5 6 Aesthetics of Mannerism

The name of the historical epoch ending in the 16th century is Mannerism. It is intended to mean the absence of its own stylistic significance of the figures of this period and only imitation of the manner of predecessors of the High Renaissance the outstanding theorists of aesthetics of this period were Paolo Lomazzo (1538-1600) and Federigo Zuccari (6l 1542- 1609), who considered the question of artistic cognition and artistic creativity. In the previous era, the problems of artistic cognition, the effects of art on an individual, did not have the character of a system Is it a research problem? It was from the second half of the XVI century that they became the main objective of this research.

During the period of Mannerism, the question of the relationship of a person to the material world is raised. The answer to the problem has new aspects. Natural forms perceived by man, which are still regarded as divine, are interpreted as subjectively a priori F. Zuccari puts forward the idea of ​​an "inner figure" that allows to comprehend sensually perceived things, but also affects the creation of art forms. Sensitivity is processed and framed using the internal pattern in the mind. He is so rich in consciousness, often competes with nature oh In the last, next to the beautiful, there is ugly, people are able to create beautiful works that stand as a kind of "earthly paradise". In the statements of the aesthetics theorist, one can easily trace the idea of ​​the creative imagination of the artist and the figurative memory created by the forms of F Tsukkari notes: an artist can imitate nature, but he must do it creatively, nature, but he is guilty of the price of creativity.

The peculiarity of the Mannerist era is a tendency to allegorism and symbolization. The basis for their development is a new understanding of creativity, not only as an embodiment of ideal forms, but also as a possible discrepancy of such a tattleness in the artist’s works. The above vision is due to a change in the general ideological orientations of the late Renaissance under the influence of complex, sometimes of tragic events in the life of Europe in the XV-XVI centuries. It became obvious to them, the Renaissance ideal of the universal personality is life-adjusted, therefore it can manifest itself to Like its limitations and arbitrariness, as well as the values ​​of life, individualize, they lose all universality of content. Various methods are recognized to be possible to translate ideas into matter, various means of translating the ideal form into a work of art. Just as a reflection of a new view on the relation of idea and matter consisting The concept of Mannerism in aesthetics uot; in aesthetics.

Researchers estimate this direction ambiguously. According to Benes, during this period the Northern Renaissance developed within the framework of Mannerism, achieved great psychologism, symbolic content and philosophical depth. The property of the artists of this period is exaltation and elevation, perfection and elegant craftsmanship in anatomical the image of the human body and the composite counter-points

Mannerism began, as did the Renaissance as a whole, in Italy, particularly in Florence. His famous representatives - Benvenuto Cellini, Giorgio Bazar. Finally, in the last decades of his life, the brilliant Michelangelo B. Buonarroti also worked in the style of Mannerism in the late 16th century, when artists completely disappeared from the arena Renaissance, begins to dominate Mannerism, which enters into the European culture of cosmopolitanism, unite kaya into a single stylistic whole works of Italian, Dutch, French, German masters. Subsequently it degenerates into imitation of the formal techniques of art.

In a different way, Mannerism assesses in Grashchenkov in the introductory article to the analyzed work on Benes, revealing the contradictions of this trend On the one hand, its heterogeneity is noted, and on the other, its general orientation, namely opposition to the ideals of the High Renaissance of Mannerists. " the normative aesthetics of the High Renaissance, against its perfect ideal, extracted from the "imitation of nature," against its humanistic content. They break with the realistic objectivity of the image of their art the new language acutely subjective, conditional and capricious in its formal sophistication [5, 48] such a criticism is even more categorical: Mannerism developed in the Renaissance as internally alien, antagonistic to it over [5, 49, antagonistic yomu tehіya "[5, p. 49].

The tragic humanism of the late Renaissance in Europe is vividly reflected in the works of geniuses of the transitional era - In Shakespeare and M Cervantes The essence of their aesthetics deeply understood in the work of L Pinsky realism izm Renaissance Characterizing the world of heroes In Shakespeare, the critic notes: each of them is a man in the full sense of the word - free, aesthetic, with tremendous energy and high consciousness of its value as a human person, although its activity often takes place in contradictory forms Comprehensive hero is the top the pyramid, which is based on the whole human nature , and not one facet of this nat Uri, one kind of passion Generic, typical (man) and special, individual (person) merge into the human personality of the hero as the norm of naturalness of nature stosti heroes as the norm of naturalness of nature .

The discovery of man as a subject of creativity, the affirmation of his limitless possibilities in various fields of activity, the poetization of man is the main asset of Renaissance aesthetics