8 AESTHETICS XIX-XXI CT: DEVELOPMENT REGULARITIES 8 1 General patterns of aesthetics of the Newest time

Modern aesthetics, which spanned the period from the 17th to the end of the 18th century, was characterized by significant changes in the perception of art and beauty. This period was marked by the emergence of new philosophical trends and ideas that had a profound impact on the development of aesthetics. Let us consider the main patterns of Modern aesthetics:

1. Rationalism and Empiricism
The Modern Age saw a transition from medieval scholastic traditions to a new approach based on rationalism and empiricism. Philosophers such as Descartes and Locke emphasized the importance of reason and experience in understanding the world. This influenced aesthetic views, where art was viewed through the prism of rational analysis and empirical observation.

2. Enlightenment aesthetics
Enlightenment aesthetics was based on the ideas of freedom, reason, and progress. Enlightenment philosophers such as Voltaire, Diderot, and Rousseau argued that art should serve the enlightenment and education of society. They emphasized the importance of art in developing critical thinking and moral values.

3. The Concept of the Sublime
In the 18th century, a new aesthetic concept emerged: the sublime. Edmund Burke and Immanuel Kant developed ideas about the sublime as a special aesthetic experience that evokes admiration and awe before the grandiose and powerful phenomena of nature. The sublime differed from the beautiful and emphasized the dynamic and emotional aspects of art.

4. Criticism and Theory of Art
In the New Age, criticism and theory of art developed significantly. Aesthetics became an independent field of philosophy, and art critics such as William Hogarth and Joshua Reynolds developed theories about the principles and standards of artistic creativity. At this time, a system of art criticism was formed aimed at evaluating and analyzing works of art.

5. Revival of Classical Ideals
The aesthetics of the New Age often turned to the classical ideals of antiquity. Philosophers and artists sought harmony, proportions and perfection of form, which was reflected in neoclassicism. Classicism became the main trend in the art and architecture of the 18th century, inspired by the works of ancient Greek and Roman masters.

6. Individualism and subjectivism
Along with rationalism and classicism, the ideas of individualism and subjectivism also developed in the New Age. Philosophers such as Rousseau argued that art should express the personal experiences and emotions of the artist. Subjective experience and intuition became important elements of aesthetic perception and creativity.

The aesthetics of the 19th-21st centuries is characterized by an enormous wealth of trends, comprehending the diversity of artistic life and the diversity of approaches to understanding the place and role of art in society. The dominant tendency is the loss of the integrity of the spirit in its focus on the ideal, which was typical of classical aesthetics. No less characteristic is the loss of the idea of ​​creativity as an activity of forming artistically perfect works of art. The latter causes the loss of the criterion of creativity and the purpose of the creative process: the lost ability for such certainty of formative skills, which Kant characterized not simply as originality, but as artistically perfect originality. "Creative freedom" is a concept that suffered profanation in the culture of the new era, because it was reduced to arbitrariness. The loss of aesthetic criteria for creativity caused the withdrawal of art beyond the limits of activity, the highest purpose of which is the formation of a culture of a person experiencing the relationship to the world, the expansion of spiritual ties with the world in the forms of perfection. Individualism of practice caused the extreme subjectivity of creativity, in the theory of aesthetics reflected in the idea of ​​​​spontaneity of the artistic process, its full non-determination. The defining feature of the development of aesthetic theory is the eclecticism of methodologies, although the dominant trend is positivism. Positivism played a significant role in the theory of aesthetics, since research attention for a certain time was aimed at clarifying the nature of aesthetic ability based on the achievements of science in the study of the mechanisms of perception, imagination, memory, reason. However, the dominance of the positivist approach led to the loss of the aesthetic criterion of creativity, entailed a break between aesthetics and the ideal of artistic perfection as the goal of art.

Characteristic of the science of the period under consideration was the opposition of aesthetic and artistic experience, in particular due to the fact that in the aesthetics of modernism, especially in postmodernism, they were too separated. Artistry, that is, the value certainty of spiritual phenomena, became secondary, and the leading place was taken by the aesthetic, the understanding of which is focused on one aspect, which is absolutized. This is the excitation of sensuality as such, regardless of aesthetically defined means (but it is precisely with their aesthetic certainty that sensuality arises as a spiritual phenomenon). Therefore, the emphasis is on

in its extreme - shocking - forms of manifestation: outside the artistic and outside the moral. The aesthetic managed to serve the market culture, arousing the instincts of greed, aggression, sexual instincts, etc. Researchers of the culture of the Newest time characterize it precisely as a market culture with the corresponding activation of the mechanisms of influence on the "consumer". "From the point of view of aesthetics," notes T. Adorno, "nouveaute is the result of historical development, appropriated by art as a trademark of a consumer product, thanks to which works of art are always distinguished by the same assortment, obeying the need to increase the cost of capital ...". Without claiming to be a complete analysis, we will consider the leading trends in the aesthetics of the named period and typical approaches to understanding the ideas of the aesthetic. Despite the great variety of trends, it is legitimate to single out the most widespread and influential. This is, on the one hand, the aesthetics of classical realism (within and under its influence, the principles of the aesthetics of critical realism, late romanticism and neo-romanticism, socialist realism also developed). On the other hand, these are numerous trends that reflect the growth of subjectivist tendencies in philosophy and aesthetics, for example, the aesthetics of irrationalism, modernism and postmodernism, which have been significantly influenced by the aesthetics of irrationalism; the aesthetics of positivism, the philosophy of life, existentialism. Common features of these trends are mysticism, subjectivism, pessimism (features of the aesthetics of Kierkegaard, Schopenhauer, Nietzsche), formalism (Herbart's aesthetics). A special line in the development of science is the aesthetics of the Soviet period, which used the classical tradition, in particular German classical philosophy in the study of problems of aesthetics and the aesthetics of critical realism. The leading aesthetics in modern science is postmodernism and the artistic practice of this trend.

The aesthetics of the New Age was a complex and diverse phenomenon that united rationalism and empiricism, the sublime and the beautiful, classicism and individualism. These patterns determined the development of aesthetic views and artistic creativity, exerting a significant influence on subsequent eras of art and philosophy. The development of criticism and theory of art, the revival of classical ideals and the emphasis on individual experiences became key features of the aesthetics of the New Age.