5 5 Aesthetic ideas of the Renaissance natural philosophy

A new stage in the development of Renaissance aesthetics is associated with the creation of philosophical and natural-philosophical systems XVI in the outstanding representatives of the philosophy of this period were scholars and thinkers: J. Bruno, T. Campanella, Patricius, T Mor, M Montaigne. In the heritage of these philosophers there are no special works on the theory of aesthetics However, their cosmogony and socio-ethical constructions organically include aesthetic ideas. Like Oz Losev, new trends in the development of philosophy were associated with reliance on sensory experience and experiment (thanks to the developed at that time, mathematical natural science) The new tendency of philosophy and aesthetics was the interpretation of the world without any reliance on the category of personality, therefore, impersonal The world that was established in Italian pantheism was animated and built on the impersonal principle Tsipi [14, p 453] outstanding philosophers of this direction - Giordano Greens (1548-1600), the author of the works \ "On infinity, the universe and the worlds \", \ "On the heroic enthusiasm \", \ "Feast on the ashes \", \ "The expulsion of the triumphant beast \", \ "O immeasurable and innumerable \", \ "O threefold, less and o ire \ ", \" About the monad, number and figure \ "J. Bruno’s philosophy considers neither the face of the creator of the world nor the isolated utteran experience, and all neo-Platonism takes on an extraordinary monistic form, and impersonal [14, p 453 neo-Platonism in the most monotonous form , and without a stand [14, p. 453].

Researchers of the philosophy of J. Bruno note the aesthetic orientation of his works and highlight two aspects of it. First, the style of the works is poetic: richness of figurative comparisons, allegories, the manifestation of the mood of the second. The aesthetic is the focus of the content of the works of the philosopher. The latter is due to the pantheistic world view of God and the nature of the scientist. considers as identical phenomena the Divine principle is dissolved in nature. According to J. Bruno, God is not outside of nature and not above it, but inside it \ "God is infinite in the infinite: it is everywhere and everywhere, not outside and not above, but as the most present-day \" [4] The pantheistic interpretation of nature gives a look at it as a spiritual beginning, fulfilled the needs of development and self-improvement On this basis The philosopher considers the nature of art above. This model is interesting because it paves the way for understanding creativity as an unconscious desire, because it is this property that is characteristic of nature. In the work \ "On the immeasurable and countless \" J. Bruno remarks: \ "The Art in thinking reflects, thinks Nature acts without thinking, immediately Art is outside matter, nature is inside matter, moreover, it is matter itself \ "The philosopher sees nature \" in the morning by the master, living art \ "\" Nature is God in things \ "Understanding of nature as a carrier of creative potential and glorifying it \" belongs to the best pages of the philosophical aesthetics of the Renaissance - here is the embryo materialistic understanding of beauty and philosophy of creativity \ ", say researchers [4, 158] named labor puts forward the idea of ​​intuitivism as a condition of creativity, contrasting the artist with evi nature, which \ "does not reason, hesitate and ponder, and easily creates everything from himself \" The artist who thinks about his work, in fact, J. Bruno, is not a creator: \ "Those painters and musicians who conceive are not deft, it means that they have only just begun to learn \" [4, from 158-159 живопис a painter and a musician who thinks they’re meaningful, they stink too much read "[4, p. 158-159].

The philosopher regards the movement as a form of being, and the variety of its manifestations as a source of pleasure. Changing one extreme to another, moving from one opposite to another is satisfied thanks to its means. "We can observe how great the relationship between extremes is, yourself, than like with a similar self soby. "

J Bruno justified the idea of ​​\ "heroic enthusiasm \" has a pantheistic basis and was based on the Platonic idea \ "cognitive insanity \" According to J Bruno, philosophical knowledge requires a special spiritual heightening of feelings and thoughts that provide "recall" of true beauty and goodness (The author adheres to the famous idea of ​​Plato, formulated in the treatise \ "Fedr \" regarding knowledge as "recalling" the soul about the highest, true being) J. Bruno's opinion close to Plato on the hierarchical levels of beauty He agrees with Plato that sensual beauty, especially the beauty of the body, according to just below the rung of the hierarchy of beauty that leads to beauty in dushizhchoyu skhodinkoyu ієrarhії handsome, yak Veda to Crazy dushі.

J. Bruno's natural-philosophical position reveals that bodily beauty is for the philosopher \ "manifestation of the beauty of the spirit \" The sense of non-indifference caused by bodily beauty is noted by the philosopher in his work \ "On heroic and enthusiasm \", has a spiritual character, because it is due to \ " a certain spirituality \ ", visible in it, which we call beauty \" It consists not in larger and smaller sizes, not in certain colors and form X, but in some harmony and consistency of parts and colors \ "[9, p. 169 ] Pay attention to this by the author. The character of the object features: they are determined by the relationship of the parts in the object and appear as their harmony, which leads to the harmonious vitality of the object and the indifferent relationship to the subject matter of the subject matter.

A well-known representative of the Renaissance pantheism was Francesco Patrician (1529-1597). His philosophy is marked by the pronounced influence of ancient Neo-Platonism, in particular, the ideas of Plotinus philosophy about the dialectic of the Persian eater. Aesthetic aspects of his philosophy are reflected in the statement of the sensual beauty of the world and the joy of his perception. that corresponded to the spirit of the Renaissance \ "Sun Every knowledge originates from the mind and feelings Among the senses and for the nobility of nature, and for the most part strength, and the first place to see the dignity of action is the first thing that the eyesight perceives is light and radiance. "[1, p. 149] Light radiance serves as a source of admiration and admiration. From the light, the first of sensually perceived things, open to the senses and knowledge, we begin the foundations of our philosophy. XX saw the light of the unfinished work of F Patrician \ "Love Philosophy \", in which moral and aesthetic problems are connected to the basis of the idea of ​​experiencing the feeling of self-love (philately) This feeling is considered the philosopher oh knowledge of another person and the experience of his being people lounging and experiencing.

In a number of spiritual phenomena that allow to deepen knowledge of the laws of the Renaissance type of consciousness, socio-political utopias are important. In integral aesthetic forms, did they reflect the idea of ​​the possible perfection of social life (\ "Utopia \" T Mora, \ "City of the Sun \" T Campanella , \ "Telemskoe Abbey \" Rabelais) The aesthetics of Tommaso Campanella (1568-1639) adhere to the neo-platonistic understanding of being as hierarchical, since he considers it the result of emanation from the Pershoedinous essence. e the influence of empiricism, which caused the internal contradictions of the world view On the one hand, the philosopher puts a personal God over the world, and on the other, he affirms the value of sensory impressions about the world. Therefore, it hampered the knowledge of the laws of reality based on the logic of concepts, limited knowledge the ability to comprehend the essence of things and phenomena A pronounced aesthetic direction has the social utopia of T Campanella “The City of the Sun” helping to avoid hostility and conflict, to build life on the basis of beauty and harmony These features are also characteristic of the work of Thomas More (1478-1535) \ "Utopia \", where the problems of J. Ereli of enjoying life are considered, in many respects similar ideas of L Vallie expressed in the treatise \ "On enjoyment \" The moral and aesthetic in T Maur's book are organically combined. Beauty feeds on the moral attitude of a person towards life and its values. The value of the works of these philosophers is that they rise to a humanistic understanding of the problems with social life in the sense of the value of a person and the importance of creating a guide for their living conditions, going beyond the Renaissance understanding of a person as a creator of one’s life, living for people of a Renaissance romance of people who created themselves.