4 4 Western European aesthetics of the late Middle Ages

Late Middle Ages - XIII-XIV centuries - this is the time of creating complete scholastic systems based on scientific knowledge, provided that they are inconsistent with religious dogmas. Sumy , say, Summa Theology by Thomas Aquinas (1225-1274) becomes an example of developed scholastic philosophy. ), parts of which are devoted to aesthetics. The main concepts of his aesthetics include the beautiful. His philosopher understands as an objective category: Not because something beautiful, that we love him, but because we love that something beautiful and kind Being at Aristotle, Thomas connects the beautiful with the good, believing: Beauty adds some correlation to the cognitive ability for good [7, 289]. Good is what everyone wants. Consequently, they all calm down - this is his feature. It is about the concept of beauty and good , because their real incarnation arises, according to the philosopher, for uot ;, because of their real post, on the philosophy of the philosopher, God.

Beautiful, like sensual manifestations of the absolute, peculiar because contemplating on him soothes desire Thomas puts forward the idea of ​​a disinterested experience of beauty, because the fine associated feeling, a large degree of cognitive, vision and hearing their philosopher characterizes as spiritual beauty Delimiting the concept of good and beauty, he writes: The good should be called that which simply satisfies the desire, and talking about beauty where it is the perception of the subject gives satisfaction [7, 289] Thomas clearly distinguishes bla On the basis of the aesthetic, connecting him, as the above thought confirms, with intellectual satisfaction caused by the sensory perception of perfect objects, concerns the objective grounds of beauty, such, according to Aquinas, are three factors: 1) integrity, or perfection (integritas) 2) corresponding Pr oportsiya, or consonance (consonantia), 3) clarity (claritas) He considers clarity put in the very nature of beauty in contrast to the previous tradition, which associated it with the radiance as an infused quality. Referring to Psev O-Dionysius, Thomas states: the concept of beautiful (pulchrum) and the concept of beauty (decorum) are necessarily connected with the concepts clarity (claritas) and proper proportion (proportio) Understand clarity characterizes not only the quality of the object, but also the quality of the subject: clarity of perception The objective characteristics of the spiritual beauty of a person the philosopher sees proportional correspondence between the behavior of people and spiritual clarity of mind - a vision close to the ideas of ethics of Aristotle. Like the previous tradition (Bonaventura), Thomas Aquinas emphasizes the differences image races and the beauty of the subject image: The image (imago) is called beautiful if it perfectly depicts the subject, even the ugly (turpem) [7, p. 290] This problem will receive a thorough understanding of the aesthetics of the Baumgarten subject, navigate indulgence (turpem) [7, p. 290]. Qia problem with the zdob zdobude ґ the mainland osmyslennya in the art of O. Baumgarten.

Thomas Aquinas distinguished sensory and intellectual cognition. As already mentioned, he considers vision and hearing ( external feelings ), highlighting, in addition, the inside Trishna feelings, which form common sense together with memory and thinking Again, we can say: this idea afterwards, almost four centuries later, will be thoroughly worked out by Leibnitz’s “sensual perception of me,” writes Thomas Aquinas, “does not comprehend the essence of things, but only their external accidents.” imagination befalls only like e bodies Only one intellect captures the essence of things. At the same time, he believes that cognition is based on sensory perception, thanks to which intellect extracts spiritual content from sensual images Truth, Foma notes, is defined as consistency between intellect and thing [17, I 51 5SA yak Uzbegency mіzh іntelektom and Richchu" .

No less important is the problem of artistic ideas. It is considered as an intellectual "form of things," that exists besides things themselves and things. Form is "preceded by self-consuming being," that is, arises from the intellect as an example, Thomas Aquinas gives a likeness of a house, it’s pre-existing in the builder’s mind. It’s the idea of ​​a house. A real house master seeks to liken the form that he intended .. such that there is to things In the above example. Have induced butt

With the idea of ​​the house of Thomas Aquinas - closer to Aristotle in interpreting the form, Aristotle considered her as the personification in the material of the formation of the most suitable way for him to be ideas

An interesting figure of the late Middle Ages was the Dominican Ulrich Strasbourg (? - 1277 g) - author of the treatise Amount of Benefit , where the section On Beauty is placed. This is one of the few examples in the Middle Ages of a completed treatise on the problems of aesthetics In the spirit traditional medieval scholasticism, the author paid great attention to absolute, divine beauty, considering it to be the source of any other country. God is considered both as sample-reason , and as the personification absolutely every beauty , and as every form and how any n Ritchina Therefore, every beauty - the same thing as a benefit , i.e. th things [7, p. 294] Absolute beauty exists outside this real world, therefore in it, according to the philosopher, there is no figure of absoluteness. He shares essential and incidental beauty, according to that, I k there are substantial and incidental forms. In turn, the philosopher also shares the essential and incidental beauty. How spiritual, or intellectual, beauty arises, while beauty of matter (physical) arises as an incidental. He also divides the incidental beauty into spiritual (sciences, virtues as the essence of the beauty of the soul) and forest, defining it with reference to Augustine, as matching parts with pleasure to color. For beauty, he considers necessary proportionality of matter and form , calling the various manifestations of this proportionality Ulrich of Strasbourg distinguishes the concept of sensual , single beauty and the idea of ​​beauty. Sensual single manifestations of it are relative, and the idea of ​​beauty is absolutely understandable in terms of beauty, singular beauty and the beauty of beauty. Chuttєvі odinichnі її viyavi v_dnosnі, and іdeya beauty є absolute.

The figure of the thinker and scholar of the second half of the 13th century, Vitelo (born in Poland around 1230 - about 1275) deserves attention, in connection with his treatise Perspective , greatly influenced the artists and theories of the Retic Art of the Renaissance. The treatise was written on the basis of an early Arabic work. scientist Alhazen (Ibn-al-Hayssam) Optics Vitelo rebuilt the structure of the scientist’s treatise, introducing his own observations to the interesting one. The very name of the work itself begins another, as compared with medieval, vision vetov and color relations The author considers beauty as an objective property of the real world, which is a consequence of light, color relations, the arrangement of figures in space, their size and appearance, movement and rest, shadow and light, and under Sensual perception of beauty with the help satisfaction of the soul According to Vitelo, the satisfaction of the soul, what is called beauty, is sometimes formed from a simple comprehension of visible forms [7, with 303 osagnennya of visible forms "[7, p. 303].

So, the aesthetics of the late Middle Ages focuses on the problems of the beautiful, expanding it in the form of the idea of ​​the beautiful, which is transcendental, and the sensual manifestations of the beautiful, unfolding into material and ideal (intellectual) forms. Theologians of the late Middle Ages, compared to their predecessors, are more focused on intellectual problems. beauty