nuances of its spiritual world, details of life, details of relationships with other people and with itself is clear. Accordingly, the originality of art and aesthetics of the epoch were defined as realism of characters and circumstances. “realism,” in particular, in the aesthetics of postmodernism, was unreasonably challenged, and a critical analysis of the artistic features of realism was not associated with the spiritual context. experience of the era, its ideological paradigm and aesthetic specifics of the artistic and imaginative system of this or that artistic direction, providing criticism of the character of a baseless objection [20, 376-379] Meanwhile, in the works of the great Shakespeare analysis of the inner world of the personality, psychologism acquired its character leading value, predetermining the persuasiveness of his work just as a realistic interest in the spiritual world of man predetermined the psychologism of artistic creativity, the inner convince character of actors who are objectified in relations with the worldviews of the world.