5 3 Aesthetics of Renaissance Neo-Platonism

The wealth of tendencies in the life of the epoch is reflected in the development of various areas of scientific knowledge. Aesthetic theory develops primarily on the basis of the philosophy of the Renaissance, rethinks the ideas of anti-medieval and medieval neo-platonism according to a new image of the world and a new understanding of the essence and purpose of a person in it. this is secular neo-platonism, it is characteristic of man’s exaltation and aesthetic understanding of being [14, p. 45]. The philosophy of the Renaissance is based on ancient neo-platonism (Plotinus, P. rockl), which was nothing but a cosmologism. From ancient non-payonism, it, in particular, absorbed the understanding of the material world as a product of the emanation of the One, therefore the world appeared majestic and sublime from medieval neo-platonism with its theory of absolute persons of truth and, therefore, theological in essence , the philosophical aesthetics of the Renaissance takes the idea of ​​the human person as the universal creative principle of the world and brings it to the center of the world. Thus, philosophy and aesthetics have an anthropocentric character. In Ren aesthetics Sansa man appears as a person, absolutely not in his superluminal existence, but in this purely human feasibility [14, p. 93] The personality thinks of itself in a new era as a purely individual being, seeks to absolutize itself in its proud individualism And no one is dependent on being Hatakozh Yogo" artistry "in nature.

Philosophical and aesthetic foundations of the Renaissance Neo-Platonism was founded by Nikolai Kuzansky (1401-1464), one of the most famous thinkers of not only the Renaissance, but also the new European philosophy, a German from the lower class (father is a fisherman), he became the papal cardinal and bishop, however, contributed to his work more secularization of European society than any of the secular humanists of this era. The main works of the philosopher- On the learned ignorance , About the guesswork , On the mind "About a gift about tztsa worlds , About beauty Ideas of aesthetics in the works of M. Kuzansky are considered integral to his ontology, epistemology, ethics. The synthesis of knowledge is called reveals the essential aspects of the philosopher’s teaching about being and knowledge. In essence, Kuzansky’s philosophy is basically an aesthetic way , created by a universal absolute personality - God, which means that the world is perfect in each of its manifestations - by God, and vdtak svet nodonlyy at the skin yogo viyavі.

Along with the idea of ​​all the heartfelt beauty of the world - aesthetic ontology - it is legitimate, according to O Losev, to consider the aesthetics of M. Kuzansky in the narrow sense of the word . In particular, this concerns the understanding of all those who speak world as unique, because every thing is updated. but All recovered in a specific way, that is, in the form of a holistic being things.

Man of Cusa considers a person equal to God, because her mind is divine grain thrown by God into nature. The philosopher writes: Man is God, only not absolutely, because she is human, she is a human god (humanus s deus) Man is also the world, but not specifically all things, because it is human, it is a microcosm, or the human world. Thus, the humanity embraces the humanity of God and the whole world.

The holistic concept of beauty is set forth in the work of M. Kuzansky On Beauty, which, in its theoretical constructions, relies on Areopagitics , in particular regarding the idea of ​​emanating (flowing out) beauty from the divine mind and understanding light as the first-image of beauty. the fine is interpreted by M. Kuzansky on the basis of the theory of the dialectical trinity of being: coagulation, deployment and otherness. The beautiful unites the named trinity, being the integrity of form, the unity of proportion and harmony is manifested. Deployment integrity creates differences of good and beauty, the connection between good and beauty, in which kr aza begins to realize itself, gives rise to a new quality: love as the highest and final point of beauty [9, 143] The essence of beauty M Kuzansky defines: we must to see in the concept of the beautiful three sides and: first, the radiance of the form, something essential or accidental, clarifies the proportional and definite parts of matter, how the body is called beautiful from the purity of color, shining in proportional terms; in other terms, the UGE, the ability to awaken yourself to yourself, namely, because the beautiful is good and the final goal, thirdly, the ability to gather everything together, unites the beautiful with the integrity of its form, the shine of which makes the thing beautiful "[21, with 64] That is, the three elements of beauty correspond to the three stages of the development of being: unity, difference, connection. The dialectical nature of the understanding of beauty fits into a peculiar formula: there is Dniester in the diversity of the єrіdnu formula:"

The final destination of beauty is not its being in its own self-sufficiency, but its creatively generating power, the purpose of which is adequate - the spiritual experience of beauty, and therefore the rise of the spirit to the level of a perfect cr race. The philosopher expressed this dialectical idea almost in aphoristic form: Love - the last goal of beauty: beauty craves for love. And we have to worry about the beauty of sensual things to go to the beauty of our spirit. "[21, p. 64] An important feature of beauty in M. Kuzansky's aesthetics is its understanding psalnom property of being In every sensual representation of beauty gleams infinite the only beauty It is adequate to all its sensual manifestations, because everything in existence is a creation of absolute beauty Therefore, the idea of ​​hierarchical levels of beauty, beauty of the lower and higher, more and less Beauty objectifies every boot I, where there is a form, decoration, there is also beauty, there is presence and beauty.

In his writings, M. Kuzansky also violates questions of specific problems of art. In the treatise On scientific ignorance the philosopher often refers to particular types of art to illustrate one or another phylosophical principle, referring to music, painting, plastic. Neoplatonic understanding of a person as creative and unique in his work expressed, in particular, in such a philosopher’s thought: One can contemplate the things of great enjoyment above all on the immortality of our mental and rational spirit, containing imperishable to its nature, the basis by which it creates an image from itself in music, which gives the current NCI chords and discordant disharmonies "[11, p 97] Arts created by people are considered manifestations of the human mind, i.e. they are free and valuable in themselves. The medieval understanding of beauty as a unity of proportions and clarity of color, symbolism of numbers, the philosopher sought to confirm by numerical measurements, logical constructions, experienced knowledge of knowledge, and previous knowledge.

The second huge period in the development of Renaissance Neo-Platonism in philosophy and aesthetics is connected with the activities of the Platonov Academy in Florence led by Marsilio Ficino (1433 ^ 1499). The period of activity was particularly fruitful in the 70s-80s-XV in the Platonov (Florentine) Academy concentrated around itself people captured by the works of Plato and the Neoplatonists. It was an intellectual society with like-minded persons. Ficino himself translated all the works of Plato, the whole of Plotinus, as well as Iamblichus, Proclus, Areopagitics, etc. ilosofa, which raises issues of aesthetics, belongs essay Comments on the Feast Plato \ 'interest in Plato and the desire to re-read dictated oppositional attitude to the medieval scholasticism and skholastiziirovannogo Aristoteltizovanogo Arіstotelya.

In Plato's philosophy, humanists found for themselves the philosophical basis of a new understanding of natural philosophy, ethics, aesthetics. Thus, the ideas of the creative power of love and beauty were of particular interest in Plato's teaching. In his treatise, Ficino considers the beautiful as something incorporeal, as reflected in the sensible material things of divine beauty (the idea of ​​divine forms of beauty) The philosopher identifies beauty with love, they mutually presume each other. Love he interprets as the dialectic of dying of a single subjective being and resurrection in another and differently, because the consciousness of the one who loves, forgets himself when he turns to the object of his feeling. Therefore, the philosopher loves the love of beauty. Her value is in the desire to "enjoy the beauty" According to Plato's teachings Ficino distinguishes two types of beauty: physical and spiritual spiritual, he builds closer to the divine degree of beauty according to the established hierarchy. Divine beauty - the ray penetrated the angelic mind first, then into the soul of the whole world, then nature and, finally, in mother і, in sin, in mother.

M. Ficino defines the principles that make matter beautiful: it is order, measure and image. Purpose of beauty is the excitement of the soul, creates love. The philosopher divides intellectual knowledge, the purpose of which is sutnis into things and sensations. "the tools of his body," according to the philosopher as a whole, he has six properties ( forces ) of the soul, borrow appropriately Reason correlates with the divine will, sight - with fire, hearing - with air, smell - with smell taste - water, touch - with the earth [8, p. 498] For the theory of aesthetics, it is important to differentiate these properties into higher and lower ones. Touch, taste and smell belong to the physical and material properties of man. Three others — mind, sight, hearing — belong to the spirit. and hearing can sharpen the mind and nourish the soul. Nutritional source of the soul is the truth. The pantheistic worldview is clearly expressed in the idea of ​​the harmonious connection of all elements of the natural world, the human body, is seen as the "most fabulous soul in the sky" and the shape of the human soul, singing dimensional with the body. After all, then the heavenly luster will easily shine in a body quite similar to the sky, and that perfect human form to which the soul in the matter of the worlds of obedience and submissiveness will be perceptible .The above thought confirms that pantheism M Ficino approaches ancient cosmologism, and his vision is anthropocentric, because man is a microcosm, I will put a macrocosmaanthropocentric, aja people - a cec microcosm, a yak macrocosm.

Beauty in the aesthetics of M Ficino is defined through the concept of harmony , having its own differentiation. The philosopher considers harmony to correspond to three types of beauty, namely: harmony of souls, bodies and sounds with respect to the harmonics of bodies, it is not identical to the proportionality of parts. the human body of proportionality as such, M Ficino introduces a new concept - grace . It allowed to explain beauty as an individual uniqueness of revealing plasticity and harmony of movements, in which human It’s Ficino’s soul, thanks to the concept of “grace” introduced by him, for the first time introduces into the aesthetics the idea of ​​individual uniqueness of the manifestation of beauty. The concept of grace later became widely incorporated into Renaissance aesthetics as a means of concretizing the concept of “harmony” of M Ficino’s works the history of aesthetics has also become a new interpretation of the \ ugly understanding." If in the works of predecessors, for example, in M. Kuzansky, there is no ugly place in a harmonious world created by perfect divine reason, then in the works of neo-Platonists the ugly matrimony is given by the consequence of the resistance of matter to the activities of divine beauty, it seeks to spiritualize the actions of the divine beauty just as much as to create spiritual identity.

a member of the Platonic Academy was a famous humanist philosopher Giovanni Picot de la Mirandola (1463-1494). He was surprised by the excellent knowledge of many ancient and modern languages ​​(Greek, Latin, Arabic, Chaldean, Jewish, etc.), wide erudition and originality of thinking. a significant number of works of the philosopher, the problems of the aesthetic theory are violated in the famous Speech about the dignity of man (written as an introduction to the dispute of European philosophers, who planned the author) For the same event he prepared 900 thesis s on philosophy, kabbalistics, theology, "which were planned to be discussed at a public debate in Rome. Accused by Pope Innocent VIII of heretics, he was persecuted by the Inquisition, and the dispute was banned by the Pope, and did not take place. Problems of aesthetics are also considered in the letter J. Mirandola to B. Barbaro and in Comments to the canzons of love Girolamo Benivienini about love Girolamo Beniv'єnі".

In the treatise Speech about the dignity of man the angular idea arises about a person - the free creator of himself and the understanding of man as a carrier of free will. incompleteness of a person, unlike all other types of life created by God And the very purpose of creation is man and the Creator’s desire to have someone who would appreciate the meaning of such a great work, love its beauty, admire its scope [eight, from 507] In Speech Pico God addresses the person with these words: We do not give you, O Adam, neither a certain place, nor your own image, nor a special duty, so that you place and face and you I had your own free will, according to your will and your decision. The image of others. of their creations is defined within the limits of the laws established by you, you are in no way limited, you define your image by your own decision, the power of which I give you, I put you in the center of the world, so that from there it will be more convenient for you to review everything that is in the world I have not made you Naturally, neither earthly, nor mortal, nor immortal, so that you yourself, free and glorious master, formed yourself in the image you prefer [8, p 507] The urge to work with the purpose of creating perfection of one’s own image is the pathos of the treatise there is a clear departure from the canonical religious teachings about the creation of man by God in his own image. The philosopher argues that man must create his own image. This is a new understanding of man, because it has destroyed the static and motionless, internally complete n the medieval world and the image of man. The activity of the Renaissance figures formed his new paradigm. The world acquired movements and lives, openness of formation and deployment of its image. The model of such an image of the world was created by a human creative person. The model of such an image was put to the people by the people.

In the treatise of J. Mirandola, the problem of ways and means of self-improvement has been put forward. This goal is not served by activity as such, but by the conscious pursuit of the highest and the use of means that contribute to the achievement of the goal of Liu Yudi, \ wash off the dirt of ignorance and vices so that passions do not rage thoughtlessly and I do not show up to madness sometimes shameless reason [8, p 509] The philosophy of morality is interpreted as the main source of spiritual self-improvement ESA quench passion and aggressiveness, causing wars and scrying zhnechu between people and i gosudarstvammi powers.

Original aspects of aesthetic theory are contained in the message of J. Mirandola to B. Barbaro. The message touches upon the problem of the connection between truth and beauty. The philosopher reproaches the addressee that with his eloquence he can make white black and black black, darken truth, deceive, confuse Comparing the speaker and philosopher, the author notes that the first, tempting the minds of people, the Philosopher deceived them, but he didn’t want to “know the truth and manifest it in front of others” [20, p. 255] In order to create truth, he should avoid everything that “a little marked splendor m and pride The problem of beauty in this message acquires new aspects both in its very formulation and in its solution Beauty (the beautiful) acts as identical with truth (an idea related to Plato’s philosophy) and as a process of its search, appealingly appealing verbal imitations for countries Su is fake, falsely their danger is that they are able to overshadow the mind and distract from the search. The problem of lifestyle is also violated given its focus or external benefits, then the search for truth In any case, the philosopher notes, - not one same life nor the layman and the philosopher Why is it important to avoid philosopher external ornaments in the language? ,