3 5 Plato's Aesthetics

Creativity Plato (427-347 BC) opens a new era in the history of ancient aesthetics and philosophy in general - a period of high classics. The main works of the philosopher, containing a statement of the theory of aesthetic - Ion Hippie Greater , Banquet , Fedon , Fedr , Fileb , Sophist , State , Republic Aesthetic problems are closely linked in the philosophy of Plato with the problems of metaphysics and ethics in tetichnyh concepts were introduced into the system of concepts of philosophy, and the main concept of aesthetics was fine. In the treatise Hippies Greater (the first period the creator properties) Plato considers many dimensions of the concept of beautiful Dialogue focuses on clarifying this concept based on a comparison of two opposing positions: Socrates and sophist Hippia Dialog develops a huge wealth of sensual manifestations of beauty, n essentially, two definitions: beautiful - appropriate ; beautiful is pleasure obtained through sight and hearing. None of these definitions Plato does not accept. Firstly, it may be appropriate to be a means for good, but it may not be good itself, but beautiful is always good. Secondly, between beautiful forms and There are bodies that we appreciate that they are appropriate, but there are those that we appreciate for their own sake Plato rejected the subjectivist views of the sophists on beauty, because they interpreted the beautiful as such, that pleasant to the sight and hearing He first distinguished true and false beauty for beauty They thought better than yak take, scho "more at a glance і hearing". Vin is the first rozrіzniv ustiny on udavanu beauty.

The concept of "beautiful" in Plato's metaphysics is inseparable from the theory of ideas. He began to develop the concept of idea from the second period of creativity and continued until the end of life (Banquet , Fedr , Fedon and others .) The Idea appears in Plato's aesthetics as an eternal, self-constituting essence, model, principle of creation, construction of things. The world of ideas is a super-ordinary world, it embodies the laws by which the world’s cosmic life is exercised. Ideas are ideal beings devoid of physicality They are objective reality beyond concrete things and i leniyami idea of ​​beauty is part of the ideal world and expresses sutnis of beauty as such, is an example, the principle of creating beautiful, sensible things here - lovely presents all what there idea krasoth speeches. Zvіdsi - beautiful post all those in which the idea of ​​beauty.

as the perfect embodiment of the idea of ​​the beautiful, Plato considers the cosmopolitan cosmos to be well-arranged, aesthetically complete and complete; idea According to Plato, the cosmos - the maximum implementation goes to the real principles of being. O Losev notes: Plato formalized cosmos returns his anthropomorphism , ie consciousness , soul ; the cosmos again becomes personal -social being, that is, we fom. Therefore, its beginnings, its driving forces, its substantial forms are no longer elements, not numbers and forms, but gods, and the gods in the aspect of logically aligned semantic models and structures [ 7, from 17 9] Plato understands the cosmos as the embodiment of the most ideal beginning - more Ideal and dialectically constructed ideas in the most real (sensually given matter). Idea and matter arise as beginnings (arche). Although matter is below the level of being, both of them are necessary to create the world. Matter is what creates a sensual similarity to a conditionally visible pattern [ 13, t 3, p. 1, p. 25] Thus, the cosmos appears to be the founding of their works of art. Also, the post space has been found by the consonant Mysteries.

Plato does not deny beauty in the phenomena of the real world, considering its foundations on the basis of the concept idea In the things of the real world, the idea is the substance of a thing, that is, its inner determining power in relation to the natural world and human creative activity, the real embodiment of the idea is sensually given things The idea realizes and embodies itself in its own, also ideal body. This is specifically implemented? Expediency, in the body of which the special and common features of the particular zagal are connected.

The idea of ​​beauty has in Plato's aesthetics everything that transcends nature. She finds herself beauty in nature, soul, and society. All human creations are an imitation of cosmic being, and therefore their ideas eternally realized in it, although they arise only from their weak copies. certainty of things, their self-valued vitality is expressed in them, their soul (in Timaea - the picture of the ever-present mind-space of the cosmos is complemented by the mind-demiurge figure, combining both worlds with the world soul ) Essentially, Plato st He reminds himself to answer the question of natural philosophers, who considered the cosmos an ordered whole, intelligent and determined in its vitality and assigned to its living environment.

Modifications of the aesthetic principle of Plato have a variety of revealing the beautiful, in particular such ontological categories as number , measure , rhythm , harmony The number appears in Plato's aesthetics as something that combat creates things and determines their orderliness, it is somewhat external in things and at the same time - the unity of internal and external, the force that generates all new forms. With this interpretation of the role of number, being, with Plato, is nothing else, as being an aesthetic concept harmony (harmonia) - unity is opposite Stey is the presence of the whole and the combination in it of the elements that form its structural integrity. Armon arises in Plato and the essential attribute of things (their formality, certainty), and spiritual phenomenon (a certain "like-mindedness" with the whole). Concept measure (metron) - One of the defining in ancient aesthetics - P. Latona also considers in two aspects the First - the objective principle of being an aesthetic subject. In the dialogue Fileb the idea was put forward as a dialectical synthesis of the border and the limitless. The second aspect is the subjective principle , associated with the assessment of the feasibility of an object according to its purpose or according to its essence: correspond to the measurements of this object to its essence, that is, corresponds to the idea of ​​beauty. Such a measurement criterion Plato considered the basis of the existence of art The aesthetic principle of rhythm Plato in two dimensions. The first is ontological: he regards ITM as an order of motion, is a universal principle. He comprehends the rhythms of human life, social and individual, the laws of art, finally, there is the law of the movement of the cosmos. The second aspect of the action of the principle of rhythm is associated with the mental processes of human life [13, 2, p. 189] The philosopher examines various types of people's reaction to phenomena: the exuberant nature of rhythmics and balanced, defending the idea of ​​the mind and measured experiences Plato emphasizes the importance of the true use of rhythms and harmony as a condition for the education of morality and human nobility. Zagalo ritmіv and harmony iak umovi virovannya morality of people Agribusiness zagalom.

An important problem in Plato's aesthetics is the problem of artistry. The philosopher interprets it much more widely than is commonly understood, linking it not so much with art, he practically separates from the craft as much as reality as such. The meaning of beauty contains the dialogue Feast , appears as an anthem to the beautiful - the very value of the world Beautiful in all its diversity is a reasonable personification of the future The philosopher asserts that all forms of reality have an aesthetic load, become manifestations of art and, since the idea of ​​beauty reflects on them. The main characteristic of artistic reality, according to Plato, is that it is an eternally living organism, in each organ of which its whole is displayed, i.e. the universal idea of ​​life is embodied.

Since beauty must be supersensual, then it is achieved not by feelings, but by reason — by speculative contemplation of ideas. In dialogues Pir , Phaedr , Phaedon" the state of philosophical ecstasy is described in the process of mystical comprehension of the beautiful Plato builds steps of ascent to the knowledge of the idea of ​​beauty, appears as a process of adding to wisdom: from sensually perceptible perfect bodies to the concept of "beauty of bodies" and, in turn, to the idea of ​​beauty. In the dialogue "Timey" Plato sees the beauty of the human body combinations of ha monies of body and soul [13, t C, h 1, pp. 535-536] Space is also allocated to art in the system of orderly beauty. However, Plato does not consider it a kind of embodiment of the idea of ​​beauty. Art in his philosophy is no different from nature, and therefore and artistic creativity is no different from the production of material things, art is seen as craftsmanship, craft possession. True, since nature, craft and art arise identical, the question arises of the relationship between ideas and mother in nature and in art. Nature is the unity of material and ideal (the world soul and the world mind), respectively, art is the embodiment of ideas in the matter of formation, and therefore, the phenomenon of the beautiful art Plato understands the beauty of art in a sense close to modern abstractionism: he considers beautiful not the forms created by the hands of a master artist, and pure colors, smells, sounds: everything that is not noticeable flaws and where perception is not associated with suffering (Fileb ) [13, t C, h 1, p 65-66] art due to the idea of ​​communication spiritual and ma physical in the subject of formation The less matter in the subject, the more perfect he sees the main purpose of art in satisfaction, in the game: We must live playfully [13, t C, h 2, p 282-283] However, in Laws it is otherwise represented by the tasks of art I: here it is closely connected with morality, state and public expediency, as well as the manifestation of mysticism: it is here morally related to the moral authority of that state.

Plato's aesthetics also reflect such a typical for ancient aesthetics problem as imitation (mimesis) However, Plato receives a purely negative tint. In the artist’s actions, he sees subjectivism, it’s better to please everyone portrayed, and therefore creativity appears to be “fake”. Book X "States" Plato does not find a place for artists in the state, seeing in their activities only an imitation of the divine "persovzirts", therefore the "imitation is some kind of fun, and not a serious exercise." Accusing the artists of subjectivism, Plat he prefers to give preference to rational knowledge rather than art. However, his position on art is ambiguous. It presupposes the expediency of those kinds of it, where the subject is the beautiful particular, this concerns the musical arts, including those that positively influence the moral of a person, forming morally good citizens. In general, preference is given to the formation of objects (craft), rather than the creation of their images (art (craft), and not the creation of their images).

According to the understanding of the negative role of art in educating the person, Plato criticizes the great poets Homer and Hesiod, as well as all the lyricists and playwrights, who did not always write and talk about the gods sublimely, which means that they had a negative influence on the piety of citizens. Plato considers a combination of gymnastics and music: together they form the spirit and body of a person, and valuable are works that embody the ideas of loyalty and justice of citizens to each other in peace and wartime. Social ideas are reflected here. In aesthetics philosopher Ali Plato first formulated the idea of ​​the unity of East ini, goodness and beauty, standing reasonable integrity being Triad - Truth, Goodness, Beauty - Plato proves in Phaedrus and Filebt; ta" Fіlebі ".

So, in the philosophy of Plato, on the basis of the concept of idea , a holistic concept of aesthetic was formulated and substantiated, which is based on the beautiful, which becomes pervasive in nature and arises the determining character of the attic of cosmic being, the objective world, man and his activity.