6 6 The Aesthetics of the Enlightenment in Germany: the isolation of an independent science

The German Enlightenment, including in the field of aesthetics, was a broad spiritual movement, more thoroughly theoretically analyzed the essence of aesthetic as a special type of spiritual experience. Its outstanding representatives, the spokesmen of the democratic ideal were: Alexander Baumgarten (1714-1762), Georg Friedrich Meyer (1718-1777) , Moses Mendelssohn (1729 - 1786), Johann Joachim Winckelmann (1717-1768), Gothall by Ephraim Lessing (1729-1781), Johann Georg Haman (1730-1788), Johann Gotfried Herder (1744-1803) Johann George, George Johann Georgsen (1754-1794).

Aesthetic theory was formed on the general philosophical principles, on the basis of Germany were in two main areas: Leibnitsky-Wolffian educational idealism, adhered to the theory of \ "direct knowledge \" (irrationalistic philosophy) and the pantheistic tradition with the ideas of philosophy of Spinoza B, which became popular in Germany XVII XVIII century. Important for aesthetic theory was the teachings of Leibniz G. two types of knowledge: dark (unclear) and clear (clear), or otherwise - perception and alert. The concept of es Tetic perception as a kind of obscure knowledge, as well as the doctrine of infinitely small perceptions as the primary elements of sensory perception influenced the aesthetic views of G. Meyer, M. Mendelssohn, O Baumgarten, O. Baumgarten a.

Of particular importance to the theory of aesthetics were the works of Baumgarten. In the treatise \ "Philosophical reflections \" (1735), he first put forward the idea of ​​aesthetics as a special philosophical science. Subsequently, the ideas of labor were developed in the treatise \ "Metaphysics \" and \ "Aesthetics \" (1750 ) About Baumgarten not only distinguishes between logical and sensory cognition, but also reveals the value of the sensory to obtain truth in science, the non-identity of aesthetics to other types of spiritual experience, where the sensual sphere is involved, the wealth of possibilities for applying sensory cognition. For the disclosure of the mechanism of human cognitive abilities in general, the Philosopher gives ten arguments to prove the value of aesthetics, building them in the form of polemics with possible opponents, revealing the insightful nature of aesthetic knowledge and universality of aesthetic experience. In all cases, it’s consistent with the qualities of the subject. it will be free. It harmoniously combines the subject of indifference, the way of experiencing its qualities and the means of expressing judgment about them. The goal of aesthetics, as the philosopher sees it, is a mustache perfection of sensory cognition requires to distinguish the beauty of things and thoughts, on the one hand, and the beauty of cognition, is the first and main part of it, on the other. After all, "ugly will think how you can think beautifully, and the beautiful is ugly," says O Baumgarterasnі - conciliatory ", - respect the O. Baumgarten.

analysis of aesthetics as a science of beauty of thinking and the rationale for the foundations of beauty of thinking, the philosopher pays special attention. It is about systematic exercises, discovering the truth in phenomena and giving perfection to everyone and knowledge, perfect erudition, which makes knowledge better, allowing one to think about things perfectly, erudition opens up an understanding of the originality of knowable phenomena, which means it allows the cognitive abilities to unfold with the possible fullness in order to discover their true qualities: to think about things beautifully. in ag ood sort events and mentally \ "their richness and radiance of truth alive polnotapovnota".

In the treatise, the relationship of sensory and logical knowledge is investigated; the concept of \ "aesthetic truth \" is substantiated, its content in ontological and epistemological aspects. The philosopher stresses that aesthetic-logical truth is universal truth and concepts or the truth of the individual and ideas. Moreover, the aesthetics of the general (universal truth) is always more general than the truth of the single. Therefore aesthetics prefers \ "ists to us more definite, less general, less abstract before general truths \" The concrete-sensual givenness of an object in the richness of its vitality gives rise to a wealth of beautiful thoughts, refer no it, giving true (the beauty of knowledge) generic individually it obnaruzheniyadualnomu Yogo viyavlennі.

In aesthetics, O Baumgarten based on bringing the originality of aesthetic regarding the subject of knowledge (sensual beauty), qualities of cognition (beauty of thinking) and mode of existence of knowledge (beauty of value) prove the essence of the whole process as a phenomenon of imitation of nature. In essence, O Baumgarten on the basis of theory sensory knowledge formulates the understanding of knowledge as a reflection, understanding the latter by the dialectical interaction of the subject's activity and the qualities of the subject of knowledge. This is a completely new aspect of understanding. imitation, which, unfortunately, has not received due consideration in aesthetic theory after Oh Baumgarten Philo Sof notes: \ "A natural type of thinking, if it is associated with the natural forces of the soul, tuned in thinking, and if it is the dimensional nature of these objects, it is necessary for a customized on the beautiful e thinking so much that everything is not fully known to the beautifully thinking soul, the nature of many objects, like the whole art of refined thinking, is obviously covered by this one rule: imitate the nature \ "[11, p. 462] The events \ "beauty of thinking \" are considered objects capable of giving birth to the majesty of opinion with their qualities. This is \ "the majesty of matter \" and majestic in human relations (moral values) O \ "small truths," the philosopher observes, they are beyond aesthetic horizon The analysis of the ideas of aesthetics of Baumgarten certifies their special importance for the development of aesthetics as a separate my philosophical science. Recreatives Products perfect activity gods and he is the prototype of all that can be assessed as well vіn Je prototype usogo scho Mauger Buti yak otsіnene fine.

M. Mendelssohn in the treatise \ "On the main provisions of the refined sciences and arts \" (1757) distinguishes between the concepts \ "perfection \" and \ "beauty \", first considering the essential feature of phenomena, and the second - experiencing a result in relation to man to the world The philosopher seeks also to distinguish between natural beauty and the beauty of art on the grounds that beauty is not the goal of the natural world, but for art it appears to be the goal. He rozmezhov is the beauty of the image as an object of the image and as a way of the image, emphasizing that the subject is I may be ugly, and the image method is artistically perfect. The aesthetics of Mendelssohn is favored artistically perfect over perfect in nature on the basis that artistically attractive works of art set a person on perceptions of moral truths. Much attention in the treatise is given to the educational possibilities of various types of art. : poetry, painting, sculpture, and and: poetry, painting, sculpture, ін.

An important place in the German educational aesthetics belongs to Winckelmann, whose work \ "The History of Art of Antiquity \" (1764) significantly influenced the understanding of the connection between art and public life. While exploring ancient art, the philosopher closely connects his development and prosperity with the development of the freedom of the ancient polis, and decay - with the loss of democratic freedoms \ "Freedom that prevailed in the government and state system of the country was one of the main reasons for the rise of art in Greece \" [3, p. 121] Lifestyle was no less important: strength directed to the defense of the fatherland, mind, certifying the freedom of the spirit, the desire for creative achievements to glorify their land Social content is the basis that determines the aesthetic qualities of art. Its flourishing is also connected with the public interest in artists and their works in: \ "The artist’s glory and happiness did not depend from the arbitrariness of the proud ignoramuses. Works of art were not discussed by a tasteless, insignificant critic, ascended thanks to servility and sycophancy, but were valued and rewarded by the wise of the people to bschem meeting of all the Greeks, the Greek youth in schools, along with the wisdom she studied art So, artists worked for eternity \ "[3, pp 124-125] yl general purpose of art, according to Winckelmann and, of particular relevance. Vinkelmana, nabuvє especially the relevance.

The main aesthetic position of the philosopher is the idea of ​​imitating nature by art. However, he does not absolutize the principle of inheritance, emphasizing that nature is the best teacher where it is about beauty in certain parts of the human body (in sculpture), i.e. it is higher in details, but art is higher than it in the creation of the whole [3, p. 169] The imitation of beauty in nature can appear either as a straightness on a separate object, or collect integrally single objects. In the first case, a copy of reality, in the second - an ideal image. philosopher notes that \ "the brush with which the artist works, you can pre-saturate the var with the mind \" Generalizing beauty appears to be a kind of prototype. She- \ "the spiritual nature created only by the mind. \" Together Winckelmann does not perceive the beauty of the static. thaws, u in the beauty you need to provide \ "position of action and passion, that is, what we understand in art as the expression \" The aesthetic ideal of art is an active, creative and stoic person, it is characterized by \ "noble n height and calm greatness \" He sees a sample of such a person in the Philoktet figure in the tragedy of Sophocles and the sculptural group \ "Laocoon in the tragedy of Sophocles and the sculptural group" Laocoon ".

Aesthetics And Winckelmann was of particular importance in the culture of the German Enlightenment, because she claimed the ideal of a beautiful personality, borrowed from the culture of ancient Greece, and challenged the then neither reality, a society that was deeply in tune.

An outstanding theoretician of aesthetics, a literary critic and a theorist of literature of the Enlightenment was G Lessing, author of the works \ "Letters on the latest literature \" (1759-1765), \ "Laokoon \" (1766), \ "Hamburg drama maturgy \" (1767- 1769) et al. Lessing's worldview was influenced by pantheistic materialism B. Spinoza. In the aesthetics of Lessing, democratic ideals were affirmed, in particular, the principle of nationality, mystutz. He defended the connection of art with life, fought for the liberation of it from the standards typical of aesthetics of classicism, attached efforts to create a democratic national culture G. Lessing tupil one of the first critics of the aesthetic ideal and Winckelmann, in particular the stoic understanding of beauty, which exemplifies the image of Laocoon. In Stoicism, Lessing saw the mentality of slaves and believed that he was not inherent in the Greeks, because they never he was embarrassed by human weakness. The critic emphasizes: stoicism cannot be an object of art, in particular stage design, because the characters on the stage must show feelings, in the Open show their sufferings Seriousness and compulsiveness of the heroes of the tragedy leaves us cold \ "[14, p. 390]. The critic expresses his disagreement with Winkelman and in understanding the social values ​​of the concrete in idyll art. Dramaturgy and theater are dominant for G Lessing, and not sculpture with its plastically complete way Beauty In addition, Mr. Lessing expands the circle of creative interest in a day of art, which is no longer satisfied with the image of only beauty. "In recent times art has greatly expanded its boundaries. m now, as they usually say, all visible nature, in which beauty and is only a small part of truth and expressiveness are its main law, and just as nature itself often sacrifices beauty to higher goals, the artist must subordinate it mainly to poem and do not strive to embody it to a greater extent than the truth and expressiveness of it allows. "[14, p. 396-397 of the great world, right now, but I can say the truth and virality" [14, p. 396–397].

According to the requirements of enlightening humanism, Mr. Lessing considers the hero’s personality as a real unity, combining civil and personal interests. Turning to the Philoctet’s image by Sophocles, he looks at virtues differently than And Winckelmann G. Lessing focuses not on the hero’s demanding, but on completeness identifying his mental states and inner convictions, which, in fact, is valuable for T. agedia \ "His groan is a man’s moan, and actions are actions of a hero \" Comparing the plastic arts and the poetic, Ge Le Ssing shows that they have a different subject of the image. Plastic arts are created refined, with tatichny ideal image of the hero. The subject of the image they complete the action. Poetic arts are designed to depict the individually unique features of the hero's spiritual world, applying the action, reveals the note of his human manifestations. Analysis of the difference between the plastic arts and poetry G Lessing unfolds in the treatise \ "Laocoon \" In the treatise \ "Hamburg dramaturgy \", which is a collection of reviews on the performances of Gum burzy theater, developed ideas of social purpose of theatrical art Using the provisions of \ "Poetics \" of Aristotle, the author develops the concept \ "character \", \ "typical \" \ "veracity \" regarding dramatic art Close to the idea of ​​Aristotle about the difference between history and poetic art is the opinion of G. Lessing: \ "In the theater we should learn not what a person did, but each person with a certain character would do under certain conditions. The goal of the tragedy is much more philosophical than the goal of the story and \ "[13, 92] This opinion is clearly seen the dialectic of the particular and the general (and individuals nd model) in the feature image prostezhuєtsya dіalektika Especially that zagalnogo (іndivіdualnogo that the model) in hudozhnomu obrazі.