6 2 Baroque Aesthetics

The concept of Baroque has developed in European culture to define the aesthetic and artistic originality of XVII art. The word Baroque (ital barocco - strange, capricious) is meant to mean the intricacy of forms, excessive decoration, the affectionate concept baroque it came about relatively late: I introduced Burkgard in the 19th century to determine the peculiarity of the 17th-century Western European culture, which was formed on the basis of the ideas of the Catholic Counter-Reformation. The critic defines the Baroque as" The lectures of the artistic language of the Renaissance, degenerated [18, p. 107] However, the concept of baroque already used the art of enlighteners, in particular J.-Rousseau. It happens in the work and Kant Critique of judgment ability , the aesthetics of romantics Of particular importance for understanding the uniqueness of the Baroque is the work of W. Wolfflin Renaissance and Baroque (end of XIX century) The author considers openness of forms as a specific feature of Baroque, according to which the sense of form is transferred from the surface into objects, acquiring infinity and a named feature baroque deputy He also cuts to Michael the poetics of Baroque is not addressed to the reader, but to the ontology of the work itself, which can - and even should - create its own second bottom , such a deep layer to which the work itself refers A characteristic feature of baroque aesthetics, embodied in artistic practice, the author calls immersion in knowledge , that is, the synthesis of knowledge and artists, according to which the artistic image is the personified world in the image of the system of relations author - world - the reader , characteristic of the art of later eras Baroque changed to another type: author - work - world - knowledge That, therefore, acts as a self-sufficient aesthetic-artistic whole, that he is a kind of set , that is, a work, correlated with the whole world , with his arrangement and difficulty .

The aesthetic characteristics of Baroque art, taking into account the genesis of this type of artistic thinking, are presented in the work of JK Argan History of Italian Art The Baroque program, - the author notes, - revives, overestimates and develops the classical concept of art as mimesis or imitation; Art is a representation, but its goal is not only to know the object that is depicted, but also to excite, shake and convince. Art is a product of imagination, and its ultimate goal is to teach how to develop imagination, without which oh, salvation is impossible [1, p. 130] Artistic imagination in the context of the problem of salvation - the ability to create means of art the real image of the surreal According to the researcher, the idea of ​​art as a plausible idea stated in Poetics Aristotle, became the aesthetic basis for the formation of the artistic end of the baroque aeration, the aesthetic basis of the artistic concept of Baroque.

Baroque as an artistic direction is composed in Italy based on a combination of two different orientations of the previous culture: Mannerism style with its inherent subjectivism and Renaissance style with its characteristic orientation towards reality. In Baroque both borrowed directions experience stylization, striving to achieve the effect of reality in the images created capricious imagination of the artist Artistic Baroque brightly revealed stylistic features in poetry, architecture, painting, music.

The development of baroque aesthetics and its artistic practice was influenced by the philosophy of Spinoza and Descartes, who adhered to the positions of dualism in the field of cognition. Say, emphasizing the values ​​of a rational method for understanding phenomena, they profess subjectivism in aesthetic. R Descartes notes that people's opinions about things are so different among themselves, when it comes to the beautiful and the pleasant, which cannot but talk about the measure of the beautiful and the pleasant, this same point of view is adhered to B Pascal He believes that, unlike the notions of mate matiki or medicine, which have a clear meaning, no one can say what sex is a pleasure, which is the subject of poetry. Representatives of aesthetic Baroque also note the relativity of ideas about beauty and beauty.

The theoreticians of Baroque aesthetics in Italy were: Giovanbattista Marino (1569-1625), Emmanuele Tesauro (1592-1675), Daniele Bartoli (1608-1685), Jan Vincenzo Gravina, Giambattista Vico (1668-1744) The main problems considered in the works mentioned authors, - understanding the means of expressiveness, with the help of which art is able to reflect all the phenomena of the world and contribute to their knowledge. Valuable opinion of representatives in relation to the cognitive role of a symbol. They tend to view the whole world as a metaphor. then it is associated with the influence on human feelings. For example, J. Marino in Tr. Sacred Sermons considers the relationship of the arts, and their main purpose is to pleasantly nourish human souls and console them with sublime joy [11 , c 621] When treating art in accordance with the idea of ​​imitation (the influence of Aristotle’s mimesis theory), the author notes: the differences between poetry and painting can be traced only in that "one follows with the help of paints, and the other by words, one follows the main exterior, that is, images of the body, another same - internal, i.e. manifestations of the spirit, one as if makes you understand with feelings, but the other - to feel with the mind The artist’s thought about music is no less interesting for understanding mystics as personified in the figurative language of the integrity of world harmony: as a musical score is not our world full of musical proportionality? The wording of not only the language differences of the above-mentioned types of art, but also the originality of the manifestation of the aesthetic idea in each of the world in its own way in the dermal route.

The ideological position of B Tezauro, the author of the treatises Panegyrics , Moral Philosophy , Aristotle Telescope (1655) is focused on the aesthetic ideas of Aristotle (1655). The last treatise is the best work on the theory of Baroque poetry and not only in Italy, but throughout Europe. It explores the main factors of artistic expression of art, in particular, poetic. The author considers the role of Reason, has two natural gifts - Prénivination and Versatility. Therefore, it helps to penetrate the most and barely noticeable of any object, which means into substance, matter, form, chance, quality, cause, effect, purpose, sympathy [11, p. 625] The author of the work of art does not imitate the genius of a work of art to imitate the symmetry of natural bodies in sculpture , forms and ornaments in architecture, etc .; It is considered to be decisive is the mind of the creator of art: no picture deserves the title of genius, if it is not the result of a sharp reason, it is not won by any guest.

The treatise D Bartoli The Writer is devoted to the issues of poetic language and style in poetry. The same problem is central to the work of another Italian theorist of aesthetics - D Gravina, who, however, opposed to baroque aesthetics, considering the art of this style bad taste In the treatise Poetic Mind the author turns to Greek and Roman antiquity, defining that the art of these peoples, the local theater, was intended to show the capriciousness of fate and open ways to reproduce the habits and thoughts of man. It gives rise to a new, enlightening approach to art: its educational role, its meaning in pererabat habits of habits If you reduce tragedy to its true idea, then it brings to the people the fruits of philosophy and eloquence, correcting their habits and their language [11 , from 637stva, vypravlyayuchi yogo zvichka і yogo movu ...

Of particular importance for Baroque aesthetics was the work of J. Vico Fundamentals of the science of the general nature of nations in which the problems of aesthetics are also violated. And Goethe called J. Vico progenitor not only the latest Italian and European aesthetic thought J. Vico criticizes the one-sidedness of rationalism, in particular Cartesianism, in understanding the spiritual world of the individual, consolidated to the sphere of rational. The philosopher creates a teaching on the development of human history, regarding it as a cyclical process consisting of a succession of tapov: the era of the gods, the era of heroes, the era of people is, the original mythological and era gives way to a heroic, and the latter is the period of development of rational philosophy and science, based on previously accumulated intuitive experience History appears as a process of spirituality in the self-formation of humanity Therefore, we consider spiritual achievements of peoples at the mythological stage, at the heroic stage and the human stage, - the period of the formation of philosophy and science. Moreover, the history of mankind appears as a phenomenon of creating cultures (cultural creation creation is a qualitative characteristic of history), and how the process is aesthetic in nature and in the method of its implementation The author notes about the mythological period: the period when pagan nations arose due to myths about gods [11, p. 641] Revealing the phenomenon mythology of the image of the world, J. Vico notes again: this is the period when the first pagans considered it necessary or useful for them to create in their imagination with the help of fearful religions, which they themselves invented and believed in, first of all, and then of others gov [11, p. 642] Here we are dealing with aesthetic ontology, built not on theological and creationist foundations, but on the ideas of scientific anthropology, people are creators of gods and themselves as spiritual, creative creatures Poetic wisdom, which was the first the wisdom of paganism must begin with metaphysics, but not with the valid and abstract metaphysics of modern scholars, but with that sensual and fantastic metaphysics, which it obviously had among primitive people who were completely devoid of judgment, but completely endowed with oh susceptibility and the richest imagination, this metaphysics was, in fact, their poetry.To understand the genius we rykuvan philosopher, it is sufficient to note that only new studies of the culture of naive peoples carried out in the XX century, in particular in the works of cultural scientists B Taylor, J. Frazer, 3 Freud, philosophers E. Cassirer, S La Nger and others, discovered the symbolically poetic thinking of people from early cultures. J. Vico revealed the origins and originality of the "poetic logic" of naive peoples, endowed all the bodies with feelings, such as heaven, land, sea, and only then did they learn to abstract all the types of snow, so the sky, the earth, the sea, and the stench of the stench vchilsya abstraguvati.

J. Vico reaches no less important conclusion about the content of the story, which it presents to the peoples - its creators. This is a story where real personalities act and real events are reflected, although it stands in the form of diathetic poems: tragic when it comes to heroes or satirical when it is a question of real characters, J. Vico concludes: the first myths were stories , that is, they were based on the real foundations of a human life.

The aesthetic foundations of the baroque worldview were also developed in the writings of the Spanish philosophers and theorists of Baroque art: Baltasar Graciana (1601 - 1658), Luis de Gongora, Pedro de Valencia. The theoretical basis for the Spanish Baroque was Plato's philosophy, in particular, the idea of ​​beauty, understood in the context of rational ideas The New Age According to this understanding, body beauty is pleasant in that it is only t yin and imitation of the mind, because in the human body there is a shadow and a sign of intellectual and spiritual dynamism and anti the immobility of a person’s health due to the collision of secular and religious results of paradigms that in Spain, with its unconditional authoritarianism of Catholicism, it becomes contradictions of this nature: on the one hand, the weakness of a person’s mind before God, and the power of the night - the power and domination of reason as the basis and condition of the spirituality of man is from another.

The origins of the Spanish Baroque associated with the poetic works of Luis de Gongora (1561-1627) and his controversy with Pedro de Valencia. Defending an understanding of the aesthetics of poetry, Gongora justifies the aesthetic principles and baroque art- darkness of poetry ( dark style ) as a source of aesthetic pleasure. By the polemical pathos of the author, there is a desire to oppose poetic vimis e to prose and ugly reality. Such an opportunity is created not within the content, but within the form and style: in the style of skannosti the author seeks to find the perfect Actually, such accents are typical for Baroque aesthetics. In controversy with the principles of poetics of L de Gongore, a new style of art arose - conspectism (Latin conceptio). The author of this style, F. Quevedo, contrasted to kleteranizmu , that is, the external form opinion, but the opinion of the board of Онаnal aesthetic and artistic with the thought of aesthetic art.

The work of B Gracian Wit, or the Art of Refined Mind (1648) Labor was an original step in the development of European aesthetic thought found in the treatise foundations of the unity of beauty of thinking and beauty of form Wit of thought - act of reason expresses the correspondence that exists between objects [10, p. 175]. The treatise discloses the connection between the rational and the beautiful in art, shows the basis of their unity and the richness of manifestations, in particular, four elements are distinguished that make up The role of creative intuition, capable of penetrating the headaches of phenomena, instantly combining them and bringing them together is revealed. The author views the aesthetic knowledge as intuitive in nature, and he argues the theoretical position of the rich material of art history. "gusto (taste), interpreted as a special ability of aesthetic judgment, different from logical B Gracian became the founder of the theory of the art of the mind , which received in the era of the Enlightenment ", she had renounced her broader in the epoch of Prosvitnitstva.