Classical German aesthetics: general patterns

The formation of aesthetics as an independent philosophical science took place in the second half of the 18th - the first third of the 19th centuries in Germany as part of classical German philosophy. However, this process was prepared by the entire previous development of aesthetic and artistic ideas, considered the human person to be the goal of art and objectively asserted images of importance in the development of aesthetics as a special branch of scientific knowledge were the achievements of the 18th century English aesthetics, He evoked the subjective abilities of a person to sense perception and experienced Anne the phenomena of the world, the laws of creative ability to form according to the laws of beauty (Shaftesbury, Home, Hutcheson, Hume, Burke) aesthetics of the French Enlightenment, which enriched the aesthetic issues of scientific theory of aesthetic taste, as well as the theory of artistic beautiful and artistic creativity (Battier, Montesquieu, Diderot, Volterter).

Of particular importance was the aesthetics of the German Enlightenment. She developed the objective foundations of the beautiful, the theory of aesthetic taste, artistic creativity, aesthetic education, and finally gave the name to the science of sensual culture- aesthetics \" (Baumgarten, Meyer, Lessing, Winkelmann) O Baumgarten substantiated sensory knowledge as a specific sphere of spiritual activity, defining philosophical science, examines the theory of sensory knowledge, like aesthetics \" Aesthetics in the theory of Baumgarten emerges with the philosophy of pr red No less important was the expressed interest of philosophy in the problems of the beautiful, mystical, the theory of artistic creativity, especially felt from the 18th century, when anthropological problems were started to be considered together with natural philosophy. It fits into the general circle of their actual problems of searching for the objective basis of human ability to the knowledge of truth and creativity under the laws of beauty Aesthetics has taken its rightful place in the system of philosophical knowledge, has created a triad logic-etic and aesthetics

In classical German philosophy, aesthetics was defined as a necessary component, a system completing itself, being the necessary single link between necessity and freedom, the natural world and the world of freedom m. These questions took a prominent place in the philosophy of I Kant, F. Schiller, I Fichte, F. Schelling, G Hegel, as well as in the works of representatives of German philosophical romanticism (Schlegel brothers, Novalis, Schiermacher). In total, German philosophy distinguishes two leading trends in the study of aesthetic problems. One is orientation. It is based on the material of artistic practice, based on which the development of aesthetics (Goethe, Schiller, partly German romantics) is carried out. The other one expresses ideas of aesthetics from general philosophical problems based on artistic practice (Kant, Fichte, Schelling, Hegel, Hegel).

Of particular importance in the development of aesthetics as an independent science was the method of idealistic dialectics and the theory of objective idealism. On their basis, German classical philosophy developed an integral system of the world’s existence, the essential unity of the material and ideal beginnings, the prerequisite of which is the universal creativity - the spirit. Creativity is the permeable foundation of the world’s existence. Its supreme personification is considered to be a Yudin and her free creativity in the form of artistic creativity. In creativeness, the spirit, the absolute, is realized. t themselves adequately through the world of the genius personality-artist; in free activities he creates the artistically preoccupied RASN Aesthetic theory asserts artistic creativity as a sphere of genuine freedom, and a genius artist as the ideal of a human person. On this basis, it is possible to retain the ideal of the integrity of culture and the affirmation of creativity as human truth. of being and the condition of genuine freedom From the standpoint of the aesthetically artistic ideal of the human person, classical art preserved and cherished the course of history to As a pattern of self-development of the spirit in the subject, classical German aesthetics and philosophical romanticism criticized the relations of free competition, revealing their limitations and leveling influence on the personality. It is precisely no classical classical aesthetics that is the highest achievement in the field of aesthetic theory and theory.